Prelude and Fugue in G Major, BWV 541 [The Great Organs at First Church - Bach 333]

Christoph Bull

One of Johann Sebastian Bach's most joyful and exuberant organ pieces, recorded here to celebrate his 333rd birthday.

A note from Christoph:

Johann Sebastian Bach was into numbers and often incorporated numerology into his music. The number 3 is of special importance since it symbolizes the Holy Trinity (Father-Mother, Son, Holy Spirit).

When I realized that the 333rd anniversary of Bach's birth was coming up in 2018, I decided to record a number of Bach's organ compositions to celebrate the occasion. For the first one - released on his birthday on March 21 - I chose one of his most exuberant, the Prelude and Fugue in G Major, BWV 541. I recorded it on The Great Organs at First Congregational Church of Los Angeles where I've been organist-in-residence since 2013.

The instrument at First Church is one of the largest in the world and provides music lovers who attend events there with a surround sound experience, as pipes are located in the Chancel, West Gallery, North and South balconies of the church.

The recording and balancing engineer for this single was Marc Doten, and we recorded the Prelude and Fugue in G Major - 333rd Birthday Edition - on Wednesday, March 7, 2018.

Read more… close

Reflections on Election 11/9

Christoph Bull

Improvisatory musical reflections on the U.S. General Election of 2016, performed on The Great Organs at First Congregational Church of Los Angeles.

A note from Christoph Bull: "I first performed this organ improvisation on the Sunday after the U.S. General Election that took place on 11/8/16, with the final results emerging on 11/9/16. In the music you can hear feelings of sadness, upheaval and concern, but also of optimism and hope. I revisited this improvisation at the occasion of Inauguration Day on January 20, 2017, recording it a few days earlier on January 16, 2017 (quite fittingly Martin Luther King Day), on The Great Organs at First Congregational Church of Los Angeles. My recording engineer was Angel Alexis Rodriguez."

Read more… close
0:00 / ???
  1. 1
    0:00 / 5:37

organica 3

Christoph Bull

Organ music from Bach to Billy Joel, classical to cinematic, spiritual to improvisational.

Notes Second Edition 2016: This is the second edition of 'organica 3'. The reissued album consists of the same playlist from the original recording sessions. The artwork is original too, but it was adapted for DigiPak instead of jewel case CDs. Improvements were made in some of the edits and all tracks were remastered. This work took place in September of 2016.

Original Album Notes from the First Edition in 2007:

When I made organica 3, the number 3 played an important role. Very little of it was on purpose, most of it “just happened,” a lot of it I didn’t notice at first. I picked three pieces of a kind three times (3 pieces by Ramón Noble, 3 Jazz Organ Preludes by Johannes Michel, 3 Spirit Songs), and I chose three pieces with three movements, parts or sections (Carlos Seixas’ “Sonata in F,” Bach’s “Toccata, Adagio and Fugue in C,” and Gigout’s “Scherzo”). I recorded the album with engineers Terry Cutshall and Art Goulet in three sessions, spanning just over three months, with the last session being held on March 3, 2003 (3/3/3). I finally completed the editing of the album 3 years and 3 months after the last recording. I used three instruments (the two Allen organs and my voice) and recorded at three locations (churches in Camarillo and Eagle Rock, and my home studio, The Bull Pen). The Spirit Songs are all in 3, meter-wise, and two of them (“On The Wings Of A Dove” and “Rain Down”) have 3 verses, while on the recording of the third (“O Holy Dove”) I grouped three verses together. When I took a closer look at the sheet music for “Rain Down” I saw that the text is based on Psalm 33. That track turned out to be 3 minutes and 3 seconds long. The main motif in the driving section of “Improvisation on September 11, 2001” consists of three notes, and the third version of the piece (which is not on this album) I recorded on 3/3/3, take number 33 on my Smart Recorder disc, with the three-note section starting at 3:06. After picking Norton Wisdom’s beautiful front cover, which he painted live during one of my organ concerts, I realized that he had given me three keyboards to play (as I did on the Allen organ at St. Columba’s).

A few words about the Allen Renaissance organs I played on this album: I chose these instruments because of my friendship with the church communities that own them and because I enjoy them as musical instruments. With the sampling of real pipes, these organs have gotten very good and realistic and even offer advantages that some other organs don’t have, in terms of clarity, versatility, portability, and compatibility with other MIDI instruments. This record doesn’t make the case that sampled organs should replace pipe organs, but that they are a welcome addition to the family of keyboard instruments.

