St. Markus (Munich)
The Evangelical Lutheran parish, university and deanery church of St. Markus , also known as the Markuskirche, is the second Evangelical Lutheran church building in Munich . It was built from 1873 to 1876 according to plans by the architect Rudolf Gottgetreu . Today's building is in fact a new building based on plans by Gustav Gsaenger, taking into account existing wall structures that survived the Second World War . It is the seat of the dean of Munich-Mitte and the city dean of Munich, which are currently united in personal union. St. Markus was the only Protestant parish church of historicism in Munich, which largely corresponded to the requirements of the Eisenach regulation .
location
St. Markus is located at Gabelsbergerstraße 6, at the southern end of Maxvorstadt between Altstadtring and the Pinakothek der Moderne in the Munich art area .
Functions
St. Markus has the following functions:
- Seat of the city dean of Munich
- Seat of the dean of Munich-Mitte
- Both offices are currently held in personal union.
- Parish church of the Evangelical Lutheran parish of St. Markus Munich-Maxvorstadt
- University church for all universities in Munich
history
In the second half of the 19th century , the steady influx of people from the Protestant areas of Bavaria and the rest of Germany greatly expanded the Munich Protestant community. Soon St. Matthew was too small, so that the thought of a second Protestant church in Munich came up. The parish district should cover the eastern urban area. Therefore you had as a site for a church at first the so-called Vienna Woods , near the island of coal on the right Isar -Ufer in mind. Dean Johann Karl von Buchrucker favored a building site near the historic old town. Despite opposition from the local community, Maxvorstadt was established as the location and the Protestant community was offered the corner plot of Schellingstrasse / Türkenstrasse. The plans for the church, rectory and school were detailed.
Finally, a plot of land opposite the Wittelsbacher Palais at the southern end of Maxvorstadt was offered. The property was wedged between town houses so that the romantic, urban ideal of a free-standing church as a vanishing point and center of (sub) city life was not possible. This idea was implemented in the Au through the new construction of the Mariahilfkirche . The Bavarian crown did not want to leave any doubts about the strong Catholic dominance in Munich. Therefore, for buildings of other Christian denominations, only those building sites were given that did not allow a great influence on the cityscape; The only exception was the church building of St. Matthew, which was demolished in 1938. Probably because of the prominent location near the Wittelsbacher Palais, which was the apartment of the Bavarian royal family, the Protestant Dean's Office in Munich accepted the offer and gave up the building site on Schellingstrasse. This was despite the fact that the situation of the property there appeared to be more favorable, both according to the urban planning concept at the time and for the purposes of the community. The royal capital and residence city of Munich contributed 100,000 guilders to the financing of the church, while King Ludwig II contributed 250,000 guilders from his private box.
Rudolf Gottgetreu , whose neo-Gothic style prepared the Maximilian style , designed the church. In doing so, he repeatedly came into conflict with the community, which rejected his structural and stylistic ideas as too modern. The foundation stone was laid on November 10, 1873 . The conflict between the architect and the community increased during the construction phase. Finally, between 1874 and 1876, the question of the material for the pillars of the church nave led to a break between God-Faithful and the Protestant community. The community wanted the pillars to be made of stone, while God-Faithful provided the most modern building material at the time, cast iron , a symbol of technical progress. He was released from his duties. Georg Eberlein , at that time professor at the School of Applied Arts in Nuremberg , which already saw itself as the center of Bavarian Protestantism , continued the work. He did not make any major changes to Gottgetreu's plans. The stone pillars were preferred. On 28 October 1877, the church as was II. Protestant Church Munich by Dean Buchrucker inaugurated .
In 1885 the church was dedicated to the evangelist Mark and was given the ecclesiastical name “St. Markus ". At the same time it became a branch church of St. Matthew, which it remained until 1900. Although raised to the seat of the Dean of Munich in 1896, St. Markus remained tied to St. Matthew. The dependency of the deanery church had a practical background: when Adolf Kahl was appointed dean of Munich in 1896, he was pastor to St. Markus and lived in the rectory of St. Markus. Since he did not want to leave the rectory - after all, he remained pastor of St. Markus - St. Markus became the seat of the deanery and has remained so to this day. It was not raised to an independent parish until 1920, and in the same year St. Markus also became the seat of the newly founded Munich Church Community , headed by the Dean of Munich. The parish of the Kreuzkirche in Schwabing , originally part of St. Markus, was founded in 1933.
