Organ landscape East Frisia

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Holy organ in Marienhafe

The organ landscape Ostfriesland is more important than 90 organs from six centuries one of the richest organs in the world. The term organ landscape alone refers to the historically determined regional characteristics of the organs. 60 of the East Frisian organs date from before 1850. There are also 15 historical brochures behind which new works have been installed. While Dutch organ building was formative for East Frisia in the 15th and 16th centuries , influences from Hamburg and Westphalia emerged in the 17th and 18th centuries . Organ building in East Frisia in the 19th century was conservative until around 1870 and made instruments based on baroque construction principles. Since relatively few new organ works were built between 1870 and 1950, many historical instruments have been preserved. Almost all of the original instruments have been restored in an exemplary manner in the last 50 years, so that their sound shape comes close to their origins and has given impetus for restoration practice and organ building worldwide. In the past few decades the public awareness of the value of these instruments has increased and the organ landscape of Ostfriesland has been made accessible to organ builders and organists from all over the world, but also to a broad public.

Geographical distribution

Overview of the important organs of East Frisia

All the important organs of East Frisia that have been preserved are shown on the map. The representation illustrates the high density of historical works, which are particularly concentrated in the Krummhörn . The color indicates the century in which the instrument was built, provided that the basic structure is still largely preserved. If only the brochure is still original, this is indicated by a ring. The shape of the sign indicates the degree of importance. The categories for the classification are taken from Harald Vogel's basic work : Organ Landscape Ostfriesland .

Under See also there are lists that offer complete overviews of all organs with further information for each of the districts of East Frisia.

history

Gothic

When the organ became the main instrument in the Christian liturgy during the Gothic period , organs found their way into many churches. A flourishing organ culture is documented in East Friesland as far back as the late Gothic period, which was mainly shaped by the Netherlands , where a center of northern European organ building was located in the 15th to 17th centuries. Ten organ works from the second half of the 15th century can be traced in the Krummhörn alone , when East Friesland experienced a heyday under Ulrich I. One of these first organs is the work of master Thidricus de Dominis, which the Marienkirche in Marienhafe received in 1437. In 1480, Master Hinrick built an organ for Emden . Around 1500 many East Frisian monasteries and churches already had an organ. These Gothic instruments were so-called block works , in which the individual rows of pipes could not be operated separately, but always played the full work. The pipes were usually made of hammered lead and the labia have the characteristic Gothic pointed arches . As a rule, the instruments were provided with richly painted double doors well into the 17th century. These lockable doors were installed for artistic, aural and liturgical reasons, but also for practical reasons, to protect the organ from bird droppings and other soiling.

Organ in Rysum

One of the world's oldest organs, still preserved in their basic inventory and still playable today, is in Rysum . The instrument was probably built around 1440 by Master Harmannus from Groningen , who is also associated with the organ of the Groningen Martinikerk (around 1450). The Rysumers paid in kind and asked the local chief Olde Imell in writing for permission

"Datt se ere vette beeste aver de Eemse na Gröninghen muchten laten schepen, darmede se ere owed muchten betalen to Gröningen, because of the örgels, datt se daer hadden maken laten."

"To be able to ship their fat cattle across the Ems to Groningen to pay their debts in Groningen because of the organ they had made there."

- Eggerik Beninga : Cronica of the Fresen

Originally this instrument was probably a block movement with a range B – f 2 for the middle to high pitch (the treble ) with a bass movement, the pipes of which have been preserved in the prospectus with the original lengths . A lever on the console for this chairman still bears witness to the transformation of the block work into an organ work with slider chests . This renovation can probably be dated to 1513, because the organist's pulpit inserted in the gallery bears this date. The principal registers made of hammered metal are heavily leaded and sound unusually dark and intense. The interplay of organ and bell is impressive, as Harald Vogel demonstrated using the Redeuntes compositions from the Buxheim organ book . Until then, the long organ point- like stopping tones in the bass could not be liturgically interpreted. By using the bell, which in Rysum matches the pitch of the organ, these compositions could be musically opened up anew. The case of the Rysum organ is characterized by strong tunnel profiles, as can be seen in a very similar way in the Gothic lower case in Westerhusen. The pipe fields with their veil boards, the tapering pointed arches and (reconstructed) crowning pinnacles have typical late Gothic features.

Late Renaissance and Early Baroque

Organ by Petrus von Emden for Scheemda (1526)

In the 16th and 17th centuries, East Frisia was influenced by the Dutch and Hamburg organ culture. Emden was the center of East Frisian organ building in the 16th century. Petrus von Emden built an organ for Groothusen in 1520 . Johannes Emedensis ("von Emden") attests that he built an organ for Uphusen in 1531 , of which the later double doors (1571) and case panels have been preserved. The artistic prospectus of his organ (1526) in Scheemda, the Netherlands, with its chiselled pipes is now in the Rijksmuseum Amsterdam . Religious refugees of the Reformed faith, who fled the Netherlands in the course of the Eighty Years' War and were accepted in Emden, also shaped organ building in East Frisia in the late 16th and early 17th centuries. The outer structure of the central polygonal bass tower and two pointed towers on the sides are characteristic of the tenor pipes. The high (and correspondingly short) pipes in the treble are arranged in between in two flat fields, which are often two-story. The Hamburg prospectus owes a lot to this Dutch influence. The original range of keyboards on instruments from the Renaissance of FGA – g 2 a 2 has been expanded over the centuries to the modern range from C upwards. Characteristic of the Renaissance style are also the type of veils above the prospect pipes, the crowns on the pipe towers and the continuous banners. It should be emphasized that many East Frisian organs of the 17th century reused pipe material from the previous instruments of the 16th century. With the emerging Baroque era, the wing doors gave way to the side ears of veil work.

