Roman organ in Basel

A citizen of the Roman town of Augusta Raurica (today Augst/Kaiseraugst) would not have believed his ears in the third century AD: the sound of an organ in Basilia (present-day Basel), a hamlet of a few hundred inhabitants.

Augusta Raurica and Basilia around 117 AD: Picture: Augusta Raurica Museum

Augusta Raurica was about 10 km from Basilia and had 15 000 inhabitants then. Only after the departure of the Romans, the Alemanni invasions, and the Bishop’s move from Augusta Raurica to Basilia in the 5th century did history take its course and on 1 June 2023, the organ played in Basel.

The organ is a Greek construction invented in 246 BC by Ctesibios in Alexandria, from where it found its way to Greece. Alexandria was a Greek city at that time. The Romans conquered Greece in 197 BC, but Greek culture conquered Rome. The organ also quickly found its place in Roman culture. However, the Romans introduced some improvements.

Picture: Dr Anne de Pury-Gysel. Stadtcasino Basel

Villa Nennig (Germany). Image: Dr Anne de Pury-Gysel. Stadtcasino Basel

Image: Dr Anne de Pury-Gysel. Stadtcasino Basel

Roman organs appear in around fifty paintings from classical antiquity. Often in the context of the theatre or theater (especially at gladiatorial fights), sometimes in a private setting, with or without other instruments or singers.

The instrument was a luxury item that could be heard in the villas and palaces of the local elite and at performances in amphitheatres and theatres. These buildings had primarily political and propagandistic functions, and the music was also part of the elite’s spectacle, euergetism and self-expression.

The problem with contemporary music of a Roman organ is the need for complete organs and the absence of recordings of their sounds. Only three parts of a Roman organ have been discovered: in Avenches (the Roman town of Aventicum, Canton Vaud), near Budapest (the Roman town of Aquincum), and Dion in Macedonia.

Picture: Dr Anne de Pury-Gysel.

The technical details of Roman organs have been described in Roman literature (especially in de architectura by Marcus Vitruvius Pollio (c. 85-20 BC). Based on archaeological finds, pictures and Vitruvius’ detailed description, scholars have been able to reconstruct a water organ.

The water organ works through an ingenious combination of air, water, stops and pipes. This construction replaces the blowing of wind instruments. During performances at the Stadtcasino, two people had to operate a lever on either side to keep the air circulating.

Organs with bellows probably existed in classical antiquity. The medieval organetto was based on this technique. Since then, little has changed. Only the number of stops, keys and pipes increased, as the modern organ in the Stadtcasino Basel shows.

The sounds of a replica of a Roman water organ from the 3rd C., played by organist Justus Willberg, in a joint performance with an organetto (organist Corina Marti) from the late Middle Ages (1300-1500), a Metzler-Klahre organ (organist Thilo Muster) and the world premiere of the composition “Canzona” by Basel composer Hans-Martin Linde represented a world premiere.

Contemporary compositions and chants (by the soprano Aline de Pasquier), a Latin declamation of the inscription on the sarcophagus for the Roman organist Aelia Sabina (3rd century AD), were also performed. The organist Justus Willberg interpreted his performance on two rare fragments of compositions from antiquity.

The Roman water organ (reconstruction)

Justus Willberg explains the functioning of the organ; on the left, the organetto.

Justus Willberg, the organ and the inscription on the sarcophagus, soprano Aline de Pasquier

Corina Marti and the organetto, soprano Aline de Pasquier

Thilo Muster and a Metzler-Klahre organ

This concert on Roman, medieval and contemporary organs with compositions from the associated periods was organised by the Alliance française de Bâle, the Société d’études françaises de Bâle and the Freunde Alter Musik Basel in collaboration with Dr Anne de Pury-Gysel, former director of the Musée romain d’Avenches and the Roman excavation site of Aventicum.

