Organ landscape Upper Bavaria

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The Fux organ of the Fürstenfeld monastery church from 1736

The organ landscape of Upper Bavaria includes the organ inventory in the area of ​​today's administrative district of Upper Bavaria . The region was almost exclusively Catholic until the 19th century and is still predominantly today. The position and use of the organ in Catholic worship is different from that in Protestant worship , and it has less significance and appreciation here. Nevertheless, there are many extraordinary organs in Upper Bavaria because in the monastery and pilgrimage churches, of which there were particularly many here, larger and more magnificent organs were built than in the ordinary parish churches.

Due to the massive destruction of Munich's inner city during World War II , almost all historically relevant organs are located outside of the city.

The article describes the history of organ building in Upper Bavaria and gives an overview of the organ builders and the most interesting organs.

Further detailed information on individual organs can be found in the list of organs in Upper Bavaria .

History of organ building

Until the late Gothic

Paumann's epitaph in the Frauenkirche in Munich
The magnificent organ of the Munich Residence (around 1590)

One of the earliest examples of Upper Bavarian organ building is a letter from Pope John VIII in 873 to the Freising Bishop Anno . In it he demands that a first-class “organum” with a master who is knowledgeable in building and playing be sent to Rome .

Rudolf Quoika writes about organs in the 12th and 13th centuries in Freising and Scheyern , but "... unfortunately the knowledge remains in the range of assumptions due to a lack of sources."

The epitaph by Conrad Paumann († 1473) in the Frauenkirche in Munich is an early testimony to the building of the organ that is still visible today . It shows him with a portative . Paumann was the most famous musician of his time in Germany. The Bavarian Duke Albrecht III. succeeded in engaging him as court organist in Munich around 1450. His organ playing theory Fundamentum organisandi has been handed down in four different versions: the two earlier versions, one of which is dated 1452, are predominantly two-part, the later three-part. The increase in tones containing thirds in the later versions is an indication that the transition from the Pythagorean to the mean-tone tuning took place at this time.

Renaissance and early baroque

Daniel Hayl (II) organ from 1624 in Freising Cathedral , figurine decorations by Philipp Dirr . → organ

Smaller organ works can be identified early on in the Munich Residence , some of which have survived. Several organ builders are also known in court service: Wolf Fabricius († after 1564), Kaspar Sturm (* around 1560, † after 1604) or Anton Neuknecht, who was employed at the court in Munich from 1586 to 1592.

We are particularly well informed about the organ of St. Michael in Munich, which was built in 1595 by Urban Heusler and his son-in-law Leonhard Kurz († 1612), as both the contract and an outline sketch are still available. The organ had two manuals . There were eight registers on one manual , the same eight on the pedal, and there was a chest with three registers. The manuals went from F, G, A, B, H to a 2 (38 keys), and the pedal from F, G, A, B, H to h (16 keys). What makes this organ was that the brochure on both sides of the game cabinet langbechrige 8 ' trumpets of brass stood. They were made in Nuremberg . In addition, the organ system was designed as a double work. In the church ordinance of St. Michael from 1664 it is expressly pointed out: “It is important to note that you should wiggle the organs around and never hit one of them so that the others do not spoil.” The organ in the nearby town hall church was also built Built in 1710 as a pair of organs. Such pairs of organs were more common in the southern German-Austrian region.

At the beginning of the 17th century, tongue registers went out of fashion in Upper Bavaria. The Munich organ builder Hans Lechner († 1634) tried to dispel reservations about his ability when he wrote to the Mayor of Munich in 1628: “... and please your Churfrstl. Drl. The same is not the fault of the organ maker, but the organist, who could pull the lovely registers, so pleasing to the princely persons, and not the rushing ones, in which the bourgeoisie and common men have the best liking; “Lechner built both the Organ of St. Peter 1629, as well as that of the Munich Cathedral 1633 without any reeds. In contrast to other organ landscapes , hardly any reed parts were built in the old Bavarian organ building after 1650.

The Rieger organ of St. Michael in the reconstructed prospectus from 1697

In the case of the organ of the Munich Cathedral, Lechner took over the 24 ′ prospect pipes, which were turned from wood, from the previous instrument. They belonged to the pedal with a range of F to B (14 keys). It is also said that the labia were painted in color. It was not until 1847 that one of the pipes collapsed during a service and fell onto the gallery. Fortunately, none of the singers and musicians gathered there was injured. Large wooden prospect pipes came into fashion as early as the 16th century. One example that has survived is the Fux organ in the Fürstenfeld monastery church .