A few notes about a couple of the recordings: I recorded Ramón Noble’s “Toccatina” twice, because the first recording had some car noises on it. (St. Columba’s is located next to a busy street.) But after comparing the two recordings I preferred the original one and I realized that it was only appropriate that it had some car noises on it, as the composition was inspired by the busy hustle and bustle of Mexico City. The piece on ‘September 11, 2001’ is a free improvisation that originated at a live concert at St. Columba’s in 2002, shortly before I decided to make this record. It was little more than a year after the attacks that an audience member suggested an improvisation theme by submitting a scrap of paper that simply said ‘September 11, 2001.’ Another audience member suggested Bob Dylan’s “The Times They Are A Changin’.” I thought both subjects fit together, since our times surely changed after 9/11, and I had already recorded an arrangement of the song, called “2001: TimeChange,” before the attacks, for inclusion on my first ‘organica’ album, organica 2001. At the 2002 concert, I included Dylan’s theme in my improvisation and afterwards a good friend of mine came over to let me know that he thought it was brilliant that I included the spiritual “O When The Saints Go Marching In” which, of course, I hadn’t. However, the two themes have certain similarities. I thought the “O When The Saints” theme was a perfect tribute to the firefighters, policemen and other brave people on September 11, and I also liked the spiritual implications. And so I consciously incorporated the melody into the recording of the improvisation, which took place at St. Columba’s after an all-night session starting on Thanksgiving Day 2002. Besides “O When The Saints” I incorporated the theme from Bach’s “Little Fugue in G minor” which itself contains a segment from a German folk song. Others have already looked at the number symbolism of 9/11/2001, with 9 equaling 3 times 3, the individual numbers in “2001” adding up to 3, and the obvious correlation of 9/11 to the emergency phone number as well as the number 11 symbolizing the Twin Towers.

Numbers have always played an important role in music, in terms of the mathematical relationship of the different pitches and rhythms and also in terms of number symbolism. This was especially important to the master of organ music, Johann Sebastian Bach. The number 3 stands for the Christian Holy Trinity (Father, Son, and Holy Spirit), and I believe that the Spirit was very present in the making of this record.

Enjoy!

Christoph Bull, Los Angeles, California, January of 2007.

Special Thanks to: Terry Cutshall, Art Goulet, I-Chin, Benedikt Brydern, Martha & Tom Lamar and the good people at St. Columba’s Episcopal Church Camarillo, Richard & Joyce Gutsche and my many friends at Seventh-day Adventist Church Eagle Rock, Blessed Sacrament Church Hollywood, Precious Blood Catholic Church Los Angeles, Christuskirche Glendale, Henry Hunt, Bill Lightner, Hermann Schäffer, Sam Swartz, Cherry Rhodes, Ladd Thomas, Paul Jordan, Frank Brownstead, Tom Harmon, Jim Park, all my friends and family, my students and colleagues, Bob Woolsey, David Dahl, Namhee Han, Richard Martinez, Karin Ludwig, Danielle “ddd” Di Donato, Irving and Diana Groshier, Klaus Deschner, YOU, and God from Whom all blessings flow.

Read more… close

Ali Ali Ali

Christoph Bull

An original tribute song to Muhammad Ali in the style of John-Lennon-meets-George-Clinton and featuring Ali in his own words.

Composer, Vocals, Accordion, Programming: Christoph Bull Guitar: Ricky Rouse Recording Engineer: Paul Moser Mixing Engineer: Rafa Sardina

© 2016 C Bull Run Music. Use by permission only. Contact: www.christophbull.com

Lyrics by Christoph Bull:

Once upon a time we still had a king The best show ever in and out of the ring Rope-a-dope and Ali shuffle put the magic in the scuffle Louisville Lip Ever so hip A man who stood up for what he believed

Ali, Ali, Ali Ali, Ali, Ali Floating like a butterfly, stinging like a bee This is the story of Muhammad Ali

A universe of One from the House of Shock He danced around the globe fighting for God In Zaire and in Manila All the world could feel the thrilla Full of grace Beyond all race He said what nobody else would say

(repeat chorus)

Bridge: When he faced his longest fight The battle with the speed of life Again, he found the truth inside Living on the power of will Slowing down and floating still Following the light divine The greatest of all time

(repeat chorus)
Read more… close
0:00 / ???
  1. 1
    0:00 / 5:15

Nothing Compares 2 U / Purple Rain (Pipe Organ Version) [Live]

Christoph Bull

This is a live pipe organ arrangement of two classic Prince songs created by Christoph Bull at the end of his April 24, 2016, organ prelude on the massive pipe organ at First Congregational Church in Los Angeles.

