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Wednesday, May 18, 2011

TRAVEL DIARIES: THE PAULINERKIRCHE

TRAVEL DIARIES: THE PAULINERKIRCHE IN LEIPZIG
May 1-4, 2011


The old Paulinerkirche (Church of St. Paul) on the Augustusplatz.

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The old Paulinerkirche of the eighteenth century, before the building of the modern University.


The Paulinerkirche (Church of St. Paul) was originally built at its present location in 1231–1240, as church of the Dominican monastery of Leipzig. The “Pauliners,” after whom the church is named, were its original Domincan friars. It was built as the Klosterkirche St. Pauli for the Dominican monastery in Leipzig and, when the monastery was dissolved, it became the university church for the University of Leipzig. After its foundation in 1409 the University had established close ties to this church. In 1539 the Dominican convent was dissolved and the monastery and church were handed over to the university in 1543. In 1545 Martin Luther dedicated St. Paul's as the Protestant university church. (See http//www.thomasgraz.net/glass/gl-698.htm )











The Paulinerkirche in the early 1800’s




The Paulinerkirche in the late 1800’s. Thus, perhaps, Nietzsche saw it when he was a student at the University of Leipzig in the 1860’s.


NIETZSCHE IN LEIPZIG, 1865 to 1869















Nietzsche in 1864






From Ronald Hayman, Nietzsche: A Critical Life, Penguin (1982):

“On 17 October 1865, together with Mushacke [a friend], Nietzsche arrived in Leipzig. He formed a favourable first impression of ‘the high-gabled houses, the streets so full of life, the bustling activity,’ but his elation evaporated as they began to view the lodgings advertised in the newspapers. Most were smelly, dirty and uncomfortable. But a second-hand bookseller who had rooms to let, Herr Rohn, led them into a narrow side-street called Blumengasse. He took them through a house, into a garden and then into another building, where he showed them a small room with an adjoining bedroom. Nietzsche agreed at once to rent the rooms, and Mushacke found rooms in the house next door. Unfortunately for Nietzsche, the bookseller had young children, ‘who scream rather a lot.’

The rain drips quietly onto the zinc-covered roof under my two windows. A lot of people live all round me, and I can see into their rooms. Thoroughly disagreeable faces! And in the gardens that spread out on both sides, everything is yellow, as if mummified, desolate. This is now my world.
The next day, going to register at the university, he found himself in the midst of a celebration. It was the centenary of the day Goethe had registered. This Nietzsche took to be a good omen, though the rector, shaking all the newcomers by the hand, warned them against modeling their university career on Goethe’s. Genius had wayward and devious ways of reaching its objectives.” (pp. 70-71)

A few days after his arrival, Nietzsche was browsing among the books in his landlord’s book shop when he discovered a copy of Schopenhauer’s Die Welt als Wille und Vorstellung (The World as Will and Representation) which had been published in 1819. The rest is History.


The Paulinerkirche in the twentieth century.


To the right of the photograph, the Paulinerkirche, now part of the University. The building to the left was the Augusteum, headquarters of the University of Leipzig



During World War II the church suffered only minor damages during a bomb raid in 1943. Nevertheless, the church was blown up in 1968 after a decision by the Politbüro of the Central Committee of the SED (Socialist Unity Party of Germany). Protestors against the blasting operation were arrested. In the 1990s, the rebuilding of the church was discussed but obstructed by the university. However, the new buildings at the University's main campus which are currently under construction are inspired by the form and shape of the old church, particularly its façade and a faux tower which, although modern, will clearly allude to the historic architecture of St. Paul's. The newly built heart of the university will also include a room for common prayer and regular religious services situated exactly at the place of the former medieval church. (See http//www.thomasgraz.net/glass/gl-698.htm ).











