Organs from St. Johannis (Lüneburg)

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Organs from St. Johannis (Lüneburg)
St. Johannis Lüneburg - Organ.jpg
General
place St. Johannis
Organ builder Hendrik Niehoff
Construction year 1553
epoch Renaissance
Organ landscape Luneburg
Technical specifications
Number of registers 51
Number of rows of pipes 83
Number of manuals 3
Tone tract Mechanically
Register action Mechanically
Number of 32 'registers 1
Others
Eminent organists

Joachim Vogelsänger

View of the organ and renaissance gallery
Look at the Rückpositiv

The organs of St. Johannis (Lüneburg) are the large historical main organ on the west gallery and the choir organ in the five-aisled Gothic hall church St. Johannis in Lüneburg . The large instrument got its current shape mainly in 1553 and through the baroque extensions and today has three manuals and 51 stops . In addition, there is a two-manual choir organ made by Kuhn from 2010 with 23 registers in the church.

Main organ

Building history

Predecessor organs

The organ in St. Johannis is reported as early as 1374. A choir organ was commissioned in 1479. There are no records of a main organ.

New construction of the renaissance organ (1553)

In 1551 the church commissioned the famous Hendrik Niehoff and Jasper Johansen to build a large organ, which was to be built in 's-Hertogenbosch and then transferred to Lüneburg via Amsterdam and Hamburg . For the work completed in 1553, the Brabant organ builders received the price of 1000 thalers. Dirck Hoyer (Hamburg), Jacob Scherer's son-in-law , added a base to the otherwise attached pedal on a separate wind chest halfway up behind the main work in 1576 . The ornate Renaissance-style manual housings by Adriaan Schalken and some registers from the 16th century have been preserved to this day. On the other hand, the double doors were removed in the course of the baroque extensions. Various pipes in the prospectus are provided with filigree golden masks, while some treble fields have mirror pipes with feet soldered together. In 1586 Matthias Mahn ( Buxtehude ) renewed the side pedal drawers and added a high flute register. According to Georg Böhm , the wind was supplied via cables from the main plant.

Michael Praetorius gives in his Organographia ( Syntagma musicum , Volume 2, 1619) the disposition at that time with III / P / 27. The renaissance organ was still largely designed as a block . Praetorius describes an additional bass octave in the main work, the eight pipes of which (C 1 D 1 E 1 F 1 G 1 A 1 B 1 H) were placed in the flat panels on the side of the main work case. Behind it stood the pipes of the bass register. The praestant was also playable in the contract octave as 16 ′. According to the Dutch tradition of the 16th century, the Rückpositiv had two drawers, with the principal choir on the lower drawer and the flute and tongue choir on the upper drawer. The base in the pedal was added by Dirck Hoyer ("from an organ maker in Hamburg / with the name M. Dirich / ohngefehr 40 years ago") and began at F. This pedal box is still behind the main movement case. The disposition is in a systematic arrangement and with the reconstructed footprints:

I return position CDEFGA – g 2 a 2
Praestant 8th'
Koppeldone or Octava 4 ′
mixture
Sharp
Quintadehna 8th'
Bar pipe 4 ′
Klein Holpipe 4 ′
Soot pipe
Siflöit 1 12
shelf 8th'
Schallmey 4 ′
II Werck C 1 D 1 E 1 F 1 G 1 A 1 –g 2 a 2
Praestant 8th'
Octava 4 ′
mixture
Sharp
Drummed bass 8th'
Night horn bass 2 ′
Buerflöiten bass 1'
III Supreme Position CDEFGA – g 2 a 2
Praestant 8th'
Holpipe 8th'
Flutes 4 ′
Nassat 3
Gemhorn 2 ′
Super Octava 2 ′
cymbal
Trumpeted 8th'
Pedal F–
Pedestal 12 ′

Extensions in the Baroque (1652, 1715)

Crowning angel from the Dropa conversion on the central tower of the upper structure

