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Built in 1334, Jakobikirche (St. Jacob’s) is one of five Evangelical Lutheran parish churches in Lübeck’s old town, and is now regarded as one of the Northern German city of Lübeck’s best preserved Medieval churches, having managed to emerge relatively unscathed from the air raids of World War Two.
History of Jakobikirche
The Jakobikirche is a three-aisled brick hall church. The current building was constructed in 1334 after the city suffered a great fire in 1276, replacing a Romanesque hall church on the same site. The tower of the church reveals that over the church’s history, there has been a significant amount of planning to expand or alter the building, such as a now-abandoned design to convert the hall church into a basilica.
In 1628, the tower was taken down ‘to the bells’ in order to renew the masonry. Initially, a simple wooden roof was built on top of the church, until the spire was renewed in 1657/58. The spire has been struck by lightning several times, most recently burning for a whole day as a result in 1901.
Various parts of the church have changed hands a number of times over its long history. For instance, of the attached chapels, the Brömbsen Chapel is probably the most well known because of its altar on the south side, which dates back to the foundation of the canon Detmar Schulop in 1338. In 1488, the mayor of Lübeck, Heinrich Brömse, gained custody of the chapel, where it remained in the possession of his family until 1826.
Other parts of the church are owned by different prominent German families as well as the Brewer’s Guild.
The church has a rich interior. The church’s medieval frescoes were rediscovered during renovations at the end of the 19th century.
Crucially, Jakobikirche was one of the few churches in Lübeck that remained undamaged during a bombing raid in 1942, and as a result, houses the last two remaining historical organs in Lübeck. In 1932, the gallery under the great organ was expanded in order to make space for a larger choir and a small orchestra there.
Today, visitors can enjoy Jakobikirche’s rich and detailed Gothic pulpit, altar, and baptismal font, the famous Broemsen altar, its interesting and unusual box pews, two rare historical organs, and its clock tower and bell.
There is a busy and regular programme of events year round, including organ recitals on the two famous and old organs which are highly popular.
The city itself is well worth a visit, being noted for its brick gothic architecture and other attractions such as St. Mary’s Church, the City Hall, the old salt storage buildings, and the Holy Spirit Hospital in Koberg, which is one of the oldest existing social institutions in the world. Like many other places in Germany, Lübeck has a long tradition of a Christmas market in December, which includes the famous handicrafts market inside the aforementioned Holy Spirit Hospital.
Getting To Jakobikirche
Lübeck is an hour drive from Hamburg, primarily on the ‘1’ main road. There is also a frequent bus service from Hamburg – the RE and the RE80 – that takes 45 minutes. When in Lübeck, Jakobikirche is an 8 minute walk from the centre; equally, there is a bus every 8 minutes – the 11, 21, 32, or 39 – that will take you within even shorter walking distance of the church.
Chemnitz is the third-largest city in Saxony, and its population has started growing again in the past few years. The city lies at the foot of the Erzgebirge (also known as the &ldquoOre Mountains&rdquo in English), and over the past century it has expanded from the banks of the River Chemnitz, stretching out over the hills to the west and the east. The river, from which the city takes its name, means &ldquostony brook&rdquo. It rises at the southern edge of the city where the rivers Würschnitz and Zwönitz meet.
Chemnitz is first mentioned as &ldquolocus Kameniz&rdquo in 1143, when King Conrad III granted market rights to a Benedictine monastery founded in 1136 under the immediate authority of the Holy Roman Emperor. While the charter granting these rights does indicate the king&rsquos intention to establish a town, it is not the founding document for the medieval settlement. The town, built according to a plan and then subordinate to the king alone, was probably constructed after the 1180s. A century later it had a town council and code of law. However, the town would soon be transferred from imperial possession to the Margraves of Meissen.
In the 14th century, the margraves granted the town certain privileges that strengthened it economically. The most important of these was a charter issued in 1357 that granted four of the town&rsquos residents the right to establish a bleachery on the Chemnitz. The margrave also forbade the export of yarn, flax, twine and unbleached linen. This allowed Chemnitz to assume a central role in textile production and trade. The town&rsquos economic power can be seen in the fact that it was able to acquire territory from the monastery in 1402 and purchase jurisdiction in matters of high and low justice from the local lord, along with the right to collect customs, in 1423.
For about eight centuries from 1470, Chemnitz was the site of a liquation smelting works and a copper hammer mill. Directly connected with mining in the Erzgebirge, Nickel Thiele and Ulrich Schütz the Elder and his son managed to create an empire characterised by early capitalist production methods. Without the smelting works and the hammer mill in Chemnitz, the passages in Georgius Agricola&rsquos De re metallica describing their activities would have been unthinkable. The famous early modern polymath worked in the town from 1531, serving as a physician and at one point as burgomaster.
In the 17th and 18th centuries, more than a third of the town&rsquos population was employed in textile production, with calico printing becoming especially important. In 1770, bleacher and colourist Georg Schlüssel introduced calico printing in self-contained production units as a forerunner of mass production. This was followed by the opening of the calico printing work Pflugbeil und Co. in 1771, which was combined with a distribution house for woven goods. The business would later employ around 1200 people and first attempted to use machines in 1799. Macedonian (i.e. Greek) cotton merchants were heavily involved in this development as major stakeholders.
