Admont Collegiate Church

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Admont Collegiate Church
View of the nave from the south

The Roman Catholic monastery and parish church of Admont of the Admont Benedictine monastery in Admont in Upper Styria was rebuilt in the neo-Gothic style in the years from 1865 to 1869 after the great fire of 1865 using Romanesque and Gothic remains . The cathedral is the first neo-Gothic sacred building in Austria. The two towers, 73 and 74 meters high, are the landmarks of the Admont Valley . She is the St. Blasius consecrated.

history

In 1865, when a devastating fire devastated large parts of the Admont market , much of the abbey was also destroyed by flames, including the collegiate church. After the fire, the church and monastery were rebuilt, albeit in a simplified form. Rebuilt between 1866 and 1869 by the architect Wilhelm Bücher , partly on Romanesque and Gothic foundations, it is modeled on the Regensburg Cathedral and is Austria's first neo-Gothic sacred building. On September 12, 1869, the church was consecrated under Abbot Zeno Müller.

Building

The west facade shows figures of St. Benedict and St. Scholastics . A pointed gable with the figure of the patron saint, St. Blaise, crowns the portal. The Romanesque side portals on the towers date from the 12th century.

On the north side of the nave, the architect had caricatured heads of Kaiser Wilhelm I and Bismarck attached in the form of Gothic gargoyles .

The Admonter Münster is divided into a three-aisled nave with a single-nave choir with a 7/12 end. The two side aisles each have five side chapels and six altars each.

Facility

Look into the choir
Interior view towards the west
Coronation of Mary, partial view of the central choir window

The neo-Gothic high altar made of Carrara marble shows a figure of the patron saint, St. Blasius. The altar also serves as a burial place for the founder of the monastery, Archbishop Gebhard von Salzburg . Franz Xaver Zeitler made the glass paintings of the choir windows from 1914 in Munich .

The altar is surrounded by tapestries from the embroidery school of Brother Benno Haan  OSB, which were created in the early 18th century and were spared from the great pen fire. The ornate carpets are in high and flat embroidery worked with Äbtewappen, images of saints and a colorful variety of flowers and animal motifs.

A larger-than-life Gothic crucifix hangs in the choir arch, which can be attributed to Andreas Lackner around 1518. Also under the choir arch, next to the cross altar, is a copy of the famous Admont Madonna from around 1310 - the original is in the Landesmuseum Joanneum in Graz. Also worth seeing is the Marien Altar, with the image of Mary of Maria Immaculata , created by Martino Altomonte in 1726. The image is surrounded by 15 carved rosary secrets by the sculptor Josef Thaddäus Stammel (1695–1765) from Graz .

In the Benedictine Chapel there is a baroque Corpus Christi from the workshop of Johann Meinrad Guggenbichler .

One of the side chapels houses the famous baroque Admont Christmas crib by Josef Stammel. Stammel carved the multi-figure nativity scene around 1755/56. It stands in the shrine of the nativity scene, which is traditionally only open at Christmas time (December 24th - February 2nd). The crib is one of the most beautiful in Austria.

On the ground floor of the north tower is the Fatima Chapel , which is the oldest and still Romanesque part of the collegiate church. It houses two wall paintings with the birth of Christ and the Assumption of the Blessed Mother Mary as well as a Fatima Madonna.

  • Detail of the tapestry by Benno Haan

  • Copy of the Admont Madonna

  • The altar of Mary

  • Reliquary altar of the early Christian martyr Benedictus

organ

The Rieger organ in the Admont Minster
Audio sample of the organ

The first reference to the erection of an organ in the Admonter Münster can be found in the abbot's catalog under the time of Abbot Hartnid (1391–1411) “… organa diversa famata parat vice versa”. This assumption is confirmed by the fact that "John the organist" appears in a petition from the monastery to the Holy See among other witnesses.

Abbot Valentin (1545–1568) then started negotiations with the organ builder, Master Jakob zu Zwettl, in 1550 to have the organ of the monastery church repaired, "which, including a horn, is almost completely out of place".

In 1590 Abbot Johannes IV had a small organ made by Georg Hackl from Steyr. In 1619, a visitation protocol advised that the two organs "should be combined into one". Towards the end of the reign of Abbot Matthias (1615–1628) this request was probably complied with; the construction of a large organ for 1627 is mentioned. As a note elsewhere suggests, this organ had 15 stops .

Under Abbot Raimund (1659–1675) a positive organ was built again on the monk's choir , and in 1711 an organ with seven registers for the parish church of St. Amand (now called the “old parish church”) by Josef Ignaz Mayenberg.

In 1784, Franz Xaver Chrismann built an important organ instead of the small positive, a work that was destroyed in flames during the great fire in April 1865 together with the organ in the side gallery; According to tradition, this new main organ with 44 stops was a favorite of the master. Even Otto Biba calls them "the most exquisite work of Abbate Chris Mann, who brought a completely new organ sound to Austria"

After the destruction of the Chrismann organ, Mathias II. Mauracher (he called himself Matthew and is often referred to as Matthew the Elder in literature ) built a new work with 3 manuals and pedal (42 stops) in 1870–1871 1909 was expanded to 61 registers by his son Matthäus II. Mauracher.

The present organ was consecrated in 1974 and replaced the Mauracher work that had become damaged over the decades. The occasion for the new building was also the 900th anniversary of the monastery.

