Organ of the Ludgerikirche (north)

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Organ of the Ludgerikirche (north)
Organ view from the nave.jpg
General
alternative name Schnitger organ
place Ludgeri Church (north)
Organ builder Arp Schnitger
Construction year 1692
Last renovation / restoration 1985 by Jürgen Ahrend
epoch Baroque
Organ landscape Ostfriesland
Technical specifications
Number of pipes 3110
Number of registers 46
Number of rows of pipes 76
Number of manuals 3
Wind chest Slider chests
Tone tract mechanically
Register action mechanically
Game table, above closed doors of the positive chest

The organ of the Ludgerikirche in Norden was built by Arp Schnitger from 1686 to 1692 . It has 46 registers , 5 works , 3 manual keyboards and a pedal , making it Schnitger's second-largest surviving work in Germany and the second-largest organ in East Frisia after the organ in the Jacobi Church in Hamburg . Historically and musically, it is a work of art of international standing.

Building history

Predecessor organs

The predecessor organ of the Evangelical Lutheran Ludgerikirche came from Edo Evers (1618), who partly took over pipes from the old organ from Andreas de Mare (1567). It had 18 registers, three manuals and an attached pedal. Like its predecessor, it hung like a swallow's nest like a choir organ on the southern wall of the choir behind the current location and from there performed its independent tasks in the church service.

New building by Schnitger 1686–1688 / 1691–1692

Trumpet angel on the pedal tower
View from the north transept gallery of the organ, on the left one above the other Rückpositiv, Hauptwerk and Oberpositiv, on the right the pedal tower

When, after years of unsuccessful repair work on the now desolate organ, Arp Schnitger was finally commissioned to build a new organ on February 26, 1686, he built a lower and larger organ gallery, on which his new organ reached into the central axis of the choir and into the crossing , whereby he took into account the new task of the organs since the middle of the 17th century to accompany the congregation singing. Because now, in addition to the communion congregation in the high choir , the organ sound could also easily reach the congregation of the sermon services in the transept and nave, whereby the sound radiation of the individual works in the different parts of the church is different. The result was a very unusual organ arrangement in the church interior for its time with the placement around the southeastern crossing pillar in two different parts of the room, the manual works in the high choir and the pedal work in the crossing, which in this case had to be combined in a single tower. This pedal tower brings the bass foundation for the parish singing close to the nave and is also optically dominant for the church visitor coming from the west side. Eight old registers by de Mare and Evers, which Schnitger integrated into his work, are still preserved and of particular tonal quality. In addition to the contract , Schnitger added the chest positive with six voices and in a second construction phase between 1691 and 1692 added an upper positive with eight voices, which is attached to the action of the chest positive and is also played from the third manual. The new organ now had 46 stops and five works on three manual keyboards and a pedal.

The architectural conception and installation of the works are unique at Schnitger. The four manual works are arranged one above the other: Rückpositiv, Breast positive, Hauptwerk and Oberpositiv. The five-axis brochures from Hauptwerk and Rückpositiv correspond. The elevated polygonal central tower is connected to the side pointed towers by two-storey flat fields. Combat bars separate the higher upper fields from the lower ones. In the main work the pipes of the upper flat fields and in the Rückpositiv the pipes of the lower fields are mute. Side towers and flat panels of the two manual work housings are combined under a common cornice. The upper and lower cornices are profiled and each have a frieze and a crown molding. Towards the choir, on the Rückpositiv and on the Hauptwerk case there is a flat panel at the side with blind pipes. On the upper main case, it is continued in three further flat fields, which reach up to the first choir pillar and cover the vocal path to the upper positive. The middle flat field is flanked by two two-story fields with silent pipes.

Segmented consoles mediate from the upper part of the main housing to the narrower lower part with the console and the chest doors. These are two-winged and filled with openwork carving of acanthus leaves and volutes. The box-shaped upper positive has four flat fields with foiled blind wooden pipes in a wide length towards the front and another flat field towards the choir. Flat-carved ornaments are placed on the upper positive. The polygonal pedal tower on the crossing pillar is crowned by a volute crown with a trumpet angel. All pipe fields close at the top and bottom with an openwork, gilded veil. Like the case superstructures and the lateral blind wings on the main movement and the back positive, it consists of gold-plated acanthus with volutes. The three trumpet angels on the two central towers and the pedal tower are attributed to Christian Precht in Hamburg.