The closing words of the event were also meaningful: without knowledge of the past, there is no understanding of the present and no view of the future. Without Greek inventions, Roman adaptations and the advent of Christianity, there would be no Johann Sebastian Bach and no Bach concerts on the 18th-century Silbermann organ in Arlesheim Cathedral. Incidentally, another organ festival will occur from 1-16 September in Stadtcasino Basel.

(Source: F. Jacob, M. Leuthard, A.C. Voûte. A. Hochuli-Gysel, Die römische Orgel aus Avenches/Aventicum, Avenches 2000; Von der römischen Wasserorgel bis zur modernen Orgel, Stadtcasino Basel, 10.06.2023).

Picture: Dr Anne de Pury-Gysel. Stadtcasino Basel, 10 June 2023

 Two fragments of compositions from antiquity. Pictures: Justus Willberg. Stadtcasino Basel, 10 June 2023

Reichenau and Arenenberg

It is not known whether Hortense de Beauharnais (1783-1837), daughter of Joséphine de Beauharnais (1763-1814)and stepdaughter of Napoleon Bonaparte (1769-1821), and her son Louis-Charles Bonaparte (1808-1873) the later Emperor Napoleon III of France, often visited the island of Reichenau to attend mass in one of its three Romanesque churches during their stay at the Arenenberg (1817-1837) in the municipality of Salenstein (canton Thurgau). 

The Arenenberg seen from Reichenau

Reichenau seen from the Arenenberg

The island of Reichenau, a UNESCO World Heritage site since 2000, was one of Europe’s cultural and religious centres from the 8th to the 12th century. The Irish monk Pirmin founded the monastery in 724 under the rule of the Merovingians.

Its greatest heyday, the monastery’s Golden Age, occurred during the Carolingian period under Charlemagne (748-814) and his son Louis the Pious (778-843). The Carolingian empire (800-843) had about 800 (Benedictine) monasteries. Eighty of these monasteries, including Reichenau, fell directly under the emperor.

The monastery introduced Charlemagne’s new education system and the new script (minuscule), which was proficient in Latin, music, literature, religious murals, science, and illuminated manuscripts. In short, it was a centre of the so-called ‘Carolingian Renaissance’, featuring an extensive library, monastic garden, and scriptorium.

The new (and subsequently renovated) library of the abbey (1616)

The Garden

Education aimed to train the empire’s political, official and religious elite (abbots and bishops). The most important abbots were Waldo, Strabo and Heito.

The monastery of Reichenau maintained close relations with bishoprics (especially Basel, Constance and Chur and the archdiocese of Mainz) and, among others, with the abbeys in Schaffhausen, St Gallen, Fulda and Lindau.

The second heyday, the Silver Age, took place under the first (Saxon) emperors of the Holy Roman Empire (962-1024). Abbot Bern was the most crucial abbot in this period. The following centuries saw a slow decline. The monastery was dissolved in 1803.

The first stones of the abbey date from the eighth century. After that, the monastery church, dedicated to Mary and Mark, and the monastery complex were frequently rebuilt until the 17th century, retaining Romanesque and Gothic features.

Liber Viventium Fabariensis, a. 810-820, Archive Abbey St. Gallen

The abbey’s scriptorium in Reichenau produced beautifully illustrated manuscripts, which are now housed in the library of the former abbey in St. Gallen, among other locations. The famous monastery plan from 830 is also located here.

Church of St. Peter and Paul 

Additionally, the tiny island had approximately 20 chapels and churches. Of these, only two remain beside the abbey church. The church of St Peter and Paul in Reichenau-Niederzell was consecrated in 799. Its patron, Bishop Egino of Verona (730-802), is buried in the choir. In 1134, the church was completely rebuilt in the Romanesque style. The influence of art from Lombardy is evident in sculptures, frescoes, and other forms of art.

Church of St. George

St George’s church in Reichenau in Oberzell was founded in the late 9th century by Abbot Hato. Its beautiful Romanesque frescoes date from the late 10th century. They depict the miracles of Jesus and his power over nature, disease, life and death. These frescoes and the scriptorium show the same style. At the end of the 10th and the beginning of the 11th century, murals and illuminated manuscripts in Reichenau reached their peak.

