History and Overview of the Unique Architecture of Pipe Organs in St. Mary Magdalene’s Church in Wrocław (Poland) from the Middle Ages to the Present Day

Abstract

The historical pipe organ, an instrument of vast scale and complex construction, has a significant connection to liturgical celebration and to the history of European churches. It is also one of the few musical instruments considered to be a work of architecture. The evolution of organ building, especially in the seventeenth to nineteenth centuries, required deep knowledge of musical culture and technology. The significance of this relationship is illustrated by the example of the former and present organs of the church of St. Mary Magdalene in Wroclaw (Breslau). The first church organs appeared here in the Middle Ages, and as will be shown, in subsequent eras, their location, form, and décor were changed according to evolving cultural and liturgical mandates as well as changes to the structure of the church architecture. The history of the specific organs of the church of St. Mary Magdalene is the product of a rich history of monumental construction, reconstruction, conservation, and restoration, and it is poised to offer a continuation of this tradition in the present and future of the parish and in music history with proposed restorations and renovations of their historic space and instruments.

1. Introduction

Church organs play a unique role in European cultural heritage, each with distinctive socio-cultural and regional identities. These musical instruments have the potential to connect various disciplines across the humanities and technical sciences (Burgemeister 1926; Kapeć 2012). As Sebastian Bernat notes, “music and physics, architecture and mathematics, art and science” come together in the church organ (Bernat 2022b, p. 135). The unique quality of each instrument’s timbre and structure is enhanced by its architectural and decorative visual elements (Adelung 1955; Radziewicz-Winnicki 1977, 1986; Bernat 2022a). Since the era of King Pepin the Short, the sound of the organ has also accompanied religious ceremonies at royal courts. Earlier, it was recognized as a liturgical instrument by Pope Vitalian’s bull of 666 AD (Gołos 1972; Baran 2019). Originally, organs dominated the sound of Catholic (Western) churches and later gained prominence in Protestant worship center settings. Until the fourteenth century, the presence of the organ was principally documented through written records, as opposed to iconography. As organ building techniques developed significantly from the late Middle Ages to the eighteenth century, the instruments were known, not only from descriptions and drawings, but from the presence of beautiful, functioning instruments located throughout Europe and beyond. The Baroque period brought major changes to the artistic decoration and architectural context of the instruments. They became more numerous and visually impressive. Additionally, during the nineteenth and early twentieth centuries, organ building incorporated increasingly advanced technologies, adapted to align with the prevailing sound concepts of the time (Eberlein 2024).

There are few, if any, instruments that deserve to be called architecture, and pipe organs are most certainly in this group. The reason for this is twofold. First, their enormous size is a contributing factor. Second, and equally important, is the rich tradition of elegant case and tonal design. This tradition stems from the technology and construction of these instruments, as well as the principles of spatial composition. It is also essential to consider the craftsmanship traditions that have been passed down over time (Ciupka 2024). The connection of specific organ workshops with a given city or region suggests the potential for the existence of an organ landscape (Orgellandschaft). This specific type of cultural landscape is shaped by a variety of instruments, both historical and new. It is worth noting that some of these instruments did not survive, but they nevertheless serve as evidence of long-standing traditions. We aim to visualize the characteristics of Lower Silesia’s extensive and time-shaped landscape of organ construction by carefully tracing the changes in organ instrumentation of the main parish church of Breslau (present-day Wroclaw, Poland)—the Church of St. Mary Magdalene, a highly significant landmark.

The church has undergone numerous alterations over time, which have contributed to its unique architectural form (Oszczanowska 2005). Built as a basilica in the years 1342–1362, it was taken over and adapted to the needs of the Evangelical community. This made it the first church of the new denomination in Wroclaw, giving it a significant degree of influence (Turoń 1986). This development contributed to the elevated status of the church, making it a model for other newly established congregations, particularly in adapted former Catholic churches (Wiesenhütter 1926, 1936, 1954). The church, overseen by the Evangelical community, operated with relative continuity until 1945, with periodic adjustments made to its architectural design and artistic interior decorations in response to evolving conditions and requirements. The moment of the siege and capture of Breslau in the final days of World War II was a sudden break in this continuity. At that time, as a result of an explosion in the southwest tower, a significant part of the western tower’s mass collapsed (Broniewski 1952). The church was rebuilt swiftly in the 1960s and entrusted to the Polish Catholic community, who have managed it ever since, and the damage done during the war is gradually being repaired.

In parallel with the fairly well-known history of the building, we can write the history of the church organ instruments located inside its walls. The first attestation of a church organ in the building dates back to 1380. From that point on, the number of these instruments in the church, their location, form, and external decoration underwent changes over the course of various eras. These changes resulted from a series of functional alterations or the damage that their substance suffered. Over time, the Lutheran church inspired Catholic churches to emulate this model and modernize church organs in their sanctuaries (Zgliński 2012). These instruments had become an integral part of the liturgy, and a great deal of care and attention was given to their construction. The organs were built successively by: Michael Hirschfeldt, Johann Michael Röder (with woodcarving by Johann Georg Urbansky), Carl and Eduard Wilhelm (with a prospect designed by Carl Lüdecke), and the Sauer & Walcker company (Rechnungsbücher der St. Maria Magdalena 1550; Meyer 1757; Fischer 1821; Seidel 1843; Burgemeister 1924, 1973; Seibt 1938; Bimler 1936). The church’s post-war history, marked by the relocation of an organ from another building that was in better condition after World War II, is unique in the broader context of its earlier times. The organ currently standing in the western gallery of the church was designed for the auditorium of the Breslauer Technische Hochschule, which is now the Wroclaw University of Science and Technology (Matzke 1929; Subel 2015). It is worth noting that cases of relocating even colossal instruments (such as the current organ of the Wroclaw Cathedral) are not uncommon in the history of Lower Silesia (Pasternak 2020; Prasał 2019).

It seems clear that the organ in this church has been a part of it almost from the beginning, and it has played an essential role in the building. The above review of historical events also shows that the organ’s history can be expressed in architectural terms, such as: construction, reconstruction, expansion, and remodeling. We also observed heritage conservation issues. These include, but are not limited to, restoration, translocation, revalorization, conservation, and reconstruction. We therefore briefly address some of the challenges associated with the organ-building resources of Lower Silesia, whose state of preservation is complicated by historical turmoil.

2. The History of St. Mary Magdalene’s Church in Wrocław (Breslau)—A Cradle of Protestantism

It is believed that the basic framework of the present architectural form of the Parish Church of St. Mary Magdalene in Wroclaw was completed between 1330 and 1386. The chapels along the side naves and the annex housing the sacristy and library were built successively up to the mid-fifteenth century. It is a building of significant size, although typical for the Middle Ages, and is a three-nave, two-tower basilica with chapels at the southern and northern walls (Figure 1 and Figure 2a). The simply terminated presbytery was differentiated from the main nave by changing the rhythm of the cross-vaulted bays (Harasimowicz 2000, pp. 407–8; Oszczanowska 2005; Grundmann and Burgemeister 1933; Bunzel 1937; Bimler 1941). It seems that, as a result of this formation, the eastern presbytery section and the western secular section produce the impression of a single, undivided space. This is a characteristic feature of the building, resulting from the shape of its original structure. Throughout its history, the interior arrangement of the building has been shaped by various factors, including the era and the liturgical traditions of the denomination that have utilized the space within its walls.

The building’s origins can be traced back to its founding as a medieval Roman Catholic church. It subsequently became the first in Wroclaw to be adapted to meet the needs of the Evangelical community that formed in 1523 and persisted until 1945. The Roman Catholic churches that followed suit in undergoing this process were: St. Elizabeth’s in 1525, and St. Bernardine’s in 1526). At present, the church under study is a Polish Catholic church. Understanding these denominational changes may offer valuable insights into many of the key issues concerning the historical and current shape of the interior design of the building. It is also crucial for presenting the history of its organs.

The Reformation, which had a significant impact on the religious landscape of sixteenth-century Europe, was a moderately progressive in Silesia (Sabisch 1938; Turoń 1986). A number of doctrinal changes had an impact on the church interior discussed here (Banaś 1966; Harasimowicz 2016). The Protestant ecclesiology that emerged in the course of religious debates demanded a shift in spatial accents in the naves of the church. However, the interior itself, adapted based on the newly emerging doctrine, became a kind of testing ground for new liturgical tendencies. On the one hand, the solutions found at the end of the Middle Ages were based on these liturgical tendencies, while on the other hand, new and often very progressive modifications were added. For these reasons, the Church of St. Mary Magdalene is a building that has many interesting and unique features. The church is an example of a Gothic basilica. It consists of a clerical part in the east—the presbytery, where the altar stood—and a secular part in the west. The vast length of the nave, along with the partitions (balusters and a rood screen), created a sense of division between the two zones. This division contributed to an overall impression of verticality, which some may perceive as enhancing the layout’s monumentality.1

Certain stylistic differences emerged in the construction of Lutheran religious buildings in Wroclaw. In 1555, the long-lasting religious wars in the Reich ended, and the principle of religious tolerance, Cuius regio, eius religio (“whose realm, his religion”), was adopted. The early gatherings for Evangelical2 worship often took place in people’s homes. When a city council adopted Lutheranism, the town hall was often converted into a house of prayer. It is important to recognize the prominent role that popular religious movements, including Protestantism, have played in the history of their communities in the field of religious life. Sometimes this meant that existing Catholic buildings became Lutheran churches, whose congregations were often supported financially by the city’s merchants and citizens.

