Trinitatis Kirke
Copenhagen fares spectacularly well in the domain of ecclesiastical architecture, with everything from splendid renaissance and baroque churches, impressive 19th-century neo-classical temples, to signature designs of Klint (like Grundtvig’s Church) and Jørn Utzen (architect of the Syndey Opera House and the Bagsværd Church in Copenhagen). The Trinitatis Kirke certainly belongs to the most striking – or certainly unconventional – of these, principally owing to its famous “Round Tower,” complete with an equestrian ramp/staircase to its lofty 17th-century “observation deck.” An architectural project of Christian IV (among many), it functioned as an astronomical observatory, was attached to the University Church below (the Trinitatis Kirke), and provided access to a large university library space which occupied the roof above the vault of the nave. In a sense, this was an extraordinary 17th-century multi-purpose complex of ecclesiastic, scientific, and academic pursuits. Interesting!
The church itself is a gracious and expansive 17th-century Baroque building, framed by galleries on each side. After the catastrophic fire of 1728, during which the library and tower above the vaults of the church burned, and like in Notre-Dame just this year, pierced the interior vaults, the church was rebuilt once again in an updated Baroque style. In 1731, following the rebuilding after the fire, Lambert Daniel KASTENS, a pupil of Arp Schnitger (and who also built an organ for the Garnisons Kirke and many others), built the organ whose façade remains intact in the rear gallery today. A Marcussen & Søn organ from 1956 now occupies that gorgeous case, modified somewhat controversially – and so much so that the debate ensued in the newspapers – by Poul-Gerhard Andersen in 1977, and finally again in 2010 by P.G. Andersen & Bruhn. It’s a successful and colorful eclectic, neo-classical organ, full of attractive principals and flutes (a really wonderful Spidsfløjte in the HW and Gedakt and Quintatøn in the RP), some very nice reeds and mutations (a fine Sesquilatera in the RP), and a quasi-French set of reeds in the third manual (16’ 8’ 4’) which are somewhat attenuated to make them rather versatile. Northern-European style Pedal reeds 16’ 8’ function wonderfully under various Pleno possibilities, and a great 10 2/3’ Quint is both agile and broad. A nice organ, and of course, with a very finely regulated and comfortable action which makes it a breeze to play.
For me, the biggest joy of the experience, however, was this large organ’s little, and older sister in the left of the two large balconies which frame the church interior: a substantial Italian Baroque organ from 1770. It was restored by Gerald Woehl and brought to the Trinitatis church in 2015 thanks to an initiative by Søren Christian Vestergaard, Bine Bryndorf, and Hans Davidsson. In this way, it’s also a “sister organ” to our beloved Italian Baroque Organ in Rochester’s Memorial Art Gallery, and very comparable in size and composition. It consists simply of a complete Ripieno based on a divided basso/soprani 8’ Principale (1-8-15-19-22-26-29), plus a consort of three flutes (8’ soprano, 4’ ‘in ottava’ and 2 2/3’ ‘in duodecima’), a divided Tromboncini (original!!), and a Voce Umana in the treble. The typical Italian pedalboard (short octave CDEFGA-A#-B) has a repeating 16’ Contrabassi (i.e. it doubles back to 16’ in the second octave) and continues to G#; high A, the 18th and last pedal, is the ‘drum.’ There’s additionally a Rossignolo (bird) and a Tiratutti for drawing and retiring the Ripieno (4’ – ½’ or 8-29) expediently. An original bellows system with a long wind truck occupies part of the balcony just to the left of the organ and supplies the organ with a very flexible ‘living’ wind supply. In fact, the wind is about as ‘alive’ as I’ve ever encountered in an Italian organ: it takes quite a lot of navigation, especially when playing in 4-5 voice textures or chords (for example in the rather ‘healthily-composed’ textures of the Storace “Ciaconna”). The Principale is capable of filling the church in its own right, and is a stunningly captivating sound with soft, dental consonants. The flutes are less voluptuous than some, but therefore also much clearer and dexterous in consort situations, never thickening the sound or saturating the textures in detailed capriccios or canzonas. The Tromboncini is a real beehive of a stop (in the best way) and is both a piquantly lyrical soloist (with the Principale Sop. or 8’ Flauto Sop. or 4’ Flauto in Ottava) or a brilliant consort of wind instruments with any other combination of wide-scaled stops (4’ 3’ etc.). There’s so little, but there’s so much!
The program was principally on the Italian organ, with a big Bach offering on the Marcussen at the end:
Rossi: Toccata VII
Frescobaldi: Capriccio sopra il Cucho
Storace: Ciaconna
Marcello/Bach: Concerto in D nach A. Marcello, BWV 972
Main Organ:
Bach: Passacaglia, BWV 582
Another fine discovery and very rewarding instrument, and just some hours after the unforgettable experience with the Roskilde organ, this was an embarrassment of aural riches indeed. Thanks so much to Søren Christian Vestergaard for the invitation and warm welcome to Trinitatis! Afterwards, Adam Turner, Volker, and I grabbed a train to Helsingør to go see the glorious Renaissance castle of Kronborg built by Frederick II and immortalized by Shakespeare’s “Hamlet.” What a place! I’m always grateful, too, to Kevin Borbye Edelvang and Stine Borbye Edelvang for their years of friendship, always great company, great food, and good humor! ☺
So I’m beginning to think it’s time for Denmark to purchase the United States. I think I’d be just fine with that…!
