Organ of the parish church of St. Marien (Göttingen)

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Organ of the parish church of St. Marien (Göttingen)
Göttingen St. Marien Organ.jpg
place St. Mary
Organ builder P. Furtwängler & Hammer
Construction year 1925/1926
Last renovation / restoration 1950, 1970/1971, 2003
epoch romance
Organ landscape Southern Lower Saxony
Technical specifications
Number of registers 48
Tone tract Electropneumatic
Register action Electropneumatic
Number of 32 'registers 1

The organ of the parish church of St. Marien (Göttingen) was built in 1925/1926 in the ev.-luth. Parish church St. Marien zu Göttingen newly built organ , which was expanded in 1928, the disposition changed in 1950, a general overhaul / re-intonation in 1970/1971 and a general renovation in 2003.

Main organ

Building history

The first mention in the history of the parish church of St. Marien zu Göttingen is an organ that was completed in 1573; 1646 repair by organ maker Christoph Weiss, 1700 remodeling, 1783 revision by Franz Ignaz Kalert (Duderstadt), around 1820 extension by a second piano. From 1864 to 1865, during the restoration of the church, the organ (II + P / 18) was rebuilt by Carl Giesecke , Göttingen, who took over some pipes and wind chests from the previous organs. The neo-Gothic prospectus for the organ was designed by the Hanoverian architect Conrad Wilhelm Hase .

New building in 1925/1926 by P. Furtwängler & Hammer

Since the instrument built by Carl Giesecke became more and more unreliable over the years, a new building was built from 1925 to 1926 by the Hanoverian organ building workshop P. Furtwängler & Hammer as Opus 982 according to the plans and under the direction of Christhard Mahrenholz . Large parts of the pipe inventory were taken over into the new plant, as was the neo-Gothic prospectus as a now silent prospectus. The Rückpositiv was added. The organ inauguration took place on January 17th, 1926.

When planning the sound design, Mahrenholz used Dom Bedos , Andreas Werckmeister and the Compenius family as models. He arranged each part of the work equally, with fully developed sound pyramids at roughly the same volume. The scale lengths of the registers, especially the aliquots and mixtures, are rather wider, the wind pressure rather low. Registers that were no longer “organ-conform” from the point of view of the time, such as Vox céleste or Unda maris, were no longer installed. String parts were also only used to a limited extent (salicional, viola da gamba). Unusually for the time, many tongue registers were arranged. With regard to the shop system, Mahrenholz gave the organ building workshop a free hand insofar as they should use the shop system that they could best use. Therefore the organ was given a pocket store with a purely pneumatic playing and stop action mechanism with an extensive number of playing aids and couplings. The reeds were supplied by Carl Giesecke & Sohn , Göttingen.

In the area of ​​tension between late romantic building principles and a return to the principles of north German organ building in the Baroque period, an organ was created that was based on the structure, scaling and intonation of the Baroque organ without, however, being a style copy of a Baroque organ. With the completion of the organ in 1926, an important impetus was given for the resumption of the Alsatian organ reform after the First World War . Important organists of the time such as Günther Ramin , Fritz Heitmann and Albert Schweitzer performed on the new work. The organ was the starting point of the Göttingen organ movement.

Expansion in 1927/1928 by P. Furtwängler & Hammer

Mahrenholz designed a new prospectus in 1927, which was approved in the same year. In the spring of 1928 the wind chests were built and Giesecke made the copper prospect pipes. The sounding prospectus that exists today was built in May 1928. Until then, there were also small changes in the disposition. The inauguration took place on May 14, 1928 by Mahrenholz.

Change of disposition in 1950 by Paul Ott

In preparation for the Bach Festival that takes place in Göttingen in the same year, Paul Ott, in collaboration with Mahrenholz, changes parts of the pipe inventory and intonation and overhauls the entire technical apparatus.

Changes to the pipework and disposition

Mixtures of all works are given to higher choirs
(HW) Quintade 16 ′, re-voiced from Großgedackt 16 ′
(HW) New: fifth 2 23 ′ instead of viol 8 ′
(RP) New: fifth 1 13 ′ instead of salicional 8 ′
(RP) New: Scharff IV – VI, replaces III
(OW) Salicional 8 ′ (from RP) instead of 8 ′ long-distance flute
(P) Mixture VI instead of Rauschpfeife IV
(P) New: trumpet 8 ′ instead of cello 8 ′

Further registers were given more sharpness by changing the intonation and changing the length of the scale. The wind pressure is reduced to approx. 65 mm WS.