Several extensions were made in the 17th and 18th centuries. The original swallow's nest-like gallery had to give way to a baroque double gallery. In the course of this, the previously semicircular Rückpositiv was built wider to accommodate a larger manual volume and pipe inventory. In addition, the side wing doors were removed. Franz Theodor Kretzschmar carried out this conversion from 1633 to 1635, which was accepted by Jacob Praetorius (Hamburg). In 1651/52 Friedrich Stellwagen (Lübeck) carried out an overhaul and an extension. The contract octave in the middle manual was given up in favor of a 16 'system from C. Heinrich Scheidemann (Hamburg) was responsible for the acceptance . Only minor repairs are documented in the second half of the 17th century. A major extension was arranged by Georg Böhm, who was cantor organist at St. Johannis from 1698 to 1733 . He insisted that "the bright and sharp intonation in both the old and the new voices" should be retained. During his service activities, the young Johann Sebastian Bach , who was at the Michaelis School in Lüneburg from 1700 to 1702 , got to know the well-known organ, which at that time still had its Renaissance character. From 1712 to 1715, Schnitger's pupil Matthias Dropa (Lüneburg) added an independent pedal with front and rear drawers, which he built in the north German tradition in side pedal towers and provided with rich carvings. Dropa renewed the mechanical system and replaced the keyboards and the wind tunnels. The instrument therefore had 47 stops on three manuals and a free pedal.

Changes between 1739 and 1922

After repairs in 1739, 1755 and 1809, Eduard Meyer (1850 to 1853) made significant changes to the plant and made further minor changes in the 19th century. Meyer replaced several aliquot registers with fundamental flute and string parts, increased the range and built new drawers and keyboards. In 1922 and 1926, Oskar Walcker built in a pneumatic action and added a remote unit in the Barbara chapel and a swell box around the upper unit. The historical pipe substance was not changed, however.

Restorations in the 20th / 21st century

In 1943 the prospectus and case, which in contrast to the pipe interior were considered worth preserving, were relocated. Under the influence of the organ movement , the value of the St. John's organ was recognized again in the second half of the 20th century. Rudolf von Beckerath Orgelbau restored the precious instrument in several steps. In 1952/53 the old Renaissance and Baroque pipes were retained and later changes to the intonation were reversed. Some registers from the 19th century have been reworked and integrated into the historical sound image, while other registers have been reconstructed. Essentially, the organ was restored to the Baroque arrangement by Dropa, to which a few stops were added. In 1976 the keyboards and action as well as part of the wind chests were replaced. The extended keyboard ranges and the pedal couplings were retained. Finally, in 1992 von Beckerath renewed the bass octave goblet of trombone 32 ′.

In 2008 the organ case and pipework was documented by the Flentrop Orgelbouw company , which also cleaned and tuned the organ. Federal funding of 900,000 euros was released at the end of 2018 for a comprehensive restoration.

Disposition since 1953

Today's disposition is:

I Rückpositiv C – g 3
Principal 08th' N
Dumped 08th' B.
Quintadena 08th' N
octave 04 ′ N / D / B
Reed flute 04 ′ M / B
Sesquialtera II 0 M / B
Forest flute 02 ′ B.
Sif flute 1 130 D / B
Scharff V-VII 01' B.
Dulcian 16 ′ D.
Bear whistle 08th' B.
Tremulant
II Hauptwerk C – g 3
Principal 16 ′ N / K
Quintadena 16 ′ D.
octave 08th' DM
Dumped 08th' M.
octave 04 ′ N / D
Night horn 04 ′ M.
Fifth 2 230 DM
octave 02 ′ N / D
Peasant flute 02 ′ M.
Mixture VI – VIII 0 1 13 D / B
Scharff IV – V 023 B.
Trumpet 16 ′ D / B
Trumpet 08th' N / B
Schalmey 04 ′ B.
III Oberwerk C – g 3
Principal 08th' N
Reed flute 08th' N
octave 04 ′ D.
recorder 04 ′ M.
Nasat 2 230 N
Gemshorn 02 ′ N
Terzian II B.
octave 01' B.
Mixture V-VI 0 01' M / B
Zimbel III 016 B.
Trumpet 08th' B.
Dulcian 08th' D / B
Tremulant
Pedal C – f 1
Principal 16 ′ 0 D.
Pedestal 16 ′ H
octave 08th' D.
Dumped 08th' D.
octave 04 ′ D.
Night horn 02 ′ D.
Peasant flute 01' M.
Rauschpfeife II 0 M.
Mixture VI-VIII 02 ′ D / B
trombone 32 ′ D / B
trombone 16 ′ D / B
Trumpet 08th' D / B
Trumpet 04 ′ M / B
cornet 02 ′ B.
  • Coupling : I / II, III / II, III / P, I / P, II / P
N = Hendrik Niehoff (1553)
H = Dirck Hoyer (1576)
K = Franz Theodor Kretzschmar (1635)
D = Mathias Dropa (1715)
M = 19th century, mainly Eduard Meyer, reworked by Beckerath
B = Rudolf von Beckerath (1953/1992)

