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The restoration of the Baroque organ in the Cathedral of The Virgin Mary in<span style="mso-spacerun: yes">&nbsp; </span>the Snow, Olomouc (Moravia), Czech Republic

April 3, 2003
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Dr. Zdenek Fridrich is Professor of Musicology at Palacky University, Olomouc (Moravia), Czech Republic, and Organist at the Cathedral of The Virgin Mary in the Snow, Olomouc. He is an authority on historical organs in Moravia.

Mary Skalicky holds BMus degrees in organ and piano from Southern Methodist University, and the MMus in organ from The University of Michigan. Further study was done at Yale University, The Amsterdam Conservatory of Music, The Netherlands Carillon School, and The Academy of Music, Prague, Czechoslovakia. She has made research-concert tours to the Czech Republic in 1984, 1992 and 1995. Ms. Skalicky's concert tours have included programs at the Cathedral of The Virgin Mary in the Snow, Olomouc; St. Maurice's Church, Olomouc; the Fifth International Organ Festival and Tepla Monastery, Tepla, Bohemia, Czech Republic; and the International Organ Festival, Oliwa Cathedral, Gdansk, Poland. She is currently finishing the book, "The Baroque Organ in Bohemia and Moravia."

The Jesuit buildings at Republic Square and University
Street, Olomouc, are today situated at the former location of an original
Franciscan cloister with a church. This building was taken over by the Jesuits
in 1567, who reconstructed it gradually into today's appearance. In 1712-19,
the Jesuits built a majestic cathedral on the location of the original church,
constructed according to the design of Adam Glöckl from 1693 by the
master-builder, Lukas Glöckl. This cathedral, in regard to its Baroque
beauty, artistic value, and stylistic purity of architecture, belongs among the
world's most beautiful. The rich interior of the cathedral was begun in 1720
and not completed before 1740. Paintings were done by famous artists such as
Handke, Schmidt, and Wickart. Sculptures, stucco, and goldsmith's decorations
were made by Riga, Ricca, Zirn, Rossmayer and others.

After two hundred and fifty years, some signs of
deterioration of the extraordinary moveable decorative objects appeared, as
well as wood-worm damage. It was restored and the unique architectural complex
in the sacristy preserved as a result of work done by the "Historical
Monument Care Center." The same preservation process was needed, also, for
the stately organ case, comprising wooden structures, ornaments, sculptures,
and carvings. The overall design for the organ case and for these artistic
creations may have been done by the Brno sculptor and stucco artisan, Antonin
Riga, who died in 1728, the year when the construction of the instrument began.
He was replaced by Jan Vaclav Sturmer/Sturner from Olomouc, who probably began
work on the wood-carvings according to Riga's plans. However, he died in 1729
and the work was finished by workers from his shop.

The organ consists of two slender, symmetrical cases located
on both sides of the stained glass window, filling the rear corner spaces of
the choir. There is a positiv on the railing of the choir. In the middle of
these three cases there stands the key-desk. The positiv consists of two, tall,
lateral towers; two well-balanced pipe flats; and, a middle, lower tower. There
is carving above it which is a continuation of the richly-carved decoration of
both towers; and, in the middle, a medallion with rays emanating, above which
rest heads of angels.

The plan of both the main cases is quite complicated. One
might say, roughly, that each case consists of three main towers, with the
three areas in between filled with pipes in facade. These main organ cases,
which are approximately twelve meters in height, fill the huge space of the
choir vaulting. The main decoration of the cases consists, besides the
pyramidal pipe arrangement, of a large number of carved wooden statues which
reach to the top of the choir vaulting. The enclosure of the vaulting of the
arch was completely filled with this arrangement until June 12, 1836. On that
day, as is aptly described on a plaque which still hangs over the positiv, a
sudden flash of lightening hit the right church tower at 2:30 p.m., while
people were inside the church, ran through the vaulting and struck a lifesized
stucco statue of St. Cecilia! This bolt caused two angels and a large amount of
mortar to fall down right next to the organist who was playing. All of the
debris fell down on the manuals, causing the organ to produce wailing sounds
which added to the dramatic character of the moment. The decorations which fell
probably had formed an enclosure in the sculpture-laden arch of the vault. They
were not restored. Also, it seems as if there are two more statues missing from
the choir railing. Apparently, they stood on pedestals, for one may still see
the openings where they were attached.

