Hamburg organ landscape

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The Hamburg organ landscape describes the organ inventory of the Free and Hanseatic City of Hamburg in its historical development. The term organ landscape alone refers to historically determined national or regional characteristics of the organs. The Hamburg organ landscape borders in the south on the organ landscape Lüneburg , in the west on the organ landscape between the Elbe and Weser and north of the Elbe on the organ landscape Schleswig-Holstein . Although Hamburg achieved a leading position in organ building in northern Germany due to favorable framework conditions, it was integrated into the surrounding cultural areas in many ways and did not play a special role.

The organ of St. Jacobi from 1693 integrates registers from the 16th to the 20th century.

Under the influence of the Scherer family of organ builders , Gottfried Fritzsche and Arp Schnitger , who worked in the Hanseatic city, the north German baroque organ reached a high point and shaped organ building worldwide. Since most of the historic organs have been replaced by new buildings or destroyed by wars and disasters, numerous new buildings determine the image of the Hamburg organ landscape today. Further details on the works that have been preserved can be found in the list of organs in Hamburg .

From the beginning until 1540

Important organ builders and their works

Organs in Hamburg are mentioned for the first time in the 14th century. For the main church Sankt Jacobi in 1301 "Master Rudolf" is proven as organist. There is evidence of an organ in the Mariendom in 1358 and the Franciscan Church of St. Maria Magdalena even had two organs around 1400: the small choir organ was used for the prayers of the hours , the main organ in the north aisle for Holy Mass . Sankt Katharinen owned one organ around 1400, while Sankt Nikolai had two organs before the Reformation . A payment for the organist (not named) is documented in the Jacobi Church's account books from 1508; from 1517 all Jacobi organists are known by name. Seven organ builders are known by name in Hamburg from the pre-Reformation period. Some organ builders were also organists such as Johann van Kollen, who was employed by Sankt Petri in 1467 . In 1502 Harmen Stüven created a new work for the Heilig-Geist-Hospital. Together with Jacob Iversand he built a new organ for St. Petri from 1507 to 1512 and then from 1512 to 1516 a new two-manual organ for St. Jacobi, which was expanded by a Rückpositiv before 1543 . Hans Lüders, Dom. Engelbert, Meister Marten and Meister Johann. The Reformation did not lead to the destruction of organs in Hamburg as it did elsewhere, but to a standstill in organ construction until around 1540.

Features and functions

These Gothic instruments were originally block works whose registers could not be played individually, but only played in full. It was not until the end of the Middle Ages that the invention of the sliding drawer and spring drawer made it possible for individual rows of pipes to be played separately, which resulted in a large tonal spectrum. The medieval organ was used for liturgical purposes and not to accompany the parish singing. It took over parts of the mass and the church times of the day such as the introit and the hymns of praise and sounded alternately with the choir, the congregation or individual singers (" alternate practice ").

Renaissance and early baroque

Important organ builders and their works

From the middle of the 16th century, organ building in Hamburg experienced a strong boost. Organ builders from the Duchy of Brabant played a key role in this, and in the course of the Reformation, because of religious wars and the organ-hostile attitude of Reformed churches, they sought new fields of activity in northern Germany. Around 1600 about half of the city's residents were from the Netherlands. Hamburg benefited from the work of organ builders Gregorius Vogel, Jasper Johansen and the famous Hendrik Niehoff from 's-Hertogenbosch . In 1542/1543 Vogel carried out a reconstruction of the organ in St. Katharinen, which amounted to a new building. The instrument was already famous in the 16th century. Niehoff expanded the Gothic block organ from St. Petri from 1548 to 1550 together with Johansen by a Rückpositiv (with eleven registers), an upper part (with eight registers) and a pedal (eight registers) to a three-manual work.

The Scherer family of organ builders worked far beyond Hamburg . The founder Jacob Scherer had taken over the workshop from Iversand and created several three-manual works in northern Germany. His son Hans Scherer the Elder, a student of Niehoff, conveyed the innovations of the progressive Brabant organ building and was also involved in the expansion of the organ in St. Katharinen, which was expanded several times over the centuries. Scherer's most important successors included Gottfried Fritzsche and Antonius Wilde , who set up their own workshops.

