St. Johannis (Harvestehude)

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St. Johannis-Harvestehude
St. Johannis-Harvestehude, aerial view from the south

St. Johannis-Harvestehude is the main church of the Evangelical Lutheran parish of St. Johannis-Harvestehude . It was built from 1880 to 1882 by Wilhelm Hauers in the neo-Gothic style. Its architecture and artistic furnishings have largely been preserved or restored in their original form. The church is therefore one of the most impressive monuments of Hamburg from the late 19th century and is also attracting attention beyond the city.

history

After the gate was lifted in 1860, the Hamburg suburbs began to grow rapidly. The existing churches became too small; therefore a number of new suburban churches have been built in a short time since 1872. This also includes St. Johannis in Harvestehude.

The stylistically pioneering church of this time is St. Johannis in Altona . It was built by Johannes Otzen in 1872 . Hauers and Otzen were students of Conrad Wilhelm Hase . They followed his historicizing style of the “ Hanover School ” (characteristics: Gothicizing design language, wall surfaces made of colored, partly glazed bricks, various shaped bricks, decorative elements made of sandstone, pinnacle gables and moving roof landscapes). A number of churches from this era were shaped by the resulting constructive and stylistic elements.

The parish of St. John's Harvestehude was founded January 27, 1879th The municipality was spun off from the parish of St. Johannis-Eppendorf . The new community chose its name in memory of the former St. John's monastery, to whose monastery Harvestehude had also belonged. The community felt connected to this monastery because the Hamburg Senate had given 100,000 gold marks from the foundation assets of the former monastery to build the church. The remaining construction costs (270,000 marks) and the entire equipment were raised by donations from the community members.

The first church council of the new Johanniskirche in Harvestehude, chaired by the senator and later mayor Johann Georg Mönckeberg , selected the design by the architect Wilhelm Hauer from seven proposals . Since a "provisional committee for the construction of a church in front of the Dammthor" had already clarified land issues with the city and was able to provide capital, it was possible to carry out the construction work quickly in the years 1880 to 1882.

In July 1936, the Swedish actress Ingrid Bergman married her first husband Petter Lindström in this church .

St. Johannis-Harvestehude was one of the few churches in Hamburg that survived the Second World War undamaged. In the 1970s, under the organist and later church music director Claus Bantzer , the church developed into a center of church music life in Hamburg.

Pastors

  • Otto Weymann (1882–1903)
  • Adolf Bernitt (1892–1899)
  • John Nicolassen (1897-1928)
  • August Cordes (1904–1912)
  • Johannes Reinhard (1912–1947)
  • Walter Dittmann (1928–67)
  • Hagen Staack (1947–1950)
  • Hugo Linck (1949-1959)
  • Max Behrmann (1950–53)
  • Helmut Lang (1953-76)
  • Werner Krause (1958-66)
  • Olaf Lingner (1961-65)
  • Martin Hennig (1966-72)
  • Richard Blonski (1967-73)
  • Ulrich Wehr (1973-77)
  • Albrecht Nelle (1974-81)
  • Ilse Hass (1977-85)
  • Klaus Reblin (1984-95)
  • Thomas Beckershaus (1985-91)
  • Birgitta Heubach-Gundlach (1991–2016)
  • Thies Gundlach (1991-2001)
  • Ulrike Murmann (1997-2001)
  • Frie Bräsen (2002-2003)
  • Christoph Römhild (2004–2009)
  • Constantin Gröhn (since 2010)
  • Claudia Tietz (since 2017)

Architecture and equipment

The architect Wilhelm Hauers designed the church in accordance with the regulations of the Eisenach regulation of 1861. It is a composition of neo-Gothic art that is almost complete in every detail . These include the pews , chairs, lecterns, the organ prospectus , the terrazzo floor and the ceiling paintings. The St. Johannis Church is one of the best preserved monuments of this era in Hamburg. In the unity of the conception it occupies a special position among the neo-Gothic churches in Germany.

altar

Altar in St. Johannis-Harvestehude

In this church everything is geared towards the depictions of Christ and the wood-carved gilded altar . The altar, a work by the Hamburg sculptor Fritz Neuber (1837–1889), shows Christ three times:

  • in the recreation of the Holy Communion by Leonardo da Vinci with the subtitle "Come to me all you who are troublesome and burdened, I will refresh you" ( Matthew 11:28),
  • Above the image of the Last Supper in a crucifixion group, surrounded by a mandorla : Next to the cross there is Mary on the left and John on the right - the only disciple who followed Christ to the cross.
  • on the pediment of the altar in the form of the risen and exalted Christ .