Later work

Since the middle of the 19th century, several registers, keyboards and bellows have been replaced in a disfiguring way in the course of repairs and adjustments to reflect contemporary tastes . In 1917 the prospect pipes (the principals of the main work, Rückpositiv and pedal, as well as the silent pipes on the east side of the organ) had to be given for war purposes.

Restorations

The long phase of restoration in the 20th century began in 1927 at the beginning of the organ movement with the investigations by Christhard Mahrenholz and Hans Henny Jahnn , after which in 1929/1930 some things were restored by the company P. Furtwängler & Hammer according to the findings of the time. However, the missing tones of were short octave and height cis 3 -g 3 , in the pedal dis 1 -g 1 , on pneumatic adds additional wind loading, and a new, now viermanualiger gaming table fitted to breast and to play upper positive separately. The upper positive and pedal received a pneumatic action throughout . After the organ was relocated due to the war in 1943 and rebuilt from 1945 to 1948, Paul Ott carried out various restoration work in 1948 and 1957 to 1959, which ultimately could not be sound and technical. Due to the lower wind pressure, interventions were even made in the pipework.

Only after the restoration by Jürgen Ahrend , which was carried out in accordance with strict monument preservation standards from 1981 to 1985 and was planned by the church musician and organologist Reinhard Ruge, who worked at the Ludgerikirche, was the old sound restored in full. Ahrend reconstructed 25 registers, the keyboards, three wedge bellows, wind tunnels , check valves , tremulants and parts of the mechanics. His reconstruction of the principals and tongue registers in particular is considered to be masterful.

temperature

The current temperature of the northern organ is a modified or extended mean-tone temperature that the former organist and cantor at St. Ludgeri, Reinhard Ruge (* 1934) developed for this restoration. Without a wolf fifth, it achieves great purity of the organ sound in the keys with few accidentals, but also allows the playing of more keys than is generally considered acceptable in a strict mean-tone temperature.

Structure:

  • Seven fifths narrowed by 1/5 Pythagorean commas of 697.3 cents each: F – C – G – D – A – E – H – F sharp
  • Two fifths extended by 1/5 Pythagorean commas of 706.6 cents each: A-flat-Eb-B
  • Three perfect fifths at 702 cents each: F sharp – C sharp – G sharp and B – F

The characteristic of the northern temperature is a nucleus of four mean-tone, i.e. H. equally good major chords on F, C, G and D. The fifths and major thirds of these four chords float at the same speed in close range: c 1 -g 1 and c 1 -e 1 float e.g. B. both with approx. 2.3  Hertz . This creates a particularly harmonious effect in these chords. On both sides of the circle of fifths, this mid-tone core is followed by keys that gradually sound more tense as the number of signs increases (A, E, B major or B and E flat major), comparable to a well-tempered mood . The remaining thirds of the most remote keys are clearly marked by the two floating fifths, which divide and further reduce the wolf fifth, which is common in the midrange. However, they can be used en passant depending on the musical movement or registration , especially in A flat major.

Thirds and fifths above c G d a e H f sharp cis / des g sharp / as it / dis b f
Fifth (cent)
fraction pyth. K. 		697.3
- 1 ⁄ 5 		697.3
- 1 ⁄ 5 		697.3
- 1 ⁄ 5 		697.3
- 1 ⁄ 5 		697.3
- 1 ⁄ 5 		697.3
- 1 ⁄ 5 		702
0 		702
0 		706.6
+ 1 ⁄ 5 		706.6
+ 1 ⁄ 5 		702
0 		697.3
- 1 ⁄ 5
Major third (cent) 389.1 389.1 389.1 393.7 398.4 407.8 417.2 417.2 412.5 403.1 393.7 389.1
Minor third (cent) 294.1 303.5 308.2 308.2 308.2 308.2 308.2 303.5 298.8 289.4 284.8 284.8

The Norder Temperatur can be systematically viewed as a further development of the modified or expanded mean-tone tuning that Harald Vogel developed for the restoration of the organ by St. Cosmae et Damiani zu Stade in 1975 . It has proven itself very well and has since been used as the north tuning for several other organ restorations and new builds. Among other things, it was tuned in the following organs:

Disposition since 1985 (= 1693)