Aula Magna Lipsia, in progress





It is felt as an outrage, today, to remember that in 1968 the Communists decided to blow up the Paulinerkirche as an unnecessary reminiscence of what had been, and to a large extent still was, the religion of the Saxons since the sixteenth century. But one must also think about the opposite perspective, in order to properly understand conflicting emotions. What was the perspective, what were the assumptions, of the Communists upon arriving at the decision to demolish the old church in 1968? I suggest they thought they were well rid of that religion, and to condemn the old building was a way of acknowledging that perceived fact and of emptying the land to build something else for their own time. They carried no brief for the Lutheran Church. Well may they have asked themselves, as Nietzsche had before them, why did the Monk Luther have to revive Christianity at a moment when it was perishing in a blaze of aesthetic glory, and Humanistic scholarship, in Italy and in the Netherlands? What did Lutheranism and its established tradition mean to the Communists of 1968? The Lutheran Church had not, with a few very significant exceptions, condemned the Nazis from it pulpits. It was a Church that accepted anti-Semitism in its core beliefs, as a consequence of the death of the Savior. It was a rigid, cold, cruel religion, the projection of Luther onto religion of what he had experienced as a boy in the family home. This brutally repressive religion was also the upholder of the patriarchy, and of the subjection of women, of the Hausfrau that was meant only to live for her children, or in Church and Home: “Kinder, Küche und Kirche.” This religion had also helped perpetuate the ideological domination of its pious ministers, spokesmen as they were for the military and business elite of the Wilhelminian Empire, over the working class. The Lutheran Church had become an Establishment in the German States under its jurisdiction, which included Saxony. This was the perspective of the Saxon Communists of Leipzig in 1968, in summary, to erase all memory of the cruel religion of their forefathers, which had done nothing to protect the people from the devastating catastrophe of Nazi domination, and had always stood for class and patriarchal rule. For them, the demolition of the old Paulinerkirche must have felt like a joyful liberation.

Model of the projected Aula Magna Lipsia, a combination of classrooms and the Paulinerkirche, which is to become an all-purpose room, and its façade, integrated into the perimeter of the building.

The reconstruction now in progress of the hallowed grounds of the University of Leipzig is based on the notion of creating an Aula Magna Lipsia, on the grounds of what used to be the Augusteum and the Paulinerkirche. The Paulinerkirche will be remembered by the outline of its ancient façade and the old face of the church, integrated into the larger building of the Aula. Aula means ‘classroom.’ The Aula Magna Lispsia is the main classroom of the University. “Lipsia” derives from ‘Lipsk’ and old Slavic (Upper Sorbian) word meaning "settlement where the lime trees (linden trees in America) stand". The Slavic origin of the name of the city is an acknowledgment of the Slavic origins of the people and history of the city. Leipzig is both German and Slavic in its historical origins.







The University of Leipzig was founded in 1409; it is thus the second-oldest university of modern Germany. In 1519 the castle Pleißenburg was the site of the famous disputation ('Leipziger Disputation') between Martin Luther and his opponent Johannes Eck. The Reformation was finally introduced in the city in 1539. Throughout the centuries, Leipzig was in centre of trading and commerce. Already in 1701 street lighting was installed and the progressive city soon became nicknamed 'Klein-Paris' (Little Paris) or 'Pleiß-Athen'. The famous Battle of Leipzig of 1813 ended with a victory of the allied armies of Prussia, Russia and Austria over the troops of Napoleon and his allies, among them the kingdom of Saxony. The population of Leipzig increased rapidly during the late 19th century, the period of industrialization. In April 1945 Leipzig was liberated by the US Army and in July of that year became part of the Soviet zone of occupation. The 'Monday demonstrations' at the church St. Nikolai which began in September 1989 were a series of peaceful political protests against the East German government. The demonstrations eventually ended in March 1990, around the time of the multiparty elections that led to the reunification of Germany. (See http//www.thomasgraz.net/glass/gl-698.htm )















Goethe in Leipzig






The square, Augustusplatz, was laid out in 1785. At that time it was still named 'Platz vor dem Grimmaischen Thor' ('Square at the Grimma Gate'). In 1839 it was renamed Augustusplatz in honour of Friedrich August I, the first king of Saxony (b.1750, 1763 Elector F.A. III, 1806 King, d.1827). In 1953 the square was renamed 'Karl-Marx-Platz' but in 1990 it was again named 'Augustusplatz'.

