Neustädter Church (Erlangen)

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Exterior view of the Neustädter Church from the east (2010)

The Neustädter Kirche (also: Neustädter Universitätskirche ) is the baroque church building of the Evangelical-Lutheran congregation in the Neustadt Erlangen, founded in 1686, and since 1837 the university church of the Friedrich-Alexander-Universität Erlangen-Nürnberg . In addition to the Evangelical-Reformed Huguenot Church and the also Evangelical-Lutheran Trinity Church in the Old Town , it is one of the three large churches in Erlangen's city center, whose towers still shape the cityscape today.

history

A Lutheran congregation is established in Christian Erlangen

After the construction of Christian Erlangen (from 1701 to 1812 the official name for today's “Neustadt”) for the French religious refugees, now known as Huguenots , began in 1686 , German Reformed and Lutherans increasingly moved in. The latter were initially part of the old town parish before Margrave Christian Ernst signed the decree on the establishment of a community on January 22, 1703 . In the same year, the Gottesacker known today as the “ Neustädter Friedhof ” was laid out on Äußere Brucker Strasse. Initially, the newly founded community still used the Sophienkirche of the immediately adjacent Knight Academy, the predecessor of today's university, for their services. This church was demolished in 1964. Today only parts of the facade are preserved, which were hidden in front of the commercial building built in the same place in the 1960s.

Long construction phase due to financing difficulties

The current church was built from 1722 - as one of numerous church buildings that were built in Erlangen during the Baroque period. As a result, there were significant financing problems, which severely delayed the construction work. The Bayreuth margrave donated 500 guilders for the construction, the French (150 guilders) and German Reformed (73 guilders) parishes of Erlangen contributed financially and the parishioners donated around 10,000 guilders between 1721 and 1740. Nevertheless, from 1720 the parishioners had to collect money for the church building on collection trips and inns in order to be able to raise the building sum totaling around 35,000 guilders. This turned out to be so high because - as has been handed down in old documents - they wanted to create the Evangelical Lutheran main church for Erlangen and the surrounding area, which was emphasized in 1725 by the creation of its own superintendent (previously it belonged to the Baiersdorf superintendent ).

The plans for the construction of the church can be attributed to the Bayreuth court building inspector Johann David Räntz , who also designed the pulpit altar of the old town church. However, only a draft drawing of the south side from 1726 has survived. The building supervision was the responsibility of the Bavarian master builder Wenzel Perner until 1730, then his successor Johann Georg Weiß, who among other things built the old town hall from 1731 to 1736 . As a master bricklayer, Johann Georg Kannhäuser was not only responsible for the practical construction, as can be seen in particular from the church tower. Perner was not only the builder of the reconstruction of the Old Town Church, but also (together with Peter Franz Navelot) the builder of the tower of the Huguenot Church in the years 1732 to 1736.

The foundation stone was laid - probably for reasons of economy - without a major celebration on June 19, 1725. The roof structure and a first pulpit (predecessor of today's pulpit altar) were completed in 1733. On December 8, 1737, the church was consecrated by Superintendent Achiatius Severinus Memminger, although it was only provisionally completed. In 1744 the pulpit altar, which has been preserved to this day, was built and the sacristy with the crypt below was set up. The construction phase of the church was essentially completed. The two upper floors of the tower were not completed until 1765, the spire and lantern were not put on until 1830.

Younger story

In 1904 an extensive interior renovation was carried out. The glazed side parts of the pulpit altar were replaced by masonry and the room behind was equipped with a false ceiling . This resulted in today's sacristy , which has since been used regularly for smaller services , for example for the Sunday morning service. After the church and especially the high-quality ceiling paintings by Christian Leinberger were badly damaged in the Second World War , this could only be removed in 1955. From 1979 to 1982, the Neustädter Church was completely renovated. The house of God was completely blocked; the congregation had to move to the Lutheran parish hall on Bohlenplatz, the former German Reformed church, for their services. For the 250th anniversary of consecration in 1987, the church received - largely financed by a generous individual donation - a new Lord's Supper table, which was placed closer to the church pews than the previous altar.

