Organ landscape of southern Lower Saxony

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Schweimb organ in Lamspringe (1696)

The organ landscape of southern Lower Saxony includes the districts of Goslar , Göttingen , Hameln-Pyrmont , Hildesheim , Holzminden and Northeim as well as the city of Salzgitter .

Over 70 historical organs from the 17th to 19th centuries have been preserved in whole or in part in the organ landscape in southern Lower Saxony . In Einbeck , Herzberg am Harz , Hildesheim and Göttingen, influential organ workshops were established, some of which had a long family tradition. There were also influences from neighboring regions such as Hamburg , Thuringia , East Westphalia and Hesse . In the modern age, the cultural area is characterized by numerous restorations and reconstructions of historical instruments, which are supplemented by some nationally important new buildings of various styles.

This article focuses on the historical instruments that are still wholly or partially preserved. Further details on individual works can be found in the list of organs in southern Lower Saxony .

Gothic and Renaissance

Renaissance prospectus in Burgdorf (1585)

The first organs can be found in larger city churches in the 14th century. In Hildesheim , Conrad von Bernstorp was the first organ builder to be identified by name, who was commissioned to build a new organ in St. Michael in 1382 . It is possible that he had also created the organ in Hildesheim Cathedral from 1367. These late medieval instruments had a block mechanism that only enabled the full organ sound, but not yet the separation of the individual rows of pipes ( registers ). It was only with the invention of the spring and slider drawers in the 15th century that individual registers could be controlled. Master Henning Hencke (* around 1550; † before 1620) built three new organ works in Hildesheim around 1600: St. Lamberti (1590), St. Michaelis (1599) and St. Godehard (1612–1617). From 1612 he began to build a new two-manual cathedral organ, which was apparently completed in 1617 by master Conrad Abtt with over 30 registers . In his Organographia ( Syntagma musicum , Volume 2, 1619) Michael Praetorius cites the disposition at that time (II / P / 23) and points to the novel construction of the bellows "with a single fold".

While all of these organs were later replaced, the prospectus of the organ by Hans Scherer the Elder in Hildesheim's St. Georgi Church from 1585 in Burgdorf was preserved. The instrument is an early example of the North German work structure, in which different works that were set up in separate cases can be played using different keyboards (manuals and pedal) . In Hamburg brochure of this plant construction took its classic shape. The main work of the Burgdorf organ forms the upper part, while the breastwork is mounted directly above the console, flanked by two free-standing pedal towers. In the gallery parapet is the Rückpositiv in a reduced form of the main work, the housing of which is structured by a round central tower and pointed corner towers, between which two-storey flat fields are attached. Profiled cornices, Corinthian columns , acanthus veils in the pipe fields, rising flame ornaments between the front pipes in the pedal and crowning carvings on the rear positive decorate the organ richly.

In the age of the Gothic and Renaissance, the organ fulfilled an exclusively liturgical function in worship. She took over the performance of parts of the liturgy in alternation with the choir or the choir , but was not used to accompany the congregation singing. This tradition was continued in the Catholic churches even after the introduction of the Reformation , while it lost importance in the Protestant churches.

Baroque

Gloger organ in Northeim, St. Sixti (1732)
Father organ in Marienrode (1752)

Organ building in northern Germany reached its peak in the Baroque era and its influence also extended to southern Lower Saxony. The work principle , which was already developed in the Renaissance, found its classic form in the setting up of spatially separated works. In many cases, the representative baroque prospectuses have been preserved, even if registers or the entire interior work has been replaced over time. Smaller organs followed the "Central German normal type", which is characterized by a five-part symmetrical front with three pipe towers, which are connected by two flat fields. The sound backbone of a baroque organ is formed by the plenum , which is based on a principal choir and is supplemented by flute and tongue registers .

