The Mariakirken
As a second installment of the “Bergen Trilogy,” we go to the Mariakirken, Bergen’s oldest church dating from as early as 1130. It remains today the oldest structure in all of Bergen, taking the shape of a small, but stunning Romanesque basilica. During the heyday of the Hanseastic League, such a large German community of wealthy merchants populated this corner of Bergen that this church became known as the “German Church.” Thanks to their patronage, the church was lavishly decorated with precious paintings, carvings, and a truly spectacular baroque pulpit.
Like the Bergen Domkirke and Holy Cross Church, it was among the churches who purchased an organ by Albert Hollenbach in the 1890s, but this organ was replaced by an instrument by Paul Ott in accordance with the expectations of the mid-century. Following an extensive renovation of all elements structural and artistic of the church around 2013, the decision was made to replace a Paul Ott organ with a new instrument along quasi-historical lines by Orgelbau Weimbs. The result is an instrument largely based on the tonal ideas of Andreas and Gottfried Silbermann and both Alsatian and Middle-German organs of the 18th-century. Technologically, it is an organ of our time with a modern mechanical action, all the usual modern couplers at 8’, a combination action and sequencer, and an enclosed second manual (a sort of Hinterwerk more than a Positiv).
At 31 stops, it’s a very complete organ for its category, and probably in a historic instrument of its size, the Positiv would have likely gained a second 4' flute (Spitzflöte or Flauto Travers) to sit beside its Rohrflöte before the Pedal would have gained an 8' Gedeckt. The Hauptwerk has a solid pleno resting on a firm, but transparent 16’ Bourdon, and culminating in a truly sparkling quinte-octave mixture. The color of these stops seems to me a clear reference to Gottfried Silbermann – they are lovely and singing, but also a bit ‘meat and potatoes’ qulaity to accompany a good Lutheran choral. The 8’ Rohrflöte is somewhat narrower in timbre and development than I would have expected - but also attractive - though it somehow seems ‘light’ in its ability to sit under a rather sharply-intoned 4’ Spitzflöte which almost sounds like a second, quieter 4’ Octave. The 8’ Viola di Gamba is a Spitzflöte (like the practice of Gottfried Silbermann) with a strong speech characteristic and quite a range of variation throughout the compass – possibly the most engaging sound on the HW. There’s also a brilliant Alsatian 8’ Trompete with French shallots and an accompanying Kornett, so it’s possible to assemble a convincing “Grands Jeux” with the 8’ Rohrflöte, 4’ Octave, III Kornett, and 8’ Trompete.
The second manual is perhaps better termed a “Hinterwerk” than a Positiv, not only because of its location, but also its proportional dynamic relationship to the Hauptwerk. It’s quite diminuitive despite it being luxuriously appointed with 13 stops, including six 8’ stops, but they are some of the best in the organ. The 8’ Gedeckt has a stopped bass, and then an open treble from middle C. The Salicional is an actual string (i.e. not a Spitzflöte) but of a more garden variety type – it’s not a hugely instrumental 18th-century Hildebrandt or Trost specimen. The 8’ Quintadena is dynamically the most present among the four and is extremely fine and just acidic enough. With the Gedeckt and Tremblant it forms a beautiful solo registration. An Unda Maris couples well to the Salicional or Gedeckt (though it is a string). An entire “cornet décomposé is present in this division up to Larigot, and the 1 3/5’ Terz was constructed as a narrow-scaled stop to allow its inclusion in the Pleno – a nice idea. The Positiv then also features the two “soloist” reeds of the organ: a fine Basson/Chalumeau and a typical mitteldeutsch 8’ Vox Humana which truly evoke the character of their soulful antecedents. The Basson/Chalumeau in particular has a certain vulnerability and poetic feebleness when combined with the 8’ Gedeckt and 8’ Quintadena and Tremblant.
The pedal has two fine reeds (16’ Posaune, 8’ Trompete) which give the organ its solid bass – the bread and butter of any dorfkirche organ. The 16’ Principal might just need some regulation since many notes speak at 8’ or take some time to come to the correct pitch, but the good notes suggest that it would be a very useful stop (also in softer trio registrations, etc.) were it perfectly up to the task.
In any case, it was a nice to perform a concert for the festival this evening of music of Bach (582, movements from the Dritter Teil der Clavierübung) and Mendelssohn (First Sonata) – two composers both associated with this instrument type. The “Neidhardt für ein Dorf” temperament truly heightened the journey from f-minor to F-major in the Mendelssohn in always revealing ways. It was great to get to know Karstein Askeland, the man behind the organ and several others in Bergen, and share a Carlsberg (think Cavaillé-Coll in Copenhagen!) afterwards before heading off to the Johanneskirke to accidentally set off all the alarms in the middle of the night. Oops!
To the Edvard Grieg House in the morning, and then round three at the Johanneskirken!
All best!
Nathan