By the mid-sixteenth century, the Reformation had already made significant progress, yet the construction of new religious buildings remained sporadic. It seems that the development of places of worship observed in the era immediately preceding the Reformation may have made new construction unnecessary. For this reason, it initially appeared more beneficial to adapt existing churches and make them suitable for Protestant worship. Martin Luther approved of their décor and ideological content and iconoclasm did not initially pose a significant threat. In Wroclaw, as in many German cities with strong Lutheran traditions, there was an adjustment in the number of churches, with some closing and others being repurposed.3

The Lutheran liturgical interior was based on the idea of returning to original Christian customs (Wiesenhütter 1926, 1936, 1954). The new space seemed to move away from a linear structure, showing tendencies to be centered and inward-focused. It appeared to be in a state of tension between vertical elements, which could symbolize the divine, and the horizontal plane, representing humanity. This practice effectively blurred the line between the priest, who performed the sacrifice, and the laypeople, who participated in it. The basilica church, with its long naves, may not have initially been designed for this style of liturgy. In traditional religious interiors, this trend prompted suitable adaptations. Their placement was chosen to serve as the focal point of the composition, extending from the altar in the eastern part of the presbytery to the pulpit. Historically, the focus during the liturgical rite was the Holy Mass celebrated at the altar in the presbytery, a dedicated religious space. After the Reformation, however, the most important liturgical act was the proclamation of Holy Scripture, which involved interaction between the preacher and the congregation.4

The altar, which used to be in a central position, then occupied a more peripheral spot within the new layout. Architecturally, this meant arranging the space so that participants could see each other. Galleried areas were added to accommodate the congregation. For easier listening to sermons, benches were placed facing the pulpit, located in the center of the church. This area became the new focal point of liturgical activity. It is worth noting that, in addition to the preacher, other congregation members could also be seen sitting in different parts of the church. It appears that liturgical music and the church organ, already in use as a religious instrument at the time, followed these developments.

In the medieval Catholic musical tradition, a singing group called the schola was usually positioned in presbytery. A smaller organ used for accompaniment was typically integrated in to its structure. A larger instrument could be placed in the main nave, but not at its end opposite the altar (as is common today); instead, it was usually in a separate gallery suspended from the north wall, called the swallow’s nest (Praetorius 1619, p. 94). This practice was common on the eve of the Reformation and continued afterward, occurring not only in Silesia but also in other areas. However, with new ideas, changes were made to the layout of religious interiors corresponding to the goals of liturgical music in Reformed theology. One way the new faith spread was through songs in the native language. These songs were written by the Reformers, led by Martin Luther. Besides the musical and vocal performances by the ensemble mentioned earlier, congregational singing was also an important part of the service. Initially, this singing was performed a cappella, but it later became an increasingly vital part of Lutheran prayer. Instructions from different years for choirs in the adapted Proto-Protestant churches in Wroclaw, St. Elizabeth’s, and St. Mary Magdalene’s give insight into the musical practices in those churches.

The instruction of 21 September 1821, allowed for the possibility of hosting ceremonies without organ music, requiring at least two choristers (Choralisten), rather than the usual one. In practice, this was likely an exceptional case, since the instruction of 28 October 1780, recommended organ accompaniment for all songs during Sunday or holiday services. It was noted that, in certain circumstances, the main organ should be played, while in others, the small positive organ should be used. Additionally, the performance of accompaniments for common songs was to occur in unison on both the large and small organs (Burgemeister 1973, p. 91). The hypothesis that this involved alternating playing (Burgemeister 1973) based on the alternatim principle seems to be supported. This practice is one of the forms of liturgical music where a vocal piece is divided into verses and performed alternately by two singing groups (Gołos 1972) or with accompanying instruments, as described. Besides enhancing the musical quality, this method resulted in reduced instrument wear and workload of the calcants (Burgemeister 1973, p. 91). The custom of collective singing accompanied by an organ developed in the seventeenth century and became prominent with the shift from polyphony to homophonic texture (nota contra notam). The short verses, simple melodies, and clear accompaniment made unison singing among all participants easier. Organ-accompanied collective singing has become a fundamental part of the Protestant musical tradition. Consequently, within the Evangelical church, the organ took on a central role, challenging the development of instrument construction.

3. The History and the Role of the Organ in the Church of St. Mary Magdalene from 1380–1945

3.1. Small Organ, Between the Fourteenth and ca. Eighteenth Century

The first organ in the Church of St. Mary Magdalene in Wroclaw was built before the Reformation. In 1380, an organist named Gregor was recorded, and in 1449, both an organist and a calcant were mentioned (Grundmann and Burgemeister 1933). Details about the organ’s technical specifications from that time are not available, but its existence indicates the prosperity of the town’s citizens. Even small organs were a symbol of a community’s status, artistic culture, and ambitions. Later records show there was a small organ inside the church, which was built by Stephan Kaschendorf in 1455. It is known that this organ was supported by a cantilever set into the wall, as shown in Figure 1. In 1613, it was significantly upgraded by Abraham Grasse, and in 1623, Johannes Pertigk made further repairs. The final retirement of this organ occurred in the mid-eighteenth century (Grundmann and Burgemeister 1933).

Theories about this instrument’s nature can be further developed by examining how organs were used in medieval liturgical settings. In the Western Christian tradition, unaccompanied vocal music, often called a cappella singing, was the primary form of worship. The practice of accompanying vocal music with the organ was influenced more by secular trends than church demands. As a result, these musical traditions were often marginalized by the more progressive clergy members (Baran 2019). The instrument was mainly used in three ways: to perform a solo prelude (praeambulum), to accompany the choir, or to participate in alternatim performance of concerted music (Burgemeister 1973; Bowles 1962). Considering the documented link between the organ and vocal performance (Gołos 1972), it is likely that the organ was placed near the choir, which traditionally occupied a space in the presbytery or side aisles close to the chapels.

3.2. Choir Organ—Die Orgel Im Singechor from 1591 to About 1830

In 1591, a small positive organ was constructed for use with the choir (Singechor). It was located in the presbytery (Figure 1). The instrument was made by Valentin Heiliger, with technical guidance from Michael Hirschfeldt (Hirschfelder) from Żary (Sorau). It was decorated with a painted and carved casing, created by painter Georg Heyer, carpenter Christoph Werner, and sculptor Michael Wittig. In 1644, Niklas Kassner replaced this instrument with a new positive organ. The instrument was restored in 1703 by Georg Kretschmer. As early as 1717, the existing organ was replaced with a new one, built under the direction of Adam Horatio Casparini. The following artists contributed to the artistic finishing of the prospect: Phillip Jakob, a sculptor, who created the decorations and two angel figures, Gottfried Beyer, a painter who created the polychrome casing in white, matt base, and the glossy upper part; the cornices; and the woodcarving details covered with ducat gold.

Notwithstanding the builder’s substantial reputation and the impressive decoration, the organ proved unsatisfactory. Repairs were made in 1724 (Martin Teichmann) and in 1759 (Christian Scheithauer), but after 1792 the positive organ was no longer in use (Fischer 1821; Seidel 1843; Grundmann and Burgemeister 1933; Bimler 1936; Rechungsbücher Der St. Maria Magdalena 1550; Reparatur der Großen Orgel zu St. Maria Magdalena 1813).

The sole extant representation known to illustrate the location of this positive organ in the Wroclaw Church of St. Mary Magdalene is a drawing by Johann Stridbeck the Younger, circa 1691 (Figure 2b). Deep in the presbytery, a rectangular object as tall as a standing man can be seen obscuring the altar mensa. This configuration is a chest positive organ, otherwise referred to as a Schreinorgel. An analogous form and method of positioning the instrument has been identified in the Church of St. Bernardine of Siena, which was adapted in the sixteenth century for Protestant worship (Grundmann and Burgemeister 1933).

In light of the observations made by Barbara Wiermann (2005) and the insights offered by an archival document, it can be posited that the financial resources allocated on 15 April 1678 were utilized for the rendition of both instrumental and vocal compositions during the Jubilate Sunday festivities. Music-making in the Church of St. Mary Magdalene unfolded in a multifaceted manner with distinct musical compositions performed in various sections of the church at the same time.5

However, the positioning of the singing group, right in front of the altar, caused organizational issues and, according to some observers, disrupted the flow of the service. A heated debate developed among the parish council members about whether to entirely move the musicians out of the chancel and nave. Some argued for ending this long-standing custom, while others strongly opposed, insisting the tradition should be kept. A compromise was reached to place the musicians at floor level, farther from the altar, and to install a new organ with a side keyboard. This plan was later dropped, and by 1821, it was noted that the small positive organ “sighed for its end with its dull and faint sound” (Fischer 1821, p. 58). The organ remained within the presbytery, blocking the view of the altar and reducing space for people to receive communion. As a result, all musical activities were moved to the western organ gallery.

3.3. Main Organ

The restoration of the grand organ at the Church of St. Mary Magdalene was documented during the years 1567–1568. We possess a certain degree of knowledge regarding the architectural design of the organ. This information was preserved through the efforts of Adam Hertwig, a carpenter who was involved in the renovation of the prospect. During this renovation, Hertwig was responsible for the installation of the woodcarving elements at the finial, as well as the connection of the columns at the corners and the surrounding cornice with iron clasps. These iron clasps were utilized in areas where the structure had experienced disintegration (Rechnungsbücher der St. Maria Magdalena 1550; Bimler 1936). In 1589, the existence of two organs in the church was documented, with one of these organs being described as “great” (Grundmann and Burgemeister 1933). However, the location of the instrument in question was not clearly indicated, and the practice of that period demonstrates that adaptations and modifications of the interior layout were a common occurrence. The instrument’s current disposition has been meticulously preserved by the renowned organ builder Valentin Heiliger in 1593 (

Table 1. Disposition of organ of an unknown builder, before 1589, 21 stops, 3+P, mechanical action (Grundmann and Burgemeister1933).