The sound concept in the baroque era was due to the new connection between organ and community singing. It was not until the beginning of the 17th century that the organ was used for church song accompaniment. In the Protestant churches, this led to numerous new organs, even in small village churches. On the Catholic side, representative works were created in the course of the Counter Reformation , especially in larger city churches and the monastery churches.

Jost Sieburg , who came from a family of organ builders, lived in Göttingen and whose area of ​​activity extended from Bremen to Groningen . His brother Johann (es) Just Sieburg built an organ in the Jakobikirche in Göttingen from 1617 to 1620 . After their departure, organ builders from Thuringia and Hesse settled in Göttingen, such as Jost Friedrich Schäffer , the father of Johann Friedrich Schäffer , and Christoph Weiß, whose prospectus in Hann. Münden , St. Blasius has been preserved in a modified form. Heinrich Herbst the Elder from Magdeburg created a new organ for Hildesheim in St. Paulus (1658) and completed the work of Hans Hinrich Bader from Unna in St. Andreas in 1667 , who brought Westphalian influence to Hildesheim. From 1661 Bader built another organ in the Holy Cross Church . In 1686, Herbst created a small organ for Hoheneggelsen .

Around 1700 Einbeck developed into the most important organ center in southern Lower Saxony, thanks to the appearance of Andreas Schweimb . Schweimb came from Dedeleben and created organs in various re-Catholicized Hildesheim field monasteries that came up to the level of Arp Schnitger . The organ in Brevörde , St. Urban (around 1690), which may originally have been built for Höxter , probably goes back to him . The plant in Greene (Kreiensen) , St. Martini (1687) has undergone several major expansions and modifications, but still presents the Schweimb prospectus. His work in Langenholzen (1692) experienced a similar fate . Around 1870 Heinrich Vieth Schweimbs rearranged the organ in Heiningen , St. Peter and Paul from 1698. His organ in Lamspringe , St. Hadrian and Dionysius (1691–1696) was extensively rebuilt by Philipp Furtwängler & Sons in 1876 and 1959 , but still contains 15 original Schweimb stops in full and four in parts. The great organ in Salzgitter- Ringelheim, St. Abdon and Sennen was completed by Schweimb's successor Johann Jacob John around 1700 ; 13 Schweimb registers have been preserved to this day. It is one of the few large monastery organs in southern Lower Saxony. The work that had begun in Riechenberg Abbey (1696) was also continued by John. In contrast to the North German-Dutch organ type, Schweimb and John dispensed with the Rückpositiv, used, unlike Schnitger, further developed springboards and expanded the range of manuals from C, D and D to e 3 .

Johann Georg Müller (around 1670–1750) from Sankt Andreasberg founded an organ workshop in Hildesheim in 1692 and built a work for the St. Magdalenen Chapel in 1733, the prospectus of which has been preserved. His son Johann Conrad Müller (1704–1798) continued the workshop until his death. The organ in Almstedt (1746) is from father and son , the unchanged small organ in the Gutskapelle Welsede (1735) and the works in Schmedenstedt and Schellerten (1769) and Vöhrum (1778) come from Johann Conrad .

At the beginning of the 18th century, the Schnitger School's influence also extended to the area of ​​southern Lower Saxony. Johann Matthias Naumann was one of Arp Schnitger's journeyman masters, who completed his large organ in Zellerfeld in 1702 , which had 55 stops. The disposition is handed down to Johann Hermann Biermann in his Organographia Hildesiensis specialis from 1738. Naumann went into business for himself in Hildesheim, where he remodeled the organ in the cathedral (1703–1706) and built a large new building in St. Lamberti from 1712 to 1717 (III / P / 47). For Groß Förste , St. Pankratius he created new organs in 1708/09 and for the Neuwerkkirche Goslar in 1725/26. From Hildesheim, the Schnitger journeyman Andreas Müller continued the building method of his master. Christian father was another master craftsman of Schnitger who closely followed his style. Its housings are much more uniform and are characterized by a regular alternation of pipe towers and two-story flat fields. The pedal towers are also connected to the main plant by flat panels, so that broad-based brochures are created. A Rückpositiv is rarely found in his later works. Father's small organ in Hohenrode (1749) was originally in Gestorf and was transferred in 1824. In monastery Marienrode he created in the years 1749 to 1752 a work whose register inventory back today goes half on him while on his instrument in Brunkensen (1721) only the prospectus has not yet received. Johann Heinrich Gloger and his son Johann Wilhelm Gloger , brother of Dietrich Christoph Gloger , were under Schnitger's sphere of influence and built a two-manual work for the former monastery church in Marienstein around 1732 . The work of Johann Heinrich Gloger in Northeim , St. Sixti dragged on from 1721 to 1732. Christian Hartig's prospectus and more than a dozen Glogers registers have been preserved despite later modifications.