Today, the statues--there are 41 located on all cases of the
organ--can be divided roughly into three groups according to their height. The
six tallest range in height from 2.30-2.75 meters; then there is a group of
four life-sized statues; the rest measure about one meter. All of these
statues, with the exception of the two Atlantes supporting the structures in
the corners of the main organ cases, are engaged in the act of making
music--they sing or play instruments. These statues faithfully render their
music on authentic instruments of the period: flutes, a flute-a-bec, as well as
a transverse flute; oboes (shalmey), bassoon (faggot), French horn, cornets,
tympani, triangles, violin, viola, cello, contrabass, harps, and bagpipes. Each
figure assumes the ideal position for holding its particular instrument. It is
remarkable to see the correct position of the hand and the rise of the fingers,
as well as holding of the sticks. And even the embouchure on the wind instruments is characteristic of the proper technique!

Renewal, conservation, and preservation of the organ case,
the beam construction, and of the floor was done by specialists from the
Olomouc "District Center of State Monuments Care." Academic sculptor,
J. Necka from Olomouc, was charged with the task of restoration of the organ
case. According to his notation, the organ case had been greatly damaged by
wood-worms; some parts of the statues, draperies, and wood carvings were
missing. As a result, they either had to be newly carved or added
synthetically. For the sake of stability, all parts of the sculptures and
carvings had to be supported by screws or wooden pins, and fastened to the
cases by means of iron strips. The wood-worm was exterminated by "Lastanox
Q"; all wooden parts were preserved by "solakryl"; and the
finish was completed with a protective paint made of beeswax and resin.

The restorer has a high regard for the exquisite design of
the unique sculptures. Each one is marked by a high degree of realism--the
expression of the face, the position and bearing of the body--all is quite
natural and slightly exalted. In repairing them, the restorer did not find a
holograph or other evidence of their origin. On the basis of a stylistic
analysis, he assumes that they are, probably, the work of three independent
sculptors, but sculptors who were absolutely unified in their stylistic
approach. Similar features are found between a contrabass player and a bassoon
player. Both are strikingly similar, especially in the shape of their heads.
There are great similarities to Sturmer's carvings under the choir in the
church of St. Kopecek, not far from Olomouc. One carver's hand probably cut out
the figure of King David, and his colleague the other harpist. And, finally, there is the sculpture of the conductor with his group exhibiting other individual characteristics. The most striking characteristics of the entire group of sculptures are the very carefully delineated details, such as teeth, nails, and expressions of faces. The viewer is attracted by the great realism and perfection of the work.

Draperies, heads, and small sculptures of angels were
carried out by another group of wood-carver craftsmen. In the opinion of the
restorer, there must have been six to ten people working on the decoration of
the organ cases. These organ cases were not designed on plane curves, but are
tri-dimensional; in fact, they form a sculptural group which may be viewed from
three sides. This organ case as a whole is considered to be one of the best of
its kind, with a fantastic, dynamic design.

In regard to sound, the organ underwent great changes during
its long history. In 1728, Johann Gottfried Halbich (Helbig, Halbig), an
organist from Kralik, was charged with the task of building the organ for the
recently erected cathedral. In the State Record Office in Brno, there is
preserved a document written in German, a contract dated May 12, 1728, signed
by the rector of the Jesuit College in Olomouc, as well as the organist, in
which, besides other things, there is described an order for the organ, the
specifications, and budget.

Apparently work was begun in the same year as the signing of
the contract. The organist received his pay in installments, with the last
pay--664 gold coins--on May 27, 1730. The final sum for the organ was 3,056
gold coins. It is not possible to say exactly when the organ was actually
finished. There was the tradition of making the last installment a year after
the work was completed. So one may assume that the organ was finished in 1729.

As far as can be determined, this was the most important of
Halbich's organs, and ranked among the largest in Moravia at the time. It had
twenty-five voices, meaning that it was also the largest organ in Olomouc, even
exceeding Agodoni's organ in the Olomouc Cathedral which had only twenty-three
voices. At that time, it was rare for the largest organs in Moravia to exceed
thirty voices. Halbich's organ was a prototype of Baroque organs of Northern
Moravian origin. Unlike the Southern Moravian instruments, there was a striking
number of mixtures and mutations which formed nearly one-half of all the
voices. The range of the two manuals was from C to c''', with the short low
octave. The pedal contained eighteen notes, compared to only twelve in the
Southern Moravian region. One may understand this feature to be an influence of
Silesian organ building.