Rückpositiv	Manual	Brustpositiv	Pedal
Principal 3’	Grober Prinzipal 12’	Prinzipal 3’	Gedoppelter Baß 24’
Offene Flöte 3’	Prinzipal auf 6’ [Chormaß]	Sedezima	Prinzipalbaß 12’
Gedackt Flöte 3’	OffeneFlöte [equal to Chormaß]	2 Cymbeln	Sedezima Baß 6’
Posaune [lead] 6’	Mixtur [14 ranks]	[two pipes and a quint for each]	Mixtur, [16 ranks] auf 6’
Posaune [3’]			Rauschquinte 3’
Superquint			Zimbel, 3 Pfeifen
Zimbel [3 ranks]			Posaune [lead] 6’

). The archaic basic measure (Chormaß) of the organ stops draws attention, based on the length of 6 feet, and not, as has been done since modern times, 8 feet. The instrument was liquidated in 1595. Despite the location of the organ remaining unknown, the several-year interval between its removal and the completion of a new equivalent instrument lends credence to the hypothesis that it was situated where the subsequent instrument would be placed. That is to say, it was suspended in the nave, above the pulpit (see Figure 1).

3.3.1. Michael Hirschfeldt (Hirschfeldt-Scheufler) Organ, ca. 1602–1722?

The subsequent organ of significant proportions was constructed in 1602 by the versatile creator Michael Hirschfeldt, with the assistance of the practicing organ builder Martin Scheufler. The organ’s construction solutions were characterized by a unique design, with individual sections distinguished by their respective number of tones. Notably, the primary section was meticulously divided into two components, each endowed with distinct sets of voices. In the early 1590s, a preliminary conceptual design was formulated with the objective of facilitating the production of 78 distinct sounds through voice transmission. Following the presentation of a detailed description of the dispositions, the organ’s construction was formally approved by the church board (Burgemeister 1973). Pursuant to the contents of the manuscript, a record of the voice disposition (

Table 2. Projected arrangement of Michael Hirschfeldt’s organ, 1593, 33 stops, 2+P (?), mechanical action (Burgemeister 1973).

Unterwerk “F, G, A, B-a2”	Hauptwerk “F, G, A, B-a2”	Pedal “D, E, F, G, A, B-d1”
Prinzipal 8’ *	Oberlade:	Grosser Bass 32’ (scale D-e)
Quintadena 8’ **	Prinzipal 16’ **	Subbass 16’ (scale D-e)
Oktave 4’	Prinzipal 8’ **	Posaune 16’
Tubalflöte 4’ **	Tubalflöte 8’ **	Posaune 8’
Sedezima2’	Gedackt 8’ **
Quinte 1 1/3’	Quinte 2 2/3’ **
Zimbel 2fach	Mixtur
Dulzian 16’ **
Krummhorn 8’	Brustlade:
	Prinzipal 4’
	Gedackt 4’
	Spitzflöte 4’
	Quintadena 4’
	Sedezima 2’
	Zimbel 2fach
Whirling starlets (Zimbelstern)

* Wooden stop, probably identical to the Harfenprincipal mentioned by Praetorius. In the document quoted by Burgemeister (Burgemeister 1973, p. 189) described as Principal Chormas von Holtz vnd Lieblichen Resonant vnd Eisserlicher Zier—therefore placed in the prospect. ** Stops transmitted to the pedal.

) was made in accordance with contemporary standards.

However, the organ’s experimental nature rendered it technically unsatisfactory, necessitating numerous corrections during its construction phase. Consequently, the work was not well received upon completion. In addition to the dispositions (

Table 3. Organ arrangement by Michael Hirschfeldt and Martin Scheuffler, 1602, 33 voices, 3+P, mechanical action (Adlung 1768; Grundmann and Burgemeister 1933).

Rückpositiv “F-a2”	Oberwerk “f-a2”	Brustpositiv “F-a2”	Pedal “D-d1”
Prinzipal 8’	Central fields	Prinzipal 2’	Grosser Bass 32’
Quintaton 8’	Prinzipal 8’	Flöte gedackt 4’	Oktavbass 16’
Flöte gedackt 8’	Oktave 4’	Sedezima 1’	Superoktavbass 4’
Oktave 2’	Flöte gedackt 4’	Zimbeln klein 2fach	Mixtur 3 [ranks]
Sedezima 1’	Offene Flöte 2’		Posaune 8’
Zimbeln klein 2fach	Superoktave 2’
	Quinte 1 ½’
	Sedezima 1’
	Zimbeln gross
	Zimbeln klein 2fach
	Outer turrets
	Prinzipal 16’
	Oktave 8’ *
	Flöte gedackt 8’ *
	Offene Flöte 4’ *
	Superoktave 4’
	Quinte 3’
	Sedezima 2’
	Zimbeln gross
	Zimbeln klein 2fach

* Stops with wooden pipes.

) previously referenced, an alternative version is also documented (Burgemeister 1924; Grundmann and Burgemeister 1933), which may signify a modification in the design assumptions, intended to attain a satisfactory outcome. However, this outcome was never achieved.

In the project under consideration, the Hauptwerk was subdivided into three windchests, the Rückpositiv into two, and the Brustpositiv was given its own windchest. The total number of windchests included in the collection was eight, of which two were pedal divisions. The substandard quality of the carpentry work on the windchests purportedly contributed to the manifestation of a multitude of whistling sounds, precipitated by pressure surges in the air system (Burgemeister 1973). Nevertheless, an examination of the failure of the instrument must encompass an investigation into the underlying technical assumptions that were of an experimental nature and which resulted in the emergence of numerous complications. These solutions, as yet untested in practice and often several eras ahead of their time, resulted in difficulties in the operation and failure of the instrument (Aumüller 2018). Subsequent efforts to extend the project or implement adaptive repairs were considered unfeasible. Consequently, by 1623, the reconstruction of the organ had already been deemed appropriate (Burgemeister 1973; Grundmann and Burgemeister 1933).

In 1634, an agreement was signed with organ builder Wilhelm Haupt from Brandenburg for a comprehensive reconstruction of the organ, while ensuring the preservation of the façade. It can be surmised that many of the intricate solutions introduced in the previous instrument were abandoned, and the configuration of the manual keyboards in all sections was standardized. The new instrument was larger than its predecessor, featuring 12 bellows, 114 tin pipes, 1567 pipes made of organ metal, and 53 wooden pipes. This resulted in a total of 1734 pipes, as detailed in the disposition of the stops (

Table 4. Organ disposition of Wilhelm Haupt, 1637, 36 stops, 3+P, mechanical action. According to the rescript of the agreement between the church administrators and the organ builder (Burgemeister 1973), significant differences between this version and another record (Meyer 1757) are listed in square brackets.

RückPositif	Oberwerck [Haupt-Manual]	Brustmanual	Pedal
Principal 8’	Principal 16’	[Messingen] Regal 8’	Principal Baß 16’
Quintadohna 4’[8’]	Octaua 8’	Singend Regal 4’[2’]	Quintadehna Baß 16’
Flöten 8’	Schweitzer Pfeifen 8’ [Salicet 8’]	Principal 2’	Sordoen Baß 16’
Kleine Flöte 4’	Principal 8’ *	Flöten 4’	Posaunen Baß 16’
Oktave 4’	Quintadehna 8’	Nasat 2’	Sub Baß 32’
Gemshorn 8’ [4’]	Octaua 4’	Zimbal 2fach 1’	Trompeten Baß 8’
Nasatquint 1 ½’[3’]	Quinta 3’		Octav Baß8’
Super Octaua 2’	Superoctaua 2’		Super Octaua Baß 4’
Trompeten 8’	Sedecima 1’		Pawer Pfeiffen Baß 2’
Krumbhörner 8’	Mixtur 6fach		Corneten Baß 2’
Tremulant, Vogelgesang
Koppelung zu Oberen und Brust Clauiren

* Stops with wooden pipes.

). The bellows of this instrument were last repaired in 1670, and a complete restoration was performed in 1672 by organ builder Abraham Schmidt.

Fortunately, iconography depicting the organ in the church space and the artistic decoration of the front has survived to the present day. One of these, a frontal view of the prospect, was created by painter Gottfried Beyer around 1722 (Figure 3). The preservation of iconography has enabled a highly reliable and reasonably accurate reconstruction of the organ’s form. However, it is important to recognize that the decorative painting and sculpture changed over time. A later depiction shows the decoration in its original state before demolition. The tower finials and distinctive interrupted pediments, which draw from the Renaissance, are still visible; however, the woodcarving detail at the bottom of the gallery already exhibits characteristics of the Baroque style (acanthus leaf and shells). The most notable difference from the condition at the end of the seventeenth century is the absence of wings that once enclosed the main organ case (Hauptwerk) from the front. According to the theoretical reconstruction of the organ, the width of the case with the wings closed was approximately 9.25 m. However, upon opening the wings, the actual size was twice as wide (up to 18.5 m) architectural. This composition was filled with pipes that were skillfully crafted and brilliantly suspended beneath the vault. The architectural value of this composition highlighted by artistic sculpture and painting was undoubtedly impressive (Figure 4).

The strategic placement of the organ in this specific location was not an arbitrary decision. The construction of a dedicated gallery structure and the implementation of a roof remodel, characterized by an increase in the roof’s angle over the northern side aisle, were essential components of the project. This modification was done to facilitate the installation of a set of bellows within the attic space. Consequently, the northern windows of the main nave were remodeled at the base to a height of 10 ells (Burgemeister 1973). The organ case’s depth was also atypically diminutive, given the considerable quantity of pipes that the case was designed to house. In 1649, Paul Rohn was assigned to perform a series of repairs on the instrument. The term “Sprengwerk rings um die Orgel” (Rechnungsbücher der St. Maria Magdalena 1550; Grundmann and Burgemeister 1933; Bimler 1936) is likely a reference to the carved decoration with the interrupted pediments on the tower finials (presently Gesprenge, Gesprengtes Gesims). Nevertheless, the german term Sprengwerk, denoting a typical engineering strut structure, prompts considerations regarding subsequent challenges in ensuring the requisite load-bearing capacity to facilitate the creation of a rigid structural frame for the slender and substantial organ case. This construction defect ultimately led to the organ’s demolition (Grundmann and Burgemeister 1933; Burgemeister 1973). Nonetheless, the technical inefficiency of the gallery may have been the underlying cause of the construction-related failures that occurred in conjunction with the organ’s fabrication by Hirschfeldt (Aumüller 2018).