classicism

Kuhlmann organ in Barterode (1825)

The southern Lower Saxony cultural area was strongly influenced by organ builders from northern Hesse during the classicism period. In Gottsbüren an organ building center whose bedeutendster representatives in the 17th century was Johann Stephan Heeren was. Heeren built single-manual village organs in Löwenhagen (1772), Wahmbeck (1787), Varlose (1791), Lenglern (1795), peas (Adelebsen) (1797–1800) and Adelebsen (around 1800, together with Johann Dietrich Kuhlmann). They are to be assigned to the “Central German normal type”, which had already developed in the Baroque era. This is characterized by a five-axis brochure structure based on a principal in a four-foot or eight-foot position. The bass pipes are set up in the high round or polygonal central tower, the pipes of the medium pitch in the slightly lower round or pointed outer towers and the treble pipes in the one or two-storey flat fields between the three towers. The wide round tower in the middle, which is flanked by lower round towers on the sides, is characteristic of Heeren's construction method. Crowning vases or urns are placed over the flat fields between the towers. Heeren was responsible for the maintenance and repair of numerous instruments in the Göttingen area.

The design of the brochure by Johann Wilhelm Schmerbach the Middle , whose family business was based in Frieda in northern Hesse, is almost identical . Some of his organs, such as in Mengershausen (1798) and Niedergandern (1811), are decorated with ankanthus veils on the sides. Heeren's son-in-law and successor Johann Dietrich Kuhlmann continued the family tradition and built the plants in Hemeln (before 1820), Barterode (1825) and Scheden (1829). As with Heeren's organ in peas, Kuhlmann in Barterode used massive veil boards to top off the pipe fields, but crowned the low flat fields with flat-carved lyres and usually made his central towers slimmer.

One of the few classicist organ builders in southern Lower Saxony was August von Werder . He was not a trained organ builder, but had learned the carpentry trade from a carpenter who also repaired organs. Due to his craftsmanship and his interest, he turned to organ building and created small, one-manual works that were still in the late Baroque tradition in terms of sound. Architecturally, von Werder's works already show the first signs of Romanticism: Instead of the three traditionally protruding towers, a flat prospect is preferred, which before 1850 still had the classic five-axis design, but in later works is characterized by a large, round-arched central field. From his workshop in Höckelheim he worked in the Northeim and Göttingen area. In his preserved works in Holzerode (1840), Wöllmarshausen (1843), Obernjesa (1844), Bremke (Gleichen) (1848), Settmarshausen (1849), Esebeck (around 1850) and in Berka (Katlenburg-Lindau) (1852) the number of registers between nine and eleven.

romance

Engelhardt organ in Osterode (1841)

The Romantic era brought changes in the aesthetics of the sound, which led to corresponding changes in organ construction. In southern Lower Saxony, as elsewhere in Germany, the traditional work principle was abandoned and the flat composite prospectus without protruding pipe towers was preferred. Instead of the spatially separated works, the rear works and the swell works moved in to enable greater dynamic gradations. The sounds they departed aliquot - and reeds more grundtönigen Labialregistern , especially in the eight-foot-pitch. Towards the end of the 19th century, the pneumatic organ action and the neo-Gothic or neo-Romanesque prospectus design prevailed.