The organ of St. Michael was replaced by a contemporary new building for the centenary celebration in 1697. The builder was Johann Georg Fux . The return positive was unusual at this time in Old Bavaria. The reason for this was that the windows were so enlarged that there was no more space for a breastwork. The prospectus was only destroyed in World War II, but was reconstructed again in 1983. The prospectus of the organ from 1724 of the collegiate church St. Philipp and Jakob in Altötting has also been preserved from Fux . Particularly noteworthy, however, is the Fux organ of the Fürstenfeld monastery church from 1736, which has largely been preserved unchanged.

Baroque and Rococo

The König organ of the Marienmünster in Dießen from 1739
The Brandenstein organ in Raitenhaslach from 1743
The Bayr organ of the Marienberg pilgrimage church from 1769
The hunter organ of the Benediktbeuern monastery church from 1770

At the end of the 17th century, Max II Emanuel had ruined the country through war ( Great Turkish War (1683–1699) and War of the Spanish Succession (1701–1714)) and his excessive lifestyle. It is therefore not surprising that, unlike in northern Germany, for example, there were hardly any new organs built during this period. Only at the time of the Rococo did the country slowly flourish again, and there were numerous new churches and renovations, especially splendid in the Pfaffenwinkel .

Quirin Weber was based in Dachau , but was also active as far as the Tegernsee . He built his largest plant in Weyarn in 1747. The organ he built in 1736 is still preserved in the Haimhausen Castle Chapel .

The Swiss Johann König settled in Ingolstadt in 1670 . His most important work was the rebuilding of the Liebfrauenmünster organ in Ingolstadt in 1676. His eldest son Caspar König initially tried in vain to gain a foothold in Munich in 1708, but then continued his father's workshop in Ingolstadt and paid his younger brothers Melchior and Balthasar , organ builders in the Rhineland .

In the southeast of Upper Bavaria, already in the Diocese of Passau , is a former Cistercian - Raitenhaslach . In the abbey church, Johann Konrad Brandenstein completed his greatest organ work in 1743. The organ was later rebuilt a number of times, most notably in 1904 by Martin Hechenberger . He added a free-standing console and switched the organ to a pneumatic keyboard and stop mechanism with a cone shutter . Even so, it is still the one with the largest inventory of Brandenstein pipes.

In 1744 Anton Bayr came to Munich and soon established himself as the leading organ builder. His first work was the organ for the Franciscan monastery in Ellingen . After secularization she came to Walting . When it got a new movement in 2002, Sixtus Lampl saved the old wind chests and registers, if they were still there. In the Valley Organ Center , he had it set up ready to play in the replica case. Bayr built a total of 150 organs. The organ of the Marienberg pilgrimage church , built in 1769, has been preserved almost unchanged .

The Benediktbeuern monastery was one of the most important monasteries in Bavaria. The organ of the monastery church , which is still largely preserved, was built by Andreas Jäger between 1760 and 1770. In doing so, he took over 13 stops from Christoph Egedacher's predecessor instrument from 1686, expanded them to 33 stops and the manual ranges to 54 notes (C – f 3 ), the pedal range to 22 tones (C – a) and added a Rückpositiv, which was later removed when the gallery parapet was renewed. During the restoration by Orgelbau Sandtner in 1968, the Rückpositiv was reconstructed and placed invisibly on the first gallery.

In the south-west of today's Upper Bavaria there are some works by the Swabian organ builders Balthasar Freiwiß and Johann Georg Hörtich , of which mostly only the brochures have survived.

19th century

secularization

The Weber organ from 1738 came to the Karolinenkirche in Großkarolinenfeld in 1824

During the secularization of Bavaria in the early 19th century, the monasteries were nationalized. Nevertheless, more than 80% of the monastery churches remained. In many cases they were made available to the parishes, and instead the smaller, old parish churches were demolished or profaned. In Upper Bavaria, 58% of the organs in the more than 100 monastery churches remained standing, while 40%, mainly choir organs, were sold. Because of the oversupply on the used organ market, times were difficult for the organ builder, as there were almost no new buildings.