The manual keyboards from St. Jacobi have been four-manual since Gottfried Fritzsche (1636).

Fritzsche, successor to Hans Scherer the Younger and an important link to Arp Schnitger, moved from Saxony to Ottensen around 1630 with the task of rebuilding and expanding the organs of all four main churches. At the time, pupils of Jan Pieterszoon Sweelinck , the "Hamburg organist maker", worked at these four churches : the brothers Jacob Praetorius the Younger and Johann Praetorius at St. Petri and St. Nicolai, Ulrich Cernitz at St. Jacobi and Heinrich Scheidemann at St. Katharinen. In Neuengamme, St. Johannis parts of the Fritzsche organ from 1634 and in Kirchwerder, St. Severini some registers and prospectus parts by Hinrich Speter (1641) have been preserved. In the Organ of St. Jacobi are even ten Scherer register and 19 obtained from Fritzsche whole or in part. Numerous innovations in organ building can be traced back to Fritzsche, who further developed the Brabant art of organ building, such as the introduction of new tongue registers such as Dulzian , Regal , Sordun and the long-bowl Krummhorn . In the chest and pedal he regularly used one-footed voices that were still unknown to Scherer. Instead of Scherer's high-lying Scharff, Fritzsche built a double cymbal and preferred individual aliquot registers . The sesquialtera built into the St. Jacobi organ by Fritzsche in 1635 was the first ever in northern Germany. Compared to Scherer, a number of new secondary registers such as tremulant and "drum" and effect registers such as "cuckoo", "Vogelsang" and "nightingale" were added. While hammered lead pipes were the rule in northern Germany up to now, Fritzsche planed the pipes and used an alloy with a higher proportion of tin; he added marcasite for the trumpet and trumpet goblets . Fritzsche's extensions made the organs in St. Jacobi and St. Katharinen one of the first organs to have four manuals.

The high level of organ building was spread through Fritzsche's pupils in northern Germany. Friedrich Stellwagen was Fritzsche's son-in-law and journeyman and accompanied his teacher to Hamburg before he started his own business in Lübeck around 1635. Joachim Richborn continued Fritzsche's workshop and around 1670 created a new building (II / P / 20) for Sankt Michaelis and some new stops for the organ by Johann Adam Reincken in St. Katharinen, including a 32-foot principle in the pedal. Under the influence of the organist of St. Katharinen, Scheidemann, who was organist of the main church for 34 years, and his pupil and successor Reincken, who worked there for almost 60 years, this monumental instrument was continuously expanded. Based on documents and 520 preserved pipes from 20 registers, this instrument, which was destroyed by the effects of the war in 1943, was reconstructed with 61 registers from 2007 to 2013 and consecrated on June 9, 2013.

The organ concert that Johann Sebastian Bach gave in St. Katharinen in 1720 is legendary :

“In the St. Catharine Church Organ in Hamburg there are even 16 pipe works . The soul. Capelmeister Mr. JS Bach in Leipzig, who once allowed himself to be heard on this, as he said, excellent works in all pieces for two hours, could not boast enough about the beauty and diversity of the sound of these pipe works. [...] The soul. Kapellmeister Bach in Leipzig, assured a similarly good and thoroughly audible speech down to the lowest C, from the 32-footed principal and the trombone in the pedal of the Catharine organ in Hamburg: but he also said that this principal was the only one so large of this good quality, that he would have heard. "

- Johann Friedrich Agricola : Musica Mechanica Organoedi. Berlin 1768

In addition to the nationally important organ builders Scherer, Richborn, Gottfried Fritzsche, his son Hans Christoph Fritzsche and Matthias Dropa (1692–1705), Hans Riege (1648–1666), Paul Landrock (around 1657–1686), Johann Luchtemaker ( 1666), Benjamin Ziegenhorn (1680–1687), Hermann Eggers (1684), Johann Hinrich Wernitzky (1684–1686) and Johann Middelburg (1692). Starting in Hamburg, they shaped organ building as far as the Scandinavian countries, Spain and Portugal.