The decision to place the organ in this specific location was made with careful consideration, given the complexity of the task. However, its strategic positioning within the new Reformation interior design allowed it to serve as a focal point, emphasizing the centrality of the organ within the architectural space. The focal point of the Lutheran service was the pulpit, from which the words of the Holy Scripture and sermons were articulated in a language comprehensible to the listeners. The organ music, which initiated the service and guided the collective rendition of songs, can be likened to the role of the microphone, loudspeaker, and amplifier in the subsequent liturgical celebrations. This comparison allows for a comprehensive evaluation of the positive and negative implications of these modernizations. The Protestant liturgy became increasingly audible, in contrast to the Catholic mass, which was primarily celebrated in a subdued and hushed manner. However, the auditory impression was not confined to the auditory domain; it was further enriched by the aesthetic qualities of the instrument’s elaborate decoration.6 Undoubtedly, the initial manifestations of this tendency, emerging in direct historical conjunction with the Lutheran Reformation, are evident within the Church of St. Mary Magdalene in Wroclaw.

It is evident that this is merely one of numerous instances in which a post-Catholic church in Wroclaw underwent modifications during the early years of the Reformation. These alterations were driven by the necessity to align the church’s spatial configuration with the aesthetic principles and spatial requirements of the Evangelical liturgy. One significant aspect of these modifications involved the strategic placement of large organs, which played a crucial role in shaping the auditory environment of the church. It is noteworthy that both of these and the subsequent ones listed below can be regarded as pioneering solutions for Evangelical churches. Prior to the construction disaster of 1649, two organs were situated on the northern wall of the main nave of St. Elizabeth’s Church, performing analogous roles in this Evangelical religious interior.

The large organs, as has been established since the era of Valentin Heiliger, distinguished themselves from other organs (positive organs) present in the church during that period by virtue of their expansion into multiple sections. As indicated by the instructions formulated in 1593, the instrument was composed of three manuals, each serving a specific section: the chest positive section (Brustwerk), the back positive section (Rückpositiv), and the main organ section (Hauptwerk). The instrument also featured a pedal section. The configuration of the front significantly influenced the spatial organization of the sections equipped with separate keyboards (Grundmann and Burgemeister 1933).

This was also observed in the Hirschfeldt-Scheufler organ, which was constructed in 1602. The Hauptwerk, which contained two subsections, was divided in such a way that behind the five central fields of the front, the pipes of the subsection based on an 8-foot principal were placed, while in the outer fields, the pipes were based on a 16-foot principal. A thorough examination of the front drawing reveals that the pedal section and the largest pipes of the instrument remained concealed, obscured by the substantial mass of the main organ case. The decorative door leaf closing the front of the main organ, as well as the positive back placed in the balustrade of the gallery, are noteworthy features. The instrument’s value is further enhanced by its five-axis front with three towers on a semicircular plan. The central tower was higher, while the two outer towers were lower, separated by fields of pipes. In consideration of the intricate configuration of the prospect, it is noteworthy that Wilhelm Haupt, in the construction of a de facto new organ in 1634, adhered to compositional principles that diverged significantly from those previously employed. Haupt integrated his organ into the spatial configuration of the front and the set of Hirschfeldt organ cabinets, thereby demonstrating a sophisticated understanding of acoustics and spatial optimization. The integration of a substantial number of voices within the relatively diminutive confines of shallow cabinets undoubtedly posed a considerable challenge. The magnificent organ, situated above the pulpit, was destroyed due to the progressive deterioration of the organ itself and the deteriorating condition of the gallery supports that sustained it. The piece’s last performance occurred on 22 September 1722, and it was subsequently dismantled in 1723.

3.3.2. Johann Michael Röder’s Organ, 1724–1889

The decision to construct a new organ was precipitated by the previous instrument’s obsolescence. The first discussions on this subject took place in 1720. The problematic location above the pulpit was rejected, a symbolic gesture that resonated within the context of the instrument’s role during worship services. As previously indicated, the practice of collective singing with the loud accompaniment of the organ, which functioned as the primary lead, became pervasive during the period under consideration. The roles of the choir, cantors, and singing animators (Vorsänger) remained significant. However, the organ itself evolved into an increasingly prominent element, both acoustically and visually. The Baroque depictions of musical figures (predominantly angels) incorporated into the prospect are now designated as the celestial or angelic orchestra. The function of the instrument itself can be likened to that of a virtual conductor overseeing the musical composition of the liturgical assembly. The organ’s architectural design exhibited a congruence with these prevailing trends.

The construction of a monumental Baroque organ in the western gallery of the Church of St. Mary Magdalene in Wroclaw marked a significant development in the instrumentation of the church. This organ, depicted in Figure 5 and Figure 6, exemplifies the advancements in organ building during the Baroque period. The organ builder Johann Michael Röder from Berlin was selected to oversee the project, and a contract was formally established with him in 1721. The construction was preceded by an architectural analysis of the spatial values of the church nave and the construction of a model. The organ’s inaugural performance took place on Christmas Eve in the year 1724 (refer to

Table 5. Organ disposition by Michael Röder, 1724, 53 stops and 2 transmissions, 3+P, mechanical action, manual scale: C, D-c3, pedal scale: C, D-d1, (Meyer 1757; Missig and Sorgen 1792), significant differences between this version and another notation are listed in square brackets (Silbermann ca. 1741).

Untermanual	Hauptmanual	Brustpositiv	Pedal
Principal 8’	Principal 16’	Principal 8’	Principal 32’ **
Flaut 8’ *	Quintaden 16’	Gemshorn 8’	Octaven-Bass 16’
Viol d’Gamb 8’	Quintaden 8’	Rohr-Floet 8’	Chor-Bass 16’ * [Subbass 16’]
Oboe 8’	Octave 8’	Octave 4’	Salicet 16’ * [Quintathoen 16’]
Octave 4’	Salicet 8’	Spitz-Floet 4’	Octave 8’
Flaut4’ *	Flautdous 8’ *	Salicet 4’	Flaut 8’ *
Nassat 3’	Octave 4’	Quinta 3’	Octave 4’
Super Octav 2’	Rohr-Floete 4’	Super Octav 2’	Quinta 6’
Quinta 1 ½’	Quinte 3’	Block-Floet 3’	Nachthorn 2’
Sedecime 1’	Super Octav 2’	Salicet 8’	Mixtura 10fach
Cimbal 3fach	Rausch Quinte 2fach	Mixtura 6fach	Posaune 32’ ***
Sesquialtr. 2fach	Mixtur 8fach	Cimbel 3fach	Posaune 16’
	Scharff 4 fach	Vox human. 8’	Fagott 16’ ****
	Trompet 8’		Trompet 8’
			Cammer-Floet 8’ *****
			Cammer-Bass 16’ ******
Timpani (Paucken), 4 valves (Sperrventile), Tremulant, wind release (W. Ablassung),
Brustpositiv-Hauptmanual, Hauptmanual-Untermanual.

* Stops with wooden pipes, ** C, D-Fis—voice 16’ open wooden pipes, from G voice 32’ in the prospect, metal, *** C, D-Fis—voice 16’, **** C, D-Fis—voice 8’, ***** Transmission from Chor-Bass 16’ [Pedal], ****** Transmission from Flaut 8’ [Pedal].

for a comprehensive list of its stops).

The expansive gallery in the final western bay of the nave, known as the Hellenfeldscher Chor or the burgher choir—Bürgerchor—was chosen as the designated location. The adaptation involved adding a protruding element into the nave, using cantilever beams and a concave balustrade line at the ends of the nave, extending along a single bay. Ten bellows were installed, with five placed in each of the towers of the western section. This setup helped maintain a uniform air pressure distribution within the windchests of the individual chambers. The design of the instrument was influenced by the primary Gothic window above the gallery. Röder’s innovative architectural layout was remarkable, especially compared to previous organs, which followed Gothic-Renaissance spatial patterns. The new layout was based on a centrifugal arrangement of sections, with the windchests positioned, as seems to be the case, at a single level of the cornice above the organ case’s plinth. The contract required that the main principles of all sections be shown in the prospect, which partly determines the arrangement of the windchests and the pipes behind the prospect. Notably, the positive back section was not placed in the balustrade. This innovative solution is significant in the context of Silesian organ-making practices of the period (Skutsch 1930; Radziewicz-Winnicki 1977, 1985, 1986; Gumiński 1997) and the influence of Arp Schnitger’s workshop, where Johann Michael Röder was a student (Fock 1963, 1974; Pape 2005).

In addition to the characteristic spatial layout used in the organs of the Church of St. Mary Magdalene, the artistic program accompanying the backstage architecture of the front is also noteworthy. The workshop of the excellent Wroclaw Baroque sculptor Johann Georg Urbansky was employed to comprehensively create the impressive sculptural decoration. The front was adorned with floral garlands suspended from the left and right sides, held aloft by angelic figures. The sculptural elements adorning the organ’s facade, particularly the cornices and their accompanying elements, were of particular significance. The cornices, characterized by their rich segmented edges, were designed to complement the V-shaped line that defined the frontal view of the organ. These cornices served as the foundation for the subsequent sculptural embellishments that adorned the instrument’s mass. These embellishments included figurative sculptures of angels striking kettledrums, a mechanism designed by Röder that ingeniously integrated the movement of the angels’ arms, wielding batons, with the authentic striking of kettledrums. The kettledrums, it should be noted, were an integral component of a musical instrument. Additionally, the sculptures featured full-bodied depictions of Old Testament figures, including King David and the singer Asaph. The central pipe field constituted the foundation for the glory depicted, which was captured by twenty-six small angelic figures and a substantial figure of the goddess Fama, who was depicted blowing a trumpet, towering along the primary axis of symmetry. At the core of the composition was a glass representation of the Eye of Divine Providence, with putti, each equipped with a bell, situated along the periphery. Collectively, these elements constituted the Glockenspiel register, which was captured in the pedal section.