In the church window above the altar, Christ appears as the heavenly ruler. He holds the book of life in one hand and two keys in the other, symbols of the power over heaven and hell.

Further equipment

For St. Johannis Harvestehude, the sculptor Aloys Denoth created two angels in adorant pose in 1892 . They originally stood on altar cabinets to the left and right of the high altar. They were later placed in the vestibule.

Denoth also made two of the seven relief medallions in the central room: on the north side "The return of Tobias" (Tob 5,14), opposite "The raising of Tabita (= Tabea) by Peter" (Mt. 5,7). They are characterized by a particularly lively presentation.

The sculptor Joseph Struber made a medallion, the "Story of the Good Samaritan" (Lk 10:37). The four other medallions are by Fritz Neuber, namely: "The resurrection of the daughter of Jairus by Jesus" (Mk 5:41), "the Annunciation" (Lk 1:28), "the birth of Jesus" (Lk 2:14 ) and “the release of Paul and Silas from prison” (Acts 16: 30–31). 

In the crossing there are the full sculptures of the 12 apostles: Matthew (here 'Mathaeus' written), Paulus, Judas Thaddäus, James the Elder, Andrew, Bartholomäus, Simon, Johannes, James the Younger, Thomas, Peter and Philip. Andreas was created as a pattern for soliciting donations as early as 1882, the other figures of the apostles date from 1893.

Bronze relief from Giambologna: Flagellation of Christ

A small but worth seeing bronze relief is in the choir on the first pillar on the left. It is a replica of the "Flagellation of Christ" by Giambologna . He had created it in 1585 as one of eight reliefs for the Grimaldi Chapel in Genoa .

The ceiling painting in the choir, five singing angels, comes from the church painter Hermann Schmidt. In 1887 he painted the whole church. In the course of time the taste changed and the paintings were whitewashed. The choir painting was exposed again in 1973 and restored.

Stained glass

Church window display of baptism

The designs for the glass windows made in a workshop in Innsbruck come from the circle of the well-known “Nazarene” Julius Schnorr von Carolsfeld . They shine as beautifully and clearly today as they did a hundred years ago, because they are specially protected by additional external windows.

The stained glass show images from biblical history. In the nave, motifs from the Old Testament (on the north side) are juxtaposed with matching motifs from the New Testament : “Paradise lost” corresponds to “Paradise to come” from Revelation ; “Abraham's Sacrifice” with the “Baptism of Cornelius” (both are faith themes); "Moses and Aaron" with the "conversion of Paul" (God's law and Jesus' command). In the central building, the Christmas window and the Pentecost window face each other.

In the choir stations are shown from the life of Christ: "Jesus' baptism by John," "Christ in Gethsemane", in the center follows the enthroned heavenly Christ, then follow the "Raising of Lazarus" and "conversation with the Samaritan woman at the well".

organ

Organ in St. Johannis-Harvestehude Hamburg

The organ goes back to an instrument from the time the church was built. In 1882 the company Marcussen & Søn from Aabenraa (Abenrå, Denmark) set up a two-manual work with 27 sounding voices . Also in 1882 the organ cladding was made by the wood sculptor Heinrich Walldorf senior. created. The organ was rebuilt in 1925 by the company Rother (Hamburg) and in 1933 by the company P. Furtwängler & Hammer (Hanover) and constantly expanded. The now three-manual instrument with 55 registers and 3494 pipes (III + P / 55) has been in continuous use since then. After the Second World War it was the only playable concert church organ in Hamburg. In the 1970s the organ was thoroughly cleaned and renovated. In addition, an electric gaming table was manufactured by the Willi Peter company in Cologne in 1974. The disposition and intonation were changed from a romantic to a neo-baroque one in line with the zeitgeist.

After the technology and in particular the electrics of the organ were lost, the Mühleisen company built a new instrument behind the existing historical organ prospect between 2013 and 2015, which is based on the original condition in the romantic style. The pipe material from Marcussen and some from Rother has been restored and reused. In continuation of the original conception, a new swell mechanism was built behind the organ, and two clarinet registers were added as an independent work. The mechanical play and stop actions can also be controlled electrically, some couplings are optionally built mechanically / electrically. Due to its disposition, the instrument is particularly suitable for romantic literature, but also allows playing from baroque to modern literature.

The new instrument now has 53 stops on three manuals and a pedal .

The modular "Sinua Castellan" system was also installed. This functions as a setting system with 3000 memories per chip, as an internal sequencer, as a program for generating free links and as a midi interface. By interacting with external sequencer programs and electronic sound generators, the organ allows new forms of improvisation and composition. The clarinet mechanism can be freely coupled to all manual mechanisms and the pedal.