Special events

Parade to the Neustädter Church for the dedication of the University of Erlangen on November 4, 1743 ( copper engraving )
  • On November 4, 1743, Erlangen University was officially opened with a service in the Neustädter Church, the city's new main church. Although the university parish was dissolved in 1814 and incorporated into the Neustadt parish, the university church services continued to take place in the Sophienkirche and later - when it was no longer used for worship services - in the French Reformed Church, today's Huguenot Church. It was not until 1837 that the Neustadt church became a university church. Since then, a university church service has been held every second Sunday during the lecture period. University preacher is always a professor in the theology department. Important representatives included Adolf Harleß and Gottfried Thomasius , who shaped what is known as Erlangen theology in the 19th century , as well as Paul Althaus and Walter Künneth , who held the office in the 20th century. Since 2015 has Martin Nicol , who is also the Chair of Practical Theology forwards, held the office of university preacher.
  • In 1854, at the instigation of Theodosius Harnack, the Institute for Church Music was founded in the Neustadt parish . Together with the Neustädter Kantorei , founded in 1984, numerous concerts are held in the Neustädter Church every year to this day. This makes it the lively center of church music in Erlangen and the surrounding area.

architecture

Neustädter Church from the roof of the Erlangen Arcaden (2012)

The three churches in the concept of the baroque planned city

The Neustädter Church forms an architectural unit with the Old Town Church and the Huguenot Church . This became possible because the old town church was destroyed in the old town fire in 1706 and could therefore be included in the concept of the new town, which was laid out as a planned baroque town , when it was rebuilt from 1709 to 1721 . The unity becomes clear from the location: All three churches are each offset by one building block along the central north-south axis, which is formed by today's main street; Neustädter and Altstädter Church are located on an eastern parallel to the actual main street, on which the castle is also located; In the old town the main street “bends” from its actual straight line for topographical reasons and reaches the old town church exactly on this parallel. The two Lutheran churches (Old Town and New Town Church) are easted, so the choir is on the east side. The towers are on the west side of each church. The Huguenot Church is laid out exactly the other way around.

Exterior and facade

The Neustädter Church, built from unplastered sandstone blocks , was built within a largely defined urban situation. The exterior of the church, clearly and convincingly structured, hardly comes into its own in the narrow streets of the city center; only from the east does the set-back house front , forming the Neustädter Kirchenplatz , reveal a view of the two-bay choir with a semicircular end. This is united with the somewhat wider, seven-bay long house under a common gable roof . The nave and choir are structured in the same way, namely by flat pilasters with Doric capitals . The wide rim joist is Diglyphen loosened.

In keeping with the Baroque taste of the time, the windows are rounded off, with this rounded arch shape being additionally emphasized by the course of a simple window canopy. Since two rows of round-arched closing windows stand on top of each other, it is already indicated from the outside that there are lateral galleries inside - as is usual in Lutheran churches of this period . Both rows of windows stand on a narrow but clearly protruding cornice , which seems to continue behind the pilasters. Thus, in addition to the strong emphasis on the vertical, there is also a circumferential horizontal. In the middle nave yoke there is an elaborately designed portal instead of the lower window , with a small oval window above it. The north and south portals are flanked by Corinthian columns. Windows have been dispensed with in the western and eastern nave yoke, as the stair towers leading up to the two galleries are located here. There is also no lower window in the apex of the choir, instead the simple entrance to the sacristy in the form of a simple round arched portal is located here.

tower

Tower of the Neustädter Church (2010)

The tower of the Neustadt church is the highest church tower in Erlangen with a height of 60 meters. If you look at it, you can see that it has a four-story structure and shows the classic sequence of the ancient column arrangements . In doing so, he takes up a concept that connects all three large inner-city churches. The tower is built on a square floor plan , the individual floors are clearly separated from each other by a cantilevered cornice. On the bottom floor, the structure is continued by pilasters with Doric capitals, as can be seen on the choir and nave. Accordingly, the floor has the same height as the side walls of the nave. The second floor, which extends roughly to the ridge height , is structured by pilasters with Ionic capitals. There are round-arched sound openings on three sides (the east side is covered by the roof structure) .

