St. Michael (Weiden in the Upper Palatinate)
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The Protestant parish church of St. Michael is an originally Gothic, Baroque-style relay hall in Weiden in the Upper Palatinate . It belongs to the parish of St. Michael Weiden in the Weiden deanery of the Evangelical Lutheran Church in Bavaria . After several religious changes, it was used as a simultaneous church until 1899 and is known as the place where Max Reger worked .
history
The church was first mentioned in 1341 when King John of Bohemia transferred the right to occupy the church to the Waldsassen monastery . Excavations carried out in 2005 showed that the foundation building was probably built in the 12th / 13th centuries. A hall church was built around 1300. In 1396 the church was destroyed by fire. In 1415 the choir was rebuilt with flank towers, the north of which was never completed. After being destroyed again in 1421, the nave was built as a relay hall during the reconstruction between 1448 and 1460, which is evident from a revised inscription from 1448. The church was consecrated in 1469; it had an independent parish since 1481.
The first Protestant pastor is recorded in 1535. According to a building inscription behind the organ, the church was repaired after further fires in 1536 and 1540, and most of it was vaulted in 1564. In 1576 the tower was renewed. In 1627 the church was taken over by the Jesuits during the re-Catholicization and was used simultaneously by both denominations from 1633 to 1899. In 1759 the tower collapsed, damaging the southern choir wall and the eastern vaulted yokes. The reconstruction was completed in 1762 by the master builder Georg Dobmayer from Kaltenbrunn. An extensive renovation took place in the years 1899 to 1907, a restoration from 1976 to 1979, a further renovation in 2005. Max Reger worked as organist at this church from 1883 to 1889.
architecture
Exterior
The three-aisled staggered hall ends in a single-nave choir with a five -eighth end , which is slightly wider than the central nave . In the southern corner of the choir there is a high tower with a retracted onion hood and lantern . The building shows a rich late baroque structure with a gallery above the top floor, which was inhabited by the tower keeper until 1914 , which was created by Erhard Christian Haberl. The opposite tower stump was probably extended to the east by the sacristy in the 16th century . At the beginning of the 20th century, a semicircular stair tower was added. The choir is divided on the outside by stepped buttresses and a coffin cornice. The strong buttresses on the nave were probably only added after the tower collapsed in the 18th century; they are combined with flanking triangular templates from the possibly 16th century that rest on the sole benches. Three portals with basket arches in sandstone frames open up the building. The dates 1448 and 1762 can be found above the western portal. In the southern slope of the choir there is a Mount of Olives Chapel with carved figures from the 18th century, which was renovated in 1979. On the north side of the choir there is a sandstone relief with a scene from the Mount of Olives from the period after 1450, with a fire date of 1545.
Interior
The interior is characterized by the high, slightly pointed round pillar arcades that separate the ships from each other. The vault under the gallery is still in its original state; It shows a star vault with grooved ribs in the central nave, a mesh vault in the south aisle and on the opposite side a vault with thin ribs that were later attached. The ribbed vault with rosette keystone in the tower stump was probably built around 1415 . The central nave is closed off by a groin vault over segmental arched wall templates with pieces of entablature, the equally high choir with a barrel cap barrel over a pilaster structure . In the side aisles, rectangular Bohemian caps are drawn into wall pillars, which are connected to one another by partition arches. The well-balanced late baroque stucco is adapted to the late Gothic room with small frame motifs.
Furnishing
The high altar was simplified in 1791 based on a design by Friedrich Wagner by Leonhard Bacher, both of whom come from Amberg. It consists of a tall structure with columns, volute pilasters and rocailles decor . The altar leaf created by the Sulzbach portrait painter Johann Christoph Karl shows the birth of Christ. To the left and right of it are larger-than-life figures of the apostles Peter and Paul . The pulpit is the work of Michael Kemnath and Joseph Anders, both from Weiden; the version was carried out by Vitus Fuchs from Tirschenreuth. St. Michael is depicted on the sound cover, on the back wall is a painting framed in a cartouche with the sermon of John.
Several chair cheeks with tassel decoration date from the second third of the 18th century and were created by the Weiden carpenter Michael Meiler. Some fragments of a high grave for Anna Maria († 1620) and Aemilie († 1618), Duchesses of Liegnitz and sisters-in-law of Count Palatine Friedrich, have been preserved. They consist of the grave slab on the south choir wall with the kneeling princesses between pieces of a crucifix and inscription panels and another slab between eight heraldic panels on the wall of the south aisle. Other gravestones in the nave are mostly from the 17th century. On the north wall of the choir is a red marble epitaph for the city judge Michael Ermweig († 1594) and his two wives, on the south wall there is a quartz epitaph for the two children of councilor Philipp Silberschmidt who died in 1632.
pulpit
Looking west
Mount of Olives Chapel
Lichthäuschen - A relic of the medieval cemetery.
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organ
The oldest verifiable organ was a work from 1480 by Hans Rebel from Pirk. It was replaced by Hermann Raphael Rodensteen in 1564/1565 with a new work with a prospectus by Erhard Ditzmann, which was revised in the 18th century and remained until the most recent new building. Around 1866 the organ had two manuals. Max Reger, who had returned to Weiden in 1898 after his life and work crisis, performed several of his well-known organ works on the organ at the time. This organ was replaced in 1902/1903 by a new work by Johannes Strebel , which had 24 stops on two manuals with pneumatic cone chests. After the completion, Reger played the official organ rehearsal in March 1903. The organ was rebuilt in 1969 by EF Walcker & Cie. with 41 stops on three manuals and pedal . This organ was moved to Semogo (Italy) in 2007 and the prospectus of the Rodensteen organ was stored.
The latest new building by Weimbs Orgelbau with 53 registers on three manuals and pedal was handed over to its destination on March 4, 2007. The decor on the prospectus, which harmoniously combines the modern organ with the baroque furnishings of the church, was created by the Weiden artist Wolfgang Karl Heinz Neugebauer . The disposition is based on the organs that Reger played on in his early days. It reads as follows:
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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 / II, III / III, III / P
literature
- Georg Dehio: Handbook of the German art monuments. Bavaria V: Regensburg and the Upper Palatinate. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03118-0 , pp. 852–854.
Web links
Individual evidence
- ↑ Information on the Max Reger Memorial Organ. Retrieved April 10, 2020 .
- ^ Eberhard Kraus : Historical organs in the Upper Palatinate (= 131st publication of the Society of Organ Friends ). Schnell & Steiner, Munich 1990, ISBN 3-7954-0387-1 , p. 334 .
- ↑ Information about the organ on the municipality's website
- ↑ Disposition of the organ on the website of the builder company
Coordinates: 49 ° 40 ′ 31.4 " N , 12 ° 9 ′ 43.9" E