This year the world is celebrating the 500th year of death of the outstanding Dutch Renaissance painter Hieronymus Bosch (†1516).

“Hieronymus Bosch’s pictorial worlds exercised an immense fascination on me already during my youth, and this has not at all waned over the years”, Horst Lohse notated whilst working on his Hieronymus Bosch Triptych. In the parts of this work, composed consecut-ively over the course of 23 years, he dedicates himself to three elements of the “Madrid Panel” ascribed to Bosch, which came to Spain via Philip II and is today preserved in the Museo del Prado. First of all, the central round picture (“The Seven Deadly Sins”, 1989), then the four small round pictures in the corners of the panel (“The Four Last Things”, 1996 / 97) and, finally, the tension between the black base and the centre of the middle round picture (“Cave cave Dominus videt”, 2011 /12).

About the Recording
“The demands made by the Hieronymus Bosch Tripty¬chon on the instrument are enormous: remote aliquots, two 32’ registers, glockenspiel, mechanical stop action, a manual range up to C7 and a sound “like an echo sounding from afar”. In the case of live performances, the challenge lies in finding individual solutions accor-ding to the stop list and the acoustics of the venue, in order to come as close as possible to the sonic visions of the work. For the present recording, the interpreter was interested in finding instruments with which the instructions in the score could be realised as literally as possible. This possibility presented itself for Parts I and III with the three organs of Rottenburg Cathedral. The richness of their colours is immense. Thanks to precise synchronisation, it was pos¬sible to more or less simultaneously access the three instruments and coordinate their respective expressive spectra ranging from trembling wind sounds to almost surreal, seemingly electronic sounds.”
Chr. M. Moosmann