The third floor of the tower, which is characterized by Corinthian capitals, bears the most elaborate decoration due to its late construction. Here - this time on all sides - there are further arched sound openings. These are provided with a balustrade-like railing and are flanked by two pilasters with Corinthian capitals. The latter end in heavily profiled entablature, which swings up in the middle to form a segmental arch crown of the sound arcade. Similar crowns can be found on the tower clocks. These are arranged on the third floor of the tower directly below the viewing platform that closes this floor. On top of it rises an almost dainty-looking, octagonal attachment, which ends at the top with a dome-like helmet with a lantern.

inner space

In addition to the north and south portals, which form the main entrances to the interior of the church, there is also a portal on the tower ground floor, which is primarily used for ceremonial entries . All three portals still have the ornate locks and fittings from the time the church was built. The location of the entrances results in a longitudinal and a transverse passage in the interior, which intersect exactly in the center of the nave. This point is highlighted by a star in the floor covering made of Solnhofen tiles . The stalls are thus divided into four blocks. In the past, all rows of benches were closed by doors, as can still be seen today in the front row. In addition, there is a row of benches along the side walls and the rear wall, which was previously separated from the church interior by glass. These were the privileged places for higher-ranking churchgoers. Since the pulpit altar, the Last Supper table and the baptismal font , i.e. the principal pieces of the church furnishings, are arranged exactly in line with the west portal, there is nevertheless a strong emphasis on the longitudinal axis. This impression is reinforced by the arrangement of the ceiling paintings and the side double galleries.

Both galleries are supported by consoles made of oak that protrude from the side walls and end in volutes , and have been supported since 1743 by round columns with ionizing capitals that taper towards the top. The fact that the latter was not planned from the beginning, but was only added at the inauguration ceremony of the university out of fear of excessive stress from many church visitors, can be seen from the fact that there is not a pillar under each beam . It was not until the centenary of Neustadt Church in 1837 that the galleries were given their characteristic paintwork, which contrasts with the green tone of the walls, which is mixed with broken malachite .

The stairs to the galleries are in four stair towers accessible from the outside and inside, two on the west side of the church and two on the east side in the corner between the nave and the choir. On the west side there are two opposite staircases, on the east side there are two simple spiral staircases, whereby the curve of the staircase can be seen from the interior and mediates the transition between the nave and the choir. While the lower gallery surrounds three of the four sides of the nave and offers plenty of space for the main organ and a choir in the rear, the rear part of the upper gallery was removed in 1918. So this only extends along the north and south sides of the nave. On the two galleries there are permanent chairs, but only loosely placed benches.

The area of ​​the apse , i.e. the apse of the choir, is separated from the rest of the church by the pulpit altar and two walled-up side parts ( glazed before 1904 ) as well as an intermediate ceiling just below the upper row of windows. The sacristy of the Neustadt church is located here, which means that it does not have to be relocated to an annex that disrupts the architectural concept. At the same time, this room is used for church services on a smaller scale, for example for the Sunday morning church services. A crypt has been located below the sacristy since 1744 , in which numerous nobles, especially some Margraves of Bayreuth , are buried.

Furnishing

Pulpit altar

The pulpit of the Neustädter Kirche was completed in 1733 by Johann David Räntz, who also drafted the plans for the building. The most striking design feature is a large angel figure that carries the body lined with smaller angels. In 1744, today's pulpit altar was built around this pulpit, which is typical of Lutheran churches in the so-called margrave style . It expresses the equality of word and sacrament in evangelical worship. For the pulpit altar, parts of the altar of the Konkordienkirche , which was demolished in December 1743, were used. The pulpit rises directly above the altar table with a crucifix from 1735, which is flanked by three round columns that taper towards the top. The middle pillar is clearly advanced into the room. The columns all stand on high plinths and have ionizing capitals. They carry a strong, cantilevered, cranked entablature, which also includes the one on the sound cover of the pulpit. On its underside there is a depiction of the Holy Spirit dove in half relief and the biblical quote It is not you who speak, but it is my Father's Spirit who speaks through you ( Mt 10.20  EU ).

Above - as it were on a second level, which is in turn accompanied by three pillars twice - is a large painting of Christ as the Good Shepherd , who goes after the lost sheep . This picture was shown from 1755 to 1903 in the church seal of the Neustädter parish. Above it is another painting with numerous angels and the name of God written in Hebrew . Both were created by Martin Simon Gläser in 1744. On the entablature of the pulpit altar that ends at the end of the pulpit, there are numerous other angel figures, always looking towards the center, on the pulpit and altar. In the center of the entablature is a cartouche with the coat of arms of Margrave Friedrich III. containing a capital F is appropriate. As sovereign ruler, the margrave was the guarantor of the Protestant-Lutheran religious practice; therefore, his signet was given an important place on the altar. The gilded crown, which used to be attached to the top of the altar and now only adorns the sound cover of the pulpit, was symbolic of the sovereign.