The Augustusplatz before the second world war.



The Augustusplatz today. To the left of the photo, the University’s administrative headquarters dwarf the projected Aula Magna Lipsia.

Tuesday, May 17, 2011

TRAVEL DIARIES: SCHUMANN IN LEIPZIG



SCHUMANN IN LEIPZIG
Travel Diary, May 1-4, 2011

I would like to convey by this medium some of the wet, green, Romanticism that is a pervasively ubiquitous and strong element in the music of Robert Schumann, as also in the landscapes of his city of Leipzig. He was born in Zwickau, to the south of Leipzig, and died in remote Düsseldorf, but most of his greatest works were composed in Leipzig, where he lived his young manhood and met the love of his life, Clara Wieck.

Be sure to view the photographs by clicking on them to expand their size.










"He has made himself a new ideal world in which he moves almost as he wills." (Franz Grillparzer on Schumann)




Portrait of Robert Schumann (1810-1856)


Romantic Leipzig


















The Auerwald (Forest of Green Pastures) in Leipzig. Schumann may well have thought, as he walked in the Auerwald, of the words of Psalm 23, which were so important to Luther: “Der Herr ist mein Hirte, mir wird nichts mangeln. Er weidet mich auf einer grünen Aue und führet mich zu frischem Wassern." (Lutherbibel)

“The LORD is my shepherd; I shall not want. He maketh me to lie down in green pastures: he leadeth me beside the still waters.” (Psalm 23, King James Version)

















Until the 1920's the many waterways in Leipzig, three rivers meet there, were free for vessels of all kinds: From Auerwald in the south of the city it was possible to make rowing trips right into the city centre.









Schumann, Fantasie, Op. 17, 3rd. movement (1836)









The Fantasie in C, Op. 17, was composed in the summer of 1836 in Leipzig. It is meant to have a “dreamy” (träumerisch) character. The above is only the third movement of the piece.






















Portrait of Clara Wieck (Wikipedia)


The Schumann House in Leipzig

From 1840 to 1844, the newly-wed Schumanns lived in the house which is now the Clara Schumann School of Music for Children. Its address is now number 18 on Inselstrasse, but in the days of the Schumanns it was 5 Inselstrasse.

Robert-und-Clara-Schumann-Verein-Leipzig-Inselstraße-18 e.V.
Inselstr. 18
04103 Leipzig
Tel.: 0341 - 393 96 20
Fax: 0341 - 393 96 22
E-Mail: info@schumann-verein.de




Home of the Schumanns in Leipzig






























































Robert and Clara had fought a long and difficult battle to achieve their union. Clara’s father, Friedrich Wieck, a respected professor of piano, voice teacher, piano firm owner, and music reviewer in Leipzig, was stubbornly opposed to any relations between her daughter and the young musician. Schumann asked for Wieck’s consent to a marriage in 1837, and was refused. Despite the opposition, Clara and Robert continued their clandestine relationship, exchanging secret love letters and meeting briefly after her concerts in the city. The friendship matured into a deep and lasting romance, fueled by the strain and frustration of years duration, all of which would forever be heard in the lyrical and Romantic music of Schumann. In 1837, he asked her father's consent to their marriage, but was refused. Wieck ridiculed his daughter's wish to "throw herself away on a penniless composer.”















Photo of mosaic on the Grimmaischestrasse in Leipzig, showing the location of the childhood home of Clara Wieck, where she lived from 1825 and 1835, and where Schumann lived with the family in 1830 and 1831.


After a long and acrimonious legal battle with her father, Clara finally married Schumann on September 12, 1840, at Schönefeld. They finally resolved the battle by waiting until she was of legal age and no longer subject to her father's consent for marriage.


