…an appointment on a new and exciting level…
Fresh from the diploma he has given back to us a solid and fluent Bach
Felix Marangoni measured himself with Bach and offered a demanding program
…a remarkable cantability of the melodic line in the Choral BWV 700
Marangoni, in spite of his young age, has revealed a remarkable maturity in the comprehension of the style and of a sound-world that introduces several facets beyond a common denominator…
The execution of the great Fantasia of Lübeck (Ich ruf zu dir, Herr Jesu Christ) has struck us particularly for the ability to propose through a unitary conception its rhapsodic structure without mortifying the character, indeed exalting it through a shrewd variety in the choice of colors and a phrasing of great importance
…the genuine musicality of Marangoni, his accurate preparation on the historical background and his mastery of the instrument have allowed him to adequately take advantage of the resources of the nineteenth-century organ in the various chosen musical-forms
It may seem strange but the Venetian organ building school suits well to express different historical periods even though the essentiality of its structure. Marangoni has fully demonstrated it through the impressiveness of his preparation, above all with his manner to make music guided by communicative spontaneity and the ability to effectively convey various languages
Through Frescobaldi the heritage of organ-music reaches one of its peaks, and Marangoni expressed a tempting phrasing; De Maque’s Capriccio overbearingly showed us the will of an astonishing research, also like the grammatical footprint impressed on Muffat’s Passacaglia, played upon the essentialness of colors
…a magnificent organ concert
…Marangoni was brilliant!
Lyrical and refined playing especially in Mendelssohn (I Sonata in f-minor) masterfully alternating with forceful playing until reaching the sonorous fullness in the Allegro assai vivace. In order to characterize these contents and knowing how to return them back to the listeners one must be really a masterful and knowledgeable musician
…affirmed specialist in ancient music…
The initial Praeludium in e-minor 548-I [J.S. Bach] was played by the organist with meaningfulness and clarity.
Felix Marangoni arranged the continuation of the performance with three choral preludes [J.S. Bach], whose Christ, du Lamm Gottes impressed me by its intimate mood. A certain ending was marked by the Fuge in e-minor BWV 548/II [J.S. Bach] by its plenty of evocative passages
Felix Marangoni played a Dietrich Buxtehude’s definitely individual work, the Praeludium in f-sharp minor BuxWV 146, with thoughtful elegance
The italian (Felix Marangoni) played the Plein Jeux and the Cromorne en Taille from the 1st Kyrie of De Grigny. He played accurately, without registration changings, in the same sound, with little detachment, so the Bach’s Toccata Adagio and Fugue in C, BWV 546. The three parts of the piece were played in classical manner, without additions. He let play only Bach’s tones. That was impressive
At the end beautiful Baroque music was resounding in the church. This music found its performance master in the figure of the italian organist Felix Marangoni. He presented himself with short pieces of Nicolas de Grigny (1672-1703), he played from the “1st Kyrie” the “Plein Jeu” and the “Cromorne en taille” like an artistically mature organist
There was a highlight with Bach's work BWV 564 “Toccata und Fuge und C-Dur”
Hereby, the young Italian organist Felix Marangoni developed his whole artistic knowledge and surprised the audience, through registration and baroque sound speech. It was an enjoyment for the listeners to hear a quarter of an hour of completed Bach's music
Simply ingenious and at the same time modest, he placed his Bach “Orgelkonzert”
His interpretations were stylistically convinced and signed by the particular sound-type of the Bürgy organ. The magnificent high point of the traditional concert was the Mendelssohn-Bartholdy Sonata in f-minor in which Marangoni proved all his artistic skills