Today there are two paintings on the back wall of the church that represent copies of the Dürer apostles . They were created in 1905 by “Painter Pastor” Georg Bickel from Mönchsroth and were originally intended for the newly bricked up side parts of the pulpit altar.

Food grid

In front of the altar table is a small pedestal, raised by two steps, which is framed by an artfully designed, wrought-iron dining grille . Like parts of the altar, it originally comes from the Konkordienkirche and was moved to the Neustädter Church in 1753. In the grid you can see the black Prussian eagle and the intertwined letters E and S, which refer to the donor of the dining grid, Margravine Elisabeth Sophie . Originally the gate was closed on all sides and the priest could get to the altar through a door in the front of the gate. However, this was a hindrance to the administration of the Lord's Supper , so that the front was later removed and only the side railings remained.

Lord's Supper Table

On the occasion of the 250th anniversary of its inauguration, the Neustädter Church received a new, modern communion table in 1987, which was created by the Nuremberg sculptor Heinz Heiber . Based on the experience gained during the church renovation between 1979 and 1982 at church services in the parish hall on Bohlenplatz, it was placed as close as possible to the parish on the "altar island" that was extended far into the nave. In contrast, the historical pulpit altar is as far away from the church visitors as possible. After the financing was made possible by a generous donation, Heiber created a large, round altar table made of oak , the top of which breaks through the central, life-size figure of the risen Christ. The lowered head position of the figure is also symbolic, reminiscent of the Good Friday events and makes Christ appear as simple people.

Baptismal font

The baroque baptismal font from 1707, which originally comes from the Sophienkirche, stands exactly in line with the pulpit altar and the Last Supper table. It was placed in the central axis of the nave, approximately level with the front row of benches. According to the inscription , it was donated by the flour dealer Johann Lescher. The foot, artfully decorated with angel heads and acanthus leaves and partially gilded, bears a ribbed basin with a baptismal bowl that is also gilded. The latter was probably added later. Overall, the font has a chalice shape .

Ceiling painting

As most church visitors should notice immediately upon entering the interior, the Neustadt church has a very rich painting for a Protestant church. This cycle of ceiling paintings covers the entire longitudinal axis of the church from the apex of the choir to above the organ gallery. The paintings on the mirror ceiling were created by the Erlangen-born painter Christian Leinberger ; his younger brother Karl Georg may also have participated. The Leinberger brothers mostly worked without stucco ; this is used as a design element, but is only painted on in an illusionistic manner. This remedy is probably due to lack of money; Painting alone cost around 2000 guilders, i.e. a fifth of what the Neustädter community had raised itself for building the church in 20 years. From today's perspective, however, this circumstance can be described as a stroke of luck, as in other churches the surfaces intended for ceiling paintings were often initially framed with stucco and then remained empty forever (e.g. in the old town church) or were painted much later (e.g. in the Gößweinstein basilica ).

The only exception are the stucco ornaments in the arched fields above the upper row of windows. Here you can see - repeated several times - a vase with foliage and attached canopy or a shell shape that grows from volutes and above it clouds with a halo of rays.

Ceiling painting in the nave

If you enter the church through the north or south portal and then stand in the center aisle, you will first see the painting of the Nativity . Most of the action takes place in the lower third of the image field. Around the baby Jesus lying on a simple box on the right the mother Mary , behind her Joseph ; Shepherds approach from the left to pay homage to the child. The first lifts his hat and offers a lamb to the child ; a second pushes a woman into the picture who is holding up a cage with two doves (cf. Presentation of the Lord in the Temple). Behind the baby Jesus are also two children, one of whom is holding an apple to Jesus. The crate in which Christ was born has fallen into disrepair and, through the crossing boards, already indicates the death of Christ. In the lower right is a naked man lying on an expensive red sheet. This directs the gaze into what is happening and to the sky, which is getting lighter and warmer upwards and is populated by jubilant angels. On the right a trumpet angel can be seen, on the left another with the banner GLORIA IN EXCELSIS DEO (Latin: "Glory to God in the highest").

Opposed to this painting is a picture of the erection of the cross . You can see it when you - standing in the center aisle - turn towards the west portal. As the title suggests, the content of the picture seems to be full of movement. In the center the exact moment of the erection of the cross is shown. A man pulls from the right, a soldier helps from the left. Two men, clearly recognizable as Roman soldiers, on the left edge of the picture are watching the action. At the bottom of the picture, Mary, the mother of Jesus, collapsed; two women take care of her. The “favorite disciple” Johannes , sitting next to it, looks at what is happening in the center of the picture. At the bottom you can see two men throwing the dice around Jesus' skirt, who otherwise seem disinterested in what is happening. So the theological intention of this picture is to show different behaviors, how people react to the crucifixion event - from disinterest to distanced watching to active compassion (and here even active participation).

