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Gentofte/Jægersborg, Jægersborg Kirke (Quelltext anzeigen)
Version vom 26. Dezember 2023, 21:12 Uhr
, 21:12, 26. Dez. 2023keine Bearbeitungszusammenfassung
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 Viderø 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.
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>
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. NEW TIMES After the war great interest in Danish organs arose, and Marcussen & Son received many orders from abroad. Organbuilders went on journeys studying among other organs the Schnitger instruments in the Netherlands, and this led to a change concerning the ideals of voicing. Sybrand Zachariassen travelled in many European countries with his lecture on organbuilding, in this way spreading knowledge of the name of Marcussen. At his death in 1960 he left a flourishing firm. Now his grandchild Claudia Zachariassen is head of the firm, being the seventh generation of the Marcussen-Zachariassen family. In 1963 P.-G. Andersen became independent and built and designed a large number of organs. Before that, in 1956, his great work ''The Organ Book, Sound-Technique, Architecture and History'' had been published (Title of the English translation 1969: ''Organ Building and Design''). Today it is still used as instruction in knowledge of the organ. In his book P.-G. Andersen mentions the Jægersborg organ as the first example of an instrument representing the Danish Organ Reform Movement. Andersen's ideals of voicing gradually developed, among other things inspired by the mild Principal stops of Italian organbuilding. His attitude was to take from history everything worth using and not be afraid of combining this with modern technical solutions. The ''universal organ'' was the ideal, a synthesis of façade, structure and church room that could be used for almost the entire organ literature.<br>His influence, through his organs as well as his design of many organ façades, his articles and lectures, and through his education of colleagues, has left its mark to this very day. Finn Viderø had a complex personality that was reflected in many anecdotes, but also caused conflict. When he came to Trinitatis Church after Jægersborg and had a new instrument built, he thought that the organ did not live up to his expectations, and this led to a rupture between him and Marcussen & Son.<br>He was a much sought-after organ teacher, attaching importance to a good and sure technique. At the University he lectured on organ- and harpsichord- music, had a lot of international students and also had classes at The Academy of Music, Copenhagen. He utilized a distinct legato-playing, as it appears in his much used Organ School, something that later would make his playing anachronistic. His extensive knowledge and sarcastic tone in debates and articles, made him feared in the organist-milieu to a degree that only a few dared discussing with him in public. His years in Jægersborg, when he was taking part in building the organ, perhaps were one of the most harmonious periods in his working life. The only larger change of the Jægersborg organ came in 1982. Charley Olsen, organ-consultant of Ministry for Ecclesiastical Affairs, declared that the organ had been ''immensely much'(tbc' used. Especially the mechanism was worn, and a renovation was needed. Besides, more experience of mechanical organs and slider-chests had now been obtained, as well as solving problems with variations of temperature in heated Church rooms. The objective was a future-proofing of the organ with the new-found methods.<br>The renovation was entirely in keeping with P.-G. Andersen's spirit. The sounding material, the pipes, remained untouched as far as possible. But technical improvements were carried out, such as self-regulating mechanism, aluminium roller-frames, slides of etronite, and in some places a simplified mechanism. Today, using original materials will no doubt be preferred and technical alterations avoided. Nevertheless, the result is that a minimum of repairs on the organ has been carried out since 1982.<br>A mild after-intonation of the organ was carried out.Finn Viderø claimed that the entire organ earlier had been reintonated according to the ideal of open pipe feet, and that the latest reintonation had not redeemed this.)Unfortunately, this assumption probably was due to Viderø's hearing that over time had become rather bad. Cleaning the organ was necessary, too, as a fire broke out during the renovation! An unlucky organbuilder wanted to make some coffee and happened to switch on a toaster that started the fire. Fortunately the organ, like its model, the Compenius organ, escaped being consumed by the fire. Another accident happened a few years ago, when one of the organ's ornaments fell down, taking a pipe with it. Luckily the damage could be repaired. Recently the organ has got company in the shape of a choir organ, built 2004 by the firm P.-G. Andersen & Bruhn, and as late as 2014 a harpsichord came, built by Matthias Kramer, Hamburg. On the organ loft there is a memorial tablet in honour of Peter Wessel Fyhn, former choir singer and member of the resistance movement. He was executed by the occupation power one month before the liberation of Denmark in 1945.