In the 1780s and 1790s, it was master craftsmen such as Christian Wilhelm Forckel, Matthias Frey, Carl Gottlieb Irmscher and Johann Gottlieb Pfaff who heralded the coming of the Industrial Revolution to Saxony with their inventions, along with the construction of spinning and carding machines. By the time the first mechanised cotton mills were built by the Bernhard brothers in Harthau and by Wöhler & Lange around 1800, it had fully arrived. Chemnitz thus became one of the most important industrial centres in the region, and by 1817 it was already known as the kingdom of Saxony&rsquos first factory town and its second trading town.
From the 1830s and 1840s, figures such as Carl Gottlieb Haubold, Richard Hartmann (the &ldquoSaxon locomotive king&rdquo), Louis Schönherr and Johann Zimmermann and the companies they founded would come to dominate the town&rsquos appearance and its economic development. In 1852 the town was connected to the railway network, allowing Chemnitz to increasingly develop into the &ldquoSaxon Manchester&rdquo. Berthold Sigismund described the industrial town in 1859: &ldquo. in Chemnitz and the surrounding areas, factory buildings prevail, and of these only some of the most recently built betray any attempt to consider beauty alongside utility.&rdquo
The comparison to the English industrial metropolis had much to do with the numerous smokestacks of the town&rsquos factories and foundries, the smoke and filth they produced, and the miserable social conditions that came with it. But the term &ldquoSaxon Manchester&rdquo also reflects pride in the achievements of local industry, especially in machine construction, which was coming closer and closer to breaking the lead enjoyed by its English competitor. It was in the 1860s that Richard Hartmann and the founder of German machine tool manufacturing, Johann Zimmermann, broke out onto the international scene, winning multiple prizes at the world expositions for their machines, which were no longer inferior to their English rivals in any way.
While this industrial boom was taking place, the town grew and developed.
Transport within the town also improved after the introduction of horse-drawn trams in 1880, which were followed by electric-powered trams in 1893. New production plants with modern engines and machines took up large areas of the town and left their mark. Chemnitz became a national centre of textile production and machine construction, and its products were among the most sought-after throughout the whole world. Factories that were modern for the time sprung up, including the annex to the Haubold machine works in 1917 and the Astra factory in the late 1920s. In 1936, Auto Union established its headquarters in Chemnitz.
The town&rsquos population was experiencing tremendous growth. In 1883, Chemnitz became a city with over 100,000 residents, and just 30 years later this figure had risen to 320,000. In 1930 the city had 360,000 residents, the highest population in its history. Between 1844 and 1929, 16 smaller municipalities were incorporated into the city, significantly expanding its size. The Anger (&ldquomeadow&rdquo the area behind the Mercure Hotel) and the Graben (&ldquoditch&rdquo Theaterstraße and Bahnhofstraße to the Posthof) were built over, Kaßberg and Stollberger Straße were opened up for upscale residential construction, and the Sonnenberg, Brühl, Südvorstadt and Schlosschemnitz districts were developed as workers&rsquo housing.
The city centre also underwent changes as Chemnitz grew to become a major city:
along the market and Johannisplatz, on Poststraße, Theaterstraße and Königstraße, various businesses, offices, banks and insurance agencies opened up. Between 1883 and 1915, the city authorities built the slaughterhouse, market hall, power station, city museum, fire station, lending office, the New City Theatre, New Town Hall, gasworks, Küchwald Hospital, numerous schools and the cycling track. In the mid-1930s Chemnitz was connected to the Autobahn, Germany&rsquos network of motorways.
During the Second World War, businesses in Chemnitz ramped up manufacturing to contribute to the war effort. Air raid warnings began in 1940, with the most destructive bombings taking place in February and on 5 March 1945. At the end of the war, nearly 4,000 people in the city had lost their lives, and over six square kilometres had been destroyed in the city centre and neighbouring residential areas. Reconstruction efforts were abandoned in the mid-1950s in favour of extensive new building projects in the inner city, and the city centre was given an entirely new appearance. While the remaining mid-19th century buildings in the city&rsquos historic districts were neglected, large housing developments began to spring up on the edge of the city from the mid-1960s. Karl-Marx-Stadt (&ldquoKarl Marx City&rdquo), as Chemnitz was known from 1953 to 1990, continued to be a centre for machine construction and had 315,000 residents by the end of the 1980s.
The profound political and economic changes that began in autumn 1989 led to the establishment of local self-government and administration and the development of competitive industrial firms. Today, mid-sized, innovative companies and start-ups based in new business parks play a crucial role in the city&rsquos economic life. The city&rsquos appearance has been transformed by the construction of new buildings for homes and businesses, the renovation of listed buildings and residential areas steeped in tradition like Kaßberg and Sonnenberg, and in particular the redesign of the city&rsquos business centre.