Features and functions

Schematic work structure "Hamburger Prospekt".
PW = pedal unit, OW = upper unit,
HW = main unit, BW = breast unit,
RP = Rückpositiv.

Thanks to the grandson Hans Scherer the Younger, the Hamburg prospectus received its classic form, which served as a role model internationally. A major achievement of the Hamburg organ building was the completion of the work principle . In the Dutch-North German cultural area, relatively independent sound bodies were set up in separate housings according to this construction: the pedal towers free-standing on the sides, the back positive in the gallery parapet, the breastwork above the console. In terms of sound, these works contrasted with the full sound of the main work. The backbone of these individual plants were completely removed principal choruses , on respectively different Fußtonlage (pitch) based (16 feet, 8 feet, 4 feet).

Hamburg quickly regained prosperity after the Thirty Years War and at the end of the 17th century developed into the leading music city in Germany. The rich inventory of three- and four-manual organs was unparalleled in Northern Europe in the 17th century. It was not until the Thirty Years' War that the organ was used to accompany the parish singing, when the population was decimated and an increasing delay in the tempo of singing was lamented. Up until then she was almost exclusively involved in the liturgy, leading the choir and the singers and alternating with them taking on individual organ verses, which were often created through transcriptions ( intabulations ) of vocal compositions. Organ music framed the sermon when the preacher got into or out of the pulpit, accompanied the celebration of the Lord's Supper and could be heard before and after the services. The North German Organ School was able to develop more splendidly in the 17th century. In the extra-liturgical setting, for example in the Vespers , the “evening plays” and representative concerts organized and sponsored by the merchants, the organists also emerged as composers for vocal and instrumental music.

Arp Schnitger

Schnitger's “Orgelbauerhof” in Neuenfelde before the renovation around 1900

Significant works

The famous organ in Cappel (Schnitger, 1680) was originally built for the church of the St. Johannis monastery .

Of decisive importance for the Hamburg organ landscape was Arp Schnitger , who is regarded as the leading organ builder in Northern Germany in the Baroque era. "Schnitger's work has had a global impact on the modern, historical models of organ building." Schnitger had had a large workshop in Neuenfelde near Hamburg since 1682. From there his organs were exported to England, Russia, Spain and Portugal. The master's breakthrough in his career came with the building of a new organ in St. Nikolai . Here Schnitger installed a four-manual organ with 67 stops from 1682 to 1687, which established his fame and was the largest instrument in Germany at the time. The largest pipe, the low C in the English pewter pedal of Principal 32 ′, weighed 860 pounds. In 1842 the church and the organ fell victim to the town fire .

The St. Jacobi organ is Schnitger's only four-manual work that has survived and is the last Hanseatic baroque organ. Between 1689 and 1693, Schnitger expanded the organ to 60 registers, which were divided into four manuals and pedal, and took over 25 labial registers from the previous organ . Although there were several changes to the layout in the 18th and 19th centuries, most of the registers were retained. Selling prospect pipes to the armaments industry in 1917 was more painful. By outsourcing in 1943, 85% of the pipe inventory and part of the carving were saved, while the case remaining in the main nave burned. In the second half of the 20th century, the organ was largely restored to the condition of 1693.

Some of Schnitger's works have also been preserved in Bergstedt Church (1686), Neuenfelde (1683–1688) and Ochsenwerder (1707/08). His new organs were later replaced or destroyed in the Reformed Church Altona (1685–1687, II / P), the Trinity Church in Hamm (1692/1693), in Moorburg / St. Maria-Magdalen (1695, I / P / 13), Eppendorf (1701, II / p / 11) and his large organ in St. Michaelis (1712, III / P / 52). His positives for the main churches St. Katharinen and St. Jacobi and his house organs for Hamburg pastors and councilors have been lost with one exception. He carried out repairs and extensions in the Pesthofkirche (1686), St. Pauli Church (1687/1688), the main church St. Petri (1688/1689, 1692), St. Maria-Magdalena in Moorburg (1691), Steinbeker Church (before 1700), St. Gertrud (1699–1700), the main church St. Nikolai (1701, large and small organ), in the Mariendom (1701), Heilig-Geist-Hospital (1702) and in St. Trinity in Altona (1702/03).

