In 1982, Martin Lichtfuss put together several shorter pieces for organ to form a suite. The individual movements had been written for various occasions and some of them had strange genesis stories behind them. For example, a friend of the composer requested a tango for his upcoming wedding – the tango was written, but the wedding never took place …..

The five pieces are all self-contained and independent and can therefore be played individually. Nevertheless, they are stylistically related to each other. That is, while Martin Lichtfuss was still largely oriented to the organ works of Bach in terms of form and tension in his “Fantasy for organ” (1979), in his “Suite”, he tried to use the sonic possibilities of the organ through the most colorful application of different registers. Polyrhythm and polytonality, two compositional principles that the composer also pursued consistently in other works, are thus combined here with the means of contrast, which can be used in an ideal fashion on the organ.

The individual pieces are all designed as concert music and filled with dance-like verve, even if the second movement only is based on a specific dance form.