Christoph Bull likes rock music, organ music and rocking organ music. This improvisational, beautiful and powerful live mash-up of Prince's classics "Nothing Compares 2 U" and "Purple Rain", performed on the world-renowned pipe organ at First Congregational Church in Los Angeles, is an example for his penchant for crossing genres and performing eclectic styles of music at unexpected venues. This tribute to Prince comes from the heart and pays respect to one of the greatest and most inspiring musicians of all times.

Read more… close

The Times They Are a-Changin' (12-21-12) [End of Times Version]

Christoph Bull

A fresh and raw piano-vocals-only version of Bob Dylan's classic, recorded on 12-12-12 at Capitol Records in Hollywood, released on 12-21-12, just in time for the end of times [Explicit Version].

Christoph Bull is an organist, pianist, vocalist, and composer. He has performed in Europe, the United States, Russia, and India, at venues including Walt Disney Concert Hall in Los Angeles, Lincoln Center in New York, the Catholic Cathedrals of Moscow, Salzburg, and Saint-Denis, as well as rock clubs such as the Viper Room, the Roxy, and the Whisky in Los Angeles. He has collaborated with the Los Angeles Master Chorale and Grammy-winning Southwest Chamber Music and contributed to projects by Steven Spielberg, Harry Connick Jr., George Clinton, Bootsy Collins, Lili Haydn, and Nishat Khan.

Christoph Bull has produced and performed on numerous albums in the fields of classical, rock, pop and educational music and been in demand as speaker and presenter, including at events sponsored by Goethe-Institut, Los Angeles Philharmonic and TEDx.

Information & Contact: www.christophbull.com

Read more… close

The Times They Are a-Changin' (12-21-12) [End of Times Version]

Christoph Bull

A fresh and raw piano-vocals-only version of Bob Dylan's classic, recorded on 12-12-12 at Capitol Records in Hollywood, released on 12-21-12, just in time for the end of times [Clean Version].

Christoph Bull is an organist, pianist, vocalist, and composer. He has performed in Europe, the United States, Russia, and India, at venues including Walt Disney Concert Hall in Los Angeles, Lincoln Center in New York, the Catholic Cathedrals of Moscow, Salzburg, and Saint-Denis, as well as rock clubs such as the Viper Room, the Roxy, and the Whisky in Los Angeles. He has collaborated with the Los Angeles Master Chorale and Grammy-winning Southwest Chamber Music and contributed to projects by Steven Spielberg, Harry Connick Jr., George Clinton, Bootsy Collins, Lili Haydn, and Nishat Khan.

Christoph Bull has produced and performed on numerous albums in the fields of classical, rock, pop and educational music and been in demand as speaker and presenter, including at events sponsored by Goethe-Institut, Los Angeles Philharmonic and TEDx.

Information & Contact: www.christophbull.com

Read more… close

First & Grand

Christoph Bull

The premiere recording of the one-of-a-kind pipe organ at Walt Disney Concert Hall in Los Angeles with music that's as trailblazing and forward-looking as the instrument itself.

Below please find listeners comments + interesting background info about how this record came about.

Comments:

Wonderful, wonderful. The organ sounds incredible, the recording is superb. A self-produced album with the quality of the biggest record company. – David Muller

WOW!!!!!!! Three works of art, The Organ, The Disney Hall and Christoph Bull. I was particularly interested in hearing the CD, because I knew one of the architects who worked for Frank Gehry, in constructing the facility. . . . When I received the CD and found that you were playing "Adagio For Strings" I was completely blown away. – Larry Wilson

Christoph Bull. Beautiful organ. And if you don't like organ, you'll change your mind after hearing this! – Tom Schnabel, KCRW

I've very much enjoyed listening to it. You certainly explore the organ wonderfully. Am glad you include "When you wish upon a star". I managed to work it into an encore when I played the inaugural recital on the organ in 2004 - and the crowd really appreciated the appropriateness. – Fred Swann

Congrats on the stunning Disney Hall CD, Christoph! It was really worth the wait. After all this time, we finally have a recording on our own concert hall organ. The physical presentation alone won me before I even got home and loaded it into iTunes for my iPod and iPhone. It was wonderful. Thank you so much! – Marcus LaCroix