A discussion about the taste and value of neo-Gothic began as early as 1910 . The first renovation took place in 1926, during which the Munich architect Fritz Hessemer made the first changes to the neo-Gothic furnishings. German Bestelmeyer intervened considerably more strongly in his redesign of 1936/1937 with the aim of “de-gotisation”, as he called it: The choir windows were extended downwards in order to bring more light into the nave. These were given colored windows designed by Hermann Kaspar ; the execution was carried out by the Mayer'sche Hofkunstanstalt Munich. The 48-part picture sequence, which tells the story of salvation according to the Gospel of Mark , already follows the Aryan ideal of Arno Breker in its image conception and in the representation of the people . Most of the neo-Gothic furnishings, however, have been preserved. The high altar was partially purified. At the same time, Bestelmeyer added a gallery in the choir called the singer's pulpit .
During the Second World War , St. Markus suffered severe damage from bombing raids in 1944/1945 and, shortly before the end of the war, from fighting at the Turkish barracks , which was located in the immediate vicinity of St. Markus. Only the tower remained recognizable. The stained glass windows had been relocated, but the neo-Gothic interior furnishings remained in the church. The remains of it, but also preserved parts such as the pulpit were lost in 1945/1946 - probably by looters looking for firewood.
In 1947/1948 the ruins were secured by Max Unglehrt and makeshift repaired until 1955. The inauguration of the church took place in Advent 1948, although the repairs had not yet been completed. In addition to a wooden ceiling, which replaced the destroyed neo-Gothic ribbed vault as a temporary measure, St. Mark's was further purified: the neo-Gothic details on the pillars in the nave and the balustrade of the galleries were removed, and the choir arch was rebuilt in segment form. The pulpit , which was lost in the post-war year, was replaced by one made of stone, and the spire was replaced.
The reconstruction took place only in the years 1955 to 1957 by Gustav Gsaenger . Gsaenger paid little attention to the existing neo-Gothic building fabric. The choir was rebuilt, with a prayer room above the choir for 60 believers, which can be reached by a staircase at the choir. At the same time, the tower was partially demolished because, in Gustav Gsaenger's opinion, it was dilapidated despite the security and new spire. Then the tower was raised in the masonry and closed by a small tent roof - the tower is no higher than the original after this redesign. The gallery stairwells to the right and left of the tower were replaced by new ones. Instead of the neo-Gothic vault, a barrel vault was drawn into the nave. The barrel vault in the central nave and the ceilings under the galleries received an ornamented stucco ceiling in the shape of a Rabitz suspended ceiling. On the outside, the church was given a new facade structure made of concrete - nothing remains of the neo-Gothic building apart from the rough shapes of the pillars and gallery parapets, one or the other pointed arched window under the gallery and the tracery window of the tower. The color scheme and structure is typical of Gsaenger and can also be observed in a similar form in his other buildings. The redesign was very controversial and could not be implemented without considerable resistance from the community.
In 1962/1963, after the completion of the stone pulpit, which received a bas-relief of the four evangelists based on a design by the sculptor Vogel, the reconstruction was completed. The last complete renovation under the direction of Theo Steinhauser took place from 1977 to 1979. Here summed Walter mustard the interior color new, the windows in the nave received by him an ornamental glazing.
St. Markus used to be relatively easy to overlook because of its rebuilt and inconspicuous location behind the original street layout between Amalienstraße, Lotzbeckstraße and Jägerstraße. This changed the destruction of the war and reconstruction. The efforts to create a car-friendly city in the 1960s played the decisive role. The urban deforestation associated with the construction of the Old Town Ring enabled a changed view of St. Markus. In the south and east of the church, the Oskar-von-Miller-Ring created a plaza-like open space.