John Scott Whiteley of York Minster plays the Arp Schnitger organ at the Jakobikirche Hamburg. Restored by Jurgen Ahrend.
Most remarkable without doubt is the famous organ built by Arp Schnitger in 1693. With its 60 stops and about 4,000 pipes it is one of the largest baroque-style organs in northern Europe. The Arp Schnitger Organ of St. Jacobi in Hamburg is the largest Baroque organ of the North German type in terms of its resonant capacity. It is a cultural monument of inestimable value. Its oldest parts date back to the time of the Reformation and have been part of the organ ever since. During the destruction of the church in 1944 some damage occurred to the organ as well, yet more than 80% of its substance remained intact. After major restoration work in 1993, it is now as radiant and beautiful as ever.
Between 1989 and 1993 the organ was completely restored and has been played in every Sunday service since its new dedication on Easter morning of 1993. An instrument of such quality is an obligation: regular organ concerts are performed and a weekly tour of the organ for those interested in its techniques is offered. Because of its organ St. Jacobi is a place of “pilgrimage” for “professionals” – organ builders and organists from around the world. In 1995, St. Jacobi hosted an international symposium on north German organ and figural music of the 17th century.
The Arp Schnitger Organ of St. Jacobi possesses the largest collection of pipes from the 16th and 17th centuries to be found in one single instrument. Approximately one quarter of them dates back to the days before Arp Schnitger, among which are pipes from the "dynasties" of the famous organ builders Scherer and Fritsche. Thanks to their skills and fame, Hamburg became an outstanding location in the development of organ construction from the late 16th century onwards.
However, it is not merely the age of Arp Schnitger's organ nor the number of round about 4,000 pipes which constitute the instrument's extraordinary value: The pipes have a striking sound and are set together in a most skilful manner. Moreover, the diversity of the 60 stops is breathtaking. Thus St. Jacobi has become a place of pilgrimage for organists and organ lovers from all around the world because of its organ. Come and visit St. Jacobi and the weekly organ concert and guided tour through history and construction of the organ every Thursday at noon (free of charge). Or celebrate with us in our services every Sunday morning at 10 a.m. in which the organ has an important part. During the summer months regular organ concerts on Tuesday nights at 8 p.m. are played by internationally renowned organists.
Specification after the restoration 1993
Principal 8' JA
Gedackt 8' SCH/FRI
Quintadena 8' SCH/FRI
Octava 4' FRI/AS
Blockflöht 4' SCH/FRI
Querpfeiff 2' FRI/JA
Octava 2' FRI/AS
Sexquialtera 2f. FRI/AS
Scharff 6-8f. FRI/JA
Siffloit 2f./2' FRI
Dulcian 16' AS
Bahrpfeiffe 8' AS/JA
Trommet 8' LEH
Principal 16' JA
Quintadehn 16' FRI/AS
Octava 8' SCH*/AS
Spitzflöht 8' AS
Viola da Gamba 8' LEH
Octava 4' SCH/AS
Rohrflöht 4' SCH/AS
Flachflöht 2' JA
Rauschpfeiff 2f. SCH/AS
SuperOctav 2' AS
Mixtur 6-8f. FRI/AS
Trommet 16' FRI/AS
Principal 8' AS/JA
Rohrflöht 8' AS
Holtzflöht 8' AS
Spitzflöht 4' AS
Octava 4' SCH
Nasat 3' AS
Octava 2' FRI
Gemshorn 2' SCH/FRI
Scharff 4-6f. FRI/JA
Cimbel 3' AS/JA
Trommet 8' AS
Vox Humana 8' AS
Trommet 4' AS/JA
"Photo: Martin Doering / www.die-orgelseite.de
Principal 8' FRI?
Octav 4' AS/JA
Hollflöht 4' AS
Waldflöht 2' AS
Sexquialtera 2f. SCH/FRI
Scharff 4-6f. AS
Dulcian 8' AS
Trechter Regal 8' AS
Principal 32' JA/ AS
Subbaß 16' AS
Octava 8' AS
Octava 4' FRI?
Nachthorn 2' AS
Rauschpfeiff 3f. FRI/ AS
Mixtur 6-8f. FRI/ AS
Posaune 32' AS
Posaune 16' AS
Dulcian 16 AS
Trommet 8' AS
Trommet 8' AS
Cornet 2' AS
5 Valves and
1 Maine valve
Sch = Scherer (*earlier)
Fri = Fritzsche
AS = Arp Schnitger
Leh = Johann Jakob Lehnert
JA = Jürgen Ahrend
Tuning: Upon the restoration in 1993, a tuning system was chosen which stays close to the historic original, but still allows for a broad band of music to be played.
It is a modified-moderate tuning of the type 1/5 syntonic comma. This system offers a relative purity of thirds in the basic keys. In the peripheral keys F-sharp major and C sharp major, some hard contrasts have to be put up with.
Almost all the works of Johann Sebastian Bach can be rendered on the Arp-Schnitger-organ.
