Milí přátelé a Vy všichni, kteří sledujete projekt Svatovítské varhany. Stavba varhan se blíží pomalu ke svému konci, ale zároveň dílo ještě není hotové. Rozhodli jsme se uspořádat ve spolupráci s Akademií klasické hudby a Českou televizí již třetí ročník benefičního koncertu pro svatovítské varhany.
Praha 5 je teprve druhou pražskou městskou částí, která dostavbu varhan v katedrále podpořila. Radní Prahy 5 schválili dar 50 tisíc korun Nadačnímu fondu Svatovítské varhany na vybudování nových reprezentativních varhan v Katedrále svatého Víta. Po Praze 6 se tak k veřejné sbírce připojila i pátá městská část.
Přinášíme Vám možnost prostřednictvím aktuálních fotografií nahlédnout do varhanářské díly Gerharda Grenzinga, kde usilovně pracují na svatovítských varhanách.
Splnil se mu dětský sen! Vymýšlet podobu automobilů. Od malička si je kreslil každý den. Dnes je součástí designerského týmu Škoda Auto. S ním se dostal k úkolu, který ho učiní nesmrtelným: k designu svatovítských varhan.
S Peterem Olahem (1977) jsme se sešli v showroomu designérského studia Lasvit v pražských Holešovicích.
Celý článek najdete po rozkliknutí aktuality.
It would be difficult to find a structure in our country, which could be the equal of the cathedral of St. Vitus. It is a spiritual institution that shapes our relationship with the Creator. It is the first basilica in the country. Moreover, while it may be seen as a visual textbook of Christianity, at the same time it is at the crossroads of our history, where decisions were made about historical outcomes in our land. It is one of the greatest works of art in our country, which in a minute space, concentrates many artistic stages in many contexts. The cathedral is a visual witness to past events and helped to shape our own identity. It is also, however, a living organism, which evolved over half a millennium and even today is still not complete.
It is hard to imagine Prague today without the silhouette of the cathedral. And yet, this silhouette actually looked quite different until recent times. Half of the building (the nave) was missing and was not completed till 1929. The Metropolitan Church is such monumental work, that it will probably never be absolutely completed. Nevertheless, something very significant is missing to this day because, at the completion of construction, there were insufficient funds to install a new organ in the western choir loft of the cathedral. Several attempts have been made; all have been unsuccessful. Finally, today we have a new opportunity. It is up to us to in a time of peace and freedom to fulfill the legacy of our predecessors, in particular, that of the father of the nation, Charles IV and to ‘complete’ the cathedral.
The organ, because of its magnificence, is called the ‘king of instruments’. But is not the instrument of earthly kings for the organ speaks in the voice of God that sometimes gently whispers and infuses our soul with peaceful joy and at other times roars and thunders, sending shivers up our spine. The beauty of the organ lies in the fact that in spite of its monumentality it fulfills the word of Him who did not come to be served, but to serve. Anyone who listens to the music of the organ, is taught humility. It leads one to the art of listening and of harmonizing one’s relationship with his neighbor through singing and prayer. The organ leads us to a more genuine relationship not only with God, but also with our neighbor. For this reason, we want to work together to contribute to the glory of God, to the renown of St. Vitus Cathedral and to the further evolution of the famous musical traditions of our nation.
Dominik Duka OP, Cardinal Archbishop of Prague
The idea of the building of a new organ never disappeared completely: it repeatedly re-emerged, only to be postponed to more favourable times as a result of adverse society-wide events of the war years and also due to the post-war conditions.
A new instrument may be regarded as a testimony to the capabilities, experience and knowledge of the present generation as well as acting as a legacy to future generations.
The organ building company of Gerhard Grenzing is one of the most experienced companies in this field: it has successfully completed 220 restoration and building projects across continents.
After the project of a grand organ fell through when there were hardly 8 months left until the consecration of the temple planned for May 1929, architect Hilbert suggested the building of a “temporary” instrument with two manuals and 35 registers for the lower Wohlmut’s choir-loft. It was supposed to have been built by Josef Melzer whose “Czechness” wasn’t disputed by anyone.