Exactly in the middle of the church, i.e. above the cross aisle and thus between the two paintings already described, the Ascension of Christ is depicted. Again, Christ, surrounded by some angels, occupies the center of the picture. The background is a reddish-yellow sky with clouds . The earth can only be seen at the bottom of the picture. The numerous people, who in turn show different behaviors with regard to the presented event, are shown large in relation to the central figure Christ. Hence, in a sense, Christ appears raptured upwards. Perhaps this picture should also represent a kind of crossing dome , as it was common in the baroque church architecture.

Like the last picture mentioned, the painting at the transition from the nave to the chancel is in landscape format. The central theme here, even if not immediately recognizable, is the eye of God . This can be seen in the middle of a reddish-yellow sky in an equilateral triangle . It is decorated with a crown over plant fronds and is surrounded by three large angels who sit on clouds with fluttering robes.

In the stitch caps above the five window axes of the nave there are other, albeit smaller, paintings. Going clockwise, starting on the southwest side, these are: the Ten Commandments ; the evangelist Matthew ; a cross floating in front of clouds ; the evangelist Mark ; the Bible (south side); the baptism in the form of a Saint spirit Dove over which a bowl and a pot are shown; the evangelist Luke ; two crossed keys , which of course refer to Jesus' word to Peter ( Mt 16:19  EU ); the evangelist John ; a chalice and above it a host on which a three-figure crucifixion group can be seen (north side).

At the transition between the nave and the choir, i.e. where the curves of the stairwells are, there are other paintings made in grisaille . These symbolize the Christian virtues patience and hope (left) as well as faith and love (right).

Ceiling painting in the chancel

The ceiling paintings in the chancel are difficult for the observer to recognize due to the pulpit altar and the sacristy installation, and in some cases cannot be seen as a whole. The main painting in the chancel shows the Whitsun event . To see the apostles receiving the Holy Spirit leading them to preach that all people immediately understand. In this way there is a reference to the pulpit altar, which is located directly below the painting. In the stabbed caps of the chancel, again starting in the southwest, there are the following representations clockwise: Moses , King David with the harp , the prophet Daniel with the book and the lion's head, and Aaron , who is holding a knife in his right hand and his left ( at the ordination as a priest , cf. Gen 29,10  EU ) on the head of a bull .

Organs

The history of the organs in Neustädter Kirche goes back to 1741, when the organ builder Johann Glis from Nuremberg built the first instrument with 31  registers on two manuals and a pedal . The play system was mechanical, the gaming table was integrated in the lower case.

Three registers of this instrument have survived to this day, as well as the baroque prospectus , which was designed by the sculptor Antonius Merz.

Baroque prospectus of the main organ

The baroque organ case was created in 1741 by the sculptor Antonius Merz. It consists of a gray marbled lower case that serves as a base for the nine-part main unit and the seven-part upper unit. The various high pipe towers of the works are located in three depths; They alternate between being rounded or stepping into the room with a cornered, strongly cranked cornice. Within each pipe tower, the pipes rise towards the middle and thus express a vertical tendency in addition to the broad, horizontal entablature. Carved, gold-plated “curtains” fill the free space above the smaller pipe towers and set a color contrast to the silver tone of the pipes and the red marbled casing. Further ornaments, sometimes also referred to as "ears", complete the prospectus on the sides.

The statues on the baroque case are also of great importance. At the top left is King David with a crown, golden breastplate and harp. Through the slightly opened mouth, the artist indicates that he is singing while playing the harp. At the top right is Cäcilia , who is known beyond denominational boundaries as the patroness of church music and carries her attribute , a small hand organ , in her right hand . She has a devoutly listening body and head posture. There are two somewhat smaller angel figures on the outer pipe towers of the main work. The one on the left invites you to sing along with a sweeping gesture, the one on the right is holding a flute . In the middle of the main work there are four wingless, naked putti , each of which is surrounded by a golden cloth. The putto , seated at the top left, conducts the concert of the three others who (from left to right) play the flute, violin and lute .