Pitch: 495,45 Hz at 18º Celsius
493,85 Hz at 16º Celsius
Wind pressure: 80 mm WS
The windchests of St. Jacobi's organ were built by Arp Schnitger. They are made of oak wood. Since the 19th century some regrettable changes to the original substance had been made. After World War II additional channels were installed, the suspension of the valves was changed, and improper storage had led to splits in the wood, etc.
The restoration of Arp Schnitger's organ in St. Jacobi was the most expensive one ever undertaken on a historic instrument. Together with the necessary construction work (support construction for the gallery), a total of 6 million DM (about 3 million US-$) was spent. Thanks to the support of Hamburg`s citizens as well as the willingness of public and church institutions to take responsibility this outstanding cultural monument could be restored in such exemplary manner.
The impulse for restoring the organ to its original state came from an international symposium in 1983. The church council decided to have the organ renovated and appoint a committee of experts. The Dutch music expert and organ specialist Cor Edskes documented the status quo from 1985-87. Afterwards the organ builder Jürgen Ahrend who already had received several awards for renovating historic Arp Schnitger organs, got the commission in 1986.
The restoration work performed at the shop of Jürgen Ahrend in 1993 brought the valuable old core back to its full blossom: the valves run smoothly now and the securely positioned windchests cannot break again.
The wind is now supplied by six wedge bellows (2,4mx2m). In case of an energy blackout they can be foot operated, just like in the old days.
The original manuals had been destroyed in 1944. In the course of the last renovation a new construction of the manuals was discussed because those inserted by Kemper after the war, did not correspond to the historic example in any way, neither in form nor function and were therefore disposed of.
A copy of the construction made by Johann Paul Geycke in 1774 was considered. However, the organ commission recommended a reconstruction true to Schnitger which was thought to be in harmony with the overall concept. The keyboards have keys made of ebony and boxwood. To their left and right are the turned plumtree wood stops. Those have been placed according to the original order. Their inscriptions match the naming used in a contract by the organist Johann Joachim Heitmann in 1721. This is the earliest information on the spedification given by Schnitger himself.
The Arp Schnitger organ is an excellent example of the North German monumental type. Its base is the very deep and low trombone 32' stop in the pedal.
The 60 stops are divided over the four manuals and the pedal. Every division has a principal plenum, crowned by a multichoir mixture (vielchörige Mixtur).
The oldest pipes of St. Jacobi's organ date back to the time of the Reformation. Arp Schnitger incorporated them into his new instrument which was completed in 1693. E.g., the four lowest tones of the octave 8' in the main traction were made by Iversand/Stüven in 1512, the reed flute 4' by Jacob Scherer in 1546. More than 80% of the old material has remained intact over the centuries. Only the front pipes had to be handed over to the army during World War I , in spite of a storm of protest. Seventeen flute stops of varied constructions and sounds create a unique range of sound quality unequalled by any other instrument. Moreover, there are 15 reeds which are replicates of renaissance wind instruments and add to the colourful range of sounds. Hans Henny Jahnn admired the "size and wisdom of the diapason and the selection of voices".
YOU CAN LISTEN TO ANY (OR ALL) OF THE FOLLOWING RECORDINGS OF THIS ORGAN BY CLICKING ON THE LINK BELOW:
TO RETURN TO THIS PAGE AFTER LISTENING, CLICK "BACK" ON YOUR BROWSER.
The Dunedin Consort was founded in 1995 and is named after Din Eidyn, the ancient Celtic name of Edinburgh Castle.
Under the direction of John Butt, the ensemble has become one of the most exciting Baroque ensembles in Europe. They have recorded all Bach&rsquos major choral works their St John Passion was nominated for Recording of the Year in both Gramophone and BBC Music Magazine. Recordings of Handel&rsquos Messiah and Mozart&rsquos Requiem were both Gramophone Award winners.
Gardiner Professor of Music at the University of Glasgow and musical director of Edinburgh&rsquos Dunedin Consort.
He has published several books on Bach and the historical performance movement. He is Principal Artist with the Orchestra of the Age of Enlightenment, and guest conductor for the Scottish Chamber Orchestra and Stavanger Symphony Orchestra. He has been awarded FBA, FRSE, the Dent Medal of the RMA and the RAM/Kohn Foundation&rsquos Bach Prize.
Winner of Gramophone Artist of the Year 2018, Rachel Podger has established herself over the last two decades as a leading interpreter of Baroque and Classical music. She has won many awards for her recordings, including J. S. Bach&rsquos Sonatas and Partitas for Solo Violin and his Sonatas for Violin and Harpsichord (with Trevor Pinnock). Currently she is recording the Cello Suites on violin.
Rachel holds chairs for Baroque violin at the Royal Academy of Music and the Royal Welsh College of Music and Drama. She is also founder and artistic director of the Brecon Baroque Festival.
Founded in 2007 and initially resident at Rachel Podger&rsquos annual Brecon Baroque Festival, the group has gone on to tour Europe and Japan.
They have recorded six discs for Channel Classics, one of which, Bach Double and Triple Concertos, received a Choc du Monde de la Musique and CD of the week on BBC Radio 3, Classic FM, and US radio station WQXR.
