Dagmar Lübking

The organs of Europe´s leading organ builders, Arp Schnitger, Silbermann, Stellwagen and Scherer, to name a few, are her world:

Dagmar Lübking is in great demand as an organist throughout Europe. Be it at the Montepulciano Cantiere Festival, on the organ of Sweelinck´s church in Amsterdam, or in the far north on the organs of the old Hanseatic cities, her playing is repeatedly praised for the corresponcence between the works and the instruments. 

Her preferred repertoire spans three centuries, from works of the 16th century to the early classical period. CD productions of her playing on major organs testify to her musical skills. 

For example, her recording on her home organ, built by Jürgen Ahrend, with works by Weckmann, Strungk, Tunder and Bach, was rewarded by the specialist press with the following words: “This CD is already a small miracle, thanks to the instrument (…) and in particular thanks to Dagmar Lübking´s enchanting playing”. (Concerto 2005)

On one of the most interesting organs – the Scherer-Bünting organ in Mölln – after a sensational restoration by Flentrop Dagmar Lübking recorded in 2024 a CD on the Label Es-Dur that has enthusiastically received by critics.

She works with renownd musicians and ensembles as a continuo player on her chest organ.

Already as a student of church music in Frankfurt, then as a pupil of Michael Radulescu in Vienna, and later as a teacher at the Church Music School and the Musikhochschule Frankfurt am Main, her main interests was in the tonal identity of a work in its historical context. 

Her previous musicology and classical philology studies supperted this, which sharpened her eye for reading all notation.

Her close relationship with renowned organ builders of our time has resulted in an ongoing dialog that fosters an interplay between organ building and idiom.