Despite the dissolution of the abbey and most of the churches, these centuries of religious occupation have left a lasting impact on the island. They initiated and maintained agriculture and viticulture for centuries. By 1492, the island had become a true vineyard paradise, boasting approximately 200 hectares of vineyards. Today, it is only 5-10 hectares.

The Abbey and Its Viticulture Around 1700. Picture: Museum Church of St. Peter and Paul, Reichenau-Niederzell

After the abbey was dissolved in 1803, the farmland was bought by private individuals. Today, the island remains agriculturally oriented, with approximately 145 farms primarily dedicated to growing vegetables. Annual yields are as high as 14 million cucumbers, 2,000 tonnes of tomatoes and 5 million heads of leafy vegetables on less than 200 hectares! 

Relics

Another fertile soil of the island concerns relics. The most famous three relics are the bones of St. Mark in the golden shrine, the holy blood of Christ in the Byzantine cross in the monastery church of Mary and Mark, and the skull of St. George in St. George’s church.

The shrine with the bones of St. Marc the Evangelist

The Holy Blood of Christ and the  Byzantine cross

The Monday after Pentecost sees the annual procession of the Holy Blood. On April 25, a march for the bones of the evangelist Mark takes place. These days are public holidays on the island and are part of the UNESCO World Heritage.  

Conclusion

Hortense and Louis III were not particularly religious. However, both left numerous ‘relics’ in their Arenenberg. Unlike the relics above, these are open to the public daily. From the monastery island of Reichenau, the Arenenberg is easily visible. However, by the arrival of the Napoleons, the abbey was already closed. Still, its cultural and agricultural legacy was also perceptible to these inhabitants of the Arenenberg.

(Source and further information: Klosterinsel Reichenau; T. John, Die Klosterinsel Reichenau im Bodensee, Beuron, 2006)

Castle and houses in Reichenau-Mittelzell

 Reichenau-Mittelzell Museum

Cemetery of the abbey

The Reichenauer Verbrüderungsbuch (book of brotherhood) from 824 with deceased abbots, monks and friends. Picture: Museum Church of St. Peter and Paul, Reichenau-Niederzell

Swiss Society for Art History

On 3 June, the 143rd annual meeting of the Swiss Society for Art History (Gesellschaft für Schweizerische Kunstgeschichte (GSK)/Société d’Histoire de l’Art en Suisse (SHAS) took place at the Pfalzkeller, in the heart of the UNESCO World Cultural Heritage site of St Gallen and its legendary monastery and library.

Given the impressive history of this almost 150-year-old Society, a brief overview of its main activities and publications follows, with a particular focus on its digital and applied publications. The research, publications and application of new media are impressive and give a good picture of the rich cultural history of this country.

SHAS/GSK is a private non-profit organisation. Its primary goals are to record, study and publish Swiss architectural heritage. SHAS/GSK was founded in 1880 under the name Société patriotique pour la conservation des monuments historiques/Vaterländischen Gesellschaft für Erhaltung historischer Denkmäler. It adopted its current name in 1934.

Publications

In 1925, SHAS/GSK, in cooperation with the cantons, began publishing the national inventory of Swiss art and historical monuments (Monuments d’art et d’histoire de la Suisse (MAH)/Kunstdenkmäler der Schweiz (KdS). The first volume appeared in 1927. Since then, 145 volumes of this collection have been published. They were supplemented between 1982 and 2004 by the Inventaire suisse d’architecture 1850-1920/ Inventar der neueren Schweizer Architektur 1850-1920.

Since 2012, new volumes in the series have also been available digitally.
The SHAS/GSK also publishes Swiss Guides to Monuments (Schweizerischen Kunstführer /Guides de monuments suisses), a series launched in 1935, regional and cantonal guides and editions on specific topics related to the history of art and architecture.