Original organ work

The original organ work by Johan Glis from 1741 was rebuilt several times from the middle of the 19th century in order to do justice to changing style ideas and playing practices. However, the results were never crowned with long-lasting success. The first measure in the years 1855 to 1857 was carried out by Eberhard Friedrich Walcker from Ludwigsburg , the rest by GF Steinmeyer & Co. from Oettingen . In several steps (1855/57, 1896 and 1910/11) the manual ranges from C – c 3 to C – a 3 and the pedal ranges from C – c 1 to C – f 1 . In addition, additions and relocations of the rows of pipes were made, registers were re- voiced or completely replaced and the originally mechanical organ was equipped with electro-pneumatic pocket drawers. During these renovations, the prospectus was expanded in depth and on both sides.

In 1919 GF Steinmeyer & Co. added a third manual (as Opus 1277) to the instrument, which was housed as a swell in the tower chamber behind the organ. For this purpose, the rear part of the upper gallery had already been removed in 1918.

In 1935/36 this swell was moved behind the high altar; for this a new, Baroque-style Rückpositiv was inserted into the gallery parapet; In the upper part, romantic basic voices were replaced by aliquot registers .

Already in the 1960s there were increasing voices that the instrument from 1935/36 was also unbalanced in terms of style and quality. Due to the vulnerability of the old electrics and the system and quality-related maintenance of the pocket shops, only a new building was considered. That is why an organ building association was founded in 1992 to collect donations for the purchase of a new organ. The baroque housing should definitely be preserved. After receiving two large donations, the order for a new organ was put out to tender in April 2000. The Goll company from Lucerne , Switzerland , was awarded the contract in April 2002 .

Today's organ work

Today's organ work was created in 2004/05 using historical material and inaugurated on October 2nd, 2005. The organ work contains three registers from the Glis organ from 1741 and six further registers from GF Steinmeyer & Co. from 1910/11 and 1919 respectively. 13 further registers from Steinmeyer were in the new "ecumenical organ" of the Catholic parish church of St. Boniface reused from 2008.

The organ has 45 registers and three transmissions on three manuals and a pedal . The game actions are mechanical; the mechanical register actions are - according to today's standard - equipped with electromagnets ( double register ). The disposition was based on the Franconian-Baroque soundscape of Glis organs; a complete reconstruction of the baroque sound was dispensed with in order to better meet today's requirements. Only around two thirds of the voices are modeled on those of the Glis organ, which is also reflected in the register names. The third manual, which is designed as a swell with twelve registers, has been redesigned, but is based on romantic soundscapes.

The construction of the new organ required some constructive adjustments. For example, the housing was returned to its original depth and the side attachments were removed. The church painter Béla Faragó provided the necessary additions to the painting in the structure dating from the 1960s. Only the main unit, the upper unit and the smaller pedal whistles were installed in the historical case. The larger pedal whistles (formerly in the side extensions) were placed behind the historic case, as was the new swell, which is not visible from the church interior. Today the instrument no longer has a parapet positive. As with the Glis organ from 1741, the console was integrated into the lower case.

I Hauptwerk C – g 3
01. Bordoun 16 ′ *
02. Principal 08th' (G)
03. Human thought 0 08th' (S)
04th Viola da gamba 08th' *
05. Double flute 08th' (S)
06th Octava 04 ′ *
07th Pointed flute 04 ′
08th. Quinta 02 230 *
09. Great Octava 02 ′ *
10. third 01 35
11. Cornett V 08th'
12. Mixtura IV 01 13 *
13. bassoon 16 ′
14th Trumpet 08th'
II upper structure C – g 3
15th Reed flute 8th' *
16. Quintatön 8th' *
17th Salicional 8th' *
18th Principal 4 ′ (G)
19th Put it small 0 4 ′ *
20th viola 4 ′ *
21st Nasat 2 230 *
22nd Flageolet 2 ′
23. third 1 35 *
24. Mixtura IV 2 ′ *
25th Krummhorn 8th'
26th Vox humana 8th' *
Tremulant
III Swell C – g 3
27. Violon 16 ′
28. Cor de nuit 08th'
29 Tibia 08th' 0 (S)
30th Viol 08th'
31. Voix céleste 08th'
32. Prestant 04 ′
33. Flûte octaviante 04 ′
34. Octavine 02 ′
35. Plein jeu II-V 02 ′
36. Trompette harmonique 08th'
37. Hautbois 08th'
38. Clairon 04 '
Tremulant
Pedal C – f 1
39. Pedestal 32 ′ 0 (S)
40. Violon bass 16 ′ (S)
41. Sub bass 16 ′ (S)
42. Principal bass 08th' (G)
43. Violoncello (= No. 4) 08th'
44. Gedackt (= No. 3) 08th'
45. Bassetto 04 ′ *
46. Trombones bass 16 ′ *
47. Bassoon (= No. 13) 16 ′
48. Trumpet bass 08th'
(G) = Original register from Glis (1741)
(S) = original register from Steinmeyer (1910/11 or 1919)
* = Register reconstructed based on the original Glis disposition