Two two-manual Schnitger organs escaped destruction because they were sold and moved outside of Hamburg. The organ of the Grasberg Church was originally built for the Hamburg orphanage in 1693/1694 and was transferred by Wilhelmy to Grasberg for 500 Reichstaler when the orphanage was about to be demolished. 14 of Schnitger's 21 registers have been preserved. The organ in Cappel , which has 28 historical registers out of a total of 30 , is even more completely preserved . Schnitger built it in 1679/1680 for the St. Johannis monastery church in Hamburg using ten registers from the previous organ from the late Renaissance . In the course of the abolition of the monastery, the instrument was dismantled by Geycke in 1813, sold to Cappel for 600 Reichstaler and rebuilt there in 1816 by Johann Georg Wilhelm Wilhelmy . Both organs still largely have their original, fine intonation, which is characteristic of Schnitger's city organs, and are among the best-preserved works of the master.

Features and functions

Schnitger developed a new sound concept with strong basses in the pedal and strong mixtures in all works, which enabled a large number of solo and plenum registrations. In contrast to the gentle-sounding mixtures of the Renaissance, which had few repetitions and were created for the presentation of polyphonic music, Schnitger's instruments took into account the new function for accompanying church singing. The stylus phantasticus of Hanseatic organ art with its changing affects could also be optimally realized on them. The perfect work principle, the principal choirs fully developed in all works, the colored or fundamental flute registers, the various reeds and the various plenums corresponded to the north German compositions with their frequent manual changes, consort registrations and the varied use of the independent pedal.

Late baroque and classicism

At the organ in Ottensen (Busch, 1745) the works move together to form a closed prospectus.

Important organ builders and their works

After Schnitger's death in 1719, his sons moved to the Netherlands, where the Schnitger school continued well into the 19th century. His students carried out numerous conversions and considerable new organs in northern Germany. In Hamburg itself this tradition broke off suddenly, and after Reincken († 1722) and Lübeck († 1740) the level of organ playing and organ compositions could not be maintained. As the only Schnitger student in Hamburg, Otto Diedrich Richborn built in the style of his teacher. In 1721 he completed his only documented new building in the St. Paulikirche on the " Hamburger Berg ". Otherwise external organ builders were commissioned.

One of them was Johann Dietrich Busch from Itzehoe, successor to Schnitger's master craftsman Lambert Daniel Kastens , who created a number of new instruments in solid execution. New buildings were built in Billwerder (1739), Altona (1743/1744), for the New Hiobshospital (1743–1745), in Ottensen (1744/1745), St. Georg (1744–1747, III / P / 49) and Altengamme ( 1750-1752). There were also major renovations, such as for St. Katharinen (1741/1742). After his death, his son Johann Daniel Busch initially continued the workshop in Hamburg, but was driven to Schleswig-Holstein by Johann Jakob Lehnert and, from 1765, by Johann Paul Geycke . Geycke's workshop in Hamburg was continued by his son Joachim Wilhelm Geycke ; Georg Wilhelm Wilhelmy was his journeyman and entirely committed to Schnitger's style. Apart from a few new buildings, such as for the Pesthofkirche in St. Pauli , the Geyckes excelled through conversions, repairs and maintenance. In this way they maintained and secured the rich organ inventory of the Hanseatic city.

Mark

A change in sound aesthetics can be seen in the way the prospectus was designed: Instead of spatially separated works, a contiguous prospectus was preferred in the late baroque and classicism periods . Instead of a Rückpositiv and a breastwork, an upperwork was preferred and the wind chests were placed in a large case. In terms of sound, gentle string and flute voices were preferred instead of strong reed voices and light mixtures .

romance

The organ in St. Michaelis (Marcussen & Søn, 1914) has a romantic tradition.

