Wissen, Kreuzerhöhung - Weimbs Orgelbau GmbH

— New organ with re-use of the historic organ case —

The origins of the Kreuzerhöhung church date back to around the year 1000. The great Wissen town fire of 1788 not only destroyed a large part of the town, but also the Kreuzerhöhungskirche, including the organ. The church was only of limited use until new construction began in 1804.

After the new building was completed, new inventory was needed, which was not purchased due to a lack of money, but was bought at auction at a reasonable price due to the secularization of various monasteries. The parish of Wissen also bought an 8-stop organ from the Franciscan church in Attendorn, which had been built in 1793 by organ builder Christian Kleine from Freckhausen. Organ builder Christian Roetzel from Alpe installed the new organ in the Wissen parish church.
In 1848, the organ builder Loos from Siegen acquired the Wetzlar cathedral organ with 22 stops. He combined this with the organ from Attendorn so that the Kreuzerhöhung church had a two-manual instrument with 29 stops in October 1849. However, shortly after its completion, this organ was already prone to faults and its sound was unsatisfactory.

In the years 1912 to 1914, the existing church had to be extended due to strong population growth caused by the industrial revolution. Architect Mathar gave the church its cruciform floor plan. Conscious of the baroque inventory, he designed the interior to be bright and spacious. The dome above the crossing is supported by an iron construction. The choir is separated from the transept by a triumphal arch. In this context, organ builder Fabricius from Kaiserswerth near Düsseldorf rebuilt the organ in 1912. The case had to be cut up to make room for 39 stops inside. The original mechanism was removed and replaced by a pneumatic playing system. Twelve old stops were retained, but were considerably altered.

Shortly after the Second World War, the system was so prone to failure that negotiations were started in 1963 to build a new organ.

Franz Breil from Dorsten restored the late baroque case to its original dimensions in 1973. The stops that had already been reused in the 1912 rebuild were reinstalled in the new organ. In addition, the organ was given a Rückpositiv, which was integrated into the gallery balustrade. The instrument had 32 stops on three manuals and pedal. The key action was partly in aluminum and partly in rope. A separate case was built for the pipes of the pedal division behind the organcase visible from below. This explains why the middle section of the final frieze of the Hecker fresco is no longer visible today, as it was painted before the organ was moved to the front.

The frescoes in the Kreuzerhöhungskirche were created by the fresco painter Peter Hecker between 1928 and 1931 and are now considered to be his most extensive and complete work. Hecker adhered conceptually to Mathar’s architecture and painted scenes from Genesis on the flat ceiling in the nave, scenes from the Passion of Christ on the inside of the dome and scenes of the Glorification of God on the round vault of the choir.

During the Second World War, the church windows and the roof were destroyed. After the war, the damage was repaired as far as possible, although the emergency windows were not replaced until 1971. Peter Hecker restored the damaged frescoes himself in 1953. The Kreuzerhöhungskirche was extensively restored between 1963 and 1973.

In the early hours of February 10, 2023, the church was broken into. Pews were moved together and a fire was set. The baroque high altar from the 17th century was completely destroyed and parts of the ceiling frescoes by Peter Hecker were severely damaged. In addition, the main organ was severely damaged by the intense heat inside the church, rendering it unusable. The exact circumstances of the desecration of the church were discussed during a trial for aggravated arson at Koblenz District Court and the perpetrator was sentenced to 3 years and 9 months imprisonment.

In the new organ case that is now planned, the retrofitted Rückpositiv case will be abandoned and this Positiv-Division will be integrated into the main case. The necessary extra space will be created behind the historic organ case.

The pipes and the interior of the organ are unusable as a result of the church fire and are replaced. The historic organ case will be restored. In terms of technology and sound, the organ is to be adapted to current musical innovations without neglecting its main task – the musical organization of church services.