Bells
Friedrich Wilhelm Schilling cast five bells in Heidelberg in 1957. The Pentecost bell is a cast of its predecessor. All bells are divided between the three existing steel bell cages in the bell chambers; the Christmas bell hangs at the bottom on the cranked steel yoke, in the middle the Pentecost and the baptismal bell hang one above the other on wooden yokes, above the other two bells also on wooden yokes. The renovation of the bells took place in 1998 by the Perner company . The Lord's Prayer bell rings during prayer times at 7 a.m., 12 p.m. and 8 p.m. and during the Our Father’s service during the service. On Saturday at 3 p.m. it is the only bell to ring in Sunday. The Pentecost bell strikes the quarter of an hour, the hour strikes over the Christmas bell . The big Christmas bell only rings on festive occasions.
Bell 1 -
Christmas bell
Bell 2 -
daffodil
Bell 3 -
Pentecost Bell
Bell 4 -
Reformation Bell
Bell 5 -
baptismal bell
| No. |
Name (position) |
Mass (kg) |
Nominal (16th note) |
inscription |
| 1 | Christmas bell | 2751 | h 0 −1 | Glory to God in the highest and peace on earth and a pleasure to men + Luke 2:14 |
| 2 | Easter and Our Father bell |
1343 | dis 1 −3 | The Lord is risen + Matthew 8: 6 |
| 3 | Pentecost bell | 746 | f sharp 1 −1 | But where the Spirit of the Lord is, there is freedom + 2 Cor. 3.17 |
| 4th | Reformation bell | 588 | g sharp 1 −2 | God is our confidence and strength + Psalm 46: 2 |
| 5 | Baptismal bell | 341 | h 1 −1 | Whoever believes and is baptized will be saved + Mark 16:16 |
Important works of art
- The Gospel of Mark - window cycle for the choir apse ( Hermann Kaspar , 1937)
Church music
In 1951 the conductor and organist Karl Richter , later one of the internationally best-known Bach interpreters of the 20th century with the Munich Bach Choir and Bach Orchestra , joined St. Markus as organist. From 1986 to 2012 he was followed by KMD Holger Boenstedt , who continued the great tradition of church music with the Markus Choir he founded. In October 2012 Michael Roth was appointed to the church music department.
Steinmeyer organ
The large organ of the Markuskirche was built in 1936 by the organ builder GF Steinmeyer & Co. (Öttingen) as op. 1620. The fundamental, romantic predisposed instrument has 54 registers on three manuals and pedal . The actions are electro-pneumatic .
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Pairing :
- Normal coupling: II / I, III / I, III / II, I / P, II / P, III / P
- Super octave coupling: III / I, III / III
- Sub-octave coupling: III / I, III / III
Ott organ
In 1967, on the initiative of Karl Richter, the organ builder Paul Ott built an organ with 29 registers on three manuals and a pedal on the east gallery . The baroque instrument is particularly suitable for performing baroque organ music.
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- Coupling : II / I, III / I, I / P, III / P
Notes on patronage
The namesake of the first four Evangelical Lutheran parish churches in Munich were the evangelists , in the order they are known in the New Testament : St. Matthew (consecrated in 1833), St. Mark, St. Luke (consecrated in 1896) and finally St. John Evangelist (initiated 1916) in Haidhausen . Together with the first Evangelical Lutheran church in the Munich area - the St. Paulus Church in Perlach , consecrated in 1849 - the evangelical parishes in Munich demonstrated the basis of their faith: the testimony of Jesus Christ as the Gospels testify to him ( Matthew , Markus , Luke and John ) as well as the confession of him ( Paul ).
Trivia
- The style of the ornamented stucco ceiling designed by Gsaenger in St. Markus is called Brez'nstuck by the Munich residents .
literature
- The Protestant church was built in Munich from 1948 to 1965 . Buildings of the Evangelical Church in Munich. A documentation. Klinger, Munich 1966, DNB 456584331 .
- Armin Rudi Kitzmann: The open gate . From the history of the Protestants in Munich. Claudius, Munich 1990, ISBN 3-532-62094-4 .
Web links
Individual evidence
- ↑ Michael Roth on the website of the Markus Choir, accessed on December 6, 2016.
- ^ The organs - The Steinmeyer organ from 1936. St. Markus Munich - Evangelical in the center of Munich, accessed on December 27, 2015 .
Coordinates: 48 ° 8 ′ 46 ″ N , 11 ° 34 ′ 28 ″ E