The Art of the North German Organ - Part III

The Art of the North German Organ - Part III (24)
written by Dr. Wolfram Syré

PRAEAMBULUM, PRAELUDIUM, PRAELUDIUM ET FUGA, TOCCATA

Central to early North German Praeludia (the title Praeambulum has the same meaning) is a polyphonic episode, usually framed by a quiet introduction and a more lively closing section. With Heinrich Scheidemann the framing sections became more rhythmic, with Franz Tunder more virtuosic. These pieces were to be played on the full organ. Manual or registration changes are impossible, firstly on musical grounds - ie a constant "Affect" requires a constant sound - and secondly on performance grounds, the pieces in question being "through-composed".

The position of the later, mainly 5-part Praeludia is different. Their formal structure comprises:

1st toccata section
1st fugue in "tempus imperfectum"
2nd toccata section
2nd fugue in "tempus perfectum"
3rd toccata section

The chief exponent of this type of prelude, in which a Ciacona may replace the second fugue, or may follow the 2nd or 3rd fugue, was Dietrich Buxtehude although Georg Böhm (Praeludium in a) and Vincent Lübeck (Praeambulum in G, Praeludium in g) also used this form. The toccata sections of these 5-part preludes were played, as their "Affect" required, in imporvisatory "Stylus fantasticus" (25) on full organ; the fugue sections, on the other hand, with consort registrations.

Whilst Buxtehude's pupil Nicolaus Bruhns expanded the toccata sections with improvisatory gestures. Vincent Lübeck, by experimenting with the form of the prelude, achieved a stricter framework, in which abandoned the toccata style of the second toccata section and turned it into a fugue for manuals only, and shorted the 3rd toccata section so that it became a coda to the closing fugue, now played on full organ (Praeludium in C, Praeambulum in E).

As the next step, Lübeck developed, in his Praeludium in d, a prelude and fuge of the J. S. Bach type, by merging the 2nd toccata section into a long, independent closing section, as can be seen in his "Praeludium et Fuga" in a from his "Clavier-Uebung". This type of prelude and fugue can also be found in Georg Böhm (Praeludia in C and in a). The closing sections of both these pieces are so closely linked to the fugues that changes of manual or registration are impossible both on musical and practical playing grounds, and thus demand to be played on full organ. They thereby confirm the accounts we have of independent baroque fugues, including those of J. S. Bach, being played "In Organo Pleno" (26).

In the most cases, pieces entitled Toccata deviated very little, in their formal structure, from the preludes.

CANZONA, CANZONETTA, CIACONA, FUGUE, PASSACAGLIA

Canzonas and Canzonettas by Heinrich Scheidemann, Matthias Weckmann and Dietrich Buxtehude show, both in their titles and also in their structures as "variation-fugues", the close dependence of the North German repertoire on earlier Italien models. The canzonas of Scheidemann and Weckmann can be seen, in the formal sense, as precursors of the preludes described above. On the other hand, canzonas, canzonettas and fugues are nevertheless "character-pieces" without any great pathos and thus to be played with an appropriate consort registration.

On both musical and performance grounds, Buxtehude's two Ciaconas, in c (BuxWV 159) and e (BuxWV 160), offer as little opportunity for tonal changes as the corresponding sections in his preludes (those in C and g, BuxWV 137, 148 and 149). By contrast, his Passacaglia in d (BuxWV 161) comprises four separate sections, delineated by changes of key and "Affect" and by pauses, and thus requiring different registrations.

CONCERTOS

The "Husumer Orgelbuch" is a collection of late Baroque North German organ pieces. A big part of this manuscript contents pieces with three or four movements in the Italian Concerto-grosso style. The most prominent composer of this repertoire is Christoph Wolfgang Druckenmüller.

MOTET INTABULATIONS

Before the Lutheran congregational hymn became established in the liturgy of North German town churches, thereby offering thematic material for liturgical organ music, organists were required to adapt motets for the organ (27). This practice ensured that liturgical music was to be heard - even when there was no "Figuralmusik" - in which the primacy of the text was respected and which, in its content, fitted the liturgical action. Slowly but surely, thi tradition was superseded, from the firts third of the 17th century onwards, by the development of the chorale setting. Examples of motet transcriptions are to be found in the organ works of Heinrich Scheidemann and Delphin Strungk.

