Organ landscape Lüneburg

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Organ of the town church of Celle

The organ landscape of Lüneburg describes the organs in the former Principality of Lüneburg , which largely corresponds to today's districts of Celle , Gifhorn , Harburg , Lüchow-Dannenberg , Lüneburg and Uelzen , the Heidekreis and the city of Wolfsburg . The term organ landscape alone refers to the historically determined regional characteristics of the organs.

Around 30 historical organs from before 1900 have been completely or partially preserved in this organ landscape since the middle of the 16th century. In addition to restorations and reconstructions of historical instruments, there are various supra-regionally important new buildings in a wide variety of styles. The main focus of the article is on the organ works that are still wholly or partially preserved. Further details can be found in the list of organs in Lüneburg .

History of organ building

Until the late Gothic

In the 14th century organs are attested in larger city churches such as Hildesheim and Celle . In St. Johannis , Lüneburg, there is evidence of organ playing in 1374 and the remuneration of organists for wedding celebrations is regulated. The construction of a choir organ was commissioned there in 1479. St. Michaelis already had a small choir organ in 1474. From the 15th century, the organ also spread to smaller towns in the province. Andreas Smedeker is one of the most important north German organ builders of the late Gothic period. Nothing has survived from his organs in the Bardowick St. Peter and Paul Cathedral (1487), in Lüneburg, St. Lamberti (1491) and St. Nicolai (1503). His organ in St. Lamberti was replaced in 1519 by a new work by Caspar Bubeling, which is the earliest example of the north German organ type with a main work, flanking pedal work, Rückpositiv and breastwork.

Renaissance and early baroque

Great organ of St. Johannis, Lüneburg

In the 16th century, the high art of Brabant organ building was exported throughout Northern Europe. The north German trading cities obviously rivaled each other for the most sonorous and representative organs, as a result of which Lüneburg received great organ works in the 16th and 17th centuries. The brothers Cornelius and Michael Slegel from Zwolle built an organ in St. Andreas, Hildesheim in 1568, which was later lost. The oldest surviving organ in the region is located in Lüneburg, St. Johannis and its basic inventory goes back to Hendrik Niehoff ( 's-Hertogenbosch ) and Jasper Johansen. Niehoff further developed the Gothic block work into a spring drawer and introduced the work principle to organ building in many places . The Lüneburg Renaissance instrument was still largely designed as a block. The richly decorated manual housings by Adriaan Schalken and some registers from the 16th century are still original . In the prospectus , some pipes wear golden masks and there are mirror pipes with feet soldered together. After the organ had undergone minor alterations, Michael Praetorius introduced the disposition at that time in his Organographia ( Syntagma musicum , Volume 2, 1619) (III / P / 27). In the Baroque era, Friedrich Stellwagen (1652) and Matthias Dropa (1715) made extensions. The prospectus of an unknown master from the 16th century has been preserved from the organ in the Celle castle chapel . When the Lamberti Church in Lüneburg was demolished in 1859, the organ work by Christian Bockelmann (1610), which was one of the largest organs of its time with 60 stops on three manuals, was lost.

Baroque to classicism

Christian Vater organ in Gifhorn (1748)

Arp Schnitger and his Hamburg school played a decisive role in the high and late baroque periods . As the leading organ builder in Northern Europe, he further developed the principle of work and shaped the style, sometimes even in modern organ building. The Hamburg prospectus became the classic form in northern European organ building, the fully developed pedal with powerful reeds the rule.

Schnitger's teacher was Berendt Hus , who together with Hermann Kröger built the organ of the Celle town church St. Marien in 1653 . Behind the old case, Rowan West reconstructed a four-manual work in 1999 using the traditional Schnitger design. An additional background extends the sound possibilities. Schnitger himself has an organ in Lenzen , St. Katharinen . The work was originally built for Hamburg, St. Georg (1707–1708), with Schnitger taking over ten stops of the previous organ from Hans Scherer the Younger . In 1747 Johann Dietrich Busch transferred the instrument to Lenzen, where in 1751 the tower collapsed and the work was severely damaged. However, some registers by Scherer and Schnitger have been preserved to this day. The Schnitger student Matthias Dropa built a work for St. Michaelis in Lüneburg (1708), of which the prospectus and five registers are still original. The small work in the monastery church Marienthal ( Krevese ), which was made by Anton Heinrich Gansen in 1721, is almost completely preserved . In 1738 Joachim Wagner created a village organ in Rühstädt , the case and more than half of the registers have been preserved.

