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Gentofte/Jægersborg, Jægersborg Kirke (Quelltext anzeigen)
Version vom 26. Dezember 2023, 17:53 Uhr
, 17:53, 26. Dez. 2023keine Bearbeitungszusammenfassung
This story has three leading characters, visionary and strong-willed men – the organbuilders Poul-Gerhard Andersen and Sybrand Zachariassen, and Finn Viderø, the organist. Together they created the Jægersborg organ in years of great transformations within art, architecture, churchmusic, building and organplaying.
The story begins with the evolution after the First World War, leading to the Organ Reform Movement. Next comes the story of building the Jægersborg organ, unfolded in private letters of the organbuilders from 1942–441942–q44.
Two chapters at first deal with organs of great importance of shaping the Jægersborg organ, followed by a guided tour through all of the technical details of the organ.
We follow the further development of the three key figures, other persons around the organ, and what later happened to the instrument.
A circle of persons contributed to evolving the instruments of the Marcussen firm, among them the conductor and organist Mogens Wöldike, and later his student, the
organist Finn Viderø. Having heard Schweitzer playing in Copenhagen, Viderø was influenced by Schweitzer's ideas of the neo-baroque style. Technically, Videre was a competent organplayer and soon created an image of himself as a pronounced organsoloist, with a radical style.<br>1942 he was appointed organist at the new-built Jægersborg Church, which yet had
only a harmonium. But negotiations about building an organ were near the first step. A GUIDED TOUR THROUGH THE JÆGERSBORG ORGAN The organ in Jægersborg Church was inspired by classical organbuilding, yet without being a real style-copy. The organbuilders during the war could not travel abroad to study historic instruments, and as only a few historic instruments in Denmark still exist, they had to rely on intuition. Because quite a long time passed by before work on the organ began, P.-G. Andersen and Finn Viderø changed a good many details on the way. Later both of them expressed that the Jægersborg organ was an amalgation of their ideas to a degree that now it was difficult to remember who had thought up what.<br>The slim organ house had a clear werk structure with Hauptwerk, Pedal, Rückpositiv and Brustwerk. Zachariassen later says that ''By such a natural structure of the façade, the structure of the organ werks will become visible, too, and those that see or hear the organ through that will achieve a living contact with the instrument. How meaningless is on the other hand an organ stage set.''<br>P.-G. Andersen in 1956 compares façade ornaments with the jubilant coloraturas of Gregorian song as described by Augustin. The ornamentation of the Jægersborg organ was inspired by a verse from a hymn by Grundtvig, the famous Danish hymn-writer: ''We welcome with Joy this Blesséd Day.'' Perhaps it was also a hidden protest against the oc- cupation during the war.<br>Copper pipes are known already from medieval manuscripts, and for instance the 220 12th century pipes in the Franciscan Museum, Jerusalem, are made of a copper-alloy. In recent times Christhard Mahrenholz and Hans Henny Jahnn have recommended copper as pipe material, and in a few instances it has been used for front pipes. But in Jægersborg P.-G. Andersen developed this praxis by having them decorated with goldleaf patterns, and this work was carried out by the painter Victor Steensgaard – two weeks before the inauguration.<br>The elegant console has been executed with great care. The keys of the manuals are made of ivory and ebony, and the stop knobs of oak, teak and ivory. As a special detail the doors of the Brustwerk can only be opened and closed by using ones hands, and so ''the worst of misuse – the crescendo-effect – is excluded'' (P.-G. Andersen). Viderø got this idea from the Stellwagen organ.<br>Slider chest and tracker action, an essential part of the aesthetics of the Jægersborg organ, was still relatively new. In his lecture from 1952, Zachariassen explains, that ''Everyone knows that the tone attack by this is much more noble and steady than by the pneumatic chest. Just as well-known is that the tones merge much better, when the pipes stand at ine channel and - if I may say so – breathe from a joint supply of air.''<br>When building the organ, the specification of stops went through certain alterations.<br>Work on the organ in the concert hall of the Danish State Radio led to the decision of giving the Jægersborg organ a chamade trumpet; too. Originally Rankett 16' stood in the Hauptwerk, but when the horizontal trumpet was added, the Compenius-inspired Rankett was moved to the Brustwerk, at the same time adding Cymbel 1'. Because of acoustic problems, several stops of the Brustwerk had to be changed in order to make the werk sing with the proper ''delicate sharpness.'' The Pedal had a Regal 4' instead of Spidsfløjte 4', and only three weeks before the inauguration the shape of the resonators of Fagot 16' was decided.<br>You could want string stops and a tremolo in the organ, and a greater richness of flute stops than as much as four Gedakt-stops. But the idea of the organ first and foremost was to be a counterpart of the 19th century romantic instruments, and to create the strongest possible contrast between the four werks. Unfortunately there was no room, or money, for more Pedal stops, or for a Sesquialtera.<br>Scaling and voicing were, on Viderø's initiative, inspired by Spanish organbuilding and by the Stellwagen organ in Lübeck, but the organbuilders adapted the stops to the acou-stics of the church room (viz, Jægersborg Church is not a Spanish cathedral). Viderø thought that the Stellwagen organ had an especially soft intonation, but probably this was also due to a romantic re-intonation, made before his visit in 1929. In Jægersborg the so-called „nicks“ (small vertical grooves at right angles to the flue) were used only sparsely, and voicing with open pipe toes had not yet come into use. These voicing devices later became a dogma that marked the Danish Organ Reform Movement, and resulted in organs that sometimes had so hard a sound that the audience, in the words of organ-consultant Rung-Keller, ''ought to wear sunglasses on their ears.''<br>Besides, P.-G. Andersen pragmatically had subdued the organ house of the Brustwerk with celotex-plates, that later were removed, however.<br>Nowadays, when you hear the organ in Jægersborg Church, you will observe its bright and clear sound that after all is without aggressiveness. Even if it does not sound particularly strongly, the sound of chamber music on the other hand merges so well that the stops can be used in all combinations imaginable – the objective for any skilled intonator.<br>The Jægersborg organ became an instrument with a consistent structure and an elegant and colourful sound, influenced by Spanish and German baroque and spiced with the sound of the Compenius renaissance organ.<br>This instrument was a triumph for all those involved, and contributed to launching a quite new era of Danish organbuilding after the war.<br>''(tbc..)''
[https://www.proquest.com/openview/4a10489e79bff3d296b351a869873ee1/1?pq-origsite=gscholar&cbl=4819096 Buchrezension in ''Organists' Review'' (englisch)]
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== Videos ==
'''Uropførelse af Jægersborg Orgelbog – Mads Damlund:''' <youtube>https://youtube.com/watch?v=BJAB1mk5MKA</youtube>