I Rückpositiv CDE – c 3
01. Principal 8th'00 A.
02. Gedact 8th' V
03. Octav 4 ′ S.
04th Pipe floit 4 ' S.
05. Octav 2 ′ V
06th Forest floit 2 ′ S.
07th Ziffloit 1' S.
08th. Sexquialt II V
09. Tertian II S.
10. Sharff VI A.
11. Dulcian 8th' A.
Tremulant
Cimbelstern
II main work CDEFGA – c 3
12. Principal 08th' A.
13. Quintadena 16 ′00 V
14th Pipe floit 08th' V
15th Octav 04 ′ V
16. Spitz floit 04 ′ A.
17th Quinta 03 ′ A.
18th Nasat 03 ′ A.
19th Octav 02 ′ E.
20th Gemshorn 02 ′ S.
21st Mixture VI A.
22nd Cimbel III A.
23. Drum up 16 ′ A.
Birdsong
III breast positive CDEFGA – c 3
24. Gedact 08th'00 S.
25th Plock floit 04 ′ S.
26th Principal 02 ′ A.
27. Quinta 1 1 ⁄ 2  ′ S.
28. Scharff IV S.
29 shelf 08th' A.


III Upper positive CDEFGA – c 3
30th Hollfloit 8th'00 S.
31. Octav 4 ′ S.
32. Flat floit 2 ′ S.
33. Rauschpfeiff II0 A.
34. Scharff IV – VI A.
35. Drum up 8th' A.
36. Vox humana 8th' A.
37. Schalmey 4 ′ A.
Tremulant
CDE – d pedal 1
38. Principal 16 ′00 A.
39. Octav 08th' V
40. Octav 04 ′ A.
41. Rauschpfeiff II0 A.
42. Mixture VIII A.
43. Trumpet 16 ′ A.
44. Drum up 08th' A.
45. Drum up 04 ′ A.
46. Cornet 02 ′ A.

Remarks:

  1. ↑ a b c wood.
V = from previous organ by Edo Evers or older (Andreas de Mare)
S = Arp Schnitger
A = Jürgen Ahrend

  • Organ seen from the nave, on the left the Rückpositiv, in the top center the main work, on the right the pedal tower

  • View from behind into the Rückpositiv. The small wind turbines belong to the cymbal stars

  • Wooden pipes in the chest positive, in front Plockfloit, behind Gedact, in the background the wave board to the main work

Technical specifications

  • 46 registers, 76 rows of pipes, 3110 pipes
  • Wind supply:
    • Wind pressure: 71.5 mm water column
    • three wedge bellows with pedal system (Ahrend)
    • five shut-off valves
  • Windchest (Schnitger)
  • Action (Ahrend):
    • Keyboards (Ahrend)
    • Tone action: mechanical
    • Stop action: mechanical
  • Tuning pitch at 15 ° C: g sharp 1 = 440 Hz (corresponds to a 1 = 467.3 Hz)
  • Temperature: Modified or extended mid-tone (see description in the Temperature section )

literature

  • Ufke Cremer : The organ in the Ludgerikirche . In: 400 years of the Reformation in the north . Verlag Heinrich Soltau, Norden 1926, p. 75 ff .
  • Ufke Cremer: From the organs and organists of the Ludgerikirche to the north . In: Ostfriesenwart. Notices from the Federation of East Frisian Homeland Associations . tape 3 . Norden 1934, p. 58 ff. And 91 ff .
  • Walter Kaufmann : The organs of East Frisia . East Frisian Landscape, Aurich 1968.
  • 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 .
  • Reinhard Ruge, Evangelical Lutheran. Parish North (Ed.): Arp Schnitger Orgel Ludgerikirche Norden 1686–1692, 1981–1985 . North 1985.
  • Reinhard Ruge : Building history of the Ludgeri organ . In: Ev.-luth. Kirchengemeinde Norden (ed.): Festschrift for the rededication of the restored Ludgerikirche with Arp Schnitger organ . Soltau-Kurier, Norden 1985.
  • Harald Vogel , Günter Lade, Nicola Borger-Keweloh: Organs in Lower Saxony . Hauschild Verlag , 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 .
  • Reinhard Ruge: The Arp Schnitger organ in the Ludgerikirche to the north. An organ guide by Reinhard Ruge . North 2008.
  • Hans Martin Balz : Divine Music. Organs in Germany (=  230th publication by the Society of Organ Friends ). Konrad Theiss, Stuttgart 2008, ISBN 3-8062-2062-X .
  • 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 .
  • Reinhard Ruge: The Arp Schnitger organ in the Ludgerikirche to the north (East Frisia) . In: Franz Josef Stoiber (ed.): Beautiful organs. Building history - sound - prospect design (=  283rd publication by the Society of Organ Friends ). Figaro, Laaber 2019, ISBN 978-3-946798-17-0 , pp. 202-209 .
  • Reinhard Ruge: The Arp Schnitger organ in the Ludgerikirche in the north (East Frisia) . Florian Isensee, Oldenburg 2019, ISBN 978-3-7308-1550-2 , (including Jürgen Ahrend : restoration report with photos , pp. 82–128).