SHAS/GSK also publishes the quarterly magazine Art+Architecture en Suisse/Kunst+Architektur in der Schweiz

Digital activities and applications

Since 2010, SHAS/GSK has increasingly focused on new media and digital applications. Here is an overview of the most important publications.

Swiss Art To Go

The Swiss Art To Go application is designed as a personal companion for Swiss architecture.

EuropeArt To Go

EuropeArt To Go is an app for exploring the three-border region (France, Germany, and Switzerland) along the Upper Rhine. The app summarises information on interesting buildings in this region, from the Middle Ages to the present day.

Péristyle

Péristyle is a thematic documentation application, a simplified publication of articles. It is a virtual library and publishing medium that converts Word files into eBooks with a few clicks, allowing users to create and print magazines on demand.

KdS-online

KdS-Online contains the 145 volumes of the Monuments d’art et d’histoire de la Suisse /Kunstdenkmäler der Schweiz, outlining the historical development of buildings in Switzerland and the Principality of Liechtenstein between late antiquity and the 20th century.

360° Swiss Heritage

360° Swiss Heritage offers 3D virtual reality tours of Swiss castles.

Swiss Art in Sounds

Swiss Art in Sounds accompanies various publications with audio contributions. The content corresponds to specially adapted texts on elements of the respective building. The texts are available in English, French, German and Italian. Swiss Arts in Sounds can be accessed via a free app. The project has also been developed for visually impaired people through audiobooks.

Sciences-Arts

The interdisciplinary Sciences-Arts portal offers a comprehensive overview of scientific disciplines in the fields of art, music, and theatre in Switzerland. The portal brings together a range of scientific and cultural activities, from events on artistic and scientific policy to specific information on training and professional careers.
The portal is a project of eight organisations affiliated with the Swiss Academy of Humanities and Social Sciences. These eight organisations are responsible for the platform as a whole. SHAS/GSK is responsible for managing the site and its content.

(Source and further information: Gesellschaft für Schweizerische Kunstgeschichte/ Société d’histoire de l’art en Suisse)

The Pfalzkeller. Photo: SHAS/GSK

The Pfalzkeller inside. Photos: TES

Thousand Years Werd Monastery

Those who think of monasteries usually have in mind a large complex with various buildings, vineyards and other farmland, a botanic garden and a large monastic church. The most famous example on paper is the design of a monastery kept in the library of St Gallen Abbey.

This drawing, dating from around 840, likely originates from a monastery on the island of Reichenau. Many monasteries were based on similar designs and were almost always large complexes.

Several large monasteries from this period (e.g., Disentis, Einsiedeln, St. Johann, St. Maurice) still exist in Switzerland and function as such. Many other monasteries (e.g., Ittingen, Dornach, St. Urban, or Bellelay) have been closed and now have different uses today. For example, others have been demolished and fallen into oblivion (e.g., Moutier-Grandval.

The size of a monastery says nothing about its continuity. An example is the monastery of St Otmar on the small island of Werd (canton of Thurgau) near Stein am Rhein (canton of Schaffhausen).

The island of Werd and two uninhabited islets in 2008. Image: Thurgau Bodensee

The monastery is located on the isle of Werd in the Untersee. Its name is derived from the Alemannic word ‘Ward’, meaning island. The island has been inhabited for thousands of years.

The Untersee, the Rhine to or from Lake Constance

The oldest finds date back to 7000 B.C. In Roman times (15. B.C. – 410 A.D.), Werd was part of the Vicus Tasgetium (Eschenz). The Romans built the first (wooden) bridge to the island. A small exhibition with documentation and archaeological finds about this period has been set up in the convent’s priest’s house.

The monastery’s history begins with the Irish Gallus (c. 550-c. 620). Ireland and England are not only countries with beautiful medieval manuscripts (inspired in part by motifs of Norman culture) but also by the founders of monasteries on the European mainland. Gallus is the most revered saint in Alsace, Baden-Württemberg and Switzerland. He is also the namesake of the city and canton of St Gallen, and the Abbey of St Gallen was founded on his grave.

