MEXICO CITY — Maestro Leo Krämer has dedicated six decades of his life to the organ, treating it as a part of himself, so much so that he can envision how a piece will sound without even touching a key.
“The organ is alive,” Krämer explained, highlighting the instrument’s capacity to breathe life into music. This 81-year-old German maestro recently graced the stage at Mexico City’s Catholic cathedral to launch a new season of sacred music performances.
Scheduled to unfold throughout 2025, the series will feature a diverse range of musicians, directors, and choirs each month as announced by the Archdiocese’s social media updates. Krämer is anticipated to return for the grand finale in December. Arturo Hernández, representing the festival’s organizing committee, emphasized the importance of the cathedral as a site for spiritual and musical edification. While its paintings and sculptures are renowned, it is the auditory art that sometimes gets overshadowed.
However, Krämer, who had previously performed at the cathedral in the 1980s, relished the chance to once again unleash the power of its twin organs. “Each organ mirrors a nation’s heritage,” he noted, remarking on their distinctive capabilities based on their origins. In Germany, organ music traces a significant moment back to Johann Sebastian Bach and the Baroque era. In Mexico, the music’s roots extend to its Spanish heritage following the conquest in 1521.
“For a European musician, standing in such a magnificent space and experiencing historical instruments is utterly captivating,” Krämer shared. Historian Kevin Valdez points out the uniqueness of the cathedral, which houses two organs—one Spanish, the other Mexican—that survived a devastating fire in 1967. Positioned like two statuesque 18th-century twins, the organs, composed of more than 6,000 pipes, dominate the choir loft, offering a vast array of sound capabilities.
Many composers have created pieces explicitly for these grand instruments, preserving a cherished musical archive that continues to inspire musicians like Krämer. Unlike portable instruments such as violins or trumpets, organists must adapt to each new organ they encounter. Before each performance, Krämer familiarizes himself with the instrument by spending time at the organ’s bench and recognizing its unique acoustics.
“My choice of music is guided by the organ’s acoustic properties and the venue,” Krämer explained. Music entered Krämer’s life as a young boy in Püttlingen, where his parents, both zealous amateur singers, nurtured his early interest. His childhood was filled with music, either at home or during church visits with his father, inspiring him to pursue a life of bringing an organ’s voice to sacred spaces.
While organ performances may appear solitary, Krämer never feels detached from his audience, assisted by two aides who manage the organ’s sound settings. “There’s an undeniable energy and connection,” he said. “Music acts as a bridge to the listeners, a divine gift shared with humanity.” During his recent performance at the cathedral, Krämer captivated the crowd using both organs.
Saira de la Torre, a soprano in the audience, was moved by the musician’s expressive performance, remarking on its simplicity and emotional depth. Óscar Ramírez, an architect, marveled at how the organ’s sound enveloped the cathedral, creating a dynamic listening experience. Krämer performed works by Bach, Ignacio de Jerusalem, and pieces from the cathedral’s archive, including Hernando Franco’s “Misa Ferial a 4,” along with his own improvisations.
After Krämer’s performance concluded, Verónica Barrios reflected quietly, “You don’t just come here to pray. This music brings us closer to the divine.”