Recordings / sound carriers

Web links

Commons : Organ of the Ludgerikirche Norden (East Friesland)  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Edskes, Vogel: Arp Schnitger and his work. 2nd edition 2013, p. 168.
  2. ↑ a b Vogel, Ruge u. a .: Organ landscape Ostfriesland. 1997, p. 31.
  3. ^ Ruge: Arp Schnitger organ Ludgerikirche north. 1985, p. 11.
  4. ↑ Vogel, Ruge et al. a .: Organ landscape Ostfriesland. 1997, p. 28.
  5. ^ Ruge: Arp Schnitger organ Ludgerikirche north. 1985, p. 12.
  6. ^ Ruge: The Arp Schnitger organ in the Ludgerikirche to the north (East Frisia). 2019, p. 208.
  7. ↑ Vogel, Ruge et al. a .: Organ landscape Ostfriesland. 1997, p. 29.
  8. ↑ Edskes, Vogel: Arp Schnitger and his work. 2nd edition 2013, p. 40.
  9. ↑ Edskes, Vogel: Arp Schnitger and his work. 2nd edition 2013, p. 42.
  10. ↑ a b Edskes, Vogel: Arp Schnitger and his work. 2nd edition 2013, p. 169.
  11. ^ Ruge: The Arp Schnitger organ in the Ludgerikirche to the north (East Frisia). 2019, p. 205.
  12. ^ Ruge: The Arp Schnitger organ in the Ludgerikirche to the north (East Frisia). 2019, p. 207.
  13. ↑ See Ibo Ortgies: Unknown facts about Schnitger organs. Notes, finds, hypotheses, ascriptions . In: Ars Organi . tape 64 , no. 1 , 2016, p. 24–33, here: p. 26 .
  14. ↑ Specification of the reduction by the respective fraction of the Pythagorean comma.
  15. ^ Homepage Jürgen Ahrend organ building, information on restoration (op. 1). Retrieved December 20, 2018.
  16. ↑ Stephanie Abke and Stefanie King: Gesamtkunstwerk and cultural heritage. Organ restorations 2002–2014 . EWE Foundation, Oldenburg 2014, p. 49 ( ewe-stiftung.de [PDF]).
  17. ^ Homepage of the parish with information on the organ. aRetrieved December 20, 2018.
  18. ↑ The temperature is described (without reference to the northern temperature) in Association des amis de la basilique Saint-Maximin-la-Sainte-Baume, Var .: Le grand-orgue français de Jean-Esprit Isnard: basilique Sainte-Marie-Madeleine , Saint-Maximin-la-Sainte-Baume, 1772-1774 . Édisud, Aix-en-Provence 2000, ISBN 2-7449-0200-4 .
  19. ↑ Homepage Jürgen Ahrend Orgelbau, information on op.172.Retrieved on December 20, 2018.
  20. ↑ According to Jürgen Ahrend: Restoration report ... (Ruge 2019, p. 105).
  21. ↑ The pitch for a 1 arises arithmetically in relation to g sharp 1 from the values ​​of the 'northern tuning'. Reinhard Ruge also states in the disposition (Ruge 2019, p. 73) that the a is 1 473 Hz and " 5 ⁄ 8 tone above 440 Hz". This higher value in turn corresponds to a g sharp 1 of 445.34 Hz in the 'northern tuning' and must have been measured at around 22 ° C.

Coordinates: 53 ° 35 '43.7 "  N , 7 ° 12' 14.1"  E