The Leipzig Gewandhaus, yesterday and today.

Since the early nineteenth century, the Leipzig Gewandhaus has been the center of musical performance in this, almost religiously, musical city. Felix Mendelssohn was Kapellmeister, music director, of the Gewandhaus in the 1830's, and Clara Schumann here performed at the premiere of the Schumann Piano Concerto Op. 54 (see below), under the baton of her husband.

The Gewandhaus is the traditional home of the Gewandhausorchester Leipzig. The first building was already erected in 1498 and originally served as armoury. When the first floor started to be used as a trading place for draperies and woolens, the whole building soon became known as 'Gewandhaus', 'cloth hall'. In 1780/1781 the second floor was adapted as a concert hall. The orchestra itself had been founded in 1743 and soon after its first concert at its new location became known as 'Gewandhausorchester'. The old Gewandhaus was partly torn down in 1893–1896 and incorporated into the municipal department store. The second Gewandhaus was built in 1882-1884 after a design by Martin Gropius. The building housed two concert halls; the large hall had a capacity of 1,700 seats, the chamber music hall seated 650. The building was severely damaged by two bomb raids in 1943 and 1944. The ruins were finally torn down in 1968. At first the site was used as a parking lot and in 2002 a new university building was built here. The present (third) Gewandhaus was built in 1977–1981 in Augustusplatz, opposite the new opera house. [ http://www.thomasgraz.net/glass/gl-698.htm ]


Below, the old Gewandhaus, on the Augustus Platz, but around the corner from where the present Gewandhaus is located. This old Gewandhaus is the one existing at the time of Mendelssohn, the Schumanns, Lizt and Wagner, demolished in 1882.



Below, the new Gewandhaus built in the 1880's across from the old opera house, on the Augustus Platz, the Gewandhaus of the Wilhelmine Era, which was destroyed during World War II by Allied bombing raids. On the façade of the building, the words: Res Severa Verum Gaudium (“True joy is a serious thing.”), are from Seneca the younger, Epistolae morales, 23, 4.




Below, the presently new Gewandhaus, built after the Second World War on the spot where the second Gewandhaus was located.








On the Augustus Platz, the fountain (Mende Brunnen) across from the Leipzig Gewandhaus [The Mende-Brunnen was designed in 1893 by Adolph Gnauth; the sculptures were created by Jakob Ungerer. The fountain was unveiled in 1896. The financial means for its construction were bequeathed by land owner Pauline Mende after whom the fountain was named. The fountain was originally set up on Augustusplatz. It was relocated several times but now has been moved back to almost its original location in the Augustusplatz.]




The stage in Schumann's life when he was deeply engaged in setting of Goethe's Faust to music (1844–53) was a critical one for Schumann’s mental and physical health. He spent the first half of 1844 with Clara on tour in Russia. On returning to Germany, he abandoned his editorial work and left Leipzig for Dresden, where he suffered from persistent “nervous prostration.” As soon as he began to work, he was seized with fits of shivering and an apprehension of death, experiencing an abhorrence for high places, for all metal instruments (even keys), and for drugs. Schumann's diaries also state that he suffered perpetually from imagining that he had the note A5 sounding in his ears. It was an anticipation of his final collapse from madness in Düsseldorf, in 1856.