During the performance, spectators witnessed a spectacle where angels struck bells and kettledrums. The cornice that crowns the cabinet’s plinth was supported at the bases of the prospect towers by four Atlantes figures. The composition was carefully balanced with the lively Baroque balustrade, creating a harmonious and balanced look. The front of the newly built organ was documented in two prominent images: one by Lucas Müller and a copperplate engraving based on a drawing by Johann Jacob Eybelwiser. Both images show the front and the colorful architecture of the vault and western wall, with drapery in blue and green supported by angels descending from the painted sky. The impressive woodcarving was also made by Johann Georg Urbansky (Figure 7). The carpentry work on the organ case was done by Johann Richter, the painting by Johann Friedrich Fechner, and the colored glass rays in the central glory by Johann Jakob Eybelwiser. The additional wall painting was created by Gottfried Beyer (Grundmann and Burgemeister 1933; Burgemeister 1924; Bimler 1936).

The Glockenspiel, a set of tuned bells, consists of two registers: pedal and manual. It was added to the existing organ in 1726 by the organ builder J.D. Fohmann. The prospect included 26 of the aforementioned bells, which were operated by a pedal keyboard, while 32 bells made in Augsburg by Daniel Dentzler were operated by the keyboard of the main manual (Hauptmanual). It is evident that all mechanisms intended to operate these percussion registers were meticulously prepared prior to assembly, at the stage of organ construction itself.

The estimation of the prospect’s overall dimensions can be derived from the analysis of surviving iconography. The longest pipe in the prospect was approximately 7 m in length. Therefore, the total height of the prospect, from the floor of the gallery to the cornice of the outer towers, without including figures, was approximately 12 m. The height of the central part (to the base of the glory) was approximately 5 m. The width of the entire main nave was approximately 9.7 m (Silbermann ca. 1741). The configuration of the frontage manifested as a subtly concave line, thereby positioning the outer towers in a frontal orientation relative to the arch that demarcated the final vaulted section of the primary nave from the western direction. The central portion of the frontage exhibited a slight setback. The tectonics of the frontage were reliably demonstrated in a drawing from the notes of organ builder Johann Andreas Silbermann (Figure 8).

The organ garnered immediate recognition for its artistic and musical performance. However, technical defects soon appeared, and in 1738, the organ builder was entrusted with their removal. Despite the efforts, the repairs proved to be incomplete. The intonation of certain registers was corrected in accordance with the organists’ wishes, and it was anticipated that the carillon and transposing device would be improved (Fischer 1821; Grundmann and Burgemeister 1933). The project encompassed such a comprehensive scope that it was often referred to as the construction of a new instrument (Neubau), rather than merely a remodel (Fischer 1821; Bimler 1936). Notwithstanding the aforementioned circumstances, the monumental Baroque facade was meticulously preserved.

The subsequent modernization of the instrument took place as a model project that began in 1853. According to the agreement concluded with Moritz Robert Müller (Koenig 2018, p. 402), the project was initially scheduled to last four years. However, it was extended and continued until 1861. At that time, the organ tuning was adjusted to match the prevailing standard, which involved lowering all notes by half a tone. In contrast to the initial decisions, many stops were added. As a result, the organ was equipped with three 32-stop stops, ten 16-stop stops, twenty-one 8-stop stops, and several smaller stops suitable for the higher register. The list of new stops shows that the organ’s sound style was adapted to match the Romantic era. The instrument’s sound evolved, becoming heavier and more monumental. This change differed from the Baroque period, which was known for its lightness and clarity in musical expression. As a result, there was a mismatch between the auditory qualities and the organ’s architectural and visual design. As one might expect, there was no noticeable alteration in the structural framework of the instrument. This is supported by photographic evidence of the organ’s front view, taken before 1888. These photographs give a clear view of the monumentality of Johann Michael Röder’s architectural work.

In 1889, a decision was made to thoroughly remodel the organ. The prospect was dismantled and transferred in parts in 1890 to the Silesian Museum of Artistic Crafts and Antiquities—Schlesisches Museum für Kunstgewerbe und Altertümer (Burgemeister 1924; Grundmann and Burgemeister 1933).

3.3.3. Organ by Carl and Eduard Wilhelm with a Prospect by Carl Lüdecke, 1899–1945—An Outcome of the Gothic-Revival Reconstruction of the Church

During the fireworks display celebrating Emperor Wilhelm I’s birthday on the night of 22–23 March 1887, the northern tower of the church caught fire. The need for renovations was used as a pretext for a significant reconstruction of the church, during which both the exterior and interior underwent a purist regothicization under the direction of the renowned architect Carl Johann Bogislav Lüdecke. (Brand des Maria-Magdalenen-Kirchturmes 1887; Entwurf 1889; Preisaufgaben 1889) His aim was to alter the traditional appearance of the church’s highest tower sections visible in the city skyline (Ostrowska 2011). The design and creation of new fittings and fixtures in the nave were done in the Gothic Revival style, as shown in Figure 9. In 1889, a decision was made to rebuild the organ in the same style. The Röder organ case was taken apart, and the sculptures and mechanisms were transferred to the Kunstgewerbe-Museum (Burgemeister 1924; Grundmann and Burgemeister 1933). The new organ was constructed using parts from the old one. The parish asked the Schlag und Söhne company to prepare a cost estimate, but this was met with protests from Carl Wilhelm, a well-known organ builder from Wroclaw in the Silesian region. After careful deliberation, the decision was made to assign the project to his company.

Carl died during the reconstruction process, which was subsequently completed by his son, Eduard Wilhelm. A design drawing by Lüdecke has survived (Figure 10), showing a cross-section of the main nave with a view of the gallery and the organ case. It is evident that the architect’s creative endeavors were meticulously guided by the specifications outlined by the organ builder. The proposed Gothic Revival organ case is in alignment with the prevailing principles of organ construction and the accompanying contemporaneous technological advancements. This assertion is supported by the historical context, as the E. Wilhelm organ, constructed at a cost of 20 thousand thalers, was regarded as a significant musical accomplishment, particularly from a musicological perspective (Burgemeister 1973). The organ’s design was also in accordance with the standards of the time, as outlined by Burgemeister in 1924. It can be posited that a pneumatic tracker was utilized in its fabrication, representing the pinnacle of the organ-making craft’s technical prowess during that era. However, upon thorough calculation, it was determined that pneumatic switches were utilized exclusively within the scope of the registration tracker. This apparatus facilitated the collective activation of voices (Wiederherstellungsbau der Kirche St. Maria Magdalena (Orgel-Reparatur) 1889). The playing tracker’s mechanical design led to the conventional placement of the pipes in the prospect, corresponding to the position of the tones on the wind chests.

The new Gothic Revival front was the antithesis of Röder’s spatial design of the organ. Instead of a centrifugal composition bordering on illusionism, which traverses the structural framework towards infinite depth by complementing itself with fanciful wall painting, a static mass, separated from the nave walls, was proposed, constituting a closed composition. The organ case was installed as a freestanding object of considerable size in the gallery space, somewhat detached from the surrounding interior elements.

The front was, thus, in its central part with a rectilinear plan, a reflection of one of the sections (Hauptwerk), and the side front towers on a semicircular plan were composed of 16-foot open-voice pipes (presumably Prinzipalbaß). The case was crafted from oak wood. A prominent Gothic-Revival cornice was situated on a planked plinth. The central part of the structure consisted of two stories separated by a ribbon frieze. The configuration of the pipes is illustrated below. The system consists of five small flat pipe fields, three of which are located above the central field. The central field contains the pipes of the 8-foot principal, while the two flanking fields contain the pipes of the 8-foot principal and two smaller pipes, respectively. The pipes of the outer towers were adorned with a ribbon that extended the frieze’s design, encircling the labia, a component of the organ pipe. The ornamentation in the finials manifested as carved tracery with acanthus leaf tendrils, pinnacles with crockets, and florettes. In 1925, an art historian characterized the subject as empty Gothic-Revival decoration (Grundmann and Burgemeister 1933, p. 71). From a contemporary standpoint, such an evaluation might be regarded as overly harsh. The primary challenge lies in ascertaining the instrument’s disposition and the number of stops. The design assumptions encompassed the decision to rebuild the existing organ, and it is documented that some components from the previous organ were used. The instrument possessed three manuals and a pedal, supplied with power by a system of 10 bellows. The Hauptwerk section featured 18 stops, the Mittelwerk section had 15 stops, the Oberwerk (Echowerk) section had 12 stops, and the pedal section had 17 stops. This configuration resulted in a total of 62 stops, as documented by Grundmann and Burgemeister in 1933. Nonetheless, the builder stipulated in the bill that the number of sounding stops is 60, in addition to three manual connections, two connections to the pedal, and eight pneumatic switches with 28 groups of registers. This innovative solution for collective registers represents a pioneering development in the field.

It is noteworthy that the reconstruction of the organ from the Church of St. Mary Magdalene in Eduard Wilhelm’s organ workshop was a remarkable endeavor. This commission is arguably the most substantial and distinguished commission the workshop has received. The instruments crafted by this builder were predominantly of medium and small sizes. Notwithstanding, the “Advertisement of the E. Wilhelm Organ Builder” (Figure 11) included information regarding the delivery of an organ with 63 stops and three manuals (Romaniak 2021). Notwithstanding the discrepancy between the number of stops indicated in the summary bill for the construction, which was 60, and the 62 recorded in Ludwig Burgemeister’s note from the list (a miscalculation or minor extension in the notation is a possibility), it can be posited that the organs the builder extolled in his advertisements were from the Church of St. Mary Magdalene in Wroclaw. This perspective is shaped by the fact that Burgemeister, in his description of the workshop’s activities, conspicuously omits the construction of the organs under discussion. Instead, he emphasizes the enumeration of smaller commissions with no more than 30 stops (Burgemeister 1973). This information is supplemented by a summary of the activity of Wroclaw organ builders in Upper Silesia, prepared by Franciszek Koenig (2018). This summary provides a broader view of the characteristics of Moritz, Robert Müller, and Carl and Eduard Wilhelm’s workshop.