Important organ builders and their works

Even in the age of romanticism there were various organ builders who were committed to traditional organ building principles and who built more conservatively. Since they valued the work of the old masters, instead of demolishing and then rebuilding, they carried out conversions or changed the disposition in order to adapt the traditional instruments to the new tastes of the time. In 1819 Johann Gottlieb Wolfsteller opened his own workshop in Hamburg under the name “Hamburger Orgelbauanstalt” in the Brook 67 building. Between 1836 and 1852, Wolfsteller was commissioned to change the layout and to make extensions to the organs in St. Michaelis, St. Jacobi and St. Petri . The instruments by Marcussen & Søn were also conservative , which can be seen on the outside of the organ in St. Johannis in Harvestehude, built in 1882, on the prospectus with its three round towers. The so-called “concert organ” by Marcussen from 1914, a pneumatically controlled instrument from the late Romantic era, takes up traditional forms in the prospectus.

On the other hand, there was an increasing number of companies working supraregional, which were progressive, implemented technical innovations in the area of ​​the action and enabled new sound concepts in the Romantic style. One of them was the company Philipp Furtwängler & Söhne , which built the organ in Wilhelmsburg / Kreuzkirche in 1870 and the two-manual works in Finkenwerder / St. Nikolai and Moorburg / St. Mary Magdalene built. Christian Heinrich Wolfsteller , a grandson of Johann Paul Geycke, took over his father's company. In addition to modernizing renovations in St. Katharinen (1869), Billwerder (1870) and Ochsenwerder (1885), he created new buildings in St. Johannis (Hamburg-Eppendorf) (1872), Hamburg-Rothenburgsort (before 1885), the Johanneum's school of scholars (1888 ) and the chapel of the Helenenstift (1894). He delivered more than 50 organs abroad. Wolfsteller was the first to develop an electric action in 1889, which, however, was unable to establish itself due to the complex construction.

Mark

In the 19th century the style of organ building changed fundamentally. In the age of romanticism the sound and appearance of the organ changed, technical innovations were introduced. The working principle was completely abandoned and the organ was built behind a flat composite prospect. In the place of the protruding pipe towers there were flat fields. In the last decades of the 19th century the cone chest and the pneumatic action mechanism were introduced, at the end of the century the electrification of the action mechanism took hold. The number of reeds and aliquot registers decreased in favor of fundamental voices in the 8-foot position ("equall position"), which allowed a stepless sound dynamic. The installation of back and swell works also served this purpose . Large companies that delivered organs across Germany in large numbers increasingly shaped the picture, but also led to a nationwide harmonization of styles.

20th and 21st centuries

The organ of the Blankenese church (R. von Beckerath, 1991) is combined with a separate electronic sound generator.

Until World War II

From the 20th century, the Hamburg organ culture was integrated into general German organ building. Paul Rother took over the Wolfsteller workshop in 1899 and continued it until 1950. A large part of the new buildings in and Hamburg from this time can be traced back to him, for which he used the (electro) pneumatic cone drawer almost exclusively. The destruction of many churches and organs during World War II led to a large number of new organs being built. In addition to important historical organs, the large organ in the main church St. Michaelis by Walker & Cie from 1912, which had 163 stops and five manuals and was one of the largest organs in the world at its time, was also destroyed. Free pipe prospectuses without a closed case enjoyed a certain popularity from the 1930s to the 1960s, for example with the organs in the Christ Church Othmarschen by W. Sauer Orgelbau (1936) and in the Christ Church Wandsbek von Walcker (1966/1967).

The young organ movement received significant impulses from the Schnitger organ in St. Jacobi. Hans Henny Jahnn campaigned for the restoration of the organ and in the 1930s called for a return to the building and sound principles of the North German baroque organ. The first large organs to be built with mechanical action again in the age of pneumatics include the organ in the Ansgar Church in Langenhorn ( P. Furtwängler & Hammer , 1931) and the organ of the Lichtwark School ( Karl Kemper , 1931), both based on the design from Jahnn. Both are almost completely preserved or have been largely restored to their original condition.