CHORAL SETTINGS "auff 2 Clavier"

The new chorale settings had naturally to bring out the chorale melody in clear tonal relief, making possible to give the thematic material of the chorale its own tone colour. Out of this grew the type of settings "auff 2 Clavier" (on 2 manuals). Already schooled in the art of adapting motets for the organ, North German organists developed new techniques in addition to the "Cantus planus", such as apostrophisation, colouring, augmentation, diminuition, fragmentation - often in echo- and antiphonal passages - and through polyphonic treatment of the thematic material. This richness of compositional oppotunity often led to multiple treatments, even on a line-by-line basis, within a chorale setting and to the establishment of the so-called chorale fantasy, which reached its peak in the works of Franz Tunder, Georg Böhm, coming upon the scene from Central Germany, developed the use of echo passages on a single manual, as, for example, in the second verse of his setting of "Christ, der du bist Tag und Licht".

"Stylus fantasticus" also found its way into the art of chorale settings. Dietrich Buxtehude, for example, created a short, aphoristic type "auff 2 Clavier", whose fanciful colouring earned him rebuke for making the chorale melody unrecocnisable (28). Independently of this Johann Adam Reincken, Dietrich Buxtehude, Nicolaus Bruhns and Vincent Lübeck further extended the scope of the chorale fantasy.

MAGNIFICAT CYCLES

In comparison the new, melodically rich Lutheran chorales, the two-line antiphonal melodies of the Magnificat seemed sparse and antiquated. Hieronymus Praetorius addressed these shortcomings in his monumental Magnificat cycles, setting the verses on a grand scale in "Cantus planus" and with bold use of coloration. On the other hand, the later Magnificat of Heinrich Scheidemann, Melchior Schildt and Delphin Strungk treated "Cantus firmus" in the middle verses on two manuals and in the most varied ways, often borrowing compositional features from the chorale fantasy. These works are among the most impressive examples of the North German style, exploiting to the full tonal and technical opportunities of the organs of period. The remaining verses of these Magnificats cycles consisted of variation fugues and "Cantus planus" settings.

Dietrich Buxtehude's two large Magnificat settings (BuxWV 204 & 205) are retrospective in outlook, consisting only of a prelude and a series of fugues.

PERFORMANCE TECHNIQUE

The cross-sectional drawings of a two-manual console, such as Arp Schnitger might have built, provides evidence of the generally accepted performance techniques of the period, both for organ and harpsichord music. Noteworthy are short naturals of both the manuals and pedals, the short, beak-shaped pedal sharps and the position of the pedal board itself - sloping upwards at an angle of around 2 degrees and with the front in line with the key fronts of the upper manual. This indicates that the modern style of legato playing, perhaps using forearm pressure, or a toe-heel technique in the pedal, would have been impracticable. Scales needed to be played with contemporary fingerings (29) and with alternate or consecutive toes (often up to 4 or 5 at a time) in the pedal. Toe-heel movements were needed exceptionally, with the heel being used in the same way the toe, that is from the foot rather than the leg. The use of the thumb in chords was, as today, unavoidable. The resulting sound was an evenly structured non-legato, which dad equal recourse netherless to staccato and legato for special effects. Accented and non-accented notes completed this system of performance.



REGISTRATION

In baroque French music there is a recgonised canon of registrations, their use being determined by the compositions themselves. This practice depends almost exclusively on the fact that each stop, in French organs of the period, had one or two precisely definated functions. North German organ music also had such a canon of registrational practice, which, although it has not been handed down, can largely be reconstructed from individual pieces of information such as compositions themselves, from registrational indications, passages from theoretical treatises on organ building as well as from organ specifications. Part 3 will deal with typical North German baroque registrations and their musical use in the various contexts so far described.

INSTRUMENTS

Many North German organs date back to the "Blockwerk" of the late Gothic period, which were repeatedly rebuilt and enlarged to meet contemporary musical needs. The instruments which resulted were sometimes remarkably disparate and often lacking in integry of conception. At the beginning of the North German organ tradition the pipework of the former Blockwerk was often broken up and preserved in the individual registers of the Hauptwerk, whilst Brustwerk, Oberpositiv divisions were added to provide solo and consort registrations. The Pedal was often permanently coupled to the Hauptwerk and sometimes had "Cantus firmus" stops of its own, in either the alto or tenor range. There were decisive influences at this time from Central Germany and from the Netherlands. Typical of this period of development is the organ of 1551-3 by Jasper Johansen and Hendrik Niehof in St. Johannis, Lüneburg, later completely rebuilt according to the plans of Georg Böhm.