Carl Lüdecke’s design drawing incorporated two primary components: a comprehensive redesign of the prospect, entailing the installation of new pipes, and the construction of an additional arcade, with the objective of expanding the gallery. Consequently, it attained the depth of the initial two western axes of the nave. The space thus gained was minimal. However, the structure was designed with an additional purpose in mind: to provide coverage for the former semicircular arcade that formerly supported the gallery, which was subsequently replaced with a new pointed structure. The gallery’s balustrade was of considerable size and was likely composed of stone. It exhibited Gothic-Revival characteristics, featuring three rectangular sections adorned with profiled tracery.

3.3.4. Reconstruction of the Organ by Wilhelm Sauer & Oscar Walcker, 1922–1945

The E. Wilhelm organ underwent a comprehensive modification process that entailed a complete redesign of the instrument. This redesign was undertaken while maintaining the integrity of the casing and making minor adjustments to its dimensions. The organ in question, which was constructed in 1922 by the Sauer &Walcker company, was originally designed with the old prospect. The construction of the fourth manual was suspended due to the significant financial challenges experienced during that period. The project was subsequently limited to the completion of only three manuals, and pedal 84 stops in total (

Table 6. Sauer/Walcker organ disposition (before enlargement with the fourth manual and additional stops), 1922, 84 stops (including 2 transmissions), 3+P, pneumatic action, manual scale: C-c4, pedal scale: C-g1, (Grundmann and Burgemeister 1933).

Manual I	Manual II	Manual III	Pedal
Principal 16’	Bourdon 16’	Lieblich Gedackt 16’	Untersatz 32’
Lieblich Gedackt 16’	Principal 8’	Quintatön 16’	Offenbaß 16’
Principal 8’	Großflöte 8’	Geigenprincipal 8’	Principal 16’
Doppelflöte 8’	Weidenpfeife 8’	Doppelflöte 8’	Violon 16’
Hohlflöte 8’	Rohrflöte 8’	Portunal 8’	Gemshornbaß 16’
Gamba 8’	Unda Maris 8’	Gedackt 8’	Subbaß 16’
Weidenpfeife 8’	Schalmei 8’	Quintatön 8’	Salizetbaß 16’
Lieblich Gedackt 8’	Viola d’amour 8’	Gemshorn 8’	Lieblich Gedackt 16’ (Tr.)
Dulciana 8’	Quintatön 8’	Violine 8’	Quintbaß 10 2/3’
Oktave 4’	Oktave 4’	Äoline 8’	Oktavbaß 8’
Nachthorn 4’	Doppelflöte 4’	Voixcéleste 8’	Baßflöte 8’
Hohlflöte 4’	Rohrflöte 4’	Geigenprincipal 4’	Violoncello 8’
Dolce 4’	Viola 4’	Doppelflöte 4’	Oktave 4’
Quinte 2 2/3’	SchwebendeFlöte 4’	Gemshorn 4’	Flöte 4’
Oktave 2’	Pickelflöte 2’	Fugara 4’	Posaune 32’
Kornett 3fach	Rauschquinte 2 2/3’+2’	Dulciana 4’	Posaune 16’
Mixtur 4–6fach	Mixtur 4fach	Quinte 2 2/3’	Fagott 16’ (Tr.)
Zymbel 3fach	Fagott 16’	Flautino 2’	Trompete 8’
Trompete 8’	Klarinette 8’	Terzflöte 1 3/5’	Klarine 4’
	HD Starkprincipal 8’	Flageolett 1’
	HD Tuba 8’	Mixtur 3–4fach
	HD Starkflöte 4’	Horn 8’
		Oboe 8’
		Vox humana 8’
32 aids (connections, free combinations, etc.)

). Undoubtedly, such an extensive commission was an anomaly within the context of the prevailing economic collapse in Germany during that period, which adversely impacted the organ-building craft. This dynamic shift in the economic landscape ultimately led to the bankruptcy of the renowned Schlag und Söhne company from Świdnica (Schweidnitz) in 1924, a company that had previously gained renown in Silesia. The company’s substantial reputation was largely formed during its tenure as a supplier to the German imperial court. Gerhard Zeggert7, an accomplished and prolific organist from Wroclaw, was already employed as the cantor of the Church of St. Mary Magdalene as of December 1923 (Höcker 2020).

According to Burgemeister (1973), in 1929, an 11-voice section of the fourth manual was installed on a separate windchest, which gained a set of stops referring to the Orgelbewegung, in a Baroque-styled sound (Barockwerk). The Baroque Revival style in the design of the organ’s sound appeared somewhat later than in its architecture. This is one of several observable discrepancies between the organ’s architecture and its sound style. The Baroque Revival style in architecture emerged in tandem with the increasing awareness of monuments, a phenomenon that was already evident during the Historical Revival era of the late nineteenth century. However, the notion that Baroque organs possessed historical significance was not explicitly articulated until 1909. It was within the Orgelbewegung, the movement for the restoration of the principles of Baroque organ construction, that targeted trends emerged, resulting in the creation of pioneering sound solutions with a Baroque Revival character. The Orgelbewegung was born as a result of the Tagung für Deutsche Orgelkunst held in Freiburg in 1926. These include the substitution of high-stop stops for 16- and 8-stop bow stops, a practice that was prevalent during the period under scrutiny, and the integration of Barockwerk sections into existing organs, a feature that can be observed in the following churches: The construction of new organs, including those in the Church of St. Elizabeth in Wroclaw in 1941, was a significant aspect of the NMP in Legnica in 1928 and St. Mary Magdalene in Wroclaw in 1929.

In the case at hand, the pedal section was assigned the following set of stops: The instrument’s tonal composition consists of a Zartbass 8 feet, a Quinte 5 1/3 feet, an Oktave 2 feet, and a Mixtur 7fach. These components are positioned on an augmented wind chest. The Zimbel 3fach stop was incorporated into the second manual. The organ was equipped with 6542 pipes and 100 stops across four manuals and a pedal8 (Burgemeister 1973). In some instances, additional stops were inserted into the empty spaces provided on the wind chest of the fourth manual. However, in other cases, baroque intoned stops replaced existing ones in different sections. It was not until August 1938 that the number of 100 stops was reached (Kmita-Skarsgård 2013, p. 65).

3.4. Destruction and Post-War Reconstruction of the Church and Its Organs

It is challenging to evaluate the potential damage that the aforementioned Sauer & Walcker organ, housed within a Gothic-Revival casing conceived by Carl Lüdecke, may have sustained during the period of World War II. It is plausible that the metal pipes in question, composed of a tin-lead alloy, were requisitioned for military purposes. Photographs of the church from the period immediately after the war’s conclusion demonstrate that the brick towers were consumed by fire, as evidenced by the destruction of the cupolas that crowned them. It has been documented that the church survived the war without a roof and with the choir vault severely damaged by shelling. One can only speculate about the extent to which the organs were destroyed as a result (Broniewski 1952; Stępowski 1995). However, it is certain that the part of the instrument that had still been in the church at the time did not survive the explosion that took place in May 1945 in Wroclaw, which was already occupied by Soviet troops. The explosion in the area of the southern tower resulted in the division of the structure into two separate components, with the northern wall, half of the western wall, the eastern wall above the cornice of the main nave, and the entire western wall of the main nave collapsing as a consequence. The older part of the organ gallery, known as the bourgeois choir, was also destroyed. As illustrated in Figure 12 (a – before; b – after destruction), the balustrade designed by Lüdecke remains intact, suggesting that the nineteenth-century gallery section survived the explosion, which was likely accidental in nature.

The reconstruction of the church commenced promptly, with the nave roof building initiated in 1946 and continuing the subsequent year. Preparatory work for the reconstruction of the western mass commenced promptly, with consultations being held with building statics specialists. The decision to preserve the surviving part of the southern tower and to construct a reinforced concrete skeleton to stabilize the structure of the Gothic building was made under the management of Tadeusz Broniewski. This approach was deemed the most effective method of ensuring the safety of the structure and enabling its subsequent reconstruction through brickwork using Gothic bricks. Consequently, the reconstruction of the southern tower in its basic wall configuration, accompanied by a provisional hipped roof, was finalized in 1952 (Broniewski 1952).

Already in 1946, German Evangelical (Lutheran) and Polish National Catholic services were held in the uncollapsed parts of the church. In 1969, the church was officially taken over by the Polish National Catholic faithful. The restoration of the building is taking place very slowly and continues to this day.

3.5. Translocation of the Organ from the Auditorium of the Wrocław University of Science and Technology in Connection with the Organization of the Vratislawia Cantans Festival

The establishment of the Technical Higher School in Wroclaw (Technische Hochschule Breslau) in 1910 resulted in the development of musical life among students. Concomitant with this endeavor by students and teachers, an organ (Figure 13) was constructed on the balcony of the school hall in 1929. This instrument was used to enhance the performances of choirs and academic orchestras. The instrument was utilized in academic settings, including instrumental learning, as part of the Academic Association of Musicians (Akademische Musikverein). This organization underwent a transformation, leading to the establishment of the Institute of Music Technology (Institut für musikalische Technologie) during the academic year 1931/1932. The institute was under the direction of Hermann Matzke (Subel 2015). The existence of such a body is indicative of the profound esteem in which music, particularly organ playing, was held in the cultural sphere. This phenomenon is further compounded by the heightened awareness of the interconnections between the technological facets of instrument construction and artistic expression. The main building of the university complex withstood the war unscathed.