Technical specifications

  • Action:
    • Tone action: mechanical
    • Stop action: mechanical
  • Wind supply:
    • Wind pressure: 75 mm water column
  • Mood :

Choir organ

Organs from St. Johannis (Lüneburg)
Lüneburg Johannis viewSW.jpg
General
place St. Johannis
Organ builder Organ building Kuhn
Construction year 2010
epoch 21st century
Organ landscape Luneburg
Technical specifications
Number of registers 23
Number of rows of pipes 30th
Number of manuals 2
Tone tract Mechanically
Register action Mechanically
Choir organ console

In addition to the historical organ, a choir organ from the Swiss company Kuhn from Männedorf has been in the church since 2010 . In terms of sound, it is deliberately designed as a supplement to the Renaissance-Baroque organ, namely in the classic French, romantic-symphonic tradition. It was consecrated on May 23, 2010. It is to be used for oratorios and choirs as well as for symphonic organ music of the 19th and 20th centuries. The cube-shaped prospectus was designed according to plans by the architect Carl-Peter von Mansberg (Lüneburg). The disposition comprises 23 registers on two manuals and pedal:

I Grand Orgue C-g 3
1. Bourdon 16 ′
2. Montre 08th'
3. Flûte ouverte 08th'
4th Flûte douce 08th'
5. Préstant 04 ′
6th Fifth 2 23
7th Duplicate 02 ′
8th. Fittings IV 0 02 '
9. Trumpets 08th'
II Récit expressif C – g 3
10. Quintaton 16 ′
11. Flûte harmonique 08th'
12. Viole de gambe 08th'
13. Voix céleste 08th'
14th Flûte octaviante 04 ′
15th Nazard 2 23
16. Octavine 02 ′
17th Tierce 1 35
18th Basson 16 ′
19th Trompette harmonique 0 08th'
20th Hautbois 08th'
21st Voix humaine 08th'
Tremulant
Pedale C – f 1
22nd Contrebasse 16 ′
23. Soubasse (No.1) 16 ′
24. Octave (# 2) 08th'
25th Flute (No.3) 08th'
26th Bombarde (Ext. No 27) 0 16 ′
27. Trumpets 08th'

Web links

Commons : Große Orgel (St. Johannis Lüneburg)  - Collection of images, videos and audio files

literature

  • Michael Praetorius : Syntagma musicum. Volume II. De Organographia . Bärenreiter, Kassel [et al.] 1985, ISBN 3-7618-0183-1 , pp. 170–171 ( online - facsimile from Wolfenbüttel 1619).
  • Rudolf Utermöhlen: The organ to St. Johannis in Lüneburg . Museum Association for the Principality of Lüneburg, Lüneburg 1952 (special print from: Lüneburger Blätter , 3, 1952).
  • Maarten A. Vente : The Brabant Organ. On the history of organ art in Belgium and Holland in the Gothic and Renaissance ages . HJ Paris, Amsterdam 1963.
  • Harald Vogel , Günter Lade, Nicola Borger-Keweloh: Organs in Lower Saxony . Hauschild, Bremen 1997, ISBN 3-931785-50-5 .
  • Christoph Wolff , Markus Zepf: The organs of JS Bach. A manual . Evangelische Verlagsanstalt, Leipzig 2006, ISBN 3-374-02407-6 , p. 79-81 .

Individual evidence

  1. ^ Vogel: Organs in Lower Saxony . 1997, p. 104.
  2. ^ Vente: The Brabant Organ . 1968, p. 196.
  3. ^ Vogel: Organs in Lower Saxony . 1997, p. 105.
  4. ^ Praetorius: Organographia . 1618, p. 170 f. online , accessed May 9, 2017.
  5. According to Vogel: Orgeln in Niedersachsen . 1997, p. 348.
  6. a b c Vogel: Organs in Lower Saxony . 1997, p. 107.
  7. organ on NOMINE eV , accessed on 26 March 2018th
  8. 900,000 euros for organ in St. Johannis , accessed on October 25, 2019.
  9. a b Homepage of the church: Orgeln , accessed on March 26, 2018.

Coordinates: 53 ° 14 ′ 52 "  N , 10 ° 24 ′ 46.4"  E