The royal family acquired the former Tegernsee monastery in 1817 and converted it into a palace. The choir organ from the monastery church, which had been built by Quirin Weber in 1738 , was donated in 1824 to the newly founded Protestant community in Großkarolinenfeld for their Carolinian church .

Immediately after his accession to the throne in 1825, Ludwig I initiated the restoration of the monastery, and by 1837 there were already 75 new monastery branches.

Ludwig I placed no particular emphasis on organ music, but rather wanted "ancient Roman coral singing" for church music, as can be clearly seen in the example of the organ in the Theatine Church . The Theatinerkirche, court church and burial place of the Wittelsbachers , is one of the largest churches in Munich city center, but had only an insignificant organ with a manual and 14 stops, which was also unfavorably behind the main altar. "This organ was initially designed for the Korgebeth of the Theatines, since public, Sunday and public worship services were not common in their church." When it was proposed to build a larger organ on the gallery above the main entrance, the king ordered: " I don't want an upstairs church with a choir. The organ is to remain behind the altar as before, but placed freer and drier; After two years of negotiations, a “major repair” of the organ was carried out in 1834, during which it was expanded to include a manual and two stops. To this day the organ of the Theatine Church is hidden in the side gallery.

Abbé Vogler

The Pröbstl organ from 1833 in Pfaffenhofen am Inn
The Maerz organ (1893) of the parish church of the Assumption in Fridolfing
The Siemann organ of St. Nikolaus in Übersee (1914)

At the beginning of the 19th century, Abbé Vogler brought completely new ideas to organ building. One of the first organs that were rebuilt according to his ideas was that of the "electoral Protestant court prayer house" in Munich in 1805. The court was so enthusiastic about Vogler's demonstrations that in 1806 a new organ with Vogler's "simplification system" for St. Peter in Munich was commissioned. It was completed in 1809 and had five manuals, a division of the keyboard into bass and treble, penetrating reeds, swell box, a pedal with 32 keys and an acoustic 32 'bass (based on " Tartini 's third tone", which is supposed to be the fundamental tone listens, although actually only the octave and fifth above this are generated). These were all spectacular innovations that caused a sensation at Vogler's virtuoso concerts. Such a “concert organ” was not needed for church services, and so it was “normalized” again in 1825: it was reduced to a manual and got a pedal with 18 keys and a short octave . In 1812 the organ of the Michaelshofkirche was redesigned . It is said that only the court organist Caspar Ett really knew how to play it, and it was thanks to the influence of Karl Emil von Schafhäutl that it was only replaced by a new building in 1897.

romance

Schafhäutl wrote a biography about Vogler and was an organ expert from 1851 to 1887. In his estate is a collection of several hundred cost estimates, reports on organ repairs and new constructions, through which we are well informed today about the state of Bavarian organ construction at that time.

As a rule, the short octave is found up to 1850 .

Some organ builders were already using the cone chest in the pedal after 1850 (Zimmermann, Beer ), but mostly the sliding chest remained in use until 1885. The mechanical cone drawer also prevailed in the manual from 1880, and also a free-standing gaming table instead of the play cabinet. From 1900 the pneumatic action is only authorized.

The work of the organ builder Joseph Pröbstl was described by his son Balthasar Pröbstl , just like his own, in a house chronicle . The Pröbstls were based in Füssen , just outside of Upper Bavaria. However, many of the organs they worked on were in Upper Bavaria. In the house chronicle, Pröbstl also describes a trip to Northern Germany in 1861. In Weißenfels he met Friedrich Ladegast , and in Leipzig he visited the organ of the Nikolaikirche , which was just being built by Ladegast with 80 registers. Pröbstl's remark in the Haus-Chronik “one would only put an organ with 12-18 registers in such a church” clearly shows the difference in organ construction in both regions. But there were also similarities, as he writes: "Ladegast is very familiar with Potter's theory and agrees very well with me in practice." Töpfer has written several books on organ building, and it is known that the findings from Ladegast's study of Potter's “Textbook of Organ Building Art”, which had just appeared in 1855, was used in the construction of the Nikolaikirchen organ.