Their most recent recording, Le Quattro Stagioni, was released in April 2018.
Ciara studied singing and piano at the Guildhall School of Music and Drama, graduating with distinction. She works frequently with leading Baroque ensembles at festivals and venues throughout the country and beyond, including the London Handel Festival, Wigmore Hall and Lille Opera House. She has also appeared regularly at the Oxford Lieder Festival, and is one of the Orchestra of the Age of Enlightenment&rsquos &lsquoRising Stars&rsquo for the 2018&ndash19 season.
Mahan Esfahani appears as a soloist in major recital and concert halls worldwide.
His recordings on Hyperion and Deutsche Grammophon have been honoured with a Gramophone Award, three Gramophone nominations, and BBC Music Magazine&rsquos Newcomer of the Year. He studied musicology and history at Stanford University and harpsichord with Zuzana Ruzickova in Prague.
Freiburg Baroque Orchestra
The FBO is recognised worldwide as among the very finest of period-instrument orchestras. They are directed by the leader rather than a conductor, an arrangement they believe produces an intensity reminiscent of chamber music and a unique timbre.
Founded in 1987, they have given over a thousand concerts, in all the major European cities, Southeast Asia and the Americas and performed at many of the top festivals.
Martina Pohl began playing music at the age of three and studied at the Hochschule für Kirchenmusik (College for Church Music) in Halle 1980&ndash86. She focusses principally on the German Romantics and J.S. Bach. She accompanies soloists, instrumentalists and choirs on concert tours in Germany and elsewhere and on recordings.
Since 2004 she has had charge of the Hildebrandt organ in Sangerhausen.
Founded in 2004 in Namur, Vox Luminis specialises in 16th- to 18th-century vocal music and aims for a blend of high quality individual voices, exquisite tuning and clarity of sound. They have performed in festivals and concert halls all over Europe and the USA, with regular appearances at Wigmore and Cadogan Halls.
Director Lionel Meunier&rsquos musical education began in his birthplace, Clamecy in central France, and continued at The Hague. In 2013 he received the Namurois de l&rsquoAnnée award for culture (Citizen Of The Year, Namur province).
The 11th century Jakobikirche was an early Romanesque three-nave, flat-roofed pillar basilica with a transept, main and two secondary apses . In the 12th century it was the up existing today Westwerk . It is a block adorned with sculptures with two two-story, octagonal and cone-helmeted tower attachments. Inside is the patronage gallery (today the organ). The effect of this west building is impaired by the later raised roof of the nave .
Around 1250 the flat ceiling of the central nave was replaced by a vault . Reinforcements and ribs were placed on the existing pillars as supports, and artistic capitals in the late Romanesque and early Gothic styles were created. A little later, the choir and apse were laid down and a larger and higher Gothic choir with a polygonal finish and tracery windows was built.
The most profound change happened in the years 1506–1512, when the basilica nave was converted into a hall church by demolishing the old and new building of wider and higher aisles . The new south portal was raised with an elaborately designed vestibule.
Various renovations around the middle of the 18th century brought further changes to the appearance. A continuous roof was placed over the nave and the transept gables that were still in place were removed. To improve the room lighting, the tracery was removed from all windows.
The church is a brick building and has a 72 m high west tower. With this height it should prevail over the many tall chimneys of the city. The church is built in the neo-Gothic style, which, however, is heavily based on Romanesque motifs. The Gothic is presented in the wide-spanning star vault and in strong buttresses. This is not just one of the largest Protestant churches in Brandenburg. The vaults are among the largest in modern times. The acoustics of the church are considered unique and make it particularly suitable for concerts of all kinds. There are 1200 seats under the vault, a total of around 2000 people. The church is a monument of the city of Luckenwalde .
Jakobikirche - History
This present site is maintained to help you see and hear some of Silbermann's fine instruments by providing info on location, schedules of church-open times and recitals, contacts for further info. and a picture of the organ. If there are any blank spaces. we're working on it! Please remember that you can at least count on hearing an organ on Sundays, when all the churches large and small have Services.
How conveniently Gottfried Silbermann located his instruments - convenient for the modern-day organ-lover that is! Virtually all of Silbermann's instruments are located in the State of Saxony. You can start at Dresden in the east, or the picturesque Burgk Castle in the west (actually just outside Saxony, in Thuringia), and travel from one side of Saxony to the other. The map below shows the locations of all Gottfried Silbermann organs. We will start in the Dresden area to the east, and work westwards, listing the organs in four groups:
Dresden to the east, Freiberg central/north, Frauenstain central south, and Reichenbach to the west.
In addition to your general road map, you will need larger scale maps to find the many small villages where GS built his instruments. Sheets 36 and 37 in Mair's Marco Polo series at 1cm to 2km will cover all the organs listed below. Mark the organ locations with yellow highlight - several can often be visited on one circular tour especially in the Frauenstein area.
|DRESDEN AREA - East Saxony|
|DRESDEN - Trinity Cathedral (previously Hofkirche)|
Organ: 1755. 3M+P/47. Silbermann died during construction work completed by apprentices. 1944 pipework dismantled and stored safely. 1971 reassembled with few alterations, in newly built casework. Restoration by Jehmlich, 2002.
