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This year, the musical world celebrates the 340th anniversary of the birth of Johann Sebastian Bach, a titan whose oeuvre continues to resonate and enthrall. To explore the enduring power of the composer’s work, Point ART magazine engaged in conversation with Maestro Leo Krämer, one of the most prominent and profound interpreters of Bach’s music today. Known for his commitment to historically informed performance, Maestro Krämer reveals how Bach’s music influenced 20th century composers and why it remains so relevant to the modern listener.

Translated from German by Daria Kuchina.

Point ART: Maestro Krämer, could you tell us how Bach’s music entered your life? Was there a particular epiphany?

Leo Krämer: It was a slow and steady burn that started in childhood. My father was a member of the church choir and would always take me with him — so, from day one, I was steeped in Bach’s polyphony, be it choral pieces or the resounding tones of the organ. You could say I was born into this music — it’s in my blood, musically speaking.

Point ART: What specific composition has had the most profound impact on you?

Leo Krämer: Unquestionably, the Mass in B Minor — that «great Catholic Mass». Its polyphonic splendor, harmonic might, and rhythmic exactitude craft a musical universe of unparalleled perfection. That being said, all of Bach’s work is an endless source of inspiration.

Point ART: In your opinion, what is the secret of Bach’s timeless relevance?

Leo Krämer: A truly excellent question! (Thoughtfully) Bach is the musical expression of the divine. Like Mozart, he stands outside of the boundaries of time itself. His music speaks a universal language of melodic artistry, rhythmic dynamism, and deep-seated spirituality — a language that resonates with everyone, no matter the era or their individual outlook.

Point ART: It is perhaps in this way, through art, that we approach a true comprehension of the things that matter most.

Leo Krämer: This music isn’t the preserve of the elite; it’s for everyone, bar none. Regardless of their creed. There’s something breathtaking about it, a message that strikes a chord deep within. And its power is simply irresistible.

Point ART: In what way does your experience as an organist impact your appreciation of Bach?

Leo Krämer: Organ playing is of paramount importance when trying to understand Bach. Part of Bach’s genius resides in his deep understanding of the organ’s possibilities. For Bach, the organ was the equivalent of the piano for Beethoven — an instrument to pour his soul into. Working with this «king of instruments», you begin to perceive how Bach’s genius teased out its full, untapped potential. He practically redefined the organ, composing works that still put performers through their paces.

Point ART: Maestro, how do musicians today interpret Bach’s legacy? Does the organ remain the principal instrument for its performance?

Leo Krämer: (Animatedly) The organ is, of course, the heart of Bach’s oeuvre — but only a part of his universe! Take the «Well-Tempered Clavier»: although Bach composed it for the harpsichord, today it is performed with equal success on the modern piano — recall Richter with his mesmerizing interpretations.

But then there are the cello suites — played by everyone from budding cellists to the maestro Rostropovich. And what about his violin partitas? The Brandenburg Concertos? It’s a whole orchestral cosmos! (Laughs) It’s astounding, but music created three centuries ago still sounds fresh on any instrument!

Point ART: This legacy clearly influenced composers of the 20th century…

Leo Krämer: Beyond a doubt! Hindemith, Shostakovich, Messiaen — they all «corresponded» with Bach across the centuries. His polyphony became a bridge between eras. Contemporary composers still find inexhaustible ideas in his partitas — as if he left us a musical code that each generation deciphers anew.

Point ART: And what are your thoughts on the debates surrounding «authentic» performance?

Leo Krämer: Without a doubt, we have witnessed an astounding historical process. In the 1920s and 30s, a seemingly modest movement took root, which by the mid-century had blossomed in all its diversity. I was fortunate enough to work with masters such as Nikolaus Harnoncourt, from whom I learned a great deal. This movement — historically informed performance — sparked a veritable revolution: it liberated Bach’s music from the layers of the 19th century, returning us to the origins of the 17th and 18th centuries.