General overhaul / re-intoning 1970/1971 by Emil Hammer

Since the tube pneumatics became more and more unreliable, so that, for example, the Rückpositiv had not been playable since 1966, the conversion of the organ to slider chests was checked in advance of the general overhaul. This idea was rejected by both Mahrenholz and the Emil Hammer organ building workshop . Instead, the tube-pneumatic action was exchanged for an electro-pneumatic action and the pneumatic coupling of the gaming table was replaced with an electric coupling. The game table could thus be retained in its external shape. There was also a new intonation of the entire pipework with the wind pressure increased again to 78 mm WS, with the aim of maintaining or restoring the original sound image from 1926. The result of the new intonation was not entirely convincing, however. The manufacturer was therefore commissioned to restore the reed voices to the original sound image through repair and re-intonation.

General renovation in 2003 by Gebrüder Hillebrand Orgelbau

The aim of the work of the Hillebrand Orgelbau brothers was to preserve the important instrument and to restore the sound condition of 1925/1928 with minor changes.

Changes to the pipework and disposition

(HW) Elimination: fifth 2 23 ′, as it does not belong to the original state
(HW) Reconstruction of viol 8 ′
(RP) Elimination: fifth 1 13 ′, as it does not belong to the original state
(OW) Reconstruction of distant flute 8 ′
(P) Reconstruction of Rauschpfeife IV from Rauschpfeife VI
(P) Reconstruction of cello 8 ′ instead of sif flute 2 ′

The condition of the pipes was brought back to the original condition by increasing the meanwhile lowered cut heights and opening of the heavily sculpted footholes, the wind pressure was lowered again to 70mm WS. Windchest, console and actions were repaired. The gaming table was revised, the elements rearranged and a 30-fold setting system was newly installed.

Disposition since 2003

I Rückpositiv C – g 3
Drone 8th'
Quintad 8th'
Salicional 8th'
octave 4 ′
recorder 4 ′
Swiss pipe 0 2 ′
Reed flute 2 ′
Sharp IV
Sesquialtera II
Rankett 16 ′
Krummhorn 8th'
II Hauptwerk C – g 3
Big dump 16 ′
Principal 8th'
Wooden flute 8th'
Viol 8th'
octave 4 ′
Gemshorn 4 ′
octave 2 ′
Mixture IV
Cornet v
Trumpet 8th'
III Upper structure
C – g 3
Fiddling principal 0 8th'
Lovely Gedackt 8th'
Distance flute 8th'
octave 4 ′
Reed flute 4 ′
Forest flute 2 ′
Nasat 2 23
Night horn 1'
Zimbel III
Dulcian 16 ′
oboe 8th'
shelf 4 ′
Pedal C – f 1
Principal 16 ′
Sub bass 16 ′
Fifth 10 23
octave 8th'
Dumped 8th'
cello 8th'
octave 4 ′
Rauschpfeife IV
Bear whistle 32 ′
trombone 16 ′
Dulzian (from OW) 0 16 ′
Trumpet 8th'
Oboe (from OW) 8th'
Shelf (from OW) 4 ′
shawm 2 ′


  1. Original disposition 1926: Principal 4 ′
  2. Original disposition 1926: Scharf III
  3. Original disposition 1926: Mixtur V
  4. Original disposition 1926: Principal 4 ′

Technical specifications

  • Number of registers 48 (45): Rückpositiv 11, Hauptwerk 10, Oberwerk 12, Pedal 15 (including 3 transmissions )
  • Loading system: pocket drawer
  • Type of game and stop action: Originally pneumatic, since 1971 electro-pneumatic
  • Mood : Equal temperature


  • Karl Heinz Bielefeld: organs and organ builder in Göttingen . Pape Verlag, Berlin 2007, ISBN 978-3-921140-75-8 .
  • Christhard Mahrenholz : The new organ in the St. Marienkirche in Göttingen . A collection of essays with the participation of Wilhelm Furtwängler and Fritz Lehmann edited by Christhard Mahrenholz. 2nd improved edition, Bärenreiter-Verlag, Kassel 1931.
  • Eberhard Jäger: In the footsteps of Christhard Mahrenholz . in: Reichling, Alfred (Ed.): Aspects of the organ movement . Merseburger, Kassel 1995, ISBN 978-3-87537-261-8 .

Recordings / sound carriers

  • Late Romanticism - Early Modernism. 2005, Ambiente Audio ACD-1017 (Roman Summereder plays works by Reger, Schmidt , Jarnach, David, Reda).

See also

Individual evidence

Most of the information in this article comes from Karl Heinz Bielefeld (2007); the following sources are also cited:

  1. Norbert Janssen: Organ St. Mary Goettingen. Archived from the original on September 6, 2012 ; Retrieved March 28, 2009 .
  2. ^ Karl Heinz Bielefeld: Organs and Organ Builders in Göttingen . Pape Verlag, Berlin 2007, ISBN 978-3-921140-75-8 , pp. 219 .