Rückpositiv (Manual I)
Praestant 8´
Quintadena 8´
Octave 4´
Kleine Hohlpfeife 4´
Sifflöte 1 1/2´
Mixtur
Scharff
Regal 8´
Bärpfeife 8´
Schalmey 4´

Hauptwerk (Manual II)
Praestant 16´
Octave 8´ + 4´
Mixtur
Scharff

Pedal (coupled to Manual II)
Nachthorn 2´
Bauernflöte 1´
Trompete 8´

Oberwerk (Manual III)
Praestant 8´
Hohlpfeife 8´ ?
Flöte 4´ ?
Nasat 3´

Superoctave 2´
Gemshorn 2´
Zimbel
Trompete 8´

Tremulant
Coupler Oberwerk-Hauptwerk

An older organ, repeatedly rebuilt and developed, was that in St. Catharinen, Hamburg, enlarged in 1605-6 by Hans Scherer. father and son, to 3 manuals (Rückpositiv, Hauptwerk, Oberwerk and Pedal). A Brustwerk was added in 1634 by Gottfried Frtzsche and a further enlargement undertaken in 1644-7 by Friedrich Stellwagen. Successive organists - David Scheidemann, his son Heinrich and hid pupil Jan Adam Reincken - strove continually for a new organ. The earliest specification we have of this organ dates from 1721 (30) and already includes the enlargements requested by Reincken.

Rückpositiv C D E F G A - g2 a2 (Manual I)
Principal 8´
Quintadena 8´
Gedackt 8´
Octave 4´
Hohlflöte 4´
Blockflöte 4´
Quintflöte 1 1/2´
Sifflöte 1´
Sesquialtera 2fach
Scharff 8fach
Regal 8´
Bärpfeife 8´
Schalmey 4´

Hauptwerk C D E F G A - g2 a2 (Manual II)
Principal 16´
Quintadena 16´
Bordun 16´ (after 1663)
Octave 8´
Querflöte 8´
Spitzflöte 8´
Octave 4´
Octave 2´ (after 1663)
Rauschpfeife 2fach
Mixtur 10fach
Trompete 16´

Oberwerk C D E - c3 (Manual III)
Principal 8´
Hohlflöte 8´
Flöte 4´
Nasat 3´
Waldflöte 2´
Gemshorn 2´
Scharff 6fach
Trompete 8´
Zinck 8´
Trompete 4´ (after 1663)

Brustwerk C D E - c3 (Manual IV)
Holzprincipal 8´
Octave 4´
Quintadena 4´
Waldpfeife 2´
Scharff 7fach
Dulcian 16´
Regal 8´


edal C D E F# F G A - c1)
Principal 32´ (after 1663)
Principal 16´
Subbaß 16´
Octave 8´
Gedackt 8´
Octave 4´
Nachthorn 4´ (or 2´ ?)
Rauschpfeife 2 fach
Mixtur 5fach
Zimbel 3fach
Posaune 32´ (after 1663)
Posaune 16´
Dulcian 16´
Trompete 8´
Krummhorn 8´
Schalmey 4´
Cornet 2´

2 Tremulants
Coupler Hauptwerk-Oberwerk (?)

Organs of this type represented - at least for the Hamurg region - the ideal of the monumental North German town church organ, with its so-called "Hamburger Prospekt", comprising Hauptwerk, Oberwerk and Brustwerk in the main case on the gallery, flanked by two Pedal towers and with the Rückpositiv on the gallery rail. There are flaws, nevertheless, in the overall conception, attributable to the history of the organ, such as the gap between 4´ and 1 1/2´ on the Rückpositiv and the missing notes G#, c#1 & d1 in the Pedal and g#2 and b2 - c3 in the Hauptwerk and Rückpositiv. This organ held a monopoly position in Hamburg which Jan Adam Reincken tried, albeit in vain, to preserve in his capacity as an organ adviser for St. Nicolai (31) and St. Jacobi (32), by keeping the specifications of both instruments as small as possible. Nevertheless, Arp Schnitger managed to built his largest organ, of 67 stops, in St. Nicolai (1682-7), which then ranked as one of the largest organs in the world. Dietrich Buxtehude (33) visited this organ in May 1687, on behalf of the church authorities of St. Marien in Lübeck, hoping to engage Schnitger for a rebuilding of his own organ, a wish which was never fulfilled during his lifetime. Although somewhat smaller than St. Nicolai, the new Jacobi organ was equally significant, in that Schnitger incorporated several old stops from the previous organs by Jacob Scherer and Gottfried Fritzsche. Schnitger's instrument has survived and was restored in 1993 by Jürgen Ahrend to the following specification:

