Organ of St. Trinitatis (Warlitz)
| Organ of St. Trinitatis (Warlitz) | |
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| General | |
| place | St. Trinity Church |
| Organ builder | Johann Georg Stein |
| Construction year | 1769-1770 |
| epoch | Baroque |
| Organ landscape | Organ landscape Mecklenburg |
| Technical specifications | |
| Number of registers | 9 |
| Number of rows of pipes | 12 |
| Number of manuals | 1 |
| Tone tract | mechanically |
| Register action | mechanically |
The organ of St. Trinitatis ( Warlitz ) was built from 1769 to 1770 by Johann Georg Stein from Lüneburg . Like the church around it, which is laid out as a manor chapel with a central family crypt, it is a private foundation of the then patron Maximilian von Schütz . In addition to the larger instrument in Trebel , it is one of the only two surviving instruments from its builder, who learned from Johann Georg Schröter in Erfurt and exported the principles of Thuringian organ building to northern Germany. It is the only historical baroque organ in Mecklenburg with a preserved short-beaker tongue register and a preserved baroque bow register. In addition to the stone organ in Trebel, it is also the only baroque organ built according to Thuringian construction principles with a preserved short-beaker tongue register. The instrument has 9 registers on one manual . The attached pedal was only added by Friedrich Friese III around 1867 . The instrument was never changed or re-voiced in its pipe inventory and thus today represents the very rare case of an authentically preserved sound image of a Thuringian baroque organ.
Building history
The previous church, which had to be demolished in 1767 due to dilapidation, had already had a positive . This has since been lost; According to the current state of research, it is assumed that no material from the previous organ was reused in the new stone structure. On March 20, 1769, the contract with Johann Georg Stein was drawn up. The organ was originally supposed to be finished “at Jacobi” (on July 25th) of the same year, which could not be kept due to the ongoing work on the design of the new church. It is possible that individual stops were playable by Christmas 1769. On May 18, 1770, the organ was technically inspected and inaugurated together with the church on Trinity Sunday, June 10, 1770. It can be assumed that Johann Christoph Schmügel took over both acceptance and organ play at the inauguration. Schmügel was born in nearby Pritzier , where his father worked as an organist at the parish church responsible for Warlitz and as a schoolmaster, the son brokered the new Warlitz organ in Stein. Schmügel also worked in this function on the stone organ, which was built in Boizenburg 1785–1788. The carved parts of the prospectus and the crowning angel were made in the workshop of the sculptor Johann Heinrich Oden in Braunschweig. The Warlitzer organ was built without a pedal. In addition to the liturgical accompanying function in the church service, her task was originally that of a continuo instrument for the figural music performed on the organ loft during the lifetime of the client Maximilian von Schütz . At that time, the gallery had no seats and was only intended for music-making. When the organ was consecrated, the case was still unmounted, and the elaborate, polished white, partially gold-plated color version with luster setting on the carved parts was only added in the summer of 1771 by Joachim Heinrich Krüger (Wismar).
Repairs and changes
In the contract, Stein himself committed himself to maintaining the instrument. After the death of Maximilian von Schütz the practice of figural music ceased; From April 1773, the instrument was only used for the services that took place every fortnight between Easter and Michaelmas and on the third, later second, public holidays of the solemn festivals. The trapezoidal overhanging protective shed behind the organ was added soon after 1773 together with the seating in the organ gallery, which was intended for the students of the Warlitz village school from that time on. In 1813 Friedrich Friese I carried out a repair in which the limestone pull was added; this work is documented by a particularly striking signature on the music stand. Around 1868 Friedrich Friese III added an attached pedal. Carl Börger repaired the organ in 1898 and several times afterwards, but as with earlier repairs, the organ's pipe inventory was not changed. In 1917 the prospect pipes were delivered for war purposes and subsequently not replaced; Until the organ was removed in the course of the church restoration, the scarcely attached cloths in the prospectus openings remained in place of the missing prospectus pipes. After the First World War, no further care was taken on the instrument, as a result of which it, like the whole church, fell into increasing disrepair. Soon after 1945 the increasingly malfunctioning instrument fell silent completely. The last organist was Bruno Förster , who came from Upper Silesia . An attempt at a restoration in 1948, which was to be transferred to Hans-Joachim Schuke in Potsdam, failed due to a lack of financial resources. In the following decades, the instrument fell into ruin, but was never affected by vandalism.