I am thoroughly enjoying your recording on the Disney Hall organ. I particularly appreciate the variety of classical pieces and improvisations, mixed with The Beatles and Disney. . . . Your performance at Segerstrom and your CD have been a wonderful perspective on technique and the creativity of registration and improvisation. The POE this summer inspired me to get back into organ lessons, and your CD has been an excellent reference for ideas and guidance. I particularly like the Recit de Cornet and A Minor Trance . . . – Phil Chap

After having two weeks of listening to your new “First & Grand” CD, it is clear where your future is. Your registrations and playing are spot on with new ideas like your version of the Beatles' “A Day In The Life”. I almost feel that the song was written for organ and the Beatles could not figure it out, but you did. An organist that can sing and especially with a good voice, is also a new idea. Are you sure that was not John Lennon reincarnated making an appearance on this CD!!!! On top of all this between your voice, registrations and playing method, there is a certain relaxing confident tone to your finished work. Both organica 3 and First & Grand have it. I look forward to more of your work coming out in the near future. – Earl Zausmer

How this record came about:

The contract to build the Walt Disney Concert Hall Organ was signed in 1999 – the same year I started my concert and album series organica.

The instrument is a collaboration between German-based Orgelbau Glatter-Götz (located near beautiful Lake Constance where I went with my family when I was a child), Rosales Organ Builders from Los Angeles, and the hall’s architect Frank Gehry who made the innovative façade an integral part of the space. The project became a reality with the help of a generous donation from Toyota Motor Sales.

The organ’s visual design stunned audiences when the hall opened in 2003, but it took another year to install, voice, and tune the instrument. One night during that year, I had visitors from Germany. On a whim I called organ builder Manuel Rosales who worked another late-night shift at the hall and he invited me over to play the work in progress. That was the first of many times I had the opportunity to play this one-of-a-kind instrument.

The first official performance on the organ was given by my former teacher Cherry Rhodes to an audience attending the national convention of the American Guild of Organists – serendipitously held in Los Angeles in 2004.

That same year, I gave my first public performance at the hall, as part of the first annual Grand Avenue Festival. Since then I’ve performed there numerous times – both in solo performances and in collaborations with interpretive painter Norton Wisdom, electronic musician Steve Nalepa and the Los Angeles Master Chorale.

It was while preparing for one of these performances with the Chorale in early 2009 that I decided I had to make an album that featured the beauty of this instrument. As I discovered, it was easier dreamed up than done – but it was not impossible. I secured the support of a few main backers and also of many supporters from my e-mail list (which has been growing and growing ever since those first organica performances in 1999) and of my people at First United Methodist Church in Santa Monica.

Kindly, I was given access to the hall for practicing in the summer of 2009 while the building was in maintenance mode. It was fun to rehearse as the workers removed and replaced chairs, enthusiastically applauding and cheering me on when I finished one of the pieces.

The recording sessions took place on August 3-4, 2009, and on January 10-11, 2010. I collaborated with highly esteemed recording engineers Allen Sides and Fred Vogler as well as mastering legend Bernie Grundman, using state-of-the-art equipment and technology. Sound Spot Music’s Alejandro Leda was invaluable as engineer and production manager.

In terms of repertoire I decided that I wanted to show variety and color – the strength of the pipe organ as an instrument in general, and of this one in particular. As in my organica concerts, I wanted to include top-notch traditional composers (Bach, Bruhns, Barber), classic popular art music (the Beatles masterpiece A Day In The Life), cinematic music (Martin Boettcher’s Winnetou-Melodie) as well as original compositions and improvisations (Beethoven-Improvisation and more). The fact that the last name of all of these composers starts with a ‘B’ was not intentional, but I like it!

Since my own writing is influenced by rock music and cinematic scores, I wanted to make sure that my classical selections were the most rocking and cinematic I could find – Bach’s Prelude and Fugue in A minor and Bruhns’ Prelude in E minor representing the former, Samuel Barber’s Adagio For Strings the latter.

Just like Jazz musicians improvise on well-known standards, I decided to improvise on themes from classical composers such as Beethoven and Couperin. To that I added my original composition A minor Trance and my re-reading of the 14th-century piece Retrové. For the closing piece, it was a no-brainer to tip my hat to Walt Disney with a new organ arrangement of When You Wish Upon A Star.

I hope you’ll enjoy this album and this instrument as much as I have. Many thanks to all who made it possible.