The reconstruction of the Church of St. Mary Magdalene was intended to serve liturgical purposes; however, the church’s interior garnered the attention of artistic circles and frequently functioned as a venue for concerts organized in conjunction with the Wratislavia Cantans festival, which was first held in 1966. Concurrently, the Senate of the Wroclaw University of Science and Technology resolved to modernize the auditorium, whose organs were initially utilized following World War II for the celebration of polytechnic ceremonies and the presentation of concerts. However, these functions became less frequent over time. In March of 1970, the decision was made to transfer the organ to the Wroclaw Philharmonic9. After careful consideration, the decision was made to relocate the organ from the balcony of the Wroclaw University of Science and Technology auditorium to the reconstructed western gallery of the Church of St. Mary Magdalene (see Figure 14). Following the transfer, the organ maintained the spatial configuration of the case and the front, as well as the unaltered arrangement of the voices. In its original location, the freestanding keydesk was positioned laterally adjacent to the organ case, a short distance away from it. In its current location, it is situated centrally in front of the case, enabling the organist to observe the church altar and have the entire instrument behind their back.

The instrument was constructed by the organ building company Gebrüder Rieger from Krnov (Jägerndorf) in Czechoslovakia as opus 2375. The organ was outfitted with two manuals and a pedal, 26 real stops and two transmissions (

Table 7. Disposition of Gebrüder Rieger organs, op. 2375, 1929, 28 stops (including 2 transmissions), 2+P, pneumatic action, manual scale: C-g3, pedal scale: C-f1.

Manual I	Manual II	Pedal
Principal 8’	Flöten Principal 8’	Offen-bass 16’
Gedackt 8’	Nachthorn 8’	Subbas 16’
Salicional 8’	Fernflöte 8’	Oktave 8’
Oktave 4’	Viola di Gamba	Gedackt 8’
Bach-flöte 4’	Vox coelestis 8’	Bass-flöte 4’
Oktave 2’	Gems-horn 4’	Posaune 16’
Mixtur 4 fach 2 2/3’	Rohr-flöte 4’	Dulcian 16’ (transmission from man. I)
Dulcian 16’	Sifflöte 2’	Regal 4’ (transmission from man. II)
Vox humana 8’ *	Kornett 3–4 fach 4’
	Trompette harm. 8’
	Regal 4’
4 O-H, 16 O-H, 4 O, 16 O, O-H, H-P, O-P
Keys under manual I:
Auslöser, Fr. Komb. II, Fr. Komb. I, Tutti, Handreg ab., Zungen ab, Tremolo O, Tremolo Vox hum.
Foot levers:
Rollschweller, Schweller O, Schweller Vox hum.
Foot pistons:
Octavkoppeln, Normalkoppeln, O-P, H-P, Koppelnaus Walze, Rollschweller ab.

* in a separate swell box.

). The tubular pneumatic action operated using conical windchests. The organ prospect, given its considerable vertical dimension, occupied a substantial portion of the balcony space in the University Hall. Conversely, when situated within the expansive void of the church gallery, the organ appeared small. The number of stops is not suited for the volume of the church interior. Given the instrument’s new role in concerts and liturgy, it must be stated that the acoustics of such a large space would require a much larger organ. However, this evaluation does not impact the quality of the organ itself as an artistic creation, which undoubtedly possesses numerous merits, despite being silent for many years. A particularly salient element of the sound apparatus is the voice of the Vox Humana 8’, which is placed in a separate swell box and belongs to the main section. The organ’s acoustic properties, when utilized as a solo voice, serve to distinguish it from numerous other instruments of the Rieger workshop. However, it is important to note that all components of the organ are currently in a state of disrepair, either due to mechanical damage (vandalism) or the result of prolonged inactivity, inadequate tuning and cleaning (Kmita 2005; Zawadzki n.d.).

The organ casing can be characterized stylistically as being commensurate with the historical period during which it was built—as Modernist. A notable distinction of this work lies in its avant-garde nature, a quality that sets it apart from the earlier works discussed in this context, as it is an open-casing organ. Consequently, it lacks a casing crown, and its upper line is delineated by the ends of the casing pipes, which are situated on a modest frame-and-panel plinth of a varnished wood cabinet. This finish was chosen to complement the existing interior design of the Polytechnic Hall. The casing pipes, with their enlarged bore, generate two fields at the periphery, terminated by a slight arch at the top. The distinction of these fields is further accentuated by the V-shaped course of the line delineated by the labia. The central field of the pipes with a smaller bore is closed from the top with a straight line, parallel to the line of the labia. The composition in its entirety may be regarded as conservative, and it would likely find a suitable home within a stylized architectural casing, such as that of the Gothic Revival style.

It should be noted that, despite the prevailing tendency in Modernist architecture to prioritize the function of a given object, in the case of the organ and its prospect, a decision was made to have the form be symmetrical in principle. Additionally, the pipes were made longer than the necessary length (due to their acoustic function) in such a manner as to adapt to the top-down compositional layout. In the new sacred space, the aesthetic qualities of the design appear incongruent with the surrounding architecture. This incongruity suggests a potential misalignment in the planning and execution of the design, resulting in an aesthetic discord that does not align with the aesthetic sensibilities of the pre-existing organs of the church. The aesthetic reception of the organ is also negatively influenced by its relationship with the monumental window in the western wall. In the past, this window constituted the primary asset of the spatial composition of the Michael Röder organ. In the case of the organ under consideration, the light that enters through the designated window has the effect of overexposing the casework, thereby revealing the wooden pipes in sequences that are not aligned with the aesthetic principles underlying their original design for the university hall. The dimensions of the instrument are as follows: its height is approximately 6 m, with the measurement taken from the base of the cabinet to the outlet of the highest prospect pipe; its width is approximately 7 m; and its depth is approximately 6 m.

3.6. Józef Cynar’s Organ in the Presbytery—An Instrument for Liturgical Use

The historical account of the Church of St. Mary Magdalene in Wroclaw indicates that its organs have consistently been a symbol of the church’s prestige. Every effort was made to ensure that the instrument was worthy of the rank of this place, due to both its religious character and the need to meet the needs resulting from the concerts taking place here. In this context, the construction of a new, small organ near the presbytery by Józef Cynar’s company in 1990 (Figure 15, for disposition of stops, see

Table 8. Józef Cynar’s organ disposition 1990, 8 stops, 1+P, electropneumatic action.

Manuał	Pedał
Praestant 8’	Subbas 16’
Flet drewniany 8’[wooden flute]
Pryncypał 4’
Flet rurkowy 4’ [chimney flute]
Oktawa 2’
Kwinta 1 1/3’
Flageolet 1’
P-I, I Super, Tremolo, Tutti, 1 free combination, collective registers: P, F, T

) might appear to be a minor undertaking. The organ is situated in the gallery above one of the chapels in the southern nave. The open, symmetrical front comprises seven pipe fields that lack a clear separation, resulting in the row of front pipes spanning the entire width of the arcade of the gallery, extending towards the nave. The configuration of the front is characterized by its fundamental simplicity and its alignment with the builder’s typical design approach.

The central, triangularly closed pipe field has been identified in other instruments of this company from the Wroclaw area, including the Corpus Christi Church (built 1977), the Church of the Blessed Virgin Mary on the Sand (built 1982), and that of St. Adalbert (built 1991). Consequently, it is a distinctive feature of the organ casing produced by this workshop. The configuration of the pipes adjacent to the primary compositional element is adapted to the shape of the arcade within which the casing is situated. The organ counter, which is movable, is located on the floor of the presbytery, a location that was made possible by the use of electro-pneumatic action (Kmita-Skarsgård 2021; Klarecki 2003; Konopka n.d.).

The size and location of the organ are indicative of its fundamental liturgical character. In accordance with the prevailing ideological assumption, this instrument can be regarded as a successor to the aforementioned old small organ. This organ is comparable in size to the positive organ (1 manual) with an additional single-voice pedal section. The limited number of voices is incapable of filling the vastness of the cavernous naves with sound. This limitation, compounded by the absence of an auxiliary manual, severely restricts the performance of concert pieces, leaving little to no scope for liturgical accompaniment. However, given the current state of preservation, these are the only active organs in the church. The flat front, discreetly situated within the southern nave, exerts a negligible influence on the church’s interior aesthetics (see Figure 15).

4. The Present Condition of and Future Suggested Plans for the Organs of St. Mary Magdalene’s Church

Ludwig Burgemeister emphasized the essential role of the organ in the church’s acoustic environment. This notable monument conservator recognized the importance of organs in art history and monument preservation early in the twentieth century. As an architect, he demonstrated skill in evaluating the technologies related to instrument construction. His research on organ construction in Silesia and Wroclaw before World War II is impressive. His work included identifying the stock and assessing losses and damage after the war ended. Additionally, his research helped preserve many outstanding organ works.

As a trailblazer in this field, Burgemeister’s approach to valuing organs as monuments was shaped by the cultural and historical context of his time. Besides the decorative front, he noted its historical significance. The arrangement of the organ was also key, considering its cold precision and historical detail. In his journalism, historical and modern sound sets are treated almost equally, without considering the importance of individual parts of the mechanism, such as the tracker and windchests, bellows, playing table, and pipe material. The relationship between the case and the instrument was often overlooked. Conservators typically did not oppose invasive reconstructions or the building of new organs behind old, seemingly intact cases, which was common during that period.

In direct reference to the Church of St. Mary Magdalene, Ludwig Burgemeister stated (Burgemeister 1924, p. 110) that this church has a magnificent and powerful instrument, surpassing even the work of M. Röder(!). He commented on the Sauer organ built in 1922, which had 84 stops at that time. The full sound of such a wide-ranging instrument undoubtedly made an extraordinary impression on the listeners. The conservator expressed regret that the Röder organ case, dismantled during the 1891 reconstruction, was not properly displayed. Given the circumstances of that era, Burgemeister expressed hope that the case, disassembled and stored, would someday be reconstructed in a suitable location to ensure the proper presentation of this monumental complex in its entirety. It is reasonable to assume that the organ, built separately, was meant to be located behind the Baroque screen. It is important to note that, according to the understanding at the time, the coherence of the organ with its prospect was not a requirement. Instead, separate valuation of both parts was assumed. According to this principle, the newest and most technically advanced organs could be hidden behind even the most historic front. In today’s context, such a perspective would likely face significant criticism.

