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Organist (first Name Last Name)    Record title
Composer (NAME) Piece  Place / Church

Publisher

  3 discs  

 1 - Martin SCHMEDING
   
  • G. Becker : Intégrale - Drei kleine Orgelstücke (1978); A la mémoire de Josquin (1975); Interpolationen (1993); Meteoron für Orgel, Schlagzeug und zweikanaliges Tonband (1969)
- Düsseldorf-Oberkassel Auferstehungskirche
- Disque Cybele; SACD 060 701, 2009, C. Roderburg ( Schlagzeug) (650)
Sauer Orgel (2004) – III/65

 2 - Martin SCHMEDING
   
  • T. Medek : Wandlungs-Passacaglia (Passacaglia of Transsubstantiation, 2001); B-A-C-H, Vier Töne für Orgel (B-A-C-H, Four Tones For Organ,1973); Verschüttete Bauernflöte (Buried Rustic Flute, 1969); Quatemberfeste für Orgel (Ember Days, 1989) Lambertussingen – Der Turmbläser – Engelecho – Schnurrpfeifereien; Gebrochene Flügel (Broken Wings, 1975); Rückläufige Passacaglia (Retrograde Passacaglia, 1979)
- Düsseldorf-Oberkassel Auferstehungskirche
- Disque Cybele;, 2008
Tilo Medek's (1940-2006) first works for organ, “Verschüttete Bauernflöte (1969)“ (buried rustic flute) and „B-A-C-H, Vier Töne für Orgel (1973)“ (Four Tones for Organ) were composed for the large organ at Merseburg Cathedral, and were inspired by its sound.
Originally, the composition and the tonal character of the organ (which was constructed from 1853-1855 by Friedrich Ladegast using Baroque registers) was profoundly altered following comprehensive restoration by Kühne & Co. in 1963.
In the process, Kühne replaced the typical Romantic stops, i.e. free reeds and numerous string registers, with Neo-Baroque pitches (high flutes like the rustic flute 1' in the pedal, Aliquot as well as mixed registers). Without passing judgement on these changes, it is important to emphasize that these colourful, even bizarre overtone mixtures and fundamental tones in the string colours are typical of Medeks early oeuvre.
Medek's early works for the organ have another element in common: they experiment with sound and forms of notation.
By switching the motor on and off, and half pulling off rows of register, he achieved microtonal sounds and variations of those tones. He confronted traditional methods of notation and values in this manner, with a variety of forms of free notation (i.e. spatial notation, graphic symbols and cluster-notation).

 3 - Martin SCHMEDING
   
  • O. G. Blarr : Orgelsinfonie ”Der Lobende”, Heilendes Wasser (2004, 2005), Holy Tango II
- Düsseldorf-Oberkassel Auferstehungskirche
- Disque Ars;, 2007, vol. 3
Europa-Orgel Felix Mendelssohn (2004) par W. Sauer


  3 discs  


Source: database Alain CARTAYRADE
www.france-orgue.fr


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