Various organ builders from the neighboring regions shaped the organ landscape of southern Lower Saxony. The Hanoverian court organ builder Ernst Wilhelm Meyer built an organ in Groß Hilligsfeld in 1839 , his son Eduard Meyer one in Klein Berkel in 1845 . The organ workshop in Gottsbüren was continued in the 19th century by Balthasar Conrad Euler , who was commissioned with new organs in Dransfeld (1843–1845), Uslar (1845), Vahlbruch (1845), Hillerse (1848) and Nörten-Hardenberg (1848) .

Around 1829 Johann Andreas Engelhardt settled in Herzberg am Harz and worked from the Harz to the regions of Braunschweig and Hanover. He came from Lossa (Finn) and was influenced by the Central German organ building in its Saxon-Thuringian form. In terms of sound, his works are still largely in the tradition of the late Baroque, but also lead to classicism and early romanticism. A total of over 100 new organs emerged from his workshop. Engelhardt has had a lasting impact on southern Lower Saxony, for example with new plants in Osterode am Harz , St. Jacobi (1841), Oker (1841), Westerode (1843), Dorste (around 1850), Wollershausen (1851), Osterhagen (1854), Scharzfeld (1855), Bad Lauterberg (1859) and Lucklum , Kommendekirche (1861). Its largest surviving organ with 36 voices is in Herzberg, St. Nicolai, and dates from 1845. The organ in Gladebeck (1861/62) has been preserved from his son Gustav Carl Engelhardt .

In contrast, Philipp Furtwängler , who founded an organ workshop in Elze , was more progressive and was in strong competition with Meyer. Of his numerous works in the Romantic style, Dassel (1845), Sudheim (1864) and Markoldendorf (1869) should be mentioned. After the company had expired, it was re-established in 1883 under the name P. Furtwängler & Hammer and relocated to Hanover. There they switched to the pneumatic cone drawer and from 1893 turned to the tube pneumatics and the pocket drawer , from 1907 also to the electro-pneumatic action . The company is one of the leading representatives of the late romantic organ building, which produced organs in large numbers.

Heinrich Schaper and August Schaper worked in the area of ​​the Diocese of Hildesheim . While the father only used the traditional mechanical sliding chest in his 52 new organs , his son introduced the construction of the cone chest in the company. Most of her romantic works were later rearranged and shape the cultural region to this day. In 1864 Carl Heyder , who was a student of the famous Johann Friedrich Schulze , built his organ in Langenholtensen . Smaller Heyder organs with seven registers each were built in 1861 in Unterbillingshausen and in 1871 in Stockhausen (Friedland) . Another pupil of Schulze was Carl Giesecke , who worked in Göttingen from 1844 and became known as a worldwide supplier of reed voices. He created organs in Oldenrode (around 1850), Stöckheim (1859/60) and Weende (Göttingen) (around 1860). Louis Krell had his workshop in Duderstadt from 1868 and built an instrument in Lonau in 1884 , one in Gieboldehausen in 1879 and one in Lindau (Eichsfeld) in 1882 .

20th and 21st centuries

Ott organ in Göttingen, St. Johannis (1960)

In the 20th century, organ building in southern Lower Saxony merged with the general development of German organ building. Some companies expanded and were no longer limited in their sphere of activity to one region, as denominational and geographical boundaries lost their meaning. This led to a greater stylistic alignment across Germany.

Although Furtwängler & Hammer were primarily committed to romantic organ building, the collaboration with Christhard Mahrenholz led to a temporary interest in organ movement . One of the first examples of this type is the organ in the parish church of St. Marien (Göttingen) from 1925/26, and a later one in Bad Sachsa (1955/56). The most prominent representative of the organ movement was Paul Ott , who made a name for himself above all by restoring historical organs in northern Germany - according to the state of knowledge of the time. In Göttingen he created large works with three or four manuals in the St. Johannis Church (1954–1960), in St. Albani (1964) and in the St. Jacobi Church (1964–1966) with mechanical play and Register action and neo-baroque disposition.