Choir organ

The choir organ was built in 1936; it is the Steinmeyer swell from 1919, which was moved behind the high altar in 1936. When the main organ was rebuilt, the choir organ remained unchanged. It can be played via the second manual of the main organ using non-contact opto-electronic contacts. She also has her own gaming table on the gallery behind the high altar. This instrument, which now has 20 registers and two transmissions, was completely overhauled in spring 2013. A year later, in February 2014, the pedal work was supplemented by the subbass 16 ′ register, which gives the organ an appropriate bass foundation .

Manuals C – g 3
01. Bordoun 16 ′
02. Horn principal 08th'
03. Salicional 08th'
04th Dolce 08th'
05. Vox coelestis 08th'
06th Dumped 08th'
07th Quintatön 08th'
08th. Jubilee flute 08th'
09. Violin principal 04 ′
10. Transverse flute 04 ′
(Continuation)
11. Fifth 02 23
12. Piccolo 02 ′
13. third 01 35
14th Large mix V 0
15th bassoon 16 ′
16. Trumpet 08th'
17th Vox humana 08th'
Tremulant
Pedal C – f 1
18th Sub bass 16 ′
19th Subtle bass (= No. 1) 16 ′
20th violoncello 08th'
21st Dolcebass (= No. 4) 08th'
22nd Octav 04 ′
  • Coupling: I / I (as sub and super octave coupling), I / P
  • Playing aids: swell kick

Bells

The Neustadt church has a four-part bell with the tone sequence e 1 –g 1 –a 1 –c 2 . Bells 1 and 4 are historical and were made by a Forchheim foundry; Bells 2 and 3, however, were made in 1950 by the Erdinger bell foundry .

literature

Individual evidence

  1. ^ A b c d Andreas Jakob, Volkmar Greiselmayer: Neustädter Kirche (University Church) . In: Erlanger Stadtlexikon.
  2. a b c d e Poscharsky, pp. 5–9, 33 and 35.
  3. Poscharsky, pp. 11f., 16f. and 35.
  4. a b c Christoph Friedrich, Hartmut Bobzin : Neustadt, ev. Community . In: Erlanger Stadtlexikon.
  5. ^ Gerhard Masur: Friedrich Julius Stahl, story of his life. Rise and development 1802–1840. Berlin 1930, pp. 20ff.
  6. a b c d e Poscharsky, pp. 3–5.
  7. a b c d Poscharsky, pp. 11–15.
  8. a b c d Poscharsky, pp. 9-13.
  9. Poscharsky, pp. 17-20.
  10. Poscharsky, p. 5.
  11. a b Poscharsky, pp. 20-23.
  12. a b c d e f Poscharsky, pp. 23–30.
  13. Poscharsky, p. 30.
  14. a b c d e f g Evang.-Luth. Erlangen-Neustadt rectory: The organs of the Neustädter (University) Church Erlangen (PDF; 2.0 MB). Brochure, 2015. Online at www.erlangen-neustadt-evangelisch.de ; Accessed March 7, 2018. Online version , accessed March 7, 2018
  15. a b c d e f g The organ of the Neustädter (university) church in Erlangen . Online at www.orgel-information.de ; accessed on March 7, 2018.
  16. a b Poscharsky, pp. 15-17.
  17. a b Erlangen, Germany (Bavaria) - Neustädter Kirche (university church) . Online at www.orgbase.nl ; accessed on March 7, 2018.
  18. Ecumenical Organ . Online at www.stbonifaz.de ; accessed on March 7, 2018.
  19. Erlangen (ER) - city center, Evang.-luth. Neustädter Church: bells . Online at www.youtube.com ; accessed on April 15, 2018.

Web links

Commons : Neustädter Pfarrkirche (Erlangen)  - Collection of images, videos and audio files

Coordinates: 49 ° 35 ′ 44.4 "  N , 11 ° 0 ′ 19.7"  E