Rückpositiv C D E - c3 (Manual I)
Principal 8´
Quintadena 8´
Gedackt 8´
Octave 4´
Blockflöte 4´
Octave 2´
Querpfeife 2´
Sifflöte 1 1/2´
Sesquialtera 2fach
Scharff 6-8fach
Dulcian 16´
Bärpfeife 8´
Trompete 8´ (18th century: Schnitger: Schalmey 4´)

Hauptwerk C D E F G A - c3 (Manual II)
Principal 16´
Quintadena 16´
Octave 8´
Spitzflöte 8´
Gambe 8´ (18th century: Schnitger: Gedackt 8´ *)
Octave 4´
Rohrflöte 4´
Superoctave 2´
Flachflöte 2´
Rauschpfeife 2fach
Mixtur 6-8fach
Trompete 16´


* The Gedackt was not tuned, like the rest of the organ in "Chorton", but in the lower "Cammerton" pitch and served exclusively to accompany instrumentalists.

Oberwerk Hauptwerk C D E F G A - c3 (Manual III)
Principal 8´
Holzflöte 8´
Rohrflöte 8´
Octave 4´
Spitzflöte 4´
Nasat 3´
Gemshorn 2´
Scharff 4-6fach
Zimbel 3fach
Trompete 8´
Vox humana 8´
Trompete 4´

Brustwerk C D E F G A - c3 (Manual IV)
Principal 8´
Octave 4´
Hohlflöte 4´
Waldflöte 2´
Sesquialtera 2fach
Scharff 4-6fach
Dulcian 8´
Trichterregal 8´

Pedal C D E - d1 (with the modern extension D#)
Principal 32´
Octave 16´
Subbaß 16´
Octave 8´
Octave 4´
Nachthorn 2´
Rauschpfeife 2fach
Mixtur 6-8fach
Posaune 32´
Posaune 16´
Dulcian 16´
Trompete 8´
Trompete 4´
Cornet 2´

2 Tremulants, Zimbelstern, Drums
Couplers
Oberwerk-Hauptwerk & Brustwerk-Hauptwerk
Coupler Hauptwerk-Pedal (modern extension)

The innovative influence of these two Hamburg organs can be measured by comparing them with the reconstructed contemporary specification of the town church organ for St. Cosmae et St. Damiani in Stade, planned and started in 1675 by Arp Schnitger's uncle and teacher Berendt Hueß (d. 1676 and completed by Schnitger himself.

Rückpositiv C D E F G A - c3 (Manual I)
Principal 8´
Holzprincipal 8´
Quintadena 8´
Octave 4´
Octave 2´ (possibly)
Waldflöte 2´
Sifflöte 1´
Sesquialtera 2fach
Scharff 5fach
Dulcian 16´

Hauptwerk C D E F G A - c3 (Manual II)
Principal 16´
Quintadena 16´
Octave 8´
Gedackt 8´
Quinte 6´ (possibly)
Octave 4´
Nasat 3´
Octave 2´
Mixtur 6fach
Scharff (possibly)
Trompete 8´
Zinck 8´(possibly)

Brustwerk C D E F G A - c3 (Manual III)
Gedackt 8´
Querflöte 8´(from c1)
Flöte 4´
Octave 2´
Gemshorn 2 (possibly)
Terz 1 1/2´
Nasatquinte 1 1/2´
Sedecima 1´
Scharff 3fach
Trichterregal 8´

Pedal C D E - d1
Principal 16´
Subbaß 16´
Octave 8´
Octave 4´
Nachthorn 1´
Mixtur 5-6fach
Posaune 16´
Dulcian 16´
Trompete 8´
Cornet 2´