The Ott student Rudolf Janke further developed the construction of his master and placed greater emphasis on careful intonation. More than Ott he was committed to traditional craft techniques and sound concepts and had a lasting impact on the organ landscape through numerous new organs and through consistent restoration practice. A number of organs restored by Ott under the assumption of reduced wind pressure were restored by Janke. New works were created behind historical prospectuses, for example in Katlenburg (1967), Meinersen (1984) and Wiershausen (1987). For completely new works, Janke did not build historical style copies, but created modern brochures, such as in the Kreuzkirche (1965, with a single solitary pedal tower) and Christophorus Church in Göttingen (1967, with concave housing ceilings), the Corviniuskirche (1967, with mirror principle in the Rückpositiv) and the Apostle Church in Northeim (1971, with flamed copper pipes in pedal), Helmstedt (1968, with Spanish trumpets ), the Luther Church in Holzminden (1968-1970) and the Martin Luther Church in Hildesheim (1994).

Significant new buildings were built by Rudolf von Beckerath in 1966 in Hildesheim, St. Andreas , in the north German organ tradition with its work principle, and in the same year in Hameln , St. Nikolai. With over 40 registers, a swell and electrical couplings , the instrument in Hameln enables the proper presentation of symphonic organ music. Jürgen Ahrend , another student of Ott, built a work in the style of the North German Baroque for St. Servatius (Duderstadt) in 1977 , which was his largest new building in Lower Saxony and achieved international fame. In Hildesheim a three-manual work for St. Michael by Gerald Woehl (1999) was created, for the Hildesheim Cathedral a six-manual work by Romanus Seifert (2010) using the previous organ by Breil / Klais (1989). Romanus Seifert also built a new organ in St. Magdalenen (2010), which is also used for training purposes.

literature

  • Hans Martin Balz : Divine Music. Organs in Germany . Konrad Theiss, Stuttgart 2008, ISBN 3-8062-2062-X (230th publication by the Society of Organ Friends).
  • Karl Heinz Bielefeld: Organs in the area around Göttingen . Pape Verlag, Berlin 2018, ISBN 978-3-921140-25-3 .
  • Karl Heinz Bielefeld: organs and organ builder in Göttingen . Pape Verlag, Berlin 2007, ISBN 978-3-921140-75-8 .
  • Johann Hermann Biermann: Organographia Hildesiensis Specialis from 1738 . Ed .: Uwe Pape. Georg Olms, Hildesheim 2008, ISBN 978-3-487-13695-0 (reprint with an appendix by Uwe Pape).
  • 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 .
  • Ernst Palandt : Hildesheim Organ Chronicle 1962 . Hildesheim organ building workshop, Hildesheim 1962.
  • Uwe Pape : Organ workshops and organ builders in Germany from 1945 to 2004 . Pape Verlag, Berlin 2004, ISBN 3-921140-66-8 .
  • Winfried Topp, Uwe Pape: North German organ builders and their works 2: Peter Tappe / Martin Haspelmath . Pape Verlag, Berlin 2000, ISBN 3-921140-57-9 .
  • Harald Vogel : Organ history in southern Lower Saxony . In: Harald Vogel, Günter Lade, Nicola Borger-Keweloh (eds.): Organs in Lower Saxony . Hauschild, Bremen 1997, ISBN 3-931785-50-5 , p. 72-81 .
  • Karl Wurm: Organs in southern Lower Saxony . In: Harald Vogel, Günter Lade, Nicola Borger-Keweloh (eds.): Organs in Lower Saxony . Hauschild, Bremen 1997, ISBN 3-931785-50-5 , p. 82-91 .