The organ of the Great Church in Leer goes back to the organ from the Thedinga monastery , which was probably built by the German-Dutch organ builder Andreas de Mare around 1570. As Count Enno III. donated this organ to the Reformed parish in Leer in 1609, Marten de Mare converted it into a renaissance instrument for the old Liudgeri church. In 1787 the organ was transferred to the Great Church and over the centuries has been expanded several times into a large city organ , with the respective basic structure being largely retained. The inner structure of the main structure probably still comes from the de Mare organ, the proportions of which are still reflected in the prospectus.

The Dutch organ builder Johannes Millensis built the organ in Larrelt between 1618 and 1619 using older registers from the 16th century. Between 1848 and 1855 the work was extensively rebuilt by Gerd Sieben Janssen , with around half of the old registers being reused. The organ reflects the early Dutch influence on organ building in East Friesland and, with its old lead pipes, is particularly suitable for representing the vowel-influenced polyphony of the Renaissance.

Organ in Osteel

The precious late Renaissance organ in Osteel , which is one of the best preserved Renaissance organs in Northern Germany, also comes from a German-Dutch organ builder: Edo Evers from Groningen. For his work from 1619, Evers used pipes and parts of the case from the old Andreas-de-Mare organ (1566–67) in the Ludgerikirche in Norden . The rich decorations on the central prospect pipe in each tower are characteristic. The individual stops are distinguished by their tonal elegance and high vocal quality. Since they retain their great transparency even in the various combinations, they can be used in particular for the performance of polyphonic Renaissance music.

It was essential for the further development of organ building that organ accompaniment for congregational singing was introduced in East Frisia from 1640 onwards. Before that, the congregation sang unaccompanied, the organ only had a liturgical function. In larger churches she played alternately with the choir or took over individual organ verses , i.e. arrangements of motets , chorales or psalms. For the first time in 1640 in Emden the attempt was made to have the organ sound together with the congregation for the upcoming Christmas festivities, after the congregation submitted a request

"It is submitted - effte not totolaten, was many dartoe are minded, dat ane pending feast day before the sermon dat organ mide under dat Gesangh mede konne und may have been bridged, warup fathom dat first sulckes in dese feast days may have been cooked.

"It was suggested whether one could not allow, as many are inclined, that on the upcoming feast day before the sermon the organ could and may be used for singing, whereupon it was decided that such a thing may be attempted on this feast day."

- Emden church council minutes of December 22, 1640

After such hesitant beginnings, the organ quickly asserted itself in its new function as vocal accompaniment, but this made a new sound concept necessary.

Organ in Westerhusen

With its powerful sounds despite the limited disposition , the organ in Westerhusen was designed by Jost Sieburg (1642–43) especially for strong community singing. For this purpose, a large part of the stops from the Gothic predecessor organ (around 1500) behind a Hamburg prospectus was reworked. The wide gothic principal registers , which contain a lot of lead , were cut open and soldered back in a narrower measure. This resulted in relatively wide labia. The four-foot principal sounds powerful and rich in overtones in the prospectus. The colored trumpet, rich in overtones, with its open throats and short beakers is typical of the Renaissance style . Along with the Uttum organ, it is one of the oldest trumpet registers . The mixture gives the plenary a brilliant sound, which is enhanced by the pure thirds . Due to its high-lying choirs and narrow-bore pipes, the mixture is designed for the homophonic accompaniment of congregational singing.

Organ in Uttum

The organ in Uttum was built by an unknown master around 1660 and is a resounding testimony to the heyday of Dutch organ building during the Renaissance. It is believed that the brothers Cornelius and Michael Slegel from Zwolle were the builders. The structure of the case with the trapezoidal central tower and the two bass pipes standing next to each other in the middle is typical of the Groningen organ style of the 17th century. Pipe material was used either from the previous organ or from an organ from an abandoned monastery church. According to an old tradition, it is said to be the Sielmönken monastery . The pipework, with its singing, vocal principals and the other colored registers that imitate different families of instruments, is almost completely original, including the trumpet register, which, along with the Westerhus organ, is one of the oldest in the world.

Baroque

After East Friesland had recovered from the aftermath of the Thirty Years' War , a lively organ-building activity began towards the end of the 17th century, which came to an abrupt end with the Christmas flood in 1717 . From the 18th century, the strong Dutch influence on organ building in East Frisia gradually waned. On the one hand, the Schnitgerschule continued to work, on the other hand, East Frisian organ builders gained greater independence.