Open/Recitals: In addition to Sunday Services, the Cathedral is normally open from 9am to 5pm Mon-Thur, 1pm-5pm Fri, and 1030am-4pm Sat. Half-hour Organ Recitals Wednesdays at 1145am. Organ Vespers Saturdays at 4pm May-Oct.
Other attractions: In 1736 Silbermann built a magnificent 3M+P/43 organ for Dresden's Frauenkirche. In 1945 organ and church were completely destroyed. The Frauenkirche lay in ruins until 1994 its rebuilding has been a monumental effort, each stone in the pile of ruins was identified according to original plans with characteristic German precision, with new stone filling the gaps. Look for the old weathered, alongside the new bright stone blocks, so to identify old and new. A monumental effort indeed, completed in 2005.
Location: 13km E of Dresden on Rte 6. Then S on the Pirna road. After 4km, turn E to Dittersbach.
Organ: 1726. 1M+P/14. Good, new zinc frontal pipes.
Location: Rte 170 S out of Dresden to Dippoldiswalde. Turn E on the Glashütte road 4.5km then N 3km to Reinhardtsgrimma.
Organ: 1731. 2M+P/20. Very good, many alterations and renewals.
Services/Open/Recitals: The communiy's German-language website offers full information about the community plus concert details in the Schloss and on the Silbermann organ.
Location: Go 55km ENE of Dresden to Bautzen. Crostau is 11km S on Rte 96.
Organ: 1732. 2M+P/20. Good condition, many repairs.
|FREIBERG AREA - North-central Saxony|
Location: 27km SW of Dresden.
|The Silver City of Freiberg is proud home today to no less than four Silbermann organs in three churches. In the Jakobi-Kirche a two-manual, 20-register organ built in 1717 in the Petrikirche a larger, two manual organ with 32 registers built in 1735 and in the cathedral, two Silbermann instruments. The smaller, below center, is a one-manual instrument, originally built for the Johannis-Kirche and moved to the cathedral in 1939.|
The larger of the cathedral's organs must surely rank as one of the world's finest: the three-manual, 44-register instrument illustrated at left. Amazingly perhaps, this magnificent instrument was only Silbermann's second work, built between 1711 and 1714. It was thoroughly restored in 1982/1983. The case was designed by the then organist, Elias Lindner, the angel which heads this page being a part of the side decoration.
Services/Open/Recitals: Freiberg Cathedral is proud of its Silbermann Organ and provides ample opportunity for visits and auditioning. Cathedral guided tours with organ introduction are held on Sundays at 11am throughout the year, and additionally on Thursdays at 2pm from May to October. Also from May to October, the 8pm Thursday organ recitals are a long tradition much enjoyed.
For accommodation and general information about the Freiberg area including information on the other two churches with Silbermann organs, contact:
Location: 10km NE of Freiberg on Rte 173.
Organ: 1716. 1M+P/14. Good condition, some alterations.
Location: ENE out of Freiberg 20 km to Hainichen, 9km on to Mittweida, then N 10km to Schweikershain.
Organ: 1750. 1M/6. Very good, one new register.
Location: ENE out of Freiberg 20 km to Hainichen. 1.5km further on the Mittweida road, take a Right to Rossau and Ringethal.
Organ: 1723. 1M/6. Good, little altered.
Location: Take the 173 about 8km E out of Freiberg, watch for a R turn to Frenkenstein 2km further on.
Organ: 1753. 1M+P/13. Good, but alterations and unrecorded repairs.
|FRAUENSTEIN AREA - South-central Saxony|
The picturesque little town of Frauenstein lies at the heart of "Silbermann Territory", and its Castle is home to the unique Gottfried Silbermann Museum. The Museum was founded in 1983 by, and based on the research of, Werner Müller (1924-1999) whose two books are the definitive reference works on the life and work of Gottfried Silbermann.
The Museum contains numerous valuable and original documents of specifications, contracts and letters pertaining to Silbermann's life and his various commissions.
In pride of place is a beautiful single manual instrument built in 1993 by Wegscheider of Dresden. It is an exact copy of an extant Silbermann organ dating from 1732. Concerts and recitals are given regularly in the Silbermann Museum, and in the numerous village churches with Silbermann organs.
Silbermann's birthplace is commemorated in nearby Kleinbobritzsch, as also is the building in Frauenstein where young Gottfried went to school.
Contact: For accommodation listings, concerts, events etc contact:
Fremdenverkehrsamt Frauenstein, Markt 28, 09623 FRAUENSTEIN. Telephone: +49 (037326) 9335
Fax: +49 (037326) 1306.
Website: For the latest information about concerts on Silbermann organs, including concerts and recitals in Frauenstein Museum, check Herzlich Willkommen in der Silbermannstadt Frauenstein!
E-mail: [email protected]
Location: Nassau is just a short 6km down the 171 S of Frauenstein - take a Right to the village and church.
