The organ sounds here like a living storyteller: from the strict chaconne of Buxtehude to the romantic colors of Mendelssohn and Franck. The program includes choral pages of Bach, a partita by Böhm, a radiant Siciliana by Widor, and the final gesture of the "Heroic Piece." Music leads through the centuries, leaving a lingering taste of silence and light. An organ evening at the Mariinsky Concert Hall is a meeting with an instrument that can speak in several voices at once. It can be strict and transparent like a chorale, unfold into a powerful architecture of sound, and then disappear into an almost chamber whisper. At the console is Lilia Yakusheva, and the program is structured to showcase the organ in its full range of colors. The journey begins in North German Baroque. The chaconne of Dietrich Buxtehude keeps attention on a persistent, captivating pulse, while the choral prelude Erhalt uns Herr bei deinem Wort adds focus and inner prayerfulness. Next is the partita by Georg Böhm on the theme Ach wie nichtig, ach wie flügtig-a variation cycle where one melody changes illumination, like a stained glass window from different angles. With Johann Sebastian Bach, the organ reveals itself particularly clearly: the choral prelude Von Gott will ich nicht lassen and the Prelude and Fugue in B minor BWV 544 combine discipline of form with strong dramaturgy. After this, it is natural to transition to the romantics: Mendelssohn's Sonata No. 2 in C minor shows how Baroque logic transforms into broad breathing, followed by short, precise strokes: Widor's Siciliana from the cycle "In Memory of Bach" and Mendelssohn's ostinato. The final part gathers a concentration of emotions. Brahms' choral prelude Herzlich tut mich Verlangen sounds like a quiet confession, while Franck's "Heroic Piece" places a powerful point where the organ becomes both orchestra and stage at once. Our website features the current program of St. Petersburg.