Saxony tour 2017: Berlin, Dresden, Leipzig
There is much to commend an organists’ society tour of organs, not least those beyond our shores. Not only has one access to play and hear a large number of significant instruments within a relatively short period of time – something that would be far more difficult if not impossible to arrange oneself – but also to see the inside of buildings which are in themselves can be of considerable historical and architectural interest. The fact that not all of these are on the normal tourist routes can add a further dimension to the experience of a place.
Having seen advertised a tour last August of Germany by the North Hampshire Organists’ association, taking in organs in Berlin, Leipzig and Dresden, it seemed too good an opportunity to miss. Organised by Jeff and Gillian Lloyd, the amount of work that was involved over many months, not least in the production of a splendid tour book was clearly very considerable. Despite being a little beyond their normal catchment area, I was made most welcome. (I now belong to four mostly geographically disparate societies!)
We were initially based in Berlin, and a hotel just a few hundred yards from Alexanderplatz station, a major hub of the mainline and Berlin’s excellent suburban rail, tram and bus networks.
15th August
Our first, and much anticipated visit was to the nearby 19th Century Protestant Cathedral, (Dom), the largest church in Berlin, and the famous Sauer organ of 1905.
The organ had survived the wartime bomb that went through the dome of the building, but the effects of being open to the elements for some years and theft of materials, had taken its toll. (We might see this today as vandalism, but have to see it in the context of the extremely desperate economic times and shortages in the immediate post-war period). The restoration of 1993 by the same company aimed to restore the instrument to its original condition, as opposed to an earlier plan to turn it into something along Neo-Baroque lines, as was the fashion at those times. This massive four manual instrument differs significantly to a British instrument of a similar period; the four manuals can be seen very roughly in terms of different dynamic levels with not hugely differentiated stop lists. No high pressure reeds, nor indeed anything that overly dominates; everything so perfectly blended that one can build a seamless build up of crescendo and overall scale, not least with the roller pedal, the operation of which is a technique in itself; no handy divisional pistons, rather preset combinations, as is the common practice with German and other Continental organs.
Major work being taken on the rail suburban system led to some of us opting for a taxi for our next venue, (Berlin taxis are surprisingly moderate in price for a capital city – as indeed are prices generally). Erlöserkirche in one of the outer suburbs housed an interesting Schuke (Potsdam) organ from the early 1940’s, demonstrating something of the organ reform movement in its specification but still with pneumatic action.
Our next organ was the Amalien organ in the Evangelische Kirche, Karlshorst, and which was to be one of the clear highlights of the tour.
Dating from 1756, the organ’s history is complex, having being moved several times, fortuitously escaping the destruction that subsequently befell its previous homes, and receiving the attention of a number of builders. What has come down to us though is an instrument of exceptional quality, all enhanced by a fine acoustic in the church.
16th August
Germany is noted for its institutions and certification process in training church musicians. The Institut für Kirchenmusik, part of the Universität der Künste was our first venue of the following day, and houses a number of good-sized practice instruments and a large concert organ. Following this, the church of St. Matthäus in the Tiergarten area was one of many churches in Berlin where a striking modern interior was built within the shell of the old building. The Walcker organ of 1966 was fairly typical of the period; Neo-Baroque but still with electric action.
The nearby Philharmonie, home of the famous Berlin Philharmonic Orchestra, was closed for the summer break, affording a rare opportunity to sample the large Schuke organ of 1965/2012. Although clearly a fine and eclectic instrument with a large comprehensive specification, it struck me has having a certain lack of ‘soul’ and individuality. Not so our final instrument of the day, the Schuke (Berlin) organ (1962/2005) at the famous Kaiser-Wilhelm-Gedächtniskirche-Kirche; this had great integrity and personality. Although organs of this type have in recent years somewhat fallen out of fashion, this instrument is one of the finest of its genre. The building is also of considerable note, built adjacent to the remaining tower of the old church. We also had an opportunity to walk between the two walls of glass that surround and sound proof the building in what is a very busy part of the city.
17th August
Pauluskirche in the affluent suburb of Zehlendorf was our first call of the day, housing a large Cavaillé-Coll influenced organ by Schuke (Berlin) of 2013, plus a Baroque style organ by Rowan West in another gallery. Alas, an issue with door keys meant that we could not access the latter. I must admit to finding the Schuke somehow a little disappointing, however. The flue work seemed rather bland and lacking bite and whilst it could make some grand sounds with an identifiably French accent, it somehow lacked – yes that word again – ‘soul’.
A short bus ride away was the Ernst-Moritz-Arndt-Kirche and its 1935 Schuke (Potsdam) organ; hardly known – and not on even the main organists’ ‘tourist trail’. Yet, this organ with its ungainly profusion of pipes – no case, was a real find.
This was a very early example of an instrument influenced by the organ reform movement, yet everything blended beautifully, and without the strident harshness that came to characterise so many later ‘Neo-Baroque’ instruments. The 1930’s building was of very plain design, slightly reminiscent perhaps of some old Swedish churches, albeit provided with some rudimentary ceiling murals, (the purpose and intended message of which I shall leave to conjecture).