Tremulant
Coupler Brustwerk-Hauptwerk

Vincent Lübeck became organist here in 1674. Although not a friend of Arp Schnitger. who had his workshop in Stade between 1677 and 1682, he worked closely with him on several organbuilding projects. Lübeck is the only North German organist whose extensive activity as organ adviser is almost continuously documented. At the end of 1687 he joined Christian Flor and Andreas Kneller inaugurating Schnitger's large new organ in St. Nicolai. Hamburg, where, if not before, he appreciated the advantages of the monumental "Stadtkirchenorgel" as conceived by Schnitger. When, in 1688, the gallery at St. Cosmae required strengthening, Lübeck took the opportunity to have the organ rebuilt (34) according to this concept. The Scharff and :Zinck on the Hauptwerk were replaced by a (Terz-) Zimbel 3fach and Trompete 16´. With the Hauptwerk thus increased in weight, the Quinte 6´ could give way to a Rohrflöte 4´. In the Brustwerk, Gemshorn 2´ and Trichterregal 8´ were removed and replaced by Krummhorn 8´ and Schalmey 4´. The Trichteregal then reappeared on the Rückpositiv in place of the Octave 2´. Holzprincipal 8´ and Sifflöte 1´ became Rohrflöte 8´ and Sifflöte
1 1/2´. As a result of these changes Lübeck had the same resources for reed restrictions as one of the big Hamburg organs, namely Trompete
16´, Trompete 8´, Schalmey 4´ and (Terz-) Zimbel 3fach. In Stade the third manual had the same function as the Oberwerk and Brustwerk in a 4-manual organ, that is to brighten the Hauptwerk in "Organo Pleno" by coupling the Brustwerk, and to built upon the Trompete 16´ through the addition of Trompete 8´ and Schalmey 4´.


This concept of a large 3-manual town church organ, re-intated at St. Cosmae as a result of Jürgen Ahrend's restoration of 1972-5, was later taken up by Arp Schnitger, in modified form in various new organs, such as Bremen Cathedral (1695-8), St. Petri, Buxtehude (699-1701), St. Nicolai, Flensburg, and St. Laurentius, Itzehoe (1719-20).

Vincent Lübeck's organ reports reveal that good reeds were to be prized above all other. Thus, at St. Nicolai, Flensburg, in 1709 he singled out the Trompete 16´ and Vox humana 8´ in the Hauptwerk as particularly successful (35). Even in smaller instruments he was unwilling to forego the fanfare-like sound of a Schalmey 4´ (36) in addition to a Trompete 8´ on the Hauptwerk (without Quintadena 16´). Similarly he amended Schnitger's design of 1696 for a 2-manual organ for the Cathedral in Verden, replacing the Waldflöte 2´ on the Rückpositiv by a Schalmey 4´ alongside the Krummhorn 8´ (37). In several organ reports - e. g. Bremen Cathedral (38), St. Jacobi, Hamburg (39), or St. Nicolai, Flensburg (40) - Lübeck refers to the successful achievement of "Gravität" in the organ sound. At Verden, he completed Schnitger's scheme by the addition of a Quintadena 16´ on the Hauptwerk - the only 16 foot stop on the manuals.

Having dealt so far only with large organs, let us now turn to three varied schemes for village organs, whose special features help us further to understand North German registrational practice.

The organ at St- Jacobi, Lüdingworth (near Cuxhaven), was originally built in 1598 by Antonius Wilde, rebuilt and enlarged by Arp Schnitger in 1682-3 and restored in 1981 by Jürgen Ahrend.

Rückpositiv C D E F G A - c3 (Manual I)
Gedackt 8´
Principal 4´
Spitzflöte 4´
Octave 2´
Waldflöte 2´
Sifflöte 1 1/2´
Sesquialtera 2fach
Scharff 4-6fach
Dulcian 16´

Hauptwerk C D E F G A - c3 (Manual II)
Quintadena 16´
Principal 8´
Rohrflöte 8´
Octave 4´
Hohlflöte 4´
Nasat 3´
Octave 2´
Rauschpfeife 2fach
Mixtur 5fach
(Terz-) Zimbel 3fach
Trompete 8´

Brustwerk C D E F G A - c3 (Manual III)
Gedackt 4´ (sic!)
Quintflöte 3´ (from c1)
Octave 2´
Scharff 3fach *
Regal 8´

* The Scharff was so composed that it could be used on a 4 foot basis in the Brustwerk.