Arp Schnitger

Also Arp Schnitger from Hamburg, with the baroque organ building in northern Europe reached its peak, the organ culture of East Friesland has marked with. Schnitger completed the work principle with works that were structurally and sonically independent of each other (main work, in a reduced form as a Rückpositiv in the gallery parapet, pedal in separate lateral pedal towers, with larger organs also breastwork and upperwork). Compared to the rather mild aliquot registers in the works of the late Renaissance, Schnitger created organs with a brilliant plenum and a rich inventory of reed registers . Other mixed voices such as Rauschpfeife, Sesquialtera and Scharf allow a variety of different plenum sounds. From around 1687 onwards, Schnitger increasingly used homophonic mixtures with multiple choirs and high-level repetitions . The independent pedal system with long tongues gave the accompaniment of the church singing a supporting foundation.

Schnitger organ in the north

In the Norder Ludgeri Church (1686–88 / 1691–92), after the organ in the Hamburg Jacobi Church, there is Schnitger's second largest preserved work in Germany. With 46 registers and five works on three manual keyboards and a pedal, it is the second largest organ in East Frisia. The organ in Norden is historically and musically a work of art of international standing. Eight registers that Schnitger took over from the previous organ (Edo Evers, 1618) are still preserved and of special quality. In addition to the contract , Schnitger added a breastwork with six voices and, in a second construction phase (1691–92), an upper positive with eight voices, which was attached to the action of the breastwork and is therefore also played by the third manual. Architecturally ingenious is the construction of a single pedal tower around the southeastern crossing pillar with sound direction into the main nave in order to do justice to the difficult acoustic conditions. The restoration by Jürgen Ahrend (1981–85) consistently restored the old sound image. His reconstruction of the principals and tongue registers in particular is considered to be masterful. The modified mean- tone tuning, which divides the Pythagorean comma into five (instead of dividing the syntonic comma into four) and is called the northern tuning , leads to a great purity of sound and has since been applied to other restorations and new buildings.

Schnitger organ in Weener

Due to numerous renovations, the organ in Weener (1709–10) only sounds six Schnitger stops. The instrument took on its current form in 1782, when Johann Friedrich Wenthin placed the organ on a new gallery in front of the choir and added pedal towers to the side. The organ in Weener is the final example of free-standing pedal towers. The external appearance is unusual due to the strict Schnitger design in the two manual works on the one hand and the curved pedal towers and the rococo-style gallery balustrade on the other. In the Luther Church in Leer and in Wittmund , St. Nicolai , Schnitger's two-manual organs were completely replaced by new buildings by Hinrich Just Müller towards the end of the 18th century due to changing tastes.

Schnitger School

Holy organ in Dornum

At the same time, the Aurich-born Schnitger student Gerhard von Holy built the instruments in Dornum and Marienhafe . The Dornumer organ (1710–11) is one of the largest village organs in northern Germany and the third largest historical organ in East Frisia. The four original wooden flutes have special sound characteristics, but also the rich possibilities for plenary registrations. The organ in Marienhafe (1711–13) is the best and most completely preserved baroque organ in East Frisia. Even the principals in the prospectus, all aliquot registers and the mixtures remained intact over the centuries. The original intonation remained largely untouched. The rich carvings catch the eye. Since the instrument is in the tradition of the Schnitger school in terms of structure and sound, it has long been considered a work by Arp Schnitger. The colored flute parts, however, already point to the sound aesthetics of the 18th century. As with the Norder Schnitger organ, the large number of possible plenary registrations is explained by the fact that the instrument is designed to accompany the congregation singing. The flexible wind of the original wind turbine also serves this purpose. From 1723 von Holy worked in Westphalia .

Albertus Antonius Hinsz married the widow of Franz Caspar Schnitger and took over the Schnitger workshop in Groningen. The only major organ project that Hinsz carried out outside of the Netherlands was the renovation of the large church in Leer (1763–66), which amounted to a new building. His estimate for the new organ in the Great Church in Emden (1747) was not accepted. Also Matthias Amoor from Groningen can be detected several times with work in East Friesland. He replaced the gothic wing doors of the Rysum organ with carved ears, giving the instrument a baroque appearance.

Independent East Frisian organ builder

Richborn organ in Buttforde
Grotian organ in Pilsum

Joachim Richborn , the most important Hamburg organ builder from Schnitger's time, whose field of work extended to Scandinavia , built organs in Berdum (1677) and Buttforde (1681). The organ in Buttforde is almost completely intact and is one of the most valuable organs in the region. Because of the required height for the Principal 8 ′, a recess had to be made in the wooden ceiling, which was too low, so that the instrument could stand on the rood screen . Here is the rare case that even the original intonation with its vocal tone coloration is largely preserved and has hardly any core stitches . Especially with the principal in the prospectus, this unchanged original condition for the 17th century is almost without parallel.