Christoph Bull, Los Angeles, September 2010.

Read more… close
0:00 / ???
  1. 1
    0:00 / 4:12
  2. 2
    0:00 / 3:07
  3. 3
    0:00 / 6:08
  4. 4
    0:00 / 8:32
  5. 5
    0:00 / 6:46
  6. 6
    0:00 / 6:06
  7. 7
    0:00 / 5:38
  8. 8
    0:00 / 5:28
  9. 9
    0:00 / 8:58
  10. 10
    0:00 / 7:16
  11. 11
    0:00 / 4:50

A Day In the Life - Single

Christoph Bull

This is a fresh classical-meets-rock pipe-organ-with-vocals version of the Beatles classic "A Day In The Life" by Christoph Bull – an alternate track from his premiere recording sessions of the one-of-a-kind Walt Disney Concert Hall pipe organ in L.A.

This is a new take on the epic closing track on the Beatles 1967 masterpiece album Sgt. Pepper's Lonely Hearts Club Band by organist/vocalist Christoph Bull. The organ part was recorded by Grammy-winning engineer Fred Vogler on the Glatter-Götz/Rosales pipe organ at Walt Disney Concert Hall in Los Angeles, an instrument whose one-of-a-kind façade was co-designed by architect Frank Gehry. The vocals were recorded with a classic Neumann U47 microphone by engineer Alejandro Leda at Soundspot Studio in the San Fernando Valley. The track was mastered by legendary Bernie Grundman at Bernie Grundman Mastering in Hollywood. This is an alternate track from the recording sessions for Christoph Bull's upcoming premiere recording of the Walt Disney Concert Hall Organ. For more information on this project, please visit www.christophbull.com and www.planetillogica.com/xoph.

Here's what the artist writes about his recording of "A Day In The Life": "I’ve long considered “A Day In The Life” to reside at the pinnacle of Beatles compositions, because it captures the spirits of both of the song’s writers, Lennon and McCartney. I enjoyed turning the contrast around somewhat by making McCartney’s bridge floaty and dreamy instead of bouncy as in the original recording on the Beatles’ Sgt. Pepper album. In selecting this song for an organ arrangement, I felt that the expansiveness of the Disney Hall organ lent itself to the expansiveness of the composition. I premiered my arrangement live at my second Grand Avenue Festival performance. This festival is a cool recurring event in Downtown L.A. when the hall is open to the public who walk in off the street, free of charge. My collaborator, interpretive painter Norton Wisdom, created the picture attached to this single during this live performance at Disney Hall. I chose John Lennon's 70th Birthday on October 9, 2010, as the release date for this single. I'd love to turn you on/Happy Birthday, John."

Christoph Bull, Los Angeles, September 2010

Read more… close
0:00 / ???
  1. 1
    0:00 / 7:09

Retrové - Single

Christoph Bull

Early 14th-century medieval keyboard piece meets Hard Rock and Techno on a roaring pipe organ.

“Retrové”, also known as “Organ Estampie”, is from the 14th century Robertsbridge fragment. One of the earliest extant organ compositions, it is included early on in The Historical Anthology of Music (Harvard University Press). I expanded this piece, emphasizing the dance character of the estampie genre, adding a Pedal part and techno-influenced off-beat eighth notes, as well as adapting the form to a Verse-Refrain-type structure and employing vast crescendos unique to the pipe organ. This is the first single from the historic premiere recording of the Walt Disney Concert Hall pipe organ in Los Angeles.

More info: www.christophbull.com

Read more… close
0:00 / ???
  1. 1
    0:00 / 4:04

Old School

Christoph Bull

John Lennon meets Elliott Smith: twelve original songs by pianist/vocalist Christoph Bull plus covers of “Norwegian Wood” and “The Times They Are A Changin’”, recorded “old school” style, live with real instruments.

About this album:

The concept of the "Old School" album was to record quality songs with quality musicians in a musical way: not in endless overdubs, but live. The basic band tracks were recorded in three days; vocals, harmony vocals, guitar solos, brass and strings were added later. On this album, no synthesizers and samplers were used or abused. Most of the tracks on this album are original compositions by pianist/singer Christoph Bull. The sound has been compared to The Beatles, Billy Joel, J.J. Cale, Jon Brion, Rufus Wainwright and Elliot Smith.

Comments:

"This CD is fabulous! Man, I love the melodies, lyrics and musique. You've got a very cool sound."

"There is not one track I would 'skip' over as I do with so many other CD's."