Outer shape
The prospectus is five-part and consists of a trapezoidal central tower and two round side towers, which are connected by two single-storey flat fields. With the strongly arched profiles and the trapezoidal cornice in the middle, the prospectus clearly corresponds to Thuringian models; Even today there are several organs around Weimar , the brochures of which are almost exactly the same as the Warlitzer example. A seated angel with a trumpet sits enthroned on the central tower. This forms a spatial triangle with the two similarly designed angels on the altar, whereby the organ with its prospectus is incorporated into the theosophical symbolism of the church interior. The organ as a musical instrument thus forms a partner opposed to the preaching of the word. The five prospect fields with their nine pipes each fit harmoniously into the number symbolism of the church interior. Since Stein has already used the same prospectus structure in earlier instruments, it can be assumed that the prospectus structure as a template influenced the symbolic design of the church interior (and not the other way around). The bellows is located in the tower at the level of the clockwork; Since there can be no optical or acoustic contact between Kalkant and the organist , the addition of a bell in 1813 became imperative. The original keyboard has ebony coverings on the lower keys . The front edges of the keys have originally designed, ornate tin fittings, which are backed with red cloth. This peculiarity, which is identical in the sister organ in Trebel, seems to represent the signature of the builder; In Thuringia, key edges were traditionally provided with a personal embossing in the Baroque period.
restoration
In 2000, Johann Georg Stein could be identified as the builder of the organ, which brought the previously almost unknown instrument into the focus of the professional world. This also prevented improper handling of the valuable material; Even before the church was restored, the organ was documented, dismantled and properly stored. In 2003–2004, after half a century of silence, the extensive restoration was carried out by the companies Jehmlich-Orgelbau and Kristian Wegscheider in Dresden. The prospect pipes were reconstructed based on samples of the surviving specimens in the sister instrument in Trebel and based on the alloy of the three preserved inner pipes of the Principal 4 ', which, unlike all other pipes, are made of high-percentage tin and therefore have the same alloy as the lost prospect pipes. The heavily damaged, but never painted, polished white color of the case with gold-plated profiles was painstakingly restored by Hilke Frach-Renner's (Dresden) restoration workshop; At the same time, carved parts that were lost or destroyed due to excessive worming were reconstructed by the wood sculptor Karsten Simoneit ( Goldenstädt ). Since then, the ears and veil boards of the organ prospectus have been wearing the original luster setting in the colors gold, blue and purple-violet. The restoration of the organ was financially supported to a significant extent by the Zeit Foundation , the Marlis Kressner Foundation, the Doornkaat Foundation and the commitment of individuals. On May 23, 2004, the Warlitzer organ was rededicated with a solemn service and a subsequent organ concert. Since then, a concert tradition has been developed in the Warlitzer Church, the content of which is based on the uniquely preserved church interior with its special acoustics and in which the instrument is the focus in addition to its liturgical function in church services.
Disposition
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Principal
Of the 48 pipes of the prospectus principal, the three highest inner pipes b2, h2 and c3 have been preserved. The other pipes in the prospectus are lost due to the war-related delivery in 1917 and were replaced during the restoration as described above. The register sounds clearly protruding from the rest of the pipework, because the housing, which is open at the top, reflects the inner soundwork predominantly over the church ceiling, while the principal speaks forward. The three original pipes are attached directly to the stick with hemp without a bench.
Flauto traverso
The register, made of wood in an open construction, is original except for 10 pipes, which had to be replaced due to severe worming. The notes C – A are taken from the drone. The register has a particularly characteristic colored sound of a transverse flute , which is typical for the Thuringian baroque organ .
Drone
The Gedackt made of wood is usually called "drone" by Stein. The bodies are made of fir, the remaining parts of oak. Except for two pipes, the register is completely original and, together with the principal, forms the sound basis of the instrument.