Dropa's student Johann Matthias Hagelstein had his workshop in Lüneburg and built his only organ in Gartow in 1723 . While a Rückpositiv was the rule in the 17th century , the Gartower instrument has an upper work. It was saved from major changes. Hagelstein had taken over financially in this project, so that he went bankrupt. His workshop was continued by Johann Georg Stein , who came from Thuringia and initially settled in Uelzen . A large new organ in St. Mary's Church (1752–1756) made him widely known. While only the case of this work has been preserved, Stein's organ in Trebel remained almost completely intact (1775–1777). Another well-known pupil of Schnitger was the Hanoverian court organ builder Christian Vater , who created a two-manual work in the Gifhorn St. Nicolai Church in 1748 , which is largely in its original condition.

From the middle of the 18th century the organ moved from its former pioneering role to the edge of the musical scene. Hardly any works have survived from the classicism period . Wilhelm Heinrich Bethmann built a work with 29 votes in Dannenberg (Elbe) (St. John the Baptist) in 1801/02 , which from 1968 to 1974 fell victim to a new building behind the historic prospectus by the Karl Schuke workshop .

romance

Neo-Gothic Furwängler prospectus in Bardowick (1867)

The period of Romanticism was associated with a radical change in the aesthetics of organ building. In Lüneburg as elsewhere, the traditional work principle was abandoned. Instead, the extensive joint prospectus was often used. In the registers, the aliquot and reed voices have given way to fundamental registers, preferably in an 8-foot pitch. The pneumatic organ action was introduced towards the end of the 19th century .

During the Romantic era, smaller organ masters of regional importance performed in the Lüneburg organ landscape. Friedrich Altdorf built a small village organ in Kirchweyhe in 1856 . However, well-known organ builders such as Ernst Wilhelm Meyer and later Philipp Furtwängler (and sons) worked from Hanover . The early romantic organ in Bergen an der Dumme (1842), which has largely been preserved, was made by court organ builder Ernst W. Meyer . His sons Karl Wilhelm and especially Eduard Meyer built a number of organs in the region, for example in Celle, St. Ludwig (1841). Eduard Meyer created two manual works in Walsrode (town church, 1849), Handorf (St. Marien, 1854), Lemgow (high church, 1856), Drennhausen (St. Marien, 1856) and in Ebstorf (monastery church, 1865/1866). The works in the Bardowick Cathedral (1867), in Egestorf (St. Stephanus, 1867) and Gerdau (St. Michaelis, 1874) come from Philipp Furtwängler, the instruments in Lüneburg, St. Nicolai (1899 ) from the successor company P. Furtwängler & Hammer , three manual, with pneumatic action) and in Wustrow (St. Laurentius, 1915).

20th and 21st centuries

Choir organ in St. Johannis, Lüneburg by Kuhn (2010)

One of the best-known representatives of the organ movement was Paul Ott (Göttingen), who created larger works with a neo-baroque disposition in the Christ Church, Wolfsburg (1951) and in St. Marien , Winsen (1960). His pupil Rudolf Janke further developed Ott's style, but attached a much higher priority to intonation and is best known in northern Germany for his consistent restoration practice of historical organs. He built a three manual organ in the Peter and Paul Church, Schneverdingen (1976). Another Ott student, Jürgen Ahrend , reconstructed the Renaissance organ of the St. Georg Christophorus Jodokus Church , Stellichte , in 1985/86 , of which only the historic case by Marten de Mare (Bremen) from 1610 remains was. The Hillebrand brothers ( Altwarmbüchen ) created remarkable new buildings, many of them behind baroque prospects, such as the monastery church of Lüne Monastery (1969, prospectus from 1645), St. Marien in Lüchow -Plate (1980/81, prospectus 16th century). and the organ of St. Marien (Scharnebeck) (1994/95, prospectus from 1754). In St. Petri, Bad Bodenteich , the new Hillebrand organ (1996) has a romantic swell . Based on classic French organ building, the work of Patrick Collon can be heard in St. Petri, Großburgwedel (1996).