Web links

Individual evidence

  1. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 82, delimits the cultural area geographically and offers “an overview of the organ landscape in southern Lower Saxony , which is divided into three sections - the area around Hildesheim, Alfeld and Hameln, the area between the upper Weser, Göttingen and Northeim and the western Harz foreland, the West Harz and the Untereichsfeld - is treated. "
  2. ↑ According to Vogel: Organ History in Southern Lower Saxony . 1997, p. 72, the cultural landscape shows "a development of organ building in which, in addition to an independent tradition in the late Middle Ages, in the 16th and 18th centuries, influences from Thuringia, Hesse and Westphalia worked together."
  3. ↑ Vogel: Organ history in southern Lower Saxony . 1997, p. 72.
  4. ^ Inscription catalog City of Hildesheim: St. Godehard , accessed on February 12, 2018.
  5. ↑ bistum-hildesheim.de: Organ , accessed on February 12, 2018.
  6. ^ Praetorius: Organographia . 1618, p. 198 f. ( online ), accessed February 12, 2018.
  7. ↑ orgelsite.nl: Organ in Burgdorf , accessed on February 12, 2018.
  8. ^ A b Harald Vogel : On the relationship between organ and community singing . In: Harald Vogel, Günter Lade, Nicola Borger-Keweloh (eds.): Organs in Lower Saxony . Hauschild, Bremen 1997, ISBN 3-931785-50-5 , p. 44 .
  9. ↑ Hans Klotz: About the organ art of the Gothic, Renaissance and Baroque. Music, disposition, mixtures, lengths, registration, use of the pianos . 3. Edition. Bärenreiter, Kassel 1986, ISBN 3-7618-0775-9 , p. 205 .
  10. ^ A b Dieter Großmann: Organs and Organ Builders in Hessen . 2nd Edition. Trautvetter & Fischer, Marburg 1998, ISBN 3-87822-109-6 , pp. 75–77, 103 (Contributions to Hessian History 12).
  11. ^ Inscription catalog City of Göttingen: Göttingen, St. Jakobikirche , accessed on February 12, 2018.
  12. ↑ Vogel: Organ history in southern Lower Saxony . 1997, p. 74 f.
  13. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 82.
  14. ↑ Vogel: Organ history in southern Lower Saxony . 1997, pp. 75-77.
  15. ↑ Gerhard Aumüller , Mads Kjersgaard, Wolfgang Wagner: Considerations on the origin of the organ in Brevörde (Weserbergland) . In: Ars Organi , 54, 2006, pp. 217-227.
  16. ^ Uwe Pape: The organs of the Duchy of Braunschweig before 1810 . In: Acta Organologica . tape 30 . Merseburger, Kassel 2008, p. 146 f .
  17. ↑ Sebastian Wamsiedler: The organ of the former monastery church St. Abdon and Sennen zu Salzgitter-Ringelheim (PDF file; 147 kB), accessed on February 12, 2018.
  18. ↑ Walter Hans Kaufmann : Andreas Schweimb and Johann Jakob John, two organ builders from the Baroque period in Einbeck . In: Einbecker yearbook. 29, 1970, p. 72.
  19. ↑ Vogel: Organ history in southern Lower Saxony. 1997, pp. 73, 82 f., 252-255, 276 f.
  20. ^ Johann Hermann Biermann: Organographia Hildesiensis Specialis from 1738 . Ed .: Uwe Pape. Georg Olms, Hildesheim 2008, ISBN 978-3-487-13695-0 , p. 87–94 (reprint with an appendix by Uwe Pape).
  21. ↑ 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 , p. 126-127 .
  22. ↑ Reinhard Skupnik: The Hanoverian organ builder Christian Vater 1679–1756 . Bärenreiter, Kassel 1976, ISBN 3-7618-0543-8 (publications of the organ studies research center in the musicological seminar of the Westphalian Wilhelms University, Münster; 8).
  23. ↑ orgel-owl.de: Organ in Hohenrode , accessed on February 12, 2018.