"Your voice is soooo sexy! I love the whole musical style & arrangements as well."

"The whole album is really warm with beautiful arrangements and the level of musicianship is so high - really great! Track 2 reminded me of Rufus Wainwright who I really like!"

"I always appreciate it when I can understand the words, especially when the singer/writer has something to say. The instrumentals are great and the songs are really strong."

"I was blown away. The production, the arrangements, the songs...all top-notch."

"The songs are wonderful and you have a great way of using dynamics that so many pop writers don't seem to master -- and your lyrics are neat, so evocative and complex. The swing cover of "Norwegian Wood" is a great idea and "Answer Me" is totally inspirational. I think my favorite so far however is "Unsaid Things and Nicotine".

"My whole family loves your CD. How do you manage to sound like the writings of ALL the Beatles?"

"You've got some terrific almost Jellyfish-esque stuff going on there - what wonderful production, and the wide variety of styles and orchestration!!"

Bio:

Christoph Bull was born in Mannheim, Germany. He improvised his first tunes on the piano at age five and started playing church services, organ concerts and rock shows at age twelve. He’s won first and second prizes in organ and songwriting competitions, including Jugend Musiziert, Bad Dürkheim Chamber Music Competition, Marcello Galanti International Organ Competition, and the Michael-Masser-Competition (UCLA). In 2006, he was a recipient of the ASCAPlus Award. He studied at University of Church Music Heidelberg, Freiburg Conservatory, Berklee College Of Music, University of Southern California, and American Conservatory of Music. His teachers include Cherry Rhodes, Hermann Schaeffer, Ludwig Doerr, Charlie Banacos, Sam Swartz, Paul Jordan, and, in master classes, Craig Cramer, Guy Bovet, and Marie-Claire Alain. Between 1990 and 2005 he worked as organist and music director at Blessed Sacrament Church Hollywood, German-language Christuskirche Glendale, and Seventh-Day-Adventist Church Eagle Rock. In the fall of 2002, Christoph Bull became the fifth university organist at UCLA. He has produced several CDs with contemporary and classical music (www.christophbull.com), as well as a series of educational albums with children’s music (www.singlish.com). One of his songs, “Ali Ali Ali,” was licensed by Taschen Inc. to promote a collector’s book about Muhammad Ali (www.taschen-goat.com). His concert and CD series 'organica' was conceived in 1999 to showcase the many facets of the pipe organ and other keyboards, ranging stylistically from traditional organ repertoire to original arrangements of popular and film music. It has repeatedly been Classical Pick Of The Week in the L.A. Weekly. Among others, he’s recorded for Bootsy Collins and performed with George Clinton of Parliament Funkadelic. He’s consulted for Harry Connick Jr.’s Christmas Album and Steven Spielberg’s movie Minority Report. TV credits include “The Wayne Brady Show” and “The God Squad.” Recently, he has been teaching, recording and concertizing on his own and with violinist Lili Haydn. Haydn and Bull have opened up for Cindy Lauper and George Clinton. As a solo artist, Christoph Bull has performed extensively in the United States and Europe. He also performed with Sitar player Nishat Khan in India. In addition, he’s taken to accompanying silent movies such as “The General,” “Cops” and “Peter Pan”. In July of 2004 Dr Bull was a featured recitalist and workshop presenter at the National Convention of the American Guild Of Organists. Since then, he’s also performed at Walt Disney Concert Hall in Los Angeles as a solo performer and with the L.A. Master Chorale. He’s also performed with the Pacific Serenades and Grammy-winning Southwest Chamber Music. Outside of music, Christoph has run the L.A. Marathon three times and won the German youth championship in baseball with this team, BC Tornados Mannheim. To find out about future performances, recordings, and to sign up on Christoph’s e-mail list, please visit www.christophbull.com

Read more… close
0:00 / ???
  1. 1
    0:00 / 4:56
  2. 2
    0:00 / 2:26
  3. 3
    0:00 / 3:06
  4. 4
    0:00 / 4:31
  5. 5
    0:00 / 5:12
  6. 6
    0:00 / 2:49
  7. 7
    0:00 / 2:10
  8. 8
    0:00 / 4:49
  9. 9
    0:00 / 4:15
  10. 10
    0:00 / 4:33
  11. 11
    0:00 / 2:53
  12. 12
    0:00 / 5:27
  13. 13
    0:00 / 2:42
  14. 14
    0:00 / 3:35