After the Second World War

Jürgen Ahrend 1992 in his workshop during the preliminary intonation of the upper works of St. Jacobi

The Schnitger researcher and biographer Gustav Fock , who, like Schnitger, was born in Neuenfelde, lived in Blankenese and published numerous papers on Schnitger and in 1974 a fundamental work that opened up the importance of Schnitger and the impact of his school. In the course of the growing awareness of the historical instruments that have been preserved, they have been expertly restored in recent decades. In this area, Jürgen Ahrend Orgelbau has made a name for himself , which, in addition to some new buildings (1969 in Altona / Reformed Church and 1975 in Harvestehude / Christian Community Johnsallee), emerged from the restoration of the organ in St. Jacobi (1990-1993).

In the second half of the 20th century, the Hamburg company Rudolf von Beckerath shaped the cultural region significantly with a number of new buildings. The company, which also supplied organs internationally, followed on from baroque organ building traditions, which were combined with modern production methods and design principles. After the Second World War, the four-manual concert organ for the Laeiszhalle (1951) caused a stir . Beckerath created a three-manual work for the New Mariendom (1967), which was later expanded (IV / P / 64). Other new organs were built in St. Erich in 1969 and in 1995 in the Erlöserkirche, Farmsen-Berne . The organ in the Blankenese church from 1991 is unusual , and at the instigation of the organist and composer Hans Darmstadt there is combined with a MIDI- capable synthesizer . This can be played from the keyboards of the pipe organ, the loudspeakers are located between the pipes in the organ case. In total, the von Beckerath company manufactured over 50 instruments in the Hanseatic city. In the 1960s, the Luther Church Wellingsbüttel developed into a center of modern, often avant-garde organ music. Gerd Zacher , organist at the Luther Church and composer, experimented with the play wind , which he modified, and in this way created new, strange sounds. A new organ by Schuke had been available there since 1962 , the wind pressure of which could be lowered.

In the 1960s, under the influence of structuralism, angular organ cases in boxes of different sizes were preferred, which formally indicated a return to the work principle. This type is represented in Hamburg by Alfred Führer , who built works in the neo-baroque style from the late 1950s to the early 1970s. In the last few decades, German organ building in the big cities has become very similar and has hardly any special features of its own. As in other major German cities, the leading German organ building companies are represented with new buildings in Hamburg, in addition to the companies already mentioned, for example Klais ( Elbphilharmonie ), Mühleisen ( Church at Rockenhof ), S. Sauer ( Barmbek / St. Sophien ), Späth (St. Michaelis) and Steinmeyer (main church St. Michaelis). The organ landscape is supplemented by some new organs from Denmark ( Marcussen , main church St. Michaelis), the Netherlands ( Flentrop , main church St. Katharinen) and Switzerland ( Kuhn , St. Johannis / Altona ).

On the occasion of the 300th anniversary of Arp Schnitger's death in 2019, organists from Hamburg set up the “Orgelstadt Hamburg” association, which is committed to maintaining Hamburg's organ culture.

literature

  • 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 .
  • Gustav Fock : Hamburg's share in organ building in the Low German cultural area . In: Journal of the Association for Hamburg History . No. 38 , 1939, pp. 289-373 .
  • 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 .
  • Konrad Küster : Hamburg's “central position” in the north German organ culture. Reflections on a research model . In: Hans Joachim Marx (Hrsg.): Contributions to the music history of Hamburg from the Middle Ages to the modern age (=  Hamburg Yearbook for Musicology; 18 ). Lang, Frankfurt a. M. u. a. 2001, ISBN 3-631-38433-5 , pp. 149-175 .
  • Heimo Reinitzer (Hrsg.): The Arp Schnitger organ of the main church St. Jacobi in Hamburg . Christians, Hamburg 1995, ISBN 3-7672-1187-4 .
  • Günter Seggermann, Alexander Steinhilber, Hans-Jürgen Wulf: The organs in Hamburg . Ludwig, Kiel 2019, ISBN 978-3-86935-366-1 ( reading sample [PDF]).
  • Harald Vogel , Günter Lade, Nicola Borger-Keweloh: Organs in Lower Saxony . Hauschild, Bremen 1997, ISBN 3-931785-50-5 .