Schafhäutl was also the mentor of Josef Gabriel Rheinberger when he came to Munich in 1851 at the age of 12 to train musicians, and he remained his lifelong companion. Rheinberger "was the most respected German organ composer and teacher during his lifetime" and had a decisive influence on sacred musical life in Munich in the second half of the 19th century, even if it was in sharp contrast to the then prevailing ideas of Caecilianism , which opposed the classics and the instrumental music revolted. His wife Franziska von Hoffnaaß donated a new organ in her will and decreed that St. Michael "... should get the most beautiful and best organ in Munich" and that Maerz should build it on the orders of her husband. Rheinberger designed a disposition with 38 registers on three manuals, and the organ was inaugurated in 1897.

The Moser / Nenninger organ from 1915 by St. Margaret in Munich

Franz Borgias Maerz was the largest organ builder in Upper Bavaria. He had inherited the business from his adoptive father Max Maerz in 1879 . The most important organs still preserved from Maerz are those of the parish church of the Assumption of Mary (1893) in Fridolfing , the parish church of St. Zeno in Bad Reichenhall (1899) and St. Rupert in Munich (1907, expanded and rebuilt in 1933). At the turn of the century, his “Orgelbauanstalt” built an average of 20 instruments with 250 registers per year. At times the company had more than 25 employees. The pipes were also produced by Maerz itself. From 1893 Maerz built organs with a pneumatic cone chest. At the turn of the century, Friedrich Witzig, the inventor of the pneumatic pocket drawer , switched to Maerz. From then on, many organs were also offered with the "Witzig system". Although Maerz dominated the market in Bavaria, it was hardly known outside of it. Maerz was also called the "Catholic Steinmeyer". The Protestant churches primarily ordered organs of the same design from (Protestant) Steinmeyer . B. 1877 for the Markuskirche Opus 160, 1894 Johanneskirche Opus 512, 1896 Lukaskirche Opus 578, 1900 Christ Church Opus 700, 1901 Erlöserkirche Opus 721. Steinmeyer also built a new organ for the Munich Frauenkirche (Opus 200) in 1880.

After Maerz's death in 1910, Willibald Siemann took over his market share in Bavaria.

In the period from 1875 to 1914 z. B. EF Walcker 1450 organs, G. F. Steinmeyer & Co. 1150 and W. Sauer 1100, while F. B. Maerz came up with 450 and Binder & Siemann with 330 instruments.

20th and 21st centuries

The Steinmeyer organ from 1932 in Munich's Lukaskirche

Max Reger lived in Munich from 1901 to 1907 . The organ of St. Johann Baptist , near his apartment at the time, was dedicated to him for this reason.

At the beginning of the 20th century, Heinrich Koulen was already building some organs in Upper Bavaria that were influenced by the Alsatian-New German reform ( Scheyern 1908, Weilheim in Oberbayern 1909, Landsberg am Lech 1911). But the real turning initiated Albert Moser and Leopold Nenninger 1915 with the construction of the organ in St. Margaret in Munich, which was a forerunner of the Alsatian organ reform within Germany and from the mid-30s, the German organ movement developed. The disposition corresponded to a “baroque” sound structure with a connection to the romantic keynote, which was gradually abandoned. Moser built in 1919 as the first one register None 8 / 9 '. At the “Freiburg Conference for German Organ Art” in 1926, Friedrich Högner called the organ in the Matthäuskirche in Munich, which had just been built by Albert Moser, a prime example of a “modern” organ, in which numerous aliquots “produce a sound mixture similar to the characteristic, bright, old one 'Organ sound comes close ”and about the nine mixtures he stated that he“ has never come across such a wonderful, singing mixture sound ”.

Some Steinmeyer organs that were built in Munich before the Second World War survived the war, e.g. B. those of the Trinity Church , Church of the Redeemer and the Church of St. Luke . The Walcker organ of the Church of the Resurrection was also preserved.

Second World War

During the Second World War , most of the churches in Munich were destroyed and thus more than 90% of all organs. In addition, the concert halls Odeon and Kaim-Saal with their famous Walcker organs were lost forever (Odeon: Walcker Opus 1238 with IV / 62 from 1906; Kaim-Saal: Walcker Opus 733 with III / 50 from 1895).

post war period

The Nenninger organ from 1974 in the St. Kastulus Minster in Moosburg on the Isar
The Ott organ of the Freising Church of the Ascension (1953)

Reconstruction soon began after the Second World War. Many companies that were already established before the war were able to resume production. In addition to GF Steinmeyer & Co., this includes the Swabian company Orgelbau Zeilhuber, which is well represented in the south-west of Upper Bavaria . Its most important new building was that of the organ of the Munich Frauenkirche in 1957.