The Weiße Elster, White Elster River, runs through the city of Leipzig


Georg Szell conducts the beginning of Schumann's Second Symphony

Saturday, April 2, 2011

'BACKSTEINGOTIK' IN LÜBECK: THE MARIENKIRCHE

BACKSTEINGOTIK IN LÜBECK: Marienkirche

The red-brick Gothic style in Lübeck: St. Mary's Church
[click on the images to enhance their size]
















Marienkirche, as seen from the tower of the Peterkirche (St.Peter's Church)



“Ein scharfer Wind trieb den Regen seitwärts herunter, und die alten Krögers krochen, in dicke Pelzmäntel gewickelt, eiligst in ihre majestätische Equipage, die schon lange wartete. Das gelbe Licht der Öllampen, die vorm Haus auf Stangen brannten und weiter unten an dicken, über die Straße gespannten Ketten hingen, flackerte unruhig. Hie und da sprangen die Häuser mit Vorbauten in die Straße hinein, die abschüssig zur Trave hinunterführte, und einige waren mit Beischlägen oder Bänken versehen. Feuchtes Gras sproß zwischen dem schlechten Pflaster empor. Die Marienkirche, dort drüben, lag ganz in Schatten, Dunkelheit und Regen gehüllt.” (Thomas Mann, Buddenbrooks, I, 9)

[A cutting wind was blowing the rain aslant, and the old Krögers wrapped in thick fur coats, crept hastily into their majestic equipage, which had been waiting for some time. An unsteady flicker came from the yellow light of the oil lamps burning on poles outside the house – and of those suspended from thick chains across the pavement farther down the street. Here and there the houses, some with bays, some with stoops and benches, protruded into the street as it sloped down toward the Trave. Wet grass sprouted up between the cracked cobblestones. Across the way, St. Mary’s Church lay wrapped in shadows, darkness, and rain.] (Thomas Mann, Buddenbrooks, John E. Woods trans.)
















The Marienkirche before the war




The Marienkirche (St. Mary’s church) in Lübeck, was built between 1250 and 1350. During the first wave of German colonization of the ninth and tenth centuries, a wooden church had been built on the site, followed in 1156 by a larger Romanesque structure, but by the thirteenth century the increasingly prosperous merchants of the city demanded a more impressive building. The red baked brick Gothic church of St. Mary’s became the model for any number of such structures throughout the Baltic coast’s Hanseatic cities, and as far south as Hannover. The Marienkirche remains the most impressive of all in its style and in its size, as it has the highest brick vault in the world.






















The church is located in the merchant's borough, which stretches from the docks of the River Trave to the church itself. The building on the right is the Town Hall of Lubeck (Rathaus) which is an equally extraordinary red baked-brick building in the late Gothic style.

















On the night of the 28th. Of March, 1942, the church was almost completely burned and destroyed by British and American bombing raids. One of the large bells of the tower, which collapsed from during the fire, was left where it fell and remains there to this day as a memorial. Reconstruction of the church began in 1947 and was completed in the course of twelve years.























The photograph below shows the ruins of the merchant's borough and the Marienkirche after the bombing raids of March, 1942.



The engraving below shows the inside of the Marienkirche in 1820






















Main nave of the Marienkirche









A High Altar from the Baroque period was destroyed during the bombing in 1942. It was replaced by an altar table made of limestone and a simple bronze crucifix (photo below), the work of Gerhard Marcks (1889 – 1981). Marcks works had been considered “degenerate art” by the Nazis.



Dietrich Buxtehude was organist at the Marienkirche from 1668 to 1707. His reputation was such that the young Johann Sebastian Bach walked all the way from Arnstadt, over 350 miles to Lubeck, to observe him and learn from him in 1705. A plaque in the church commemorates the event.





















Built from 1561 through 1566, the Astronomical Clock, below, is one of the treasures of the Marienkirche. It was located behind the High Altar in the ambulatory but was completely destroyed in 1942. Only one dial (which had been replaced with an earlier restoration) remains in the St. Annen Museum (photo below). The new Astronomical Clock was constructed on the East side of the Northern transept in the "Totentanz" chapel. It is the work of Paul Behrens, a clockmaker in Lübeck. The clockface is a simplified duplicate of the original. With a complicated mechanical system, the clock shows planetary positions, phases of the sun and moon, and the astronomical signs of the zodiac.


The astronomical clock in the Marienkirche today.



Dial from the original astronomical clock of the Marienkirche, now at the St. Annen Museum in Lübeck.

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