Max Reger`s �Variations and Fugue on a Theme in f sharp minor�, composed in 1903, lasts all of 30 minutes and makes extremely high demands on the proficiency of the organist. 25 year old Daniel Protsyuk at the main organ console fulfilled the highest expectations.

30 Minutes` Brilliant Performance by Daniel Protsyuk.

In a impressive dialogue between the great organ and the choir organ Daniel Protsyuk mastered the �introduction� in the same superior style as the �variations on a tuneful theme in 6/8 time�. In the latter, Reger transgressed all musical boundaries of his time and, by using cluster effects, anticipated the musical style of the 1960ies. In an uniterrupted flow the young organist from St.Petersburg unfolded Reger`s �fugue in f sharp minor� which constantly grows more intense ending in an unequalled crescendo.

The audience is left looking forward to hearing this young organist again in the series of organ recitals.

(transl. from �Neue Westfaelische Zeitung� of 23 May 1998)

Paderborn (WV) In the last of a series of organ recitals the young russian organist Daniel Protsyuk gave an many ways fascinating performance. 25 year old Daniel Protsyuk, pupil of the renowned Rimsky-Korsakow conservatoire in St.Petersburg, proved himself an outstanding virtuoso on the organ.

A �Tierce en taille� by the French baroque composer Francois Couperin, intellectually interpreted by Protsyuk, was followed by a flawless rendering of a Bach piece. His interpretation of the great triad �Toccata, Adigio and Fugue in C major� was homogenous as well as inspiring; the enthusiasm of the toccata, the pulsating pedal solo, the relatively accentuated adagio as well as the convergent rendering of the fugue, were characteristic of the impetuosivity and flawlessness of his high-spirited interpretation.

In Protsyuk`s interpretation, Hindemith`s 1^st organ sonata proved to be a jewel of chamber music composed for the organ. In the first movement, Protsyuk fully exploited the vast possibilities offered by the great organ of the cathedral; in the second movement he used the long drawn out sequences to attain cantabilits. He interpreted the final phantasy in a free style, balancing the varous parts against each other thus focussing on Hindemith`s musical genius.

In honour of the 125^th anniversity of his birthday, the next item on the programme was Max Reger`s �Introduction, Variations and Fugue in f sharp minor� of nearly 30 minutes` duration. Reger`s opus opens up vast dimensions which in Protsyuk`s interpretation took magnificent shape from beginning to end. Certain runs of the variations he rendered as a dailogue between the great organ and the choir organ fully using the excellent possibilities his instrument afforded him. Protsyuk was inspired by Reger`s composition seeming to rise above all technical difficulties and showing masterly skill in his rendering of the final fugue.

Cathedral organist Helmut Peters was lucky indeed to be able to secure this highly talented and accomplished young Russian organist. At the end of the recital breathless silence reigned among the fascinated listeners in the cathedral.

(transl. from �Westfaelisches Volksblatt of 21 May 1998)