The same applies to the masterpiece in Pilsum (1694), which comes from the Aurich organ builder Valentin Ulrich Grotian . Grotian's pipes have a higher lead content and are less finely crafted than Schnitger's. In the upper section there is an independent flute choir in addition to the principal choir. The lateral blind wings fulfill a decorative function and contain silent pipes. Further works by Grotian can be found in Petkum (1694–99), Bensersiel (1696) and Stedesdorf (1696). Only in East Friesland and Jeverland were Grotian and Joachim Kayser able to distinguish themselves for a certain time through independent works alongside their contemporary Arp Schnitger. Schnitger tried to extend his organ building privileges in the north-west German coastal area and did not tolerate any competition. Joachim Kayser ( Jever ), who rebuilt, rebuilt or repaired various organs in East Friesland, only has the prospectus and case in Eilsum (1710).

Of his twelve new organs , only one instrument has survived from Johann Friedrich Constabel from Wittmund, who also worked in the neighboring Jeverland . Originally built for Bargebur in 1738, it stood in Hamswehrum from 1864 to 1967 , and then moved to its current location in Jennelt . His organ in Greetsiel (1738) fell victim to a new building in 1914, so that only the original case has been preserved. In 1760 Constabel started a new building in Funnix ; but it was completed in 1762 by Hinrich Just Müller , who continued Constabel's workshop.

Late baroque and early classicism

From the second half of the 18th century, the region experienced an economic boom again, which also gave organ builders who had traveled here a large field of activity. Even relatively small village churches bought organs, some of which were representative.

Müller organ in Remels

In the course of the 18th century, a Westphalian influence on East Frisian organ building can be discerned on various occasions, whereby Schnitger's architectural style was ultimately completely displaced. Externally, this new style influence can be recognized by many small pipe fields that are gradually stepped around the large central tower. Compared to Schnitger's five-part brochure structure, which generally starts from a short octave and therefore requires fewer bass pipes, the Westphalian design meets the requirements of the fully developed bass octave. A representative effect is achieved through the rich carving in the pipe fields, through the side ears and the crowning scrollwork on the organ case. In the second half of the 18th century, Hinrich Just Müller (Wittmund) and Johann Friedrich Wenthin (Emden) competed with numerous new organs and conversions in East Frisia . Works by Müller, who came from the Osnabrück region and worked in over 50 communities in East Friesland from 1760–1811, are preserved in Midlum (1766), Holtrop (1772), Nortmoor (1773–75), Simonswolde (1777), Manslagt (1776– 78), Carolinensiel (1780-81), Remels (1782), Middels (1784-86), Neermoor (1796-98) and Woquard (1802-04). Müller's high level of artistry was combined with practical business acumen. The last East Frisian organ with a Rückpositiv is in Remels. This tradition was only taken up again in historicizing new buildings in the second half of the 20th century.

Dirk Lohman from Emden, who carried out repairs on numerous East Frisian organs, was only entrusted with a new building in Hage (1776–83), for which he used some registers from the 17th century. In 1788 he moved to Groningen, where the family business was continued for four generations.

In addition to Müller, three other organ builders exerted a Westphalian influence on the organ landscape in East Friesland: Christian Klausing from Herford manufactured the organ in Ochtersum from 1734 to 1737 . Johann Adam Berner from Osnabrück built a small instrument in Pogum (1758–59) and was entrusted with the rebuilding and repairs of East Frisian organs. The organs in Amdorf (1773) and Bagband (1774–75) are well preserved by Heinrich Wilhelm Eckmann , who otherwise mainly worked in the Osnabrück region .

Wenthin organ in Groothusen

Compared to Müller, Wenthin's ideal of sound was far more progressive and more strongly influenced by Rococo and partly by Classicism . This is visually recognizable by the curved prospectus shapes and lidded vases on the case, by the sound of the new registers and the use of the equal tuning . Wenthin's organ in Groothusen (1798–1801) is the largest organ work of the Krummhörn and, with its innovative sound concept and various shades of sound, it is an art monument of European rank. The delicate mahogany flute stops are unique , especially the transverse flute choir in eight-foot, four-foot and three-foot registers. The two divided registers are also unusual : the labial cornet and the vox angelica , a trumpet register that is built as a two-foot register in the bass and as an eight-foot register in the treble. Other organs by Wenthin, who worked in East Friesland from 1774–1805, can be found in Backemoor (1783), where the only original gamba stop from the 18th century has been preserved, in Reepsholt (1788–89), in Wolthusen (1790–93) and Westerende (1793).

Classicism and Romanticism

After organ building in East Frisia in the 18th century was heavily influenced by organ builders who had traveled there, mainly East Frisian organ building families emerged in the 19th century. At first they continued the previous organ building traditions, but expanded them to include characteristics of the Romantic period . This included the flat composite prospectus, which was already becoming a trend in the 18th century and replaced the traditional work principle. Fundamental registers in the eight-foot position were increasingly used in the disposition, while tongue registers and mixed voices declined. The fact that they continued to be used is due to the region's strong community singing to this day. Swell works were not built in the 19th century, as there was no pronounced romantic phase at all. After a flourishing organ culture over a period of 500 years, the level of organ building in East Frisia reached its low point in the last third of the 19th century to the middle of the 20th century, which was partly due to the deteriorating economic framework. As the region eventually became impoverished, the churches did not have sufficient funds to purchase more contemporary instruments, so the old organs were mostly preserved. In the first half of the 20th century, the organ builders were mainly busy with maintenance and care work and minor renovations.