Pedal C D E - d1
Untersatz 16´
Principal 8´
Octave 4´
Nachthorn 2´
Rauschpfeife 2fach
Mixtur 5fach
Posaune 16´
Trompete 8´
Cornet 2´

Zimelstern, Vogelsang, Tremulant
Coupler Brustwerk-Hauptwerk

St- Martini et Nicolai, Steikirchen, built 1686-7 by Arp Schitger and restored 1987 by Rudolf von Beckerath.

Hauptwerk C D E F G A - c3 (Manual I)
Quintadena 16´
Principal 8´
Rohrflöte 8´
Octave 4´
Nasat 3´
Octave 2´
Gemshorn 2´
Sesquialtera 2fach
Mixtur 4-6fach
(Terz-) Zimbel 3fach
Trompete 8´

Brustwerk C D E F G A - c3 (Manual II)
Gedackt 8´
Rohrflöte 4´
Quinte 3´ (sic !)
Octave 2´
Spitzflöte 2´
Tertian 2fach
Scharff 3-4fach
Krummhorn 8´

Pedal C D E - d1
Principal 16´
Octave 8´ (Wilhelmy; Schnitger: Gedackt 8´)
Octave 4´
Nachthorn 2´
Rauschpfeife 2fach
Mixtur 4-5fach
Posaune 16´
Trompete 8´
Cornet 2´

Tremulant, Zimbelstern
Coupler Brustwerk-Hauptwerk

Lamstedt (near Stade), built 1691-2 by Arp Schnitger

Hauptwerk C D E F G A - c3 (Manual I)
Quintadena 8´
Gedackt 8´
Principal 4´
Flöte 4´
Nasat 3´
Octave 2´
Gemshorn 2´
Scharffquinte 1 1/2´
Mixtur 4-6fach
Trompete 8´

Brustwerk C D E F G A - c3 (Manual II)
Gedackt 8´
Blockflöte 4´
Octave 2´
Sesquialtera 2fach
Scharff 4fach
Krummhorn 8´

Pedal C D E - d1
Untersatz 16´
Octave 4´ (sic !)
Mixtur 5fach
Trrompete 8´
Cornet 2´

Tremulant
Coupler Brustwerk-Hauptwerk

Will be continued ...

(24) First published in Organists' Review, 1998, p. 14-18, 100-104, 196-199, 328-330.
(25) Johann Mattheson, Der vollkommene Capellmeister, Hamburg 1739.
(26) Johann Nicolaus Forkel, Über Johann Sebastian Bach's Leben, Kunst und Kunstwerke, edited by Walther Vetter, Kassel 1974, p. 47.
(27) Lieslotte Krüger, Johann Kortkamps Organistenchronik, eine Quelle zur hamburgischen Musikgeschichte des 17. Jahrhunderts, in Zeitschrift des Vereins für Hamburgische Geschichte, p. 206.
(28) Arnfried Edler, Der nordelbische Organist (Kieler Schriften zur Musikwissenschaft XXIII), Kassel 1974, p. 47.
(29) Right hand ascending - 1 2 3 4 3 4 etc. or 3 4 3 4 etc.; right hand descending - 5 4 3 2 3 2 etc. or 3 2 3 2 etc.; left hand ascending - 4 3 2 1 2 1 etc.; left hand descending - 1 2 3 4 3 4 or 3 4 3 4 etc.
(30) Johann Mattheson, Sammlung von Orgeldisposditionen, in F. E. Niedtens Musicalische Handleitung anderer Theil. Von der Variation des Generalbasses, Hamburg 1721.
(31) Gustav Fock, Arp Schnitger und seine Schule, Kassel 1974, p. 47.
(32) ibid, p. 57.
(33) ibid, p. 49.
(34) H:elmut Winter, Cor Edskes & Heinz Meyer-Bruck, Die Huß-Orgel in Stade St. Cosmae (Orgelstudien Band 1) Hamburg 1979, p. 11-12.
(35) Johann Wolgast, Zwei Orgelakten der St. Nikolaikirche zu Flensburg, in: Musik und Kirche (1930), p. 136-8.
(36) Gustav A. Künicke, Versuch einer Orts-Chronik Hollern im Alten Lande, Jork 1940, p- 116-120.
(37) Niedersächsisches Staatsarchiv Stade, Rep. 5a, Fach 347, Nr. 87.
(38) Niedersächsisches Staatsarchiv Stade, Rep. 5a, Fach 309, Nr. 137.
(39) Staatsarchiv Hamburg, St. Jacobikirche, 512-5.
(40) see note (32).

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