The builder of the new instrument was the Vorarlberg company Rieger , the planning was done by Hans Haselböck . In keeping with the Baroque tradition, the organ has a purely mechanical action and stop action . In order to ensure the integration into the neo-Gothic area of ​​the collegiate church, the housing of the Mauracher organ was reused for the new organ.

In the years 2014–2016 the work was technically revised by the Rieger company and the intonation was partially improved; an electronic setting system was also installed. The mechanical stop action was retained; the display for the two sills can now also be seen on the display. In the pedal , a 32 'register “subset” was added, which represents a combined register of the existing sub-16' and a new fifth-bass 10 2 ⁄ 3  ' in the major octave ; In addition, the register shelf-16 ′ was changed to -8 ′ in the Brustwerk (new pipes from G sharp 2 ). In the course of this work, the steps for the fixed combination and the plenum steps were removed for reasons of space.

The instrument has 53 registers (around 4,000 pipes) on three manuals and a pedal and can be played from a fixed console with a mechanical action .

I Hauptwerk C – g 3
01. Quintad 16 ′
02. Principal 08th'
03. Gemshorn 08th'
04th Reed flute 08th'
05. Octave 04 ′
06th Hollow flute 04 ′
07th Major third 03 1 ⁄ 5  ′
08th. Fifth 02 2 ⁄ 3  ′
09. Super octave 02 ′
10. Cornet V 08th'
11. Mixture major IV 0 02 ′
12. Mixture minor IV 01'
13. bassoon 16 ′
14th Trumpet 08th'
II Swell C – g 3
15th Pointed 16 ′
16. flute 08th'
17th Lead-covered 08th'
18th Gamba 08th'
19th Unda maris 08th'
20th Principal 04 ′
21st Coupling flute 04 ′
22nd Salicet 04 ′
23. Nasat 02 2 ⁄ 3  ′
24. Hollow flute 02 ′
25th third 01 3 ⁄ 5  ′
26th Mixture VI 02 ′
27. Third cymbal III 01 ⁄ 4 ′
28. French trumpet 08th'
29 oboe 08th'
30th Trumpet 04 ′
Tremulant
III Breastwork C – g 3
31. Salicional 8th'
32. Wooden dacked 8th'
33. Principal 4 ′
34. Wooden pipe flute 4 ′
35. Sesquialter II 2 2 ⁄ 3  ′
36. Gemshorn 2 ′
37. Fifth 1 1 ⁄ 3  ′
38. Scharff IV 2 ⁄ 3 ′
39. shelf 8th' (n)
40. Krummhorn 8th'
Tremulant
Pedal C – f 1
41. Pedestal 0 32 ′ (n)
42. Principal 16 ′
43. Sub-bass 16 ′
44. Octave 08th'
45. Tube bare 08th'
46. Octave 04 ′
47. Night horn 04 ′
48. Pipe clamp 02 ′
49. Mixture IV 02 2 ⁄ 3  ′
50. Contrabassoon 32 ′
51. Bombard 16 ′
52. trombone 08th'
53. shawm 04 ′
  • Coupling (as pull and step): II / I, III / I, III / II, III / P, II / P, I / P.
  • Playing aids : electronic setting system with sequencers for hand and foot actuation (since 2014)
  • Remarks:
(n) = added later (2014)
  1. ↑ Swellable.
  2. ↑ + 1 3 ⁄ 5  ′.
  3. ↑ Until 2014: shelf 16 '.
  4. ↑ Large octave acoustic.
  5. ↑ Until 2014: 1 free combination (mechanical) each for I / P and II / III, 2 plenary steps for I / P and II / III, 2 triggers for I / P and II / III.

Peal

Blaserin in the north tower

A total of seven bells hang in the two church towers (four in the south tower and three in the north tower), cast by the St. Florian bell foundry in 1950 (bells 1–5) and 1948 (bells 6–7):

No.
 		 Surname
 		 Casting year
 		 Diameter
(mm)		 Mass
(kg)		 Nominal
(16th note)		 tower
 
1 Blaserin 1950 1760 3170 b 0 North tower
2 Our Lady Bell 1480 1843 of the 1st South tower
3 Benedictine bell 1300 1297 it 1 South tower
4th Inhibition bell 1110 794 ges 1 North tower
5 Gebhard bell 990 578 as 1 North tower
6th Joseph Bell 1948 880 410 b 1 South tower
7th Amand and Erhard bell 740 250 of the 2nd South tower

Web links

Commons : Stiftskirche Admont  - Collection of pictures, videos and audio files

Individual evidence

  1. ↑ Uwe Pape : The organs in the Admont collegiate church. In: Pape Organ Profiles . 1 (1978), pp. 2f.
  2. ↑ ibid.
  3. ↑ Visit files in the Admont Abbey Archives
  4. ↑ Article “The organs in the collegiate church Admont”, p. 2f.
  5. ^ Carl Ferdinand Pohl: Crisman, Franz Xaver . In: Historical commission at the Bavarian Academy of Sciences (Hrsg.): Allgemeine Deutsche Biographie . Volume 4 (1876), pp. 139-140
  6. ↑ Article “The organs in the collegiate church Admont”, p. 2f.
  7. ↑ The Mauracher family of organ builders . In: The Mauracher organ (1890) in the Little Michel . Hamburg 2007, pp. 4–5
  8. ^ Rudolf List, Admont Abbey 1074–1974 , p. 463

Coordinates: 47 ° 34 ′ 30.8 "  N , 14 ° 27 ′ 41.2"  E