Quintadena
The register consists of a soft material with a high lead content and is therefore very sensitive. It has a rough and overtone sound character that is typical of this register in a Thuringian baroque organ. The pipes are close to those of the neighboring Saliciena.
Saliciena
This is the only surviving baroque strike register in Mecklenburg. The register name was typical for Stein, especially for smaller organs, but is only preserved here in Warlitz. The register is divided into bass and treble (division point h ° / c1), which enables two-part improvisation, especially in the case of chorale preludes. As the only 4 'stop in addition to the principal, this stop can also be used as a replacement for a 4' flute or as a quieter version of the principal in the plenum. At the pipe mouths there are vocal devices that are conspicuous in their simplicity: an outwardly bent vocal fold produced by simply tearing it.
Octave
14 pipes from this register had to be replaced during the restoration. Some pipes show, due to their protruding solder tips, that they have never been touched since they were made. This also provides evidence of the unchanged intonation of the organ.
Tertian
The two choirs in this register ( 1 3 ⁄ 5 ′ and 1 1 ⁄ 3 ′) run through without repetition . In keeping with the Thuringian baroque organ, this register can be used as a small crown of sound . The third choir is thus particularly characteristic of the organ's tutti sound.
mixture
Due to the proximity to the vocal channel and the numerous unprofessional attempts at tuning, the greatest damage to the labial pipes is recorded on this register. Nevertheless, only 12 pipes had to be made from scratch. The composition:
- C: 1 ′ - 2 ⁄ 3 ′ - 1 ⁄ 2 ′
- c °: 1 ′ - 2 ⁄ 3 ′ - 1 ⁄ 2 ′
- c1: 1 1 ⁄ 3 ′ - 1 ′ - 2 ⁄ 3 ′
- c2: 2 2 ⁄ 3 ′ - 2 ′ - 1 1 ⁄ 3 ′.
Dulcian
Like the Saliciena, the reed register is divided into bass and treble. It will probably shut down pretty soon. The register slide had been locked for a long time, which was also documented by its heavy worming. In addition to the apparently lacking competence in tuning, the cause of this is the unorthodox construction of the register: The length of the beakers does not correspond to a uniform scale course ; this also means that the sound character of the register is not uniform. Because of severe worming, a number of boots had to be replaced. The preservation of this register and its playable restoration is to be rated as a particular stroke of luck, precisely because of the long rest period; it is the only surviving baroque register of this type in Mecklenburg.
Bellows
The two wedge bellows with the connecting channel to the organ are completely original. However, the completely worn leather had to be replaced during the restoration. The bellows do not contain weights; During the restoration this condition turned out to be authentic after sound tests. A fan motor installed during the restoration is connected to the lower bellows, but the wind can alternatively be generated mechanically in the traditional way.
Technical specifications
- 9 registers, 12 rows of pipes
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Wind supply :
- 2 wedge bellows (original)
- Wind pressure: 50 mm water column
- Action:
- Tone action: mechanical
- Stop action: mechanical
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Mood :
- Johann Georg Neidhardt 1724, "for a village"
- Pitch about 1 ⁄ 4 tone above a 1 (449 Hz at 15 ° C)
literature
- Förderverein Barockkirche Warlitz (publisher): Festschrift for the rededication of the Johann Georg Stein organ in Warlitz on May 23, 2004 . Hamburg 2004.
- Jan von Busch, Andreas Hahn: The organ by Johann Georg Stein in Warlitz . In: Ars Organi . 1/2010 (vol. 58), pp. 30-38.
Recordings / sound carriers
- Historic organs in Mecklenburg-Western Pomerania, MDG 519 1327-2 (including smaller works by Schmügel, Telemann and Simon, played by Jan von Busch)
- St. Trinitatis-Kirche zu Warlitz: folk songs, arias and organ pieces, self-published, including songs and organ works by Georg Philipp Telemann , Johann Christoph Schmügel and Johann Abraham Peter Schulz , performed by Felizia Frenzel and Ruth Langer (soprano) and Jan von Busch (organ )
- Sonatas and sonatinas by Johann Ludwig Krebs , Audiomax 706 1888-2, played by Jan von Busch