The largest organ in the Lüneburg organ landscape was completed in 2001 by Hermann Eule Orgelbau Bautzen in St. Marien, Uelzen with 53 registers behind the prospectus by Johann Georg Stein (1756). The same company built a large factory in St. Johannis , Lüchow in 2005/06 with the timbres of German Romanticism and Modernism. The choir organ from St. Johannis, Lüneburg by Orgelbau Kuhn (2010), which was designed to complement the large historical organ, is presented in the unusual shape of a cube and its sound is in the French symphonic tradition . Alexander Schuke Potsdam Orgelbau created a new work with 46 registers in the Bardowick Cathedral behind the neo-Gothic prospectus by P. Furtwängler, which is committed to the construction principles of the Central German Baroque.

literature

  • Hans Martin Balz : Divine Music. Organs in Germany . Konrad Theiss, Stuttgart 2008, ISBN 3-8062-2062-X (230th publication by the Society of Organ Friends).
  • Cornelius H. Edskes , Harald Vogel: Arp Schnitger and his work (=  241st publication by the Society of Organ Friends ). 2nd Edition. Hauschild, Bremen 2013, ISBN 978-3-89757-525-7 .
  • Gustav Fock : Arp Schnitger and his school. A contribution to the history of organ building in the North and Baltic Sea coast areas . Bärenreiter, Kassel 1974, ISBN 3-7618-0261-7 .
  • Michael Praetorius : Syntagma musicum. Volume II. De Organographia . Bärenreiter, Kassel [et al.] 1985, ISBN 3-7618-0183-1 (facsimile by Wolfenbüttel 1619).
  • Maarten Albert Vente : The Brabant Organ. On the history of organ art in Belgium and Holland in the Gothic and Renaissance ages . HJ Paris, Amsterdam 1963.
  • Harald Vogel , Günter Lade, Nicola Borger-Keweloh: Organs in Lower Saxony . Hauschild, Bremen 1997, ISBN 3-931785-50-5 .

Discography

  • Organ landscapes. Episode 1: A musical journey to 16 organs in the region: Lüneburg Heath, Wendland, Lüneburg, Celle . 2010, NOMINE eV, LC 08973 (organs in Bergen an der Dumme, Bergen near Celle, Celle, Egestorf, Gartow, Gifhorn, Großburgwedel, Lüchow, Lüneburg, Plate, Trebel, Uelzen, Walsrode, Winsen / Luhe)

Web links

Individual evidence

  1. ^ Vogel: Organs in Lower Saxony . 1997, p. 20.
  2. ^ Vogel: Organs in Lower Saxony . 1997, p. 99 f.
  3. ^ Vente: The Brabant Organ. On the history of organ art in Belgium and Holland in the Gothic and Renaissance ages . 1963, p. 196.
  4. ^ Praetorius: Organographia . 1618, p. 170 f. ( online ), accessed May 8, 2019.
  5. ^ Vogel: Organs in Lower Saxony . 1997, p. 100.
  6. ↑ Edskes / Vogel: Arp Schnitger and his work . 2013, p. 206.
  7. ^ Vogel: Organs in Lower Saxony . 1997, p. 224.
  8. ^ Vogel: Organs in Lower Saxony . 1997, p. 256f.
  9. ↑ Martin Balz: Divine Music. Organs in Germany . 2008, p. 58 f.
  10. ^ Vogel: Organs in Lower Saxony . 1997, p. 25 f.
  11. ^ Organ in the Bardowick Cathedral , accessed on May 8, 2019.