Discography

Web links

Commons : Orgeln in Hamburg  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ Küster: Hamburg's "central position" in the north German organ culture. 2001, criticizes Hamburg's special role postulated in older research.
  2. ↑ a b Ibo Ortgies : Arp Schnitger . In: Ludwig Finscher (Hrsg.): The music in past and present. Person part . tape 14 . Bärenreiter, Kassel 2005, Sp. 1531 .
  3. ↑ On the term “Hamburg organ landscape” see Dorothea Schröder: Gloria in excelsis Deo. A history of the organs in the main church St. Petri, Hamburg. Wachholtz, Neumünster 2006, ISBN 3-529-02848-7 , p. 20.
  4. ^ Fock: Hamburg's share in organ building. 1939, p. 290 f.
  5. ↑ Reinitzer (ed.): The Arp Schnitger organ. 1995, p. 67.
  6. ^ Fock: Hamburg's share in organ building. 1939, p. 294.
  7. ^ Fock: Hamburg's share in organ building. 1939, p. 297.
  8. ↑ Reinitzer (ed.): The Arp Schnitger organ. 1995, p. 43.
  9. ↑ a b Kathrin Heitmüller: The organ builder Matthias Dropa in the socio-cultural environment of his time. (PDF; 73 kB) p. 3 , accessed on July 4, 2020 .
  10. ^ Fock: Hamburg's share in organ building. 1939, p. 297 f.
  11. ↑ Fock: Arp Schnitger and his school. 1974, p. 66.
  12. ↑ Hans Klotz : The book of the organ . 9th edition. Bärenreiter, Kassel 1979, ISBN 3-7618-0080-0 , p. 176 .
  13. ↑ An organ for Bach in St. Katharinen. Johann Sebastian Foundation, accessed on July 4, 2020 .
  14. ↑ Hans Klotz:  Fritzsche, Gottfried. In: New German Biography (NDB). Volume 5, Duncker & Humblot, Berlin 1961, ISBN 3-428-00186-9 , p. 636 ( digitized version ).
  15. ^ Johann Mattheson : Basis of an honor gate. 1740, accessed July 4, 2020 . “So that our Schweling was only called the Hamburg organist maker”.
  16. ↑ a b Konrad Küster: Organ building and organ playing in Hamburg through the centuries. In: Seggermann: The organs in Hamburg. 2019, p. XVII.
  17. ^ Fock: Hamburg's share in organ building. 1939, p. 345.
  18. ^ Fock: Hamburg's share in organ building. 1939, p. 346.
  19. ↑ Fock: Arp Schnitger and his school. 1974, p. 43.
  20. ↑ a b According to the general tradition in organ building, the Roman number indicates the number of manuals and the Arabic number the number of sounding registers. A capital “P” stands for an independent pedal, a lowercase “p” for an attached pedal.
  21. ↑ The reconstruction. Johann Sebastian Foundation, accessed on July 4, 2020 .
  22. ↑ An organ for Bach in St. Katharinen. Johann Sebastian Foundation, accessed on July 4, 2020 .
  23. ↑ Wolf Kalipp: The organ of St. Catherine's, Hamburg. (PDF; 267 kB) Accessed July 4, 2020 .
  24. ↑ Hans-Joachim Schulze (Ed.): Documents on the aftermath of Johann Sebastian Bach 1750-1800 . Bärenreiter, Kassel 1984, p. 739 (Bach documents 3). ( online ).
  25. ↑ Reinitzer (ed.): The Arp Schnitger organ. 1995, p. 36.
  26. ↑ Kerala J. Snyder: The Organ As a Mirror of Its Time. North European Reflections, 1610-2000 . Oxford University Press, Oxford 2002, ISBN 0-19-514415-5 , pp. 10 .
  27. ↑ Reinitzer (ed.): The Arp Schnitger organ. 1995, p. 47f.
  28. ↑ Reinitzer (ed.): The Arp Schnitger organ. 1995, pp. 48, 60-62.
  29. ↑ Edskes / Vogel: Arp Schnitger and his work. 2013, p. 14f.
