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 consecutively 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).

“The demands made by the Hieronymus Bosch Triptychon 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’.” - Christoph Maria Moosmann