Rohlfs organ in Collinghorst

The most influential East Frisian organ builder in the first half of the 19th century was Müller's pupil Johann Gottfried Rohlfs ( Esens ), who worked in almost 60 communities in East Frisia and founded a family business with three generations. New buildings from him are still preserved in Bangstede (1794–95), the Christ Church in Norden (1796–97), Neustadtgödens (1796–98), Barstede (1801), Veenhusen (1801–02), Holtland (1810–13), Nüttermoor (1815–16), Wiesens (1820–22), Böhmerwold (1828), Roggenstede (1827–33) and Collinghorst (1838). His works have colorful sounds and are committed to the example of his teacher. His son Arnold Rohlfs , like his father, was involved in this baroque organ tradition and until around 1860 mainly built small village organs with a manual and attached pedal in the traditional way, which were already characterized by various romantic elements. After that, Arnold Rohlfs developed his own organ style by designing instruments without any aliquot registers or mixtures. His largest work with 30 registers is in the Magnuskirche in his hometown Esens (1848–60) and has been preserved almost unchanged. It is also the largest organ in East Frisia from the 19th century. Other organs from his workshop, which have remained largely unchanged, are in Westerholt (1841–42), Siegelsum (1842–45), Fulkum (1860–66) and Holtgaste (1864–65).

Janssen organ in Grotegaste

In addition to Rohlfs, the family businesses of Gerd Sieben Janssen and Wilhelm Eilert Schmid were active in East Friesland, but they could no longer maintain the level of Müller and Wenthin. Janssen (Aurich) learned organ building from Johann Gottfried Rohlfs and was in continuity with the baroque principles of organ building. Since Janssen reused some of the old registers from the predecessor organ by Johannes Millensis (1618–19) when the Larrelter organ was rebuilt, these were retained and the original Renaissance sounds can still be heard. Schmid almost exclusively built smaller, single-manual village organs and otherwise worked mainly through maintenance and rebuilding of organs. The various lines of the Schmid family of organ builders have been active for several generations in East Friesland, Oldenburger Land and Osnabrück Land .

Wilhelm Caspar Joseph Höffgen followed the Wenthin tradition in Emden, but only created two new buildings. His instrument in Emden- Uphusen (1836–39) has Italian elements with the mixture divided into individual stops. Like his little work in Freepsum , it has been almost completely preserved. Johann Diepenbrock appeared as the last East Frisian organ builder ; he created works with a mechanical cone drawer in Wymeer (1888) and Werdum (1897–98) . While most of its organ cases are neo-Gothic , the five-part prospectus in Werdum is based on the previous organ by Valentin Ulrich Grotian (around 1690) in a historicizing way.

20th and 21st centuries

Führer organ in Bunde (old ref. Church)
Kirschner organ of the Protestant island church on Norderney

In the first half of the 20th century, East Frisia no longer had any independent organ workshops. Instead, individuals like Max Maucher and Karl Puchar carried out maintenance and minor modernizations. The industrial organ building, which mainly built pneumatic organs, remained without much influence. Pneumatic organs, as found in the Norder Mennonitenkirche (1900), in Weenermoor (1906) and Etzel (1928), were the exception in East Friesland. Some larger pneumatic works in Aurich and Leer were not preserved or were destroyed in the Second World War , like the organ work by Friedrich Klassmeier in the Great Church in Emden (1927), which with 51 registers was the largest organ in East Frisia for 16 years . At the beginning of the 20th century, the organ movement received important impulses from the rich inventory of historical organs in northwest Germany. The Schnitger organ in the north played an important role here; at the initiative of Christhard Mahrenholz it was one of the first organs to be listed as a historical monument .

The work of the leading organ builder Jürgen Ahrend , who set up his own business in Leer-Loga in 1954 and formed a cooperative with Gerhard Brunzema until 1971, can hardly be overestimated . His exemplary restorations and new constructions have caused a sensation worldwide and in organ building often brought about a return to the traditional principles of craftsmanship and the classic sound ideal of organ building. Influential new buildings by Ahrend (and Brunzema) can be found, for example, in the Lambertikirche Aurich (1960–61) and the Lutherkirche Leer (2002). Since 2005 the company has been run by his son Hendrik Ahrend. Five other organ builders operate their workshops in East Friesland, but are also active nationwide : Bartelt Immer (North), Regina Stegemann ( Tannenhausen ), Jürgen Kopp (Emden / Tannenhausen), Martin ter Haseborg ( Uplengen ) and Harm Dieder Kirschner ( Stapelmoor ). The company Alfred Führer ( Wilhelmshaven ) has also made a contribution to the preservation and restoration of historical organs in East Friesland , which has also built highly regarded new buildings, such as the organ in Bunde (1980). After the company went bankrupt, former employees founded the Ostfriesischer Orgelservice (Wiesmoor), which focuses on repair and maintenance services.

