Schnitger organ in St. Cosmae

In the heart of Stade, Niedersachsen, Germany, stands a magnificent masterpiece of baroque organ building: the Schnitger organ in St. Cosmae. Known locally as the Orgel von St. Cosmae et Damiani, this instrument is not just a musical device but a historical artifact, a testament to centuries of craftsmanship, artistry, and devotion. Built between 1669 and 1673 by Berendt Hus and his nephew and apprentice Arp Schnitger, this organ is one of the most significant baroque organs in Northern Germany.

The History of the Schnitger Organ in St. Cosmae

The history of organ building in St. Cosmae et Damiani dates back to at least 1493, with records indicating the presence of an organ in the church. Over the centuries, several organ builders, including Hans Scherer the Elder and his apprentice Antonius Wilde, contributed to the evolution of the instrument. However, the organ and the church were destroyed in the great city fire of 1659.

Following the fire, Berendt Hus and Arp Schnitger were commissioned to build a new organ as part of the church's reconstruction. The project was completed in stages: the main case and bellows were constructed in 1669, the key action and pipework, including the intricate spring chests in the upperwork, were installed in 1670, and the Rückpositiv (rear positive organ) and pedal followed in 1671. The Brustwerk (chest organ) was completed in 1672-1673. The organ's completion was a collaborative effort, with Schnitger's craftsmanship evident in many details, such as the double spring chests in the upperwork, likely his masterpiece.

The Organ’s Architectural and Musical Features

The Schnitger organ in St. Cosmae is a visual and auditory delight. The organ's facade, designed in the Hamburg style, features a five-part Rückpositiv that mirrors the upperwork in a smaller form. The main case is adorned with three female sculptures representing the divine virtues of Faith (holding a cross), Hope (holding an anchor), and Charity (holding an infant). The central tower of the Rückpositiv is crowned by King David playing the harp, flanked by two angels. This design was inspired by the organ in Glückstadt's city church, built by Hus between 1661 and 1665.

The organ's sound is as impressive as its appearance. It boasts 42 registers, most of which are original, spread across three manuals and a pedal. The wooden flutes in the Brustwerk and the nine original reed stops are particularly noteworthy for their rich and unique tonal quality. The organ's 16-foot foundation gives it a majestic gravity, contrasting beautifully with the brilliant mixtures in the plenum.

Restorations and Modifications

Over the centuries, the Schnitger organ has undergone various modifications and restorations. In 1727-1728, Otto Diedrich Richborn carried out repairs without altering the organ's disposition. The most significant changes occurred in 1781-1782 when Georg Wilhelm Wilhelmy expanded the gallery to accommodate church concerts, altered the disposition by replacing two stops, and modified the pedal towers.

In the late 18th century, a carillon with 45 bells was added, playable from the main manual using a hammer mechanism. Further changes were made in the 19th century by Johann Georg Wilhelm Wilhelmy, who lowered the pedal keyboard, renewed the manual keyboards, and added a coupler between the main organ and the Rückpositiv. A major overhaul in 1870 by Johann Hinrich Röver saw the disposition and pitch altered, and the Rückpositiv moved behind the main organ without a case.

The 20th century brought further changes, including the removal of tin prospect pipes for war purposes in 1917, replaced by zinc pipes in 1919. Paul Ott restored the Schnitger disposition in 1948, placing the Rückpositiv back in front of the main organ in a new case. However, his reduction of wind pressure affected the organ's sound and intonation.

The Grand Restoration

From 1972 to 1975, Jürgen Ahrend undertook a comprehensive restoration, meticulously returning the organ to its 1788 state, including the original gallery configuration. Ahrend restored the old keyboard ranges with a short octave and the Rückpositiv case. After a church renovation, Ahrend revisited the organ in 1993-1994 to make additional improvements, including restoring the rear case. In 2007, D. Wellmer restored the organ's original 1727 color scheme.

The Organ's Unique Tuning

A distinctive feature of the Schnitger organ in St. Cosmae is its modified or extended meantone temperament, developed by Harald Vogel for the 1975 restoration. This tuning achieves a pure organ sound in keys with few accidentals while allowing more tonal flexibility than strict meantone temperament. This tuning is similar to the Norder tuning used in the Schnitger organ of Ludgerikirche in Norden, which gained popularity after its 1985 restoration.

Conclusion

The Schnitger organ in St. Cosmae is more than just an instrument; it is a living piece of history. Its intricate design, rich sound, and storied past make it a must-see for anyone visiting Stade. Whether you are an organ enthusiast, a history buff, or simply a lover of beautiful music and architecture, the Schnitger organ in St. Cosmae offers an unforgettable experience. This remarkable organ stands as a testament to the enduring legacy of baroque craftsmanship and the timeless beauty of music.