The company Carl Schuster & Sohn , which had existed since the 1920s, was prominently represented in Munich . At first she mainly built organs with a cone chest and electric action, from the mid-1960s also with a sliding chest. In Munich there are some larger instruments from this company. Later renamed to Münchner Orgelbau , it was taken over by Wilhelm Stöberl in 1975 .

At that time, the ideas of the organ movement were increasingly taken up again. Rudolf Quoika and Walter Supper were particularly committed to this . Guido Nenninger tried to implement these ideas in both new buildings and conversions. “Today we try to restore old organs to their original condition, a beginning that usually succeeds. The best examples are the works in Diessen am Ammersee and in Schlehdorf, both supervised by Guido Nenninger, Munich (1960, 1963). “Many Nenninger organs have already been replaced because, with their neo-baroque disposition, they are no longer up to date were.

A prime example of an organ built according to the ideas of the organ movement is the Ascension Church in Freising , built in 1953 by Paul Ott . On the initiative of Karl Richter in 1967, Paul Ott also built a new choir organ for the Markuskirche in Munich . Rudolf von Beckerath Orgelbau built one of the largest church organs in Munich to date for the Ludwigskirche in 1960. The grand pianos, like those on the cathedral organ in Freising or the pilgrimage church of the Visitation of the Virgin Mary in Ilgen, were seen as particularly typically “baroque” .

Second Vatican Council

The Schmid organ from 1976 in the St. Anna Basilica in Altötting
The Stöberl organ in the Paulskirche in Munich (1977)
The Sandtner organ of the Sankt Ottilien Archabbey (1994)
The main organ of the Frauenkirche in Munich by Georg Jann (1994)
The Woehl organ of the Herz-Jesu-Kirche in Munich (2003)
The cape organ of the parish church of the Assumption of Mary in Dachau (2015)

In the Second Vatican Council , the Constitution Sacrosanctum Concilium emphasized the importance of maintaining church organ music. As a result, there was a real organ building boom, which reached its peak in the mid-1980s. In addition, post-war organs were replaced.

Orgelbau Sandtner played a large part in the numerous new buildings . One of the largest organs built by Sandtner is the cathedral organ in Eichstätt Cathedral .

Gerhard Schmid built some particularly noteworthy organs in Upper Bavaria that are among the largest: Mariahilfkirche in Munich (1975), Altötting (1976), Neuötting (1980), Landsberg am Lech (1983). Despite their size, they all have mechanical action.

One of Gerhard Schmid's students is Dieter Schingnitz , who started his own business in 1979 and has since built numerous new buildings in Upper Bavaria.

Anton Staller , who had his workshop in Grafing near Munich , built mainly in the east of Upper Bavaria .

The company WRK-Orgelbau emerged from the merger of three organ builders .

Riegner & Friedrich was a flourishing organ building company in the 1990s . The largest instrument they built is in the Heilige Familie parish church in Munich. However, after the early death of Günter Riegner, the business soon came to a standstill.

In 1994 Georg Jann completed the new organ of the Munich Frauenkirche , which replaces a previous instrument made by Orgelbau Zeilhuber . Its arrangement is based on the concept of the Stralsund Stellwagen organ , but also has a symphonic character with a swell mechanism with 23 registers and a chamad mechanism. Georg Jann's business was taken over by his son Thomas Jann in 1995 , from whom there are also several organs in Upper Bavaria.

In 1994 Johannes Führer took over the Münchner Orgelbau company from Wilhelm Stöberl . Since then, both new buildings and restorations have been carried out. The restoration of the organ in Schlehdorf in 2000 and the partial rebuilding of the organ in the Rott Monastery in 2012 received a lot of attention . In 2004 he transferred the Keates organ from 1907 to St. Wolfgang .

Alois Linder is best known for the restoration work, but also for some new buildings.

Regionally known organ builders are also Hubertus von Kerssenbrock , Christoph Kaps and Frenger & Eder .

Larger new construction contracts are mainly awarded to the well-known supraregional companies such as Klais , Orgelbau Vleugels , Rensch Orgelbau , Hermann Eule Orgelbau Bautzen , Karl Schuke Berliner Orgelbauwerkstatt , Hartwig Späth , Claudius Winterhalter or Gerald Woehl .