The organ landscape is complemented by a true-to-original replica of the Louis Alexandre Clicquot organ ( Houdan , 1734) in Stapelmoor (1997), the first organ in Germany in a consistently baroque-French style, as well as an English organ by Joseph William Walker (1844) which has been in Jemgum since 2007 . New three-manual buildings with swellings for the presentation of late romantic and French symphonic music are available in the Emden Martin Luther Church ( Rudolf von Beckerath , 1995) and in the Evangelical Island Church on Norderney (Kirschner, 2008).

Opening up to the public

Organeum in Weener

The Dollart Festival (1981-2003) and the work of the North German Orgelakademie (from 1977 in Bunderhee , today in conjunction with the Bremen University of the Arts ), both of which were founded and directed by Harald Vogel, provided significant impetus for promoting the organ landscape . Vogel's radio and CD recordings as well as his publishing activities have made the East Frisian organs known and attracted organists and organ builders from all over the world. His international master classes had a multiplier effect with the concept of presenting the organ literature of the Gothic, Renaissance and Baroque periods on the respective original instruments in a historical manner (with old fingerings ). Today the Organeum with the Organ Academy Ostfriesland in Weener under the direction of Winfried Dahlke is the most important organ center for research and promotion of regional organ culture and offers concerts as well as organ excursions and the opportunity for scientific organological research.

Every year concerts are held in St. Ludgerikirche Norden, Lutherkirche and the Große Kirche in Leer, Georgskirche Weener and Dornum. The Krummhörner Organ Spring has been established since 2001 . Organ concerts are also held as part of the nationally known festival Musikalischer Sommer in Ostfriesland (since 1985).

See also

literature

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  • Cornelius H. Edskes: Organ building in East Friesland today . In: Ostfriesland. Magazine for culture, economy and transport . No. 2 , 1978, p. 33-34 .
  • Cleveland Johnson : Ems-Dollart Region . In: Douglas E. Bush, Richard Kassel (Eds.): The Organ. To Encyclopedia . Routledge, New York, London 2006, ISBN 0-415-94174-1 , pp. 170-172 ( online ).
  • Walter Kaufmann : The organs of East Frisia . East Frisian Landscape, Aurich 1968.
  • Walter Kaufmann: Oldenburg - East Frisia. For the twenty-second International Organ Conference from July 29 to August 3, 1974 . In: Ars Organi . tape 22 , no. 44 , 1974, pp. 1952-1958 .
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  • Ibo Ortgies: From the old organs: The organ landscape of East Frisia. An introduction . In: Concerto . tape 5 , VI / 7-8, 1988, pp. 12-18 .
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  • Fritz Schild: Organ atlas of the historical and modern organs of the Evangelical Lutheran Church in Oldenburg . Noetzel, Wilhelmshaven 2008, ISBN 3-7959-0894-9 .
  • Harald Vogel , Günter Lade, Nicola Borger-Keweloh: Organs in Lower Saxony . Hauschild, Bremen 1997, ISBN 3-931785-50-5 .
  • Harald Vogel, Reinhard Ruge, Robert Noah, Martin Stromann: Organ landscape Ostfriesland . 2nd Edition. Soltau-Kurier-Norden, Norden 1997, ISBN 3-928327-19-4 .
  • Harald Vogel, Reinhard Ruge, Stef Tuinstra : Signposts to the organs of the Ems-Dollart region . 2nd Edition. Rautenberg, Leer 1992.

Recordings / sound carriers

  • The Ahrend organ of the Luther Church in Leer . 2005. Amb 96869 ( Wolfgang Zerer )
  • Dietrich Buxtehude: Organ Works . Vol. 5. 1993. MD + GL 3425 (Harald Vogel in Pilsum, Buttforde, Langwarden, Basedow, Groß Eichsen).
  • Harald Vogel plays 12 organs in East Frisia. Edition Falkenberger. 2017, ISBN 978-3-95494-136-0 (works by C. Paumann, JP Sweelinck, H. Scheidemann, G. Böhm, CPE Bach)
  • The Holy Organ of the Marienkirche in Marienhafe . 2001. Amb 97829 (Martin Böcker).
  • Les plus belles orgues . 1994. Analekta Classics, AN 28216-7, 2 CD (Antoine Bouchard in Rysum, Osteel, Steinkirchen, Mittelkirchen, Ganderkesee, Westerhusen, Dedesdorf).
  • Organ country East Frisia . 1989. German Harmonia Mundi, HM 939-2 (Harald Vogel in Norden, Uttum, Rysum, Westerhusen, Marienhafe, Weener).
  • Organ landscapes. Episode 4: A musical journey to eight organs in the Ostfriesland region (part 1) . 2013, NOMINE e. V., LC 18240 (Thiemo Janssen in Rysum, Osteel, Westerhusen, Marienhafe, Dornum and Agnes Luchterhandt in Uttum, Pilsum, north)
  • Organ landscapes. Episode 6: A musical journey to eight organs in the East Friesland region (part 2) . 2 CDs, 2016, NOMINE e. V. (Winfried Dahlke in Buttforde, Weener, Esens, Groothusen, Midlum, Böhmerwold, Manslagt, and Backemoor with works by JS Bach, D. Buxtehude, G. Böhm, JL Krebs, JA Holzmann, CPE Bach, F. Mendelssohn and others) .
  • Organs in East Frisia . Vol. 1. 1996. Organeum OC-09601 (Harald Vogel in Osteel, Buttforde, Neermoor, Veenhusen, Groothusen).
  • Organs in East Frisia . Vol. 2. 1997. Organeum OC-09602 (Harald Vogel in Rysum, Uttum, Norden, Marienhafe).
  • Orgels in de eems-dollard regio . Vol. 1. 1999. VLS VLC 0599 (Peter Westerbrink in Dornum).
  • Orgels in de eems-dollard regio . Vol. 2. 2003. VLS VLC 0302 (Peter Westerbrink in Marienhafe).
  • Models and developments. Organ music from Sweelinck to Bach . 2006. Ambiente, ACD-1023 (Ingo Bredenbach in Hinte).
  • Jacob Praetorius: Motets & Organ Works . 1996. CPO 999215-2 (Harald Vogel in Osteel).
  • Thomas Tomkins: Complete Keyboard Music . Vol. 4. 1996. MD + G 6070706 (Bernhard Klapprott in Uttum).
  • Discography of the Schnitger organs in Norden u. Weener
  • Organs of East Frisia 1 . 2005. Ostfriesland Films . DVD (history and sound samples of the organs in Norden, Rysum, Hage, Victorbur, Strackholt, Riepe, Hinte, Dornum, Westerholt and Groothusen)

