Across these ten works from 1988 to 2015, Zsigmond Szathmáry explores the organ both as a solo instrument and as an ensemble partner. B-A-C-H takes Bach’s name as the point of departure for a virtuoso toccata fantasy. In Cadenza con ostinati, violin and organ meet as equals, while Strophen places the live instrument in dialogue with pre-produced sounds.
With Olaf Tzschoppe, the music gains a percussive countervoice in Sense of Rhythm and Dies irae. The latter work recalls the end of the Second World War; Bremer Dom-Musik unfolds the exchange between two organs. Recordings from Marienstatt and Wiesbaden bring out the distinct qualities of the Rieger, Walcker and Klais instruments.
Martin Schmeding shapes this portrait as organist; at its conclusion, the composer performs Mors et vita himself. The edition is dedicated to the memory of his wife Ai. Stereo, surround and the dummy-head version intended for headphones open different perspectives on sound and church interior.