In the third instalment of the Mallorca Edition Historische Orgeln, Martin Schmeding turns to the Spanish composer José Lidón. He performs on the 1762 Jordi Bosch organ in Sant Andreu, Santanyí. In 1787, Lidón became first organist of the Royal Chapel in Madrid, where a later organ by the same builder was available to him. The Mallorcan instrument therefore provides special access to the intended colours of his music.
The Seis Piezas o Sonatas sueltas were written as liturgical versets in the eighth psalm tone. In the Cuatro Piezas para la Misa, Lidón names specific moments in the Mass, including Offertory and Elevation. Alongside these sacred pieces, the other sonatas reveal Spanish tradition and Classical formal development. The Sonata in F for Trompeta Real combines fanfares with motivic work.
Particularly broad in scope is the Sonata in the Sixth Tone: its middle movement exploits the division of the Spanish organ for echo effects before the finale brings the full organ into sound. Capricho and Varios juegos likewise show Classical miniature forms in Spanish tonal dress. Schmeding’s recording makes Lidón’s transition from the late Baroque to Classicism audible in its contrasting registrations.