  24. ↑ Christian Kämmerer, Peter Ferdinand Lufen: Monuments in Lower Saxony 7.1: District Northeim, part 1. Southern part with the towns of Hardegsen, Moringen, Northeim and Uslar, the areas Bodenfelde and Nörten-Hardenberg, the community Katlenburg-Lindau and the community-free area Solling . Published by Christiane Segers-Glocke. (Monument topography Federal Republic of Germany). Verlag CW Niemeyer, Hameln 2002, ISBN 3-8271-8261-1 , pp. 240–245.
  25. ^ Dieter Großmann: Organs and Organ Builders in Hessen . 2nd Edition. Trautvetter & Fischer, Marburg 1998, ISBN 3-87822-109-6 , pp. 73 (Contributions to Hessian History 12).
  26. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 87.
  27. ↑ For the Gottsbürer organ building tradition see Eckhard Trinkaus, Gerhard Aumüller: Orgelbau im Landkreis Waldeck-Frankenberg . In: Friedhelm Brusniak, Hartmut Wecker (ed.): Music in Waldeck-Frankenberg. Music history of the district . Bing, Korbach 1997, ISBN 3-87077-098-8 , pp. 190 .
  28. ↑ Eike Dietert: On the history (and future?) Of the organ in Holzerode , accessed on February 12, 2018.
  29. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 86 f.
  30. ↑ orgel-owl.de: Westphalian organ builders active in Westphalia , accessed on February 12, 2018.
  31. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 89.
  32. ↑ herzberg-am-harz.de: Organ builder Engelhardt , accessed on February 12, 2018.
  33. ^ Organ in Herzberg , accessed on February 12, 2018.
  34. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 84.
  35. ↑ Uwe Pape (Ed.): List of organ works supplied by P. Furtwängler & Hammer. Berlin 1906; Reprint: Pape-Verlag, Berlin 1984, ISBN 3-921140-29-3 .
  36. ↑ Uwe Pape : North German organ builders and their works 6: Heinrich Schaper, August Schaper . Pape, Berlin 2009, ISBN 978-3-921140-82-6 , pp. 25 .
  37. ↑ 150 years of tradition and progress. Carl Gesecke GmbH, archived from the original on August 24, 2011 ; accessed on February 12, 2018 .
  38. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 90.
  39. ↑ norbertjanssen.de: St. Marien, Göttingen ( Memento from September 6, 2012 in the web archive archive.today ), accessed on February 12, 2018.
  40. ↑ On the meaning of Ott see Uwe Pape: Paul Ott - protagonist of the construction of slider chest organs between the two world wars. In: Alfred Reichling (Ed.): Aspects of the organ movement . Merseburger, Berlin / Kassel 1995, ISBN 3-87537-261-1 , pp. 263-298.
  41. ↑ Rudolf Janke: Movement around the organ movement. Notes from practice . In: Organ International . No. 2 , 2002, p. 85 .
  42. ↑ For the revision of the neo-baroque Ott organ in Göttingen, St. Johannis Church, see Rudolf Janke: Movement around the organ movement. Notes from practice . In: Organ International . No. 2 , 2002, p. 84-86 .
  43. ↑ For the meaning of Janke see Wurm: Orgeln in Niedersachsen. 1997, p. 87 f.
  44. ^ Wurm: Organs in Southern Lower Saxony . 1997, p. 85.
  45. ↑ The Ahrend organ. Ev.-luth. Duderstadt parish, accessed on February 16, 2018 .
  46. ↑ The Michaels organ in St. Michaelis in Hildesheim. Gerald Woehl, accessed February 12, 2018 .
  47. ↑ Information on the dispositions of the main organ and choir organ , accessed on February 12, 2018.
  48. ^ Organ in Hildesheim, St. Magdalenen , accessed on February 12, 2018.
This article was added to the list of excellent articles on November 5, 2012 in this version .