Even after the instrument was extended by five registers already during the building, it was pointed out that such a small instrument would be in an acoustic shadow under the low vault and there were reasonable concerns that the project would end in disgrace. The cathedral chapter was well-aware of this and in spring 1929, it eventually agreed to provide extra funds to increase the number of manuals by one. It also permitted for the console to be built in such a manner as to enable future extensions of the instrument.
Since the time of the consecration of the St. Vitus Cathedral in 1369 all the way to the present day, tones of more than ten instruments have sounded under the cathedral’s vault.
It wasn’t only the “grand” organ that served for the accompaniment of Sunday Masses, celebrations and significant events, but smaller instruments for everyday use were also used.
Of some of these instruments we know only that they used to stand in the cathedral and perhaps also who acquired them. Other instruments are not only indelibly ingrained in the history of the cathedral, but they became known around the whole world for their size and monumentality.
The pipe organ is the largest and most complex musical instrument, which arouses big emotions more than any other instrument. Old records of chroniclers speak with great excitement about the sound which “resembles the peals of thunder, the quivers of a zither and the charm of the chimes”. For its size, but also its origin, it tends to be called a “royal” instrument. Up until the mid-18th century, it was considered the most complex machine that the man has ever conceived and built.
The organ went through thousand-years of development and it has a very long tradition in the European, that is, the Christian tradition, as a liturgical and in some regions also a concert instrument. Up to the present day, it saw one of its significant high points in Baroque. Inspired by many great artists and composers – let us mention Johann Sebastian Bach for all – the organ has progressed all the way to the largest musical instrument that is also extremely versatile.
The St. Vitus Organ Fund was established in accordance with Act No. 227/1997 Sb. by its registration into the fund registry administered by the Municipal Court in Prague, file ref. N 1123, on 19 March 2014.
The registration number of the fund is 02794471.
The bank account of the fund is 2109930876/2700.
Registered office: Hradčanské náměstí 56/16, 119 02 Prague 1 – Hradčany
Purpose of the fund: acquisition of a new representative organ for the St. Vitus Cathedral
Coordinator of the Organ for the Cathedral project
phone: +420 733 164 063
Project press agent
telefon: +420 731 072 634
Contact for others parties involved in the Organ for the Cathedral project:
Vice-chairman of the Supervisory Board
telefon: +420 737 215 326
Bohemian Heritage Fund
In rough times and even in times when the country flourished, entire generations of our ancestors worked according to their possibilities on the development of their country. The stained-glass windows in our cathedrals, for instance, stand as a witness to this effort. Oftentimes, even after more than a hundred years, we can still read the names of the donors. It could have been an individual or even a company. Therefore, when we’re walking through the St. Vitus Cathedral, we can come across writings that seem unusual for this place, such as “Banka Slávie” (The Bank Slávie) or “1. vzájemná pojišťovna” (The First Mutual Insurance Company). The donor of the famous Bílek Cross was our first president T. G. Masaryk, however, his name was removed by the communist regime. There are plates on the ground-floor of the large cathedral tower that bear the names of dozens of generous donors that gave money for the completion and beautification of “our” cathedral.
The building of the St Vitus organ offers us, today’s generation, a great opportunity to make a specific mark – let’s hope that indelibly – into the construction of the cathedral itself. We can adopt a pipe (donate money for its production) and in this way, leave a permanent trace in the cathedral. In order to offer this opportunity to the largest number of patriots possible, the prices of the individual pipes have been set in a broad range starting at two thousand crowns and ending at thirty thousand crowns. Anyone who becomes a donor of a specific pipe will be entered into a book which will be placed by the organ as a permanent memory and, at the same time, they will receive a symbolical pipe with a certificate from the fund. The document can also be drawn in the name of a person that is dear to you and to whom you’d like to give a present on the occasion of a life anniversary or another important life step. These successfully created symbols then can be passed within families from generation to generation as a permanent keepsake.
To significant donors, we’re offering a limited number of large and Prospectus pipes, on which it’s technically possible to directly engrave the name of a company or an individual as a permanent memory. The price of such pipe is 300 thousand crowns. The first one to sign up as an important donor for such a pipe is the venerable Charles University.
Join the hundreds of donors who have supported the making of a specific pipe and you’ll be indelibly entered in the book of donors which is going to be preserved for future generations.