This true Renaissance revolution has been a gift to the entire musical world. Today, we can perceive Bach, completely free from the romantic interpretations of the 19th century. However, it is important to understand: the very essence of Baroque music — and especially Bach’s! — is deeply emotional, if you will, romantic in the highest sense of the word. But only on the condition that we are talking about romanticism in the context of the musical language of the 17th and 18th centuries.

Point ART: Which work by Bach, in your opinion, best encapsulates the essence of his creativity?

Leo Krämer: Choosing just one piece from Bach’s legacy is no easy task, as one could discuss his work ad infinitum. If we’re talking about major choral and orchestral works, such as the Mass in B minor or the Passions (for example, the St. John Passion or the St. Matthew Passion, which I had the privilege of conducting at the St. Petersburg Philharmonic), then we are immersed in a world full of drama and Bach’s distinctive musical language. His polyphony is incredibly complex, and the harmony is strikingly rich. And this is especially palpable in such large-scale works as the aforementioned Mass in B minor or the Passions. This music goes beyond simple compositional intent — it contains a universal force that will live as long as humanity exists.

Point ART: Does the essence of Bach’s music change when performed on modern organs?

Leo Krämer: I don’t think there are any fundamental differences. While details can always be viewed through new lenses, the crucial, defining element lies within the bass lines. It’s inherent. It transcends interpretation. Modern organs, undeniably, unlock novel timbral vistas, yet the music itself — this «divine geometry» — remains immutable. (Passionately) Bach encrypted universal truths within his notes, truths that resonate with equal force on a baroque instrument and a 21st-century organ alike. (With a smile) We, as performers, can only approach this legacy with awe and humility. For true art, like eternity, stands beyond the reach of technological advancement.

Point ART: In your opinion, what qualities should a composer possess to approach Bach’s mastery?

Leo Krämer: Looking back at the great composers of the previous century — Hindemith in Germany, Messiaen in France, Shostakovich and Prokofiev in Russia, Elgar in England — reveals a clear truth: their innovation is firmly grounded in the Baroque tradition. These 20th-century masters creatively reimagined the polyphonic artistry of Bach and Händel, enriching it with the harmonic and dissonant explorations of a new age.

In essence, the entire Viennese Classical School — Haydn, Mozart, Beethoven — served as a bridge between the strictures of the Baroque and the language of modern music. The seeds planted by composers of the 16th-18th centuries blossomed into new forms of expression in the 20th century, all while retaining the profound depth and meaning of the original source. This demonstrates that tradition is not a static museum piece, but a vibrant, living entity, perpetually capable of reinvention.

Point ART: St. Petersburg audiences are eagerly awaiting your next concert. Could you tell us about your upcoming plans?

Leo Krämer: (Smiling) I’m looking forward to it too! This autumn, we are preparing a grand project — the Mass in B minor. Although, I confess, I’m already eager to return to your city — the St. Petersburg audience has that rare ability to simultaneously deeply understand and emotionally experience music.

Point ART: Do you notice any cultural differences in how your concerts are received by audiences in different countries—Russia, Germany, Mexico, Japan?

Leo Krämer: Undoubtedly, there are nuances — some audiences are more restrained, others more demonstrative. However, there’s no fundamental divergence. The key is the astonishing unity in the core experience: unfeigned delight, profound involvement, and a limitless reverence for music, which binds listeners together globally.

When I performed in a Tokyo cathedral and was struck by the intensely focused, almost meditative way in which the audience absorbed the music. Yet, I’ve encountered the same reverent attention in the St. Petersburg Philharmonic, in Mexican churches, and in German concert halls.

It’s a remarkable phenomenon: despite all cultural distinctions, music awakens the same sentiments in people. It is this power of art to unite humanity across ages and boundaries that renders my profession truly unparalleled.

Point ART: What advice would you give to young musicians studying Bach?

Leo Krämer: I would advise them to immerse themselves in his incredibly rich legacy. Learn from Bach, draw inspiration, and develop your own musical horizons on that foundation.