Tomasz Kmita-Skarsgård (2013), former organist of St. Christopher’s Church in Wroclaw, also demanded a powerful organ sound in the interior of the Church of St. Mary Magdalene in Wroclaw. He proposed the construction of a large organ with 137 stops and a French sound style, providing a detailed layout of stops divided into five manuals and a pedal. Additionally, the chancel was to feature an organ with 40 stops in three manuals and a pedal. This organ was to be a hybrid of the Rieger and J. Cynar organs, with some modifications to the disposition of the stops. The issue of location, arrangement, and prospects for the organs was not addressed.

Although combining two existing instruments into one might seem unconventional, it is difficult to see an effort to properly highlight the attributes of both organs. However, the idea of building a large, powerful organ, as suggested by Tomasz Kmita-Skarsgård, effectively meets the legitimate need for this former main parish church of Wrocław to resonate with high-quality organ music.

Regardless of the current condition of the equipment collected in the church and the ideas for its renovation, the question of the future fate of the partially preserved Röder organ front, which remains in the collections of the National Museum in Wroclaw and Poznań, remains unresolved. The set of sculptures was displayed as a mobile angelic orchestra as part of the Baroque Heroes exhibition, held from 13 June to 29 October 2023. This exhibition demonstrated the technical functionality of the original organ components (Figure 16). Considering the current situation, it is reasonable to assume that the organ with Johann Georg Urbansky’s Baroque front could be reconstructed in its original location. This would require suitable modifications to the structure of the western gallery. It is advisable to contemplate creating a movement compatible with the front, both stylistically (Baroque organs) and technologically (the arrangement of the front pipes, the glockenspiel, and the kettledrums operated by angels).

After examining the available data, we have determined that it is possible to reconstruct the Röder organ, including the organ’s arrangement, the spatial layout of the case and the pipes featured in it. We will even be able to make copies or anastylosis in terms of figurative sculptures, mechanisms and the woodwork of the casing. It is particularly valuable for potential reconstruction that several other organs by the same organ builder have been preserved. These include the instrument of the former Lutheran Church of Grace in Jelenia Góra (currently the garrison Roman Catholic Church of the Holy Cross). This organ’s case, with its outstanding woodcarving, is probably the work of J.G. Urbansky. The sound complex has been rebuilt several times, most recently by the Schlag und Söhne company in 1909. The stops, which are made of pipes, are probably the work of Johann Michael Röder. The same applies to the organs of the Church of the Blessed Virgin Mary in Legnica (M. Röder prospect), as well as to an object that is a complete rarity: the carillon from Žireč, now in the Czech Republic. An analysis of the current state of preservation of these instruments would be a valuable first step in a reconstruction project, with the goal of replicating the techniques used by the Berlin-based builder’s workshop.

In many respects, such a reconstruction would be similar to the recent reconstruction of the Baroque organ in St. Elizabeth’s Church in Wroclaw, a reproduction of the organ from the mid-eighteenth century based on historical records including Michael Engler’s own manuscripts (Engler 1751). A distinctive aspect of the reconstruction project at the Church of St. Mary Magdalene is the incorporation of authentic surviving sculptures and mechanisms. These elements are unique to this organ construction project in Wrocław and provide a significant historical and cultural value. There have been several instances of organ reconstruction using a historic base in Gdańsk. These have taken place in the following churches: St. Mary’s Church (reconstructed 1985), using the prospect of the main organ from St. John’s Church), St. Trinity Church (reconstructed 2018), and St. John’s Church (reconstructed 2020). It is important to note that in all three cases, the only part that was preserved (albeit fragmentarily) was the prospect.

The original case pipes of the Trinity Church organ, along with the wooden elements and woodcarving, were preserved and incorporated into the sound ensemble during the reconstruction. This was made possible by the design of the movement, which was adapted to the case. This design idea played a pivotal role in the reconstruction of the organ as a cohesive work, where the technological constraints governing the instrument’s interior have been meticulously reflected in the case’s design. As demonstrated by the aforementioned examples from Gdańsk, the outcome of the organ-building work meets the criteria of reconstruction. This type of reconstruction is distinguished from other types by its intention to preserve the original spatial, technological, and functional arrangement of the reconstructed object. This intention is established on the basis of research findings.

The existing eight-voice organ by Józef Cynar could be included in the new arrangement of the church’s instrument ensemble, serving a role similar to the positive or small organ that was previously there. To ensure both organs can be played simultaneously, the tuning must be properly addressed. The Röder organ should be tuned to a pitch roughly half a tone higher than the current standard. At present, the “a1” pitch is set at 440 Hz, but the Röder organ should be tuned to 465 Hz. Developing tuning methods that align the small organ’s sound with the large organ’s tuning fork would be effective. This approach would support the revival of the alternatim technique used from the Middle Ages through the 19th century, enabling a richer utilization of the church’s spatial acoustics during liturgical accompaniment. Assuming alternating play on both instruments, the minor pitch difference between the equal temperament of the small organ and the unequal temperament of the large organ might be negligible.

At present, the church possesses two instruments. The initial instrument, the Gebrüder Rieger organ, is a historic instrument that is not currently under statutory conservation. It is inoperable; however, it has been preserved to a significant extent, retaining its original form and architecture. There have been no substantial alterations to the instrument’s acoustics. The second organ, the small Józef Cynar organ, does not yet possess significant historical value. Notwithstanding this fact, the quality value of the piece can be assessed as significant. This is due to the fact that it was produced by a workshop that enjoys great recognition for its works, is characterized by good intonation of voices, and has a unique design in the form of a movable playing table.

The need for restoration of this valuable collection of organs (fully or partially preserved) requires the development of an appropriate concept for heritage management. Considering the extensive experience and opinions presented above, documenting the Silesian organ building tradition will be crucial in this work. Such an activity should meet the standards of latest European achievements in the field of historic organ conservation.

5. Conclusions

The pipe organ is a complex instrument with a rich history. Its music has provided accompaniment to religious ceremonies and artistic, secular musical events for centuries. Organs, in particular, have been shown to contribute to the cultural heritage of the values of various fields, including science and technology, architecture, and art, as well as various crafts. While this is indisputable, it should be noted that church organs are not invariably subject to statutory heritage conservation measures.

The complexity of the centuries-old musical tradition of the Church of St. Mary Magdalene in Wroclaw necessitates the conscientious management of its surviving legacy, encompassing both its material and spiritual dimensions, which is likewise subject to conservation. Consequently, it is worthwhile to consider which values stemming from this heritage can be identified in contemporary church practices. This issue is further complicated by the question of what an effective and optimal revalorization of the church’s instruments should look like. Despite the significant damage sustained during the recent war, the church has once again been equipped with an organ. This is indicative of a natural understanding of the connection that is rooted in European culture and that unites the interior of a Gothic church with the organ music that fills it.

With respect to the significance of the aforementioned instruments in the context of the history of the church, it is noteworthy that the present small Cynar organ is indicative of an earlier instrument in the presbytery (or in the vicinity), which was likely of a comparable size. Within the context of presented analysis, it would be unjustified to draw parallels between the Rieger organ situated in the western gallery and the other bigger organs within this church. The current organ possesses a mere 28 stops, including two transmissions, which are placed in two manuals and a pedal. The church’s first large organ, which was documented as early as 1567, featured 21 stops across three manuals. It was equipped with a 14-choir mixture in the main manual and a 16-choir mixture (Hintersatz) in the pedal. The subsequent instruments underwent an augmentation in the number of authentic stops. Therefore, it must be posited that the organs that were translocated from the University of Technology Hall due to a combination of circumstances, have become incompatible with the Church of St. Mary Magdalene. Consequently, they are unable to adequately meet the demands of this particular space.

The Rieger organ’s musical value is indisputable. Its sound, craftsmanship, and unique solutions are unparalleled. Despite these clear benefits, the organ was designed for a significantly smaller space. Consequently, its performance in the acoustic environment of expansive Gothic naves may not meet expectations. Aesthetic concerns are also relevant to the sound aspects. With the exception of the base, which covers the windchests and certain components of the pneumatic tracker, the instrument is devoid of a casing. It is situated immediately adjacent to a substantial western window, which allows for a significant amount of daylight into the interior. This positioning can result in overexposure of the work, which often makes the arrangement of the prospect pipes invisible during the day. However, the interior pipes, designed to be hidden, are visible against the light. The visual impact of this installation is twofold: it affects the reception of the instrument and significantly worsens the aesthetics of the church interior, particularly from the perspective of the western end of the main nave.

After reviewing the available sources, it is difficult to provide an accurate estimate of the visual value of the oldest large organ mentioned earlier. However, it is known that the organ was divided into three sections: main, Brustpositiv, and Rückpositiv. Therefore, it is reasonable to conclude that it was an instrument with a specific spatial arrangement, as shown by iconography from the seventeenth century. The conclusion is that the Church of St. Mary Magdalene remained a highly formal place throughout its history until 1945. It housed advanced organs that were often experimental but always of high aesthetic quality.

Given the Rieger organ’s historical significance, it is essential to preserve it, clean it, and repair it to ensure its continued operation and the continued enjoyment of its sound by the audience. However, it is clear that it should no longer remain in its current location, and its continued use in the church space is uncertain. It is our understanding that the instrument could be returned to its original location in the Wroclaw University of Science and Technology Hall. Another medium-sized church, both historical and contemporary, could also be indicated as a suitable place for it. The transfer of this organ, in conjunction with its conservation, will enhance its value as a musical instrument. This initiative will also pave the way for a more ambitious undertaking: the reconstruction of the monumental Johann Michael Röder organ.