Organ: 1748. 2M+P/19. Very good, original condition largely preserved.
Recent full restoration by Jehmlich, the Dresden organbuilders.
Nassau is a sub-district of Frauenstein.
For concert and accommodation information in Nassau and Frauenstein see details above.
From Frauenstein, go NE 3.5km towards Freiberg, double back on a left fork for 4.5km, then take a Right to Mulda and Helbigsdorf 10km.
1728. 2M+P/17. Good, hardly altered.
The church has a magnificently painted vaulted ceiling. This alone is worth a visit!
Information may be obtainable through the Museum at Frauenstein - see contact details above.
Follow the directions for Helbigsdorf , carry on a further 5km to Großhartmannsdorf.
1741. 2M+P/21. Very good, original condition largely preserved.
The church is normally open on Saturdays from 1pm to 2pm when the organ is played and visitors are welcome to the organ gallery. For groups, and for organists who would like to play the instrument, special arrangements can be made through the organist, Kantorin Uhlmann, Tel (0)37329 4596 / Fax (0)37329 70645.
Location: From Frauenstein, follow Rte 171 first S then W to Sayda (20km). Take a R towards Freiberg after 4km take a L through Dörnthal to Forchheim, a further 10km.
Organ: 1726. 2M+P/20. Very good, pedalboard enlarged.
Location: From Frauenstein, follow Rte 171 on its tortuous way first S then W to Sayda (20km). Pfaffroda is 5km further on, to the R.
Organ: 1715. 1M+P/14. Original condition largely preserved.
From Frauenstein, follow Rte 171 first S then W to Olbernhau (30km). Zöblitz is 7km further W on Rte 171.
1742. 2M+P/20. Good, few alterations. The instrument was completely restored in 1996/7 by the Werkstatt für Orgelbau Wieland Rühle, Moritzburg, re-dedicated 21 September 1997.
|REICHENBACH AREA - Southwest Saxony|
- REICHENBACH - Peter and Paul
Location: Chemnitz (formerly Karl-Marx Stadt) is 70 km SW of Dresden on Rte E41. Continue on Rte E441branch to Exit 9 then head N 5km on Rte 94 to Reichenbach.
Organ: 1725. 2M+P/29. Though rebuilt, with only casework and part pedal register retained. it's still a very handsome instrument!
Reichenbach originally had two Silbermann organs. The organ in Trinity Church, built 1730, was destroyed in 1773, its specification is lost.
Location: 18km due S of Leipzig on Rte 2.
Organ: There are two Silbermann organs in Rötha.
The St Georg organ dates from 1721. 2M+P/23. Good condition, some renewal.
- PONITZ Location: From Reichenbach head N to Werdau then on towards Altenburg. After you cross the Freeway E40, Ponitz is 3km further on to the N. Distance from Reichenbach about 30km. NB: Ponitz is now in Thüringia - just. In Silbermann's day it was in Saxony.
Organ: 1737. 2M+P/27. Good, few renewals.
Website: For full information on concerts and recitals, check the website:
Die Silbermannorgel zu Ponitz.
Location: From Reichenbach head N towards Werdau which is 15km. Just before Werdau, that is, after about 12km, watch for a left taking you directly into Fraureuth.
Organ: 1742. 2M+P/20. Good, original condition preserved.
Location: From Reichenbach head W on Rte 94 to Greiz -Zeulenroda-Schleiz (42km). Then take a country road R to Möschlitz and Burgk (6km).
Organ: 1743 rebuild of a 1639 organ built by Caspar Kerll (father of composer JC Kerll. Final specification 1M+P/12. Thorough restoration in 1982 by Eule of Bautzen. Original condition preserved.
Open/Recitals: The Castle is located in a very picturesque area, on a hill overlooking a bend in the Saale River, and is itself a major tourist attraction. Concerts and recitals are given regularly in the chapel, many by leading international organists. For further information contact:
Museum Schloß Burgk, 07907 Burgk an der Saale.
Tel. 0 36 63 / 40 01 19. From outside Germany: +49 36 63 40 01 19.
To hear the famous Silver Sounds for yourself, check
Gottfried Silbermann: Organ CDs
for CD details, music samples and free downloads.
Unweit der Jakobikirche entstand um 1200 die eigentliche Wilsdruffer Stadtkirche St. Nikolai, wodurch die abseits des Stadtkerns gelegene Jakobikirche an Bedeutung verlor. Nach Einführung der Reformation wurde sie nur noch selten genutzt, blieb jedoch Begr๋niskirche der Herren von Schönberg, welche Stadt und Rittergut jahrhundertelang in ihrem Besitz hatten. An diese Nutzung erinnern ein Epitaph des Ritters Hans von Schönberg neben dem Altar sowie Wappen und Bilder an der Herrschaftsempore.