Following this was an extended tour of the Schuke organ works, led by Jurgen Magiera who had done much to facilitate some of our tour, and had been a wonderful host. At this point, an explanation is needed regarding the rather complex history of the Schuke organ firm. The original firm led by Alexander Schuke had been based in Potsdam, which eventually found itself in the Communist sector. Mindful of the need to find contracts in the West, the firm secretly established a satellite base in West Berlin initially under a different name. This grew into the firm it is today, whilst the Potsdam based firm was nationalised and then privatised after 1990, and became a separate entity. The firm currently has orders from a wide variety of clients including a concert hall in China, (console pictured).
18th August
The large Catholic Church of Heilig Kreuz in Wilmersdorf houses a Steinmeyer organ of 1927. It underwent some ‘Baroquisation’ in the 1970’s but fortunately as additions rather than changes to its basic character. Under its very fine organist, and skilled organ builder, Dirk Elsemann, the instrument has been restored and enlarged – and a work still in progress—based on its original character and using materials from a variety of sources. Indeed the organ loft is a mini organ factory in itself! The instrument is wonderfully blended with rich and varied tones from the hushed ethereal and angelic, to majestic but never bombastic or vulgar tutti; one of the definite highlights of the tour, and a must on any organists’ visit.
Our next call was at St Matthias, Schöneberg and the organ by Seifert of 1958, at the time the largest in Berlin. Despite its very varied stoplist, and some fine individual sounds, it somehow felt a little anonymous, and – as was the fashion of the time – with much brilliance but without compensating foundation tone and warmth.
Kaiser-Friedrich-Gedächtniskirche in the Tiergarten area of the city replaced an earlier building destroyed in WWII, and is of striking modern design, using primarily concrete, glass and aluminium. The organ by Schuke (Berlin) of 1957 was of uncompromising Neo-Baroque character.
19th August
I forewent the tour of the musical instrument museum, including a demonstration of the massive Wurlitzer organ, to explore some non-organ related aspects of the city. The organ of the Heiligen Kreuz, Kreuzberg however was not to be missed. A Hook organ of 1870 imported from Massachusetts in totally original state, it combined remarkable brilliance with great depth and warmth; reminiscent perhaps of the work of the finest mid-Victorian British builders, such as Hill, Willis and Gray and Davison.
20th August
A free day, and away from the tour, including a visit to Potsdam; a very smart and beautiful small city in its own right. Yet, the place of much previous destruction, not only by the allies in WWII, but by the communist regime who also wished to establish their own building ethos. Much of this has now being made good, and a brand new Eule organ was being completed in the Nikolaikirche.
21st August
On to Leipzig …and yes, I just had to stick in a couple of railway pictures; the cathedral-like Hauptbahnhof. (The hotel was immediately opposite).
22nd August
Day trip to Dresden, first call Kreuz-kirche and the 1963 Jehmlich organ; a huge instrument, very much of its period. The very large and unfocussed acoustic contributed to my rather qualified feelings about the instrument; not so, the 1905 Jehmlich instrument of Christuskirche in one of the Dresden suburbs.
The church and organ incurred some damage in WWII, and the organ from a rather unfortunate rebuild by an organ building member of the church in the 1980’s. Nevertheless, after a recent restoration by the Jehmlich company to its original state, the instrument is of stunning quality – and should be far better known.
The Frauenkirche in the city centre, rebuilt from the base upwards is quite overwhelming in every respect.
The design of the Kern organ of 2005 was inspired by the original Silbermann instrument, but with added romantic registers of a definite French flavour. The sound from the console was not always quite so gratifying, but from down below presented a very successful blend of brilliance and warmth.
23rd August
The best known organs in Leipzig, the Ladegast/Eule of Nikolaikirche and the Sauer and new Woehl organs at Thomaskirche could not be included on the tour, access being difficult and prohibitive in cost. (The very fine 1904 Sauer in Michaeliskirche is also well worth hearing).
We were treated however to a tour of the organs at the Hochschule fur Music by Professor Thomas Lennartz of the Institute for Church Music faculty within the Hochschule. The highlight was the very impressive large Eule instrument of 2002 in the main concert hall.
Our last visit was to the Peterskirche, almost cathedral-like in size. The empty case of the landmark 1885 Sauer organ stood gaunt high the gallery. The instrument had suffered damage from the elements after damage to the roof in WWII but its ultimate fate was its subsequent appropriation by the state for its metal. A very small but fine Jahn organ of 1900 had served Peterskirche since 1995 after a restoration by Bochmann. It had originally been in the beautiful and undamaged university church of St. Pauli in Augustusplatz, and rescued before the church’s wilful destruction by the authorities in 1968, as was the damaged but still repairable adjacent university buildings; their style and perhaps something of their traditions and ethos being perceived as alien to Communist ideology. In the adjoining baptismal chapel, (Taufkapelle) however lay an unexpected delight; a Bochmann chamber organ of 2005. The small room with its wonderful acoustic was a perfect setting for this beautiful instrument, with a quite amazingly responsive action; despite its very small size, it was an instrument that was hard to leave. If not quite a grand finale, it was a memorable and worthy conclusion to a fascinating, enjoyable and educative tour. For more photos of the tour, go to this link: https://www.flickr.com/photos/jcriley1958/albums.
John Riley