The abbey’s founder and the first abbot was Otmar (689-759). Otmar was from an Alemannic family. Until 746, the present-day Baden-Württemberg and the Lake Constance region were part of an Alemannic duchy. The Franks (the Merovingians and then the Carolingians) conquered and governed the area from 746, and a Frankish abbot replaced Otmar. The Frankish bishop of Constance even sentenced Otmar to death. This punishment was converted into exile to the island of Werd, where he died in 759.

The tomb and relics of Saint Otmar in the abbey of St. Gall

He was buried on the island. Ten years later, he was rehabilitated and interred in the abbey of St Gallen. In 864, he was canonised as Saint Otmar. From then on, the empty tomb on Werd became a place of pilgrimage, and a first chapel was built on the site. In 959,

Emperor Otto I (Otto the Great, 912-973) donated the island to the Benedictine monastery Einsiedeln (canton of Schwyz). In 1957, the Order of Benedictines transferred the monastery to the Order of Franciscans.

Today, with its beautiful Romanesque frescoes from the 14th century, the monastery still houses four monks, marking an uninterrupted monastic life of over 1,000 years. Every Wednesday, the monks commemorate Saint Otmar in a pilgrimage service.

The bridge to the mainland. Picture: Thurgau Bodensee

The bridge to Werd in rainy weather.

The wooden bridge has also been restored, connecting the island to the mainland as if the Romans had never left after 2,000 years. The island seems too small to get lost. But appearances can be deceiving. The labyrinth is a copy of the famous medieval labyrinth of Chartres Cathedral. It is 444 metres long, and many can wander on this small island.

(Source and further information: Kloster Werd; www.franciscan.ch; Thurgau Bodensee)

The Klosterhof of the abbey of St. Gall, statue of St. Otmar commemorating the foundation of the abbey 1,200 years ago

Sixty Years Regio Basiliensis

Regio Basiliensis is the Swiss partner for the Upper Rhine cooperation and the competence centre of choice for fostering cross-border collaboration in politics, public authorities, the economy, sciences, organisations, and the population.

The association was founded in 1963 and will celebrate its 60th anniversary on 19 June. It aims to provide incentives from the Swiss side designed to develop the Upper Rhine area into a cohesive European border region and to actively contribute to attaining this objective.

Since its founding in 1963, Regio Basiliensis has played a significant role in shaping regional cooperation in the Upper Rhine region and has contributed substantially to many of the trinational achievements and collaborations in this region.

Regio Basiliensis has a long-standing track record of involvement at the European level in numerous initiatives aimed at strengthening Europe’s regions and promoting cross-border cooperation.

(Source and further information: Regio Basiliensis)

National Museum Zurich 125 Years

The National Museum Zurich celebrates its 125th anniversary in 2023. The anniversary provides the occasion to look back on the museum’s eventful past and cast a glance into the future. The highlight of the celebrations is the anniversary weekend on June 10 and 11, featuring a public programme.

This anniversary weekend offers a diverse programme with exhibitions, workshops and special guided tours. There will be short “time journeys” into the past.

The intervention “1898-2023-2148 ” provides a glimpse into the future and can be seen exclusively during the anniversary weekend. Four school classes from the four language regions present objects from their everyday lives that could be seen in the museum in 125 years.

Saturday evening will conclude with a concert by Swiss musician Marius Bear in the museum courtyard. The National Museum dedicates Sunday to families.

(Source and further information: Landesmuseum Zürich)

The House of the Cantons

The opening of the House of Cantons (Haus der Kantone, Maison des cantons) in 2008 was a milestone in the cooperation between the 26 cantons. As a joint umbrella organisation of 13 governmental and 16 associated cantonal organisations, it functions as a centre for knowledge, discussion, and consultation.

The House of Cantons concentrates knowledge and provides a central meeting and communication infrastructure. It also facilitates cooperation between the cantons and the Confederation at the national level (government, ministries, and parliament) and promotes cooperation, dialogue, communication, and information exchange between them.