Deutlich ist am Gebäude noch der romanische Baustil der Entstehungszeit mit dicken Bruchsteinmauern und schlitzbogenartigen Rundbogenfenstern zu erkennen. Die Kirche ist als Saalkirche angelegt und besteht aus einem geräumigen Kirchenschiff, einem kleinen Chor und der halbkreisförmigen Apsis mit dem Altar. 1591 erhielt sie ihren heutigen, mehrfach erneuerten Dachreiter. 1686 wurden die Fenster der Sseite vergrört. Von der früheren Ausmalung sind heute nur noch Reste, u.ਊ. einige Weihekreuze und Bildfragmente im Chorraum, erhalten.
Eine Besonderheit stellt die um 1250 gegossene, in Bezug auf den heiligen Bischof Benno von Mein, als Bennoglocke bezeichnete, gro Glocke dar. Ihre Wandung zeigt figürliche Ritzzeichnungen, die wahrscheinlich einen Fuchs darstellen, der den Gänsen predigt. Mit diesem Gleichnis sollte von „teuflischen Irrlehren“ abgehalten werden, wobei der Glockenschlag diese Absicht als wehr des Bösen“ noch fördern sollte. Eine endgültige Deutung der Bildszenen steht jedoch noch aus. Auch die Beziehung zu Bischof Benno ist nicht belegt.
Das Geläut bestand aus drei Bronzeglocken, eine aus dem 13. Jahrhundert und zwei aus dem 15. Jahrhundert. Die beiden letzteren Glocken wurden um 1985 abgehangen als die Kirche in urbanen Besitz wandelte. Die älteste Glocke ist seit dem Jahr 1591 eine Dauerleihgabe der Evangelischen-Lutherischen Ortsgemeinde.  Im Folgenden eine Datenﲾrsicht: 
|1||um 1280||Glockengier unbekannt||902 mm||450 kg||a´|
Im Jahr 1919 wurde die Jakobikirche in eine Gedenkstätte für die im Ersten Weltkrieg Gefallenen umgewandelt und zugleich ein Ehrenfriedhof angelegt.
An diese Opfer erinnert eine Steintafel an der Ostseite:
„Zum Ged์htnis ihrer unvergessenen Söhne welche im Weltkriege ihr Leben opferten. Kein Bangen – Fragen – trotz Pein und Not. Voll Mut Ohne Klagen getreu bis in den Tod. Die Kirchgemeinde“
Auch aus dem Zweiten Weltkrieg stammende Ehrengrr befinden sich dort.
1976 wurden Dachreiter und Dach der Jakobikirche durch einen Sturm teilweise zerstört. Erste Pläne sahen daraufhin vor, das Dach komplett abzutragen und die Kirche als Ruine verfallen zu lassen. Letztlich entschloss man sich jedoch, das Gebäude zu sichern und künftig für das Heimatmuseum Wilsdruff zu nutzen, was jedoch durch die Wende nicht zur Umsetzung kam. 1984 wurde der umliegende Friedhof geschlossen und die Kirche an die Stadt ﲾrgeben. In diesem Zusammenhang erfolgte der Ausbau des Altars, des Gestühls und der Kanzel.
Nach 1990 konnten die Sanierungsarbeiten fortgesetzt werden, wobei die Finanzierung u.ਊ. durch die Stadt Wilsdruff, die Stiftung „Leben und Arbeit“ und private Spender erfolgte. Seit dem 24. Juni 2005 ist die Kirche, wieder geweiht und die 30. ökumenische Autobahnkirche in Deutschland. Die Bundesautobahn 4 befindet sich gut 1 km nördlich.
Nach Abschluss des Ausbaus sollen hier neben Andachten Ausstellungen und Veranstaltungen stattfinden.
Laut einer gern erzählten Sage sollte die Kirche ursprünglich auf der nahe gelegenen Hühndorfer Höhe errichtet werden. Angeblich hat ein Hund mit glühenden Augen die verbauten Steine mit dem Maul zur Stelle der heutigen Kirche getragen. Schließlich entschied Bischof Benno die Kirche an dieser Stelle zu errichten. An der Nordwestseite befindet sich ein Eckstein, der u. a. einen Hund zeigt, wobei dieser Anlass zur Sage geboten haben könnte.
But I only wanted to practice! Part 4: Musikhochschule für Musik und Darstellende Kunst Stuttgart, Germany
Musikhochschule für Musik und Darstellende Kunst Stuttgart, Germany
(Accurate to my understanding as of January 2019)
Practice facilities: 7 separate practice rooms / 9 practice organs
– mostly 3-manuals. two 2-manuals. one 1-manual
– all tracker/mechanical action
– mostly flat or concave and straight pedalboards
– four organs with swell shoes
– most instruments with 56 or 58 notes on manual and 28-30 notes on pedal 1 organ with 61 notes in the manual and 32 in the pedal (fortunately!).
– one instrument with a short octave
Building hours: Exterior doors are open daily from approximately 7AM – 10:30PM BUT one can stay as late as they like or be let in by a security guard in “off hours.” (hours curtailed for holidays)
Number of students: approximately 40-45
Availability: every day beginning at 10AM, students may sign up for practice time on a sheet posted outside of the organ practice rooms for the following day: 2 hours on each weekday, 3 on each day of a weekend or holiday, with each hour in a different room.