Web links

Individual evidence

  1. ^ Johnson: Ems-Dollart Region . 2006, p. 170f.
  2. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 54.
  3. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, pp. 8, 13.
  4. ↑ Maarten A. Vente: The Brabant Organ. On the history of organ art in Belgium and Holland in the Gothic and Renaissance ages . HJ Paris, Amsterdam 1963.
  5. ↑ a b Nickles: Organ inventory of the Krummhörn and the city of Emden . 1995, p. 43.
  6. ↑ Friedrich Jakob u. a .: The Valeria organ . vdf-Hochschulverlag, Zurich 1991, ISBN 3-7281-1666-1 ( limited preview in Google book search).
  7. ^ Eggerik Beninga: Cronica the Fresen . Volume 2 (= sources on the history of East Frisia , Volume 4). Verlag Ostfriesische Landschaft, Aurich 1961, p. 882.
  8. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 94 f.
  9. ↑ Sound example Rysum: Organ with bell , Conrad Paumann : Redeuntes in mi from the Buxheimer organ book with Harald Vogel, published on CD as Orgelland Ostfriesland . 1989. German Harmonia Mundi, HM 939-2.
  10. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 8 f. Images at Rijksmuseum , accessed March 25, 2018.
  11. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 18.
  12. ↑ Jürgen Ahrend, Winfried Dahlke: Documentation of the organ of the Evangelical Reformed Church in Leer . Print-on-Demand, without location [Stade] without year [2008], p. 5 f.
  13. ↑ Jürgen Ahrend, Winfried Dahlke: Documentation of the organ of the Evangelical Reformed Church in Leer . Print-on-demand, no location [Stade] no year [2008], p. 75.
  14. ↑ Quoted from Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 113.
  15. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 18 f.
  16. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 19.
  17. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 9f.
  18. ↑ Quoted from Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 10.
  19. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 122.
  20. ↑ Quoted from Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 21.
  21. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 123.
  22. ↑ Cf. Nickles: Organ inventory of the Krummhörn and the city of Emden . 1995, pp. 111, 46 f., 128, 308, 528.
  23. ↑ Kaufmann: The organs of East Frisia . 1968, p. 228.
  24. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 126.
  25. ^ Ibo Ortgies: Arp Schnitger . In: Ludwig Finscher (Hrsg.): The music in past and present. Person part . tape 14 . Bärenreiter, Kassel 2005, Sp. 1531 . Peggy Kelley Reinburg: Arp Schnitger, organ builder, catalyst for the centuries . Indiana University Press, Bloomington 1982, ISBN 0-253-30927-1 , pp. 102 .
  26. ↑ See for example the organ in Cappel with its numerous, originally preserved mixed voices, see in detail Helmut Winter: The Schnitger organ in Cappel. St. Petri and Pauli . Wagner, Hamburg 1977, ISBN 3-921029-52-X ( arpschnitger.nl [PDF; 3.0 MB ]).
  27. ↑ Stef Tuinstra: Arp Schnitger - in search of the authentic sound . In: Basler Jahrbuch für historical Musikpraxis . tape 22/1998 . Amadeus Verlag , Winterthur 1999, p. 162 f .
  28. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 31.
  29. ↑ 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 , pp. 169 .
  30. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 181. As a result, the seven fifths on F, C, G, D, A, E and B are tuned 1 / 5th Pythagorean comma closer than pure, the fifths on B, F sharp and C sharp are pure and the two remaining ones Quinten on it and As to 1 / 5 -point too far. A softening of the wolf fifth is already hinted at in 1619 by Michael Praetorius : Syntagma musicum . Volume 2: De Organographia (1619). Reprint: Bärenreiter, Kassel 2001, ISBN 3-7618-1527-1 , p. 155. Strong similarities with the northern tuning have been demonstrated in the organ by Joachim Kayser (1694/99) in Hohenkirchen , see sign: Monument organs . Volume 2. 2005, pp. 531f.
  31. ↑ Cornelius H. Edskes, Harald Vogel: Arp Schnitger and his work . Hauschild, Bremen 2009, p. 106.
  32. ↑ Kaufmann: The organs of East Frisia . 1968, pp. 156f., 251f .; 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, pp. 148, 153f.
  33. ↑ Günter Lade (Ed.): 40 years of organ building Jürgen Ahrend 1954–1994 . Self-published, Leer-Loga 1994, p. 37.