  30. ↑ Fock: Arp Schnitger and his school. 1974, p. 49.
  31. ↑ See the restoration report in Reinitzer (ed.): The Arp-Schnitger-Orgel. 1995, pp. 127-265.
  32. ↑ The Schnitger organ, which has been modified in Deyelsdorf (Mecklenburg-Western Pomerania), was made in 1694 as a house organ for Johann Friedrich Mayer , the main pastor of the Hamburg main church St. Jacobi .
  33. ↑ Fock: Arp Schnitger and his school. 1974, pp. 65-75.
  34. ^ Vogel / Lade / Borger-Keweloh: Organs in Lower Saxony. 1997, p. 182f.
  35. ^ Vogel / Lade / Borger-Keweloh: Organs in Lower Saxony. 1997, pp. 165-169.
  36. ^ Vogel / Lade / Borger-Keweloh: Organs in Lower Saxony. 1997, pp. 45, 168f.
  37. ↑ Stef Tuinstra : Arp Schnitger - in search of the authentic sound . In: Basler Jahrbuch für historical Musikpraxis . tape 22/1998 . Amadeus Verlag, Winterthur 1999, p. 173-175 .
  38. ↑ Fock: Arp Schnitger and his school. 1974, p. 75.
  39. ↑ Fock: Arp Schnitger and his school. 1974, p. 76.
  40. ↑ Fock: Arp Schnitger and his school. 1974, p. 180.
  41. ^ Vogel / Lade / Borger-Keweloh: Organs in Lower Saxony. 1997, p. 63: "Georg Wilhelmy made a special contribution to caring for many organs of the duchies."
  42. ↑ Hamburg address book from 1847. ahnenforschung.net, accessed on July 4, 2020 .
  43. ↑ The concert organ. Main Church St. Michaelis Hamburg, accessed on July 4, 2020 .
  44. ^ Organ in Moorburg / St. Mary Magdalene. Organ Databank, accessed July 4, 2020 (Dutch).
  45. ^ A b c Walter Hilbrands : The Hamburg organ landscape. Developments after the Great Fire of the City (1842). In: Seggermann: The organs in Hamburg. 2019, p. XXII.
  46. ↑ Hans Martin Balz : Divine Music. Organs in Germany . Konrad Theiss, Stuttgart 2008, ISBN 3-8062-2062-X , p. 16, 23 (230th publication of the Society of Organ Friends).
  47. ↑ Günther Grundmann (ed.): The architectural and art monuments of the Free and Hanseatic City of Hamburg. Vol. 1: Bergedorf, Vierlande, Marschlande. Wegner, Hamburg 1953, p. 234.
  48. ^ A b c Walter Hilbrands: The Hamburg organ landscape. Developments after the Great Fire of the City (1842). In: Seggermann: The organs in Hamburg. 2019, p. XXIII.
  49. ^ Walcker organ in St. Michaelis. Organ Databank, accessed July 4, 2020 (Dutch).
  50. ↑ Organ of the Christ Church in Wandsbek. Orgelbau Walcker, accessed on July 4, 2020 .
  51. ↑ Reinitzer (ed.): The Arp Schnitger organ. 1995, pp. 94-126.
  52. ↑ Fock: Arp Schnitger and his school. 1974.
  53. ↑ Schnitger and his predecessors. (PDF; 44 kB) Main Church St. Jacobi, accessed on July 4, 2020 .
  54. ↑ Beckerath's catalog raisonné. Orgelbau Beckerath, accessed on July 4, 2020 .
  55. ↑ Ernst König: Chronicle of the parish Wellingsbüttel 1938 to 1988 . Self-published by the parish of Wellingsbüttel, Hamburg 1989, p. 187 .
  56. ^ Organ in Wellingsbüttel. (PDF; 6 MB) Accessed July 4, 2020 .
  57. ↑ Elbphilharmonie organ. Orgelbau Klais, accessed on July 4, 2020 .
  58. ^ Organ in Hamburg-Altona, St. Johanniskirche. NOMINE e. V., accessed on July 4, 2020 .
  59. ↑ Organ city of Hamburg. Retrieved July 4, 2020 .
This article was added to the list of excellent articles on February 7, 2013 in this version .