The instrument was, from a musical standpoint, divided into
three parts. On the railing of the choir stood the positiv (second manual);
inside the two main cases were the pipes of the first manual and pedal. The
main division gave the organ its majesty, brilliance, and power; the positiv
was a small counterpart with its fragile, silvery sound; the pedal performed
the thorough-bass, although there was the possibility of an independent melodic
line.

Regarding its sound, Halbrich's organ must have been an
excellent instrument. Also, mechanically, it obviously was superior, for during
the eighteenth century it functioned almost without repair. After suppression
of the Jesuit order in 1773, the cathedral was given to the Army in 1785, and
it became a garrison church. During the nineteenth century, several repairs
were made to the organ, but no essential change was made. During World War I,
the organ was placed under the protection of the "Historical Monument
Care" foundation, and as a result the tin pipes were not confiscated.

In 1916-17, a large scale restoration was carried out inside
the church. The Austrian Army, probably in an effort to avoid frontline duty,
engaged for this work a large number of artists who were in the service; for
example, painters A. Kaspar, L. Hofbauer, R. Cerny; and sculptors J. Pelikan,
and J. Kak. Also, organist J. Neusser, along with tool-maker J. Velik, joined
in the restoration. This restoration of the entire church was completed
successfully, and there is a positive expert's report on the organ and a
disposal written by A. Petzold.

Therefore, it is difficult to understand the reconstruction
of the organ in 1924-27. Perhaps it was to make playing easier and to add some
technical contrivances. Another reason could have been a general
misunderstanding of Baroque voicing and a romantic tendency which required an
equal, deeper, darker tone. Organist Matej Strimska from Uherske' Hradiste, a
very handy craftsman, reconstructed the organ in the spirit of his time. He
disconnected the positiv completely from operation and added new wind-chests
for both manuals and pedal, which continued to be operated mechanically. Only
the stop-action was pneumatic. The overall layout was changed completely.
Romantic registers were added, for example Aeoline, Vox Coelestis, Bourdon,
etc. The sound of the organ was in marked contrast to its Baroque appearance.
And that is the reason for the necessity to restore the sound to its original
state. Sufficient numbers of historical documents are preserved in archives,
such as the contract with the organist from 1728; files about the organ from
1916-17; evaluations of the organ, etc.

Fortunately, organist Strimska had mainly used metal pipes
for his reconstruction. He also used wooden ones, providing that they were not
damaged by wood-worms or rot. And, underneath the floor of the choir,
Halbrich's original wind-chests belonging to the main division were found, as
well as some parts of the wind-trunks, parts of the mechanical works, etc.
Also, a majority of the carved wooden decorations belonging to the original
key-desk were found.

All of the early documents helped to work out a project for
restoration of the organ. But there were still many problems, for example, what
should be done with the short low octave of the positiv. And it was necessary
to solve the problem of the disproportion between the number of voices in the
positiv as stated in the contract and the actual number of pipe ranks on the
wind-chest. The contract spoke of seven voices, whereas there were eight voices
on the wind-chest. Similar questions arose in regard to the number of voices in
the pedal. And other problems arose in determining the tuning and voicing of
single stops, specific wind pressure, etc.

The firm of "Varhany Krnov" (Rieger-Kloss Organs)
was charged with this work. On the basis of special committee negotiations (the
committee consisted of District Committee personnel from Olomouc's "Historical Monument Center"), a plan was worked out for the reconstruction in 1974. This project fulfilled all requirements of the "Historical Monument Care" manual, which are codified in technical literature and which are respected worldwide, as well as in the Czech Republic. As prescribed in the project, the Krnov firm finished the reconstruction of Halbrich's instrument in July, 1977. The reconstructed organ was approved on August 8, 1977. And, as the approval officer stated, the goal had been attained: to restore the original sound and appearance of Halbich's instrument.

The organ has been given its original disposition according
to the contract from 1728. A deviation is in the Quinta 11/2' + 1' in the
Positiv which, demonstrably, stood on the original wind-chest of eight
registers, though the contract spoke of only seven. They also kept the later
additions of the Flauta Major 8' in the main division and the Portunal Bass 8'
in the pedal, made during the nineteenth century, due to their stylish function.
The old pipes were used to a great extent in 60% of the registers. The missing
or damaged pipes were replaced by copies; those which were merely imperfect,
repaired. Nearly all pipes were adapted according to the original voicing and
construction. Reduction of wind-pressure to Baroque standards of approximately
60 mm water-column required lowering of the "cut-ups" to the original
height. The new pipe voicing, mainly the mixtures, was done according to
tradition established for sounds of instruments of the eighteenth century. The
pitch was established at A440cps.