  34. ↑ Kaufmann: The organs of East Frisia . 1968, p. 170.
  35. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, pp. 198-200.
  36. ↑ Jürgen Ahrend, Winfried Dahlke: Documentation of the organ of the Evangelical Reformed Church in Leer . Print-on-demand, no location [Stade] no year [2008], pp. 8, 11, 13.
  37. ↑ Nickles: Organ inventory of the Krummhörn and the city of Emden . 1995, pp. 95f., 349.
  38. ↑ Kaufmann: The organs of East Frisia . 1968, p. 43f.
  39. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 25.
  40. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 136.
  41. ↑ 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 , pp. 94-96, 138f., 163f., 202-205.
  42. ↑ Here, however, he only carried out repairs, see Walter Kaufmann: The organs of the old Duchy of Oldenburg . Stalling, Oldenburg 1962, p. 25.
  43. ↑ See the restoration report from Schild: Denkmal-Orgeln . Volume 1. 2005, pp. 358-372.
  44. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 10.
  45. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 54.
  46. ↑ Kaufmann: The organs of East Frisia . 1968, p. 49.
  47. ↑ Kaufmann: The organs of East Frisia . 1968, p. 48.
  48. ↑ See the restoration report from Schild: Denkmal-Orgeln . Volume 2. 2005, pp. 459-480.
  49. ↑ See the restoration report from Schild: Denkmal-Orgeln . Volume 1. 2005, pp. 23-41.
  50. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 86f.
  51. ↑ See Harald Vogel's report on the Groothuser organ from 1984, quoted in Schild: Denkmal-Orgeln . Volume 1. 2005, p. 428f .; see. Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, p. 270.
  52. ^ Vogel, Lade, Borger-Keweloh: Organs in Lower Saxony . 1997, pp. 268–270, 340. See the restoration report by Schild: Denkmal-Orgeln . Volume 1. 2005, pp. 423-456.
  53. ↑ See the restoration report from Schild: Denkmal-Orgeln . Volume 1. 2005, pp. 13-22.
  54. ↑ a b Nickles: Organ inventory of the Krummhörn and the city of Emden . 1995, p. 54.
  55. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 299.
  56. ↑ a b Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 12.
  57. ↑ Kaufmann: The organs of East Frisia . 1968, p. 52.
  58. ↑ See the restoration report from Schild: Denkmal-Orgeln . Volume 1. 2005, pp. 308-347.
  59. ↑ Ev.-ref. Parish Aurich (Hrsg.): Organ town Aurich . Self-published, Aurich 2003, p. 25.
  60. ↑ Kaufmann: The organs of East Frisia . 1968, p. 52f.
  61. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, pp. 117-119.
  62. ^ Johnson: Ems-Dollart Region . 2006, p. 172: "The emergence of the Ems-Dollart organs as cultural treasures of worldwide significance was made possible by four important events: (1) the founding of the Jürgen Ahrend and Gerhard Brunzema workshop (Leer) in 1954, which quickly established itself as the leading shop for restoration and conservation ".
  63. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, p. 13: “Jürgen Ahrend is regarded as the most important organ builder of our time. His new instruments can be found in many European countries, in the USA, Japan and Australia. ”See also Günter Lade (Ed.): 40 years of organ building Jürgen Ahrend 1954–1994 . Self-published, Leer-Loga 1994, pp. 3-7.
  64. ↑ Report in nwzonline.de , accessed on December 20, 2018.
  65. ↑ Vogel, Ruge, Noah, Stromann: Organ landscape Ostfriesland . 1997, pp. 136-139.
  66. ^ Johnson: Ems-Dollart Region . 2006, p. 172: “The emergence of the Ems-Dollart organs as cultural treasures of worldwide significance was made possible by four important events: (2) the establishment of the Norddeutsche Orgelakademie (Bunderhee) by Harald Vogel (1977) which serves as a central research facility for study of the area's historic instruments and makes access to them possible for visiting builders, players, and scholars ".
  67. ↑ See on his appreciation: Cleveland T. Johnson (Ed.): Orphei Organi Antiqui: Essays in Honor of Harald Vogel . Westfield Center, Ithaca 2006, ISBN 0-9778400-0-X , online table of contents (PDF; 134 kB).
  68. ^ Organ concerts in East Frisia , accessed on December 20, 2018.
  69. ^ Krummhörner Orgelfrühling , accessed on December 20, 2018.
  70. ↑ Musical Summer , accessed December 20, 2018.
This article was added to the list of excellent articles on March 19, 2010 in this version .