Numerous foreign companies are also represented, such as Orgelbau Kuhn , Orgelbau Mathis or Rieger Orgelbau .

Experimental sound concepts

Completely new sonic possibilities have been realized with the Harder-Völkmann organ . “Registers” such as accordion, piano, glockenspiel and marimba have been added to the 53 classical registers. The electrically or electro-pneumatically operated elements of the organ are connected to the console via a data bus.

Collections

German museum

The Ahrend organ in the Deutsches Museum

Some historical organs are exhibited in the music collection of the Deutsches Museum . The old organ of the pilgrimage church Maria Thalkirchen is particularly significant. It came to the museum in 1908 because it had to make way for a new building. It was probably built by Hans Lechner in 1630 with 10 stops on a manual and pedal. For a long time, however, only the empty case of this instrument has been visible.

For the performance of baroque organ music there is a two-manual organ with 17 stops in the North German-Baroque style, which Jürgen Ahrend built in 1995.

Valley Organ Center

In 1983, Sixtus Lampl began collecting them in the Valley Organ Center in order to save old "romantic" organs, which had mostly gone out of fashion, from being scrapped . With 60 organs, it is now the largest collection of its kind in the world and includes organs from all eras. Various types of organs are demonstrated at regular guided tours and concerts.

documentation

In the 1970s, Georg Brenninger was the first to research and make an inventory of the "unknown organ country" of southern Bavaria. The standard work Orgeln in Altbayern is a summary of his results .

The Society for Bavarian Music History has published a Bavarian organ database . Version 5 from 2009 includes 42,000 data records and around 10,000 dispositions.

Events

literature

Sound carrier (selection)

  • Johannes Brahms - Complete Organ Works. cpo, 777 384-2, 2008 ( Anne Horsch in St. Rupert, Munich)
  • An Organ Treasure - The Munich Odeon Organ. Oehms Classics, OC 622, 2007, (Andreas Götz in St. Rupert, Munich)
  • Great moments of baroque organ art. Motet, CD 10791, 2004 (Roland Muhr in the Fürstenfeld monastery church)
  • Reger & Rheinberger. querstand, VKJK 1302, 2013 ( Peter Kofler in St. Michael, Munich)
  • Late romantic organ rarities. ifo, IFO 00120, 2005 ( Hans Leitner in the Liebfrauendom Munich)
  • The baroque organ of the Benediktbeuern basilica. audite, 95.441, 1995 ( Klemens Schnorr in the Benediktbeuern basilica)