With the exception of the positiv, where the wind-chest was
preserved with its forty-five tones, C-c''', the main division and pedal have
new wind-chests which permit a full chromatic range. The manual of the main
division has fifty-six chromatic tones, C-g''', the pedal thirty tones, C-f'.
The disproportion problems concerning the missing notes in the original bottom
short-octave and the c''' range of the positiv were solved, successfully, by
placement of the missing notes in the upper part of the main case, with
electro-magnetic connections. Today, the organ has 2,204 pipes. The key-desk is
built at the original location, and its appearance faithfully duplicates a
painting of it by A. Kaspar, made during the early period. It is decorated on
the side with six well-preserved volutes and by two ornamental carvings on the
cornice, one of which is original, the other, a replica. The manuals and
roller-bars are connected to the wind-chest by means of mechanical tracker
action. Names of the registers are inscribed on the drawknobs with Baroque
lettering.

The great regard for historical tradition, coupled with
painstaking attention to detail by all institutions involved in the
restoration, helped to preserve this extraordinary cultural and artistic
treasure. The organ, which is the oldest instrument in Olomouc, represents the
best art of the North Moravian organ builders with its artistic value and rich
disposition. This organ demonstrates the great skill of the restorer artist, as
well as that of the organ firm. It is, in fact, one of the first instruments by
a native master to be restored in Moravia in such a comprehensive way. In the
extraordinary acoustics of the Cathedral, the organ is used for concerts of Baroque music, for accompaniment of soloists and choirs, and for the rendition of chamber music, with small or large ensemble.

Bibliography

J. Tittel: Die Restauration der Maria Schneekirche . . .
Olmutz, 1918

R. Smetana: Pruvodce pamatkana v Olomouci, Olomouc, 1948

J. Sehnal: Dejiny varhanny v Kostel P. M. Snezne' v
Olomouci, Casopis Moravskeho musea, Brno, 1966

Z. Fridrich, K problemu historickvch varhan na Morave'.
Sbornik panatkove pece. Ostrava, 1971

Disposition of the organ:

Manual I, the main division, C-g3

                  8' style='mso-tab-count:1'>             Principal

                  8' style='mso-tab-count:1'>             Flauta
major

                  8' style='mso-tab-count:1'>             Quintadena

                  8' style='mso-tab-count:1'>             Viola
de gamba

                  8' style='mso-tab-count:1'>             Salicional

                  4' style='mso-tab-count:1'>             Octava

                  4' style='mso-tab-count:1'>             Flauta
minor

                  3' style='mso-tab-count:1'>             Quinta

                  2' style='mso-tab-count:1'>             Superoctava

                                    Rauschquinta
11/2' + 1'

                  3' style='mso-tab-count:1'>             Sesquialtera
II

                  2' style='mso-tab-count:1'>             Mixtura
VI

                  1' style='mso-tab-count:1'>             Cimbal
IV

Manual II, positiv, C-g3

                  8' style='mso-tab-count:1'>             Copl
major

                  4' style='mso-tab-count:1'>             Principal

                  4' style='mso-tab-count:1'>             Copl
minor

                  4' style='mso-tab-count:1'>             Fugara

                  3' style='mso-tab-count:1'>             Quintflauta

                  2' style='mso-tab-count:1'>             Octava

                                    Quinta
11/2' + 1'

                                    Mixtura
III

                                    Tremolo

Pedal, C-f'

                  16' style='mso-tab-count:1'>          Principal
Bass

                  16' style='mso-tab-count:1'>          Sub
Bass

                  8' style='mso-tab-count:1'>             Octav
Bass

                  8' style='mso-tab-count:1'>             Portunal
Bass

                  6' style='mso-tab-count:1'>             Quint
Bass

                  4' style='mso-tab-count:1'>             Superoctava

                  8' style='mso-tab-count:1'>             Cornet
Bass IV

                                    II/I

                                    II/P

                                    I/P

Slider wind-chests with mechanical key, stop and coupler
action; modern electrically operated blowers; however the hand-operated bellows
have been maintained.