I main work C – a 3
Bourdon 16 ′
Principal 08th'
Viola da gamba 08th'
Flute harmonique 0 08th'
Dumped 08th'
Octav 04 ′
Reed flute 04 ′
Fifth 02 23
Octav 02 ′
Cornett III 02 23
Mixture major 02 ′
Trumpet 08th'


Clarinet movement C – a 3
Bass clarinet 00000 16 ′
Clarinet 08th'
II Positive C – a 3
Dumped 16 ′
Corno di bassetti 0 08th'
Fugara 08th'
Reed flute 08th'
Flauto amabile 08th'
Aeoline 08th'
Gambette 04 ′
flute 04 ′
Cornettino 02 23
Flautino 02 ′
Mixture minor 02 ′
English horn 08th'
Tremulant
III Swell C – a 3
Salicional 16 ′
Violin principal 08th'
Concert flute 08th'
Bourdon 08th'
Salicional 08th'
Voix céleste 08th'
Fugara 04 ′
Transverse flute 04 ′
Nasat 02 23
Flageolet 02 ′
third 01 35
Fittings IV – V 02 23
bassoon 16 ′
Trompette harmonique 0 08th'
oboe 08th'
Clairon 04 ′
Tremulant
Pedals C – f 1
Pedestal 32 ′
Principal 16 ′
Violon 16 ′
Salicet (from swellwork) 0 16 ′
Sub bass 16 ′
Principal 08th'
cello 08th'
Dumped 08th'
Octav 04 ′
trombone 16 ′
Bassoon (from swell) 16 ′
Trumpet 08th'
Clarine 04 ′
  • Sinua Castellan:
    • 10 customizable chips with 3000 memory spaces each
    • Midi in / out for all works
    • Sequencer functions (including recording, playback, pitch and tempo changes)
  • Pairing :
    • Normal coupling: II / I, III / I, III / II, I / P, II / P, III / P mechanical (II / I, III / I, III / II individually optional electrical)
    • Sub-octave coupling: II / I, II / II, III / I, III / II, III / III electrical
    • Super octave coupling: II / I, II / II, III / I, III / II, III / III, II / P, III / P electrical
    • Melody and bass coupling
    • Freely programmable coupling from and to all works in all intervals and tone ranges
  • two swell kicks
  • Roller ( 2- fold programmable) switchable between roller and 2nd swell step
  • Wind sill (for Hw / P, Pos, Sw controllable via 2nd swell step)
  • Tubular bells (free assignment)
  • Key chains (separately per work)

literature

  • Lorenz Gösta Beutin , Heike Nowicki: Archives of the parish of St. Johannis-Harvestehude . Archive of the church district Alt-Hamburg, Hamburg 2007.

Web links

Commons : St. Johannis Church (Hamburg-Harvestehude)  - Collection of images, videos and audio files

Individual evidence

  1. Sabine Behrens: North German Church Buildings of Historicism: Hugo Groothoff's sacred architecture, 1851–1918 . Ludwig, Kiel 2006, ISBN 978-3-933598-97-4 , p. 192.
  2. ^ Hermann Hipp: Free and Hanseatic City of Hamburg, History, Culture and Urban Architecture on the Elbe and Alster . In: DuMont Art Travel Guide . 3. Edition. DuMont Buchverlag, Cologne 1996, ISBN 3-7701-1590-2 , p. 59 .
  3. ^ Documents in the archive of the St. Johannis Church
  4. Thilo Wydra: Ingrid Bergman - One life . Ed .: Deutsche Verlagsanstalt, Munich 2017. ISBN 978-3-421-04673-4 , pp. 80 .
  5. History of the congregation , section Pastors to St. Johannis on the congregation homepage
  6. Ralph kink Meier, Wilhelm Hornbostel : Aloys Denoth - Hamburger sculpture between Historiscmuis and Art Nouveau. MKG-Hamburg 1997
  7. ^ Bavarian National Museum, Munich: the bronze reliefs from the Grimaldi Chapel in Genoa. Retrieved November 24, 2018 .
  8. Edmund Meier-Oberist: The modern hamburg arts and crafts ... , Hamburg 1925, p. 98
  9. The wood carver Heinrich Walldorf sen. founded his workshop in 1868. His son Heinrich Walldorf jun. she continued from 1903 (Meier-Oberist, p. 378)

Coordinates: 53 ° 34 ′ 15 ″  N , 9 ° 59 ′ 36 ″  E