See also

Web links

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

Individual evidence

  1. ↑ Brenninger: Organs in Old Bavaria. 1982, p. 31.
  2. ^ Rudolf Quoika: From block work to register organ . Bärenreiter, Kassel 1966, p. 9-11 .
  3. ^ Georg Brenninger: On the organ history of the city of Freising . In: Church Music Yearbook . tape 61 , 1977, pp. 61-73 .
  4. ↑ Lexicon of the Organ. 2007, p. 563.
  5. ^ Alfred and Matthias Reichling: Christoph (II) Egedacher. Munich years - working in Tyrol . In: Kurt Estermann (Ed.): Tiroler Orgelschatz . tape 3 : The Christoph Egedacher organ of the Liebfrauenkirche in Kitzbühel. Helbling, Innsbruck 2015, ISBN 978-3-99035-510-7 , pp. 177 f. and note 8 .
  6. ↑ Georg Brenninger: The organs of St. Michael. In: Wagner, Keller (ed.): St. Michael in Munich. 1983, p. 168.
  7. ^ Otmar Heinz: Early baroque organs in Styria. On the genesis of a southern German-Austrian type of instrument from the 17th century . LIT Verlag, Vienna 2012, ISBN 978-3-643-50232-2 , p. 49 .
  8. ↑ Brenninger: The organs of St. Michael . In: Wagner, Keller: 400 years of St. Michael in Munich . 1983, pp. 164-175.
  9. ^ Georg Brenninger: The Munich organ builder Hans Lechner . In: Acta Organologica . tape 8 , 1974, p. 63-66 .
  10. ^ Hermann Fischer , Theodor Wohnhaas : To the history of the organ of St. Peter in Munich . In: Church Music Yearbook . tape 57 , 1973, pp. 79-98 .
  11. ↑ Brenninger: Organs in Old Bavaria. 1982, p. 195.
  12. ↑ Dompfarramt ZUL Frau, editor: Franz Lehrndorfer (ed.): The organ work in the Munich cathedral - Festschrift for the inauguration of the great organ . Munich 1994.
  13. ^ Balz: Divine Music - Organs in Germany. 2008, pp. 172-173.
  14. ↑ Hermann Fischer, Theodor Wohnhaas: The secularization in southern Germany in its effects on the organ stock in Bavaria 1803 . In: Church Music Yearbook . tape 87 , 2003, p. 97-121 .
  15. ^ Heinz Gollwitzer : Ludwig I of Bavaria . Süddeutscher Verlag, Munich 1986, ISBN 3-7991-6287-9 , p. 526 .
  16. ↑ Hans-Josef Irmen: King Ludwig I and the restoration of the organ in the Munich Court Church of St. Kajetan . In: Church Music Yearbook . tape 54 , 1970, pp. 91-108 .
  17. ↑ Schafhäutl : About old and new organ building In: Zeitschrift für Instrumentenbau. Vol. 6. Leipzig 1885, pp. 14, 28, 43, 56, 68, 81 .
  18. ^ KE von Schafhäutl: Abbot Georg Joseph Vogler . Georg Olms, Hildesheim 1997, ISBN 3-487-06834-6 (reprint of the Augsburg 1888 edition).
  19. ^ Hermann Fischer, Theodor Wohnhaas: Data on organ builders and organ works of the 19th century . In: Church Music Yearbook . tape 53 , 1969, p. 145-153 .
  20. ↑ Brenninger: Organs in Old Bavaria. 1982, p. 208.
  21. ^ Alfred Reichling (Ed.): House Chronicle (described by Balthasar Pröbstl) . Merseburger, Kassel 1998, ISBN 3-87537-153-4 .
  22. ↑ B. Pröbstl, Haus-Chronik, p. 50.
  23. ^ Holger Brülls: Ladegast organs in Saxony-Anhalt . Michael Imhof Verlag, Halle (Saale) 2005, ISBN 3-86568-020-8 , p. 24 .
  24. ↑ Lexicon of the Organ. 2007, p. 638.
  25. ↑ Hans-Josef Irmen: Gabriel Josef Rheinberger as the antipode of Cäcilianism . Gustav Bosse Verlag, Regensburg 1970, p. 98 ff .
  26. ^ Fischer: The Steinmeyer family of organ builders. 2011, p. 177.
  27. ^ Fischer: The Steinmeyer family of organ builders. 2011, p. 531 ff.
  28. ^ Rainer Cadenbach : Max Reger and his time . Laaber-Verlag, Regensburg 1991, ISBN 3-89007-140-6 .
  29. ↑ Alfred Reichling (Ed.): Aspects of the organ movement . Merseburger, Kassel 1995, ISBN 3-87537-261-1 , p. 24 .
  30. ^ Friedrich Högner : The new organ of the Matthäuskirche in Munich. In: Zeitschrift für Instrumentenbau. Vol. 47. Leipzig 1926, pp. 1043-1045.
  31. ↑ Walter Supper (Ed.): Old Bavaria as an organ landscape. At the same time the conference report on the 1st organ meeting of the GdO in Ingolstadt-Weltenburg in 1953 . Merseburger, Berlin 1954 (edited by Rudolf Quoika).
  32. ↑ Walter Supper (Ed.): Old Bavarian Organ Days. Conference report on the 4th organ meeting of the GdO in Freising 1956 . Merseburger, Berlin 1958 (edited by Rudolf Quoika).
  33. ↑ Rudolf Quoika: About the organ in Old Bavaria . Merseburger, Berlin 1968, p. 68 .
  34. ^ Balz: Divine Music - Organs in Germany. 2008, pp. 180-181.
  35. ↑ Catholic parish St. Tertulin Schlehdorf, editor: Alfred Reichling (ed.): The organs of the parish Schlehdorf and the parish Ohlstadt and their history . Schlehdorf 2011 (253rd publication by the Society of Organ Friends).
  36. ^ The keyboard instruments of the music collection of the Deutsches Museum .
  37. ^ Organ database Bavaria Version 5 (2009), ed. by Michael Bernhard .