Conference of Cantonal Governments

The 26 cantons’ governments coordinate their (sometimes divergent) interests at the federal level through a four-year Conference of cantonal governments (Konferenz der KantonsregierungenKdK).

The KdK is primarily concerned with the renewal and further development of federalism, the division of tasks between the Confederation and the cantons, decision-making within the Confederation, the implementation of federal tasks by the cantons, and (early) communication on foreign and European policy.

Conference of Directors

The director’s conferences (Direktorenkonferenzen) cover the cantonal authorities’ powers (finance, education and culture, documentation, education, health, justice and police, social policy, forests, nature, landscape and climate, construction, planning and environment, public transport, economy, energy and agriculture).

Subsidiarity

In 1848, only minimal powers were granted to the Confederation. This principle is expressed in Article 3 of the Constitution: Subsidiarity requires that all public tasks not explicitly assigned to the Confederation fall within the competence of the cantons, which can delegate them in part to the municipalities.

In most cases, the cantons are also responsible for implementing federal policy and legislation. Only in international (c.q. European) relations, defence and finance, and taxation does the Confederation still hold all, or most, of the powers (as expressed by the budget).

But it is precisely here that the Council of State (the Ständerat, the parliamentary representation of the cantons at the federal level) and the cantonal referendum (Kantonsreferendum) can influence federal decisions.

Raison d’être

In many other areas, the situation is diffuse. However, the division of tasks between the Confederation and the cantons (and municipalities) has changed since 1848, and considerable powers have been transferred to the Confederation.

The reorganisation of the financial system of transfers to the cantons and the division of tasks (Neugestaltung des Finanzausgleichs und der Aufgabenteilung zwischen Bund und Kantonen, NFA) between the Confederation and the cantons came into force in 2008.

However, the cantons have also changed since 1848, both economically, religiously, and socially, as well as in terms of population density and urban-rural development.

The House of Cantons finds its raison d’être in these developments.

(Source and further information: A. Vatter, Das politische System der Schweiz, Baden-Baden, 2016; Haus der Kantone/ Maison des Cantons).

The Munot of Schaffhausen

As early as the 14th century, a fortress stood on the Emmersberg ridge in Schaffhausen. Old pictures show a mighty tower called Annot (ohne Not/without need), with a defence platform in front of it, the Zwingolf. Both were demolished after 1564 when the Munot was built.

The so-called Römerturm (Roman tower) on the Rhine slope also belonged to the older Annot. The Munotverein and the city have been maintaining the complex since 1836.

Morcote, la perla del Ceresio

Lake Lugano (Lago di Lugano) in the canton of Tessin (Ticino) is named after Lugano, the most populous city but not the canton’s capital. Lago di Lugano is also called Ceresio. This name occurs in connection with the village of Morcote, called the “la perla del Ceresio”, one of the most beautiful villages in Switzerland.

Swissminiatur, the open-air museum, and the Italian enclave Campione d’Italia are also along the lake.

The first mention of the village dates back to 926. Its name derives from morae caput, meaning the top or end of the rock. The dukes of Milan granted the village market and other rights and exempted it from tolls.

The Eidgenossen conquered Morcote in 1517 and governed it as an ‘Untertanengebiet’ (occupied territory) until 1798, when the Helvetic Republic was established (1798-1803). Since 1803, Morcote has been part of the new canton of Tessin.

Santa Maria del Sasso. The conquest of Lugano

Until the dam construction at Melide in 1847, Morcote was an important port and trading centre for goods crossing the lake to and from Lombardy. The many patrician houses, the promenade, the castle on Monte Arbostora and many monuments recall this heyday.

The church of Santa Maria del Sasso was built in several phases. The Romanesque, Renaissance, and Baroque styles indicate a long construction period spanning three centuries until the 18th century. The church was an extension of the Romanesque oratory of Sant’Antonio Abate, dating back to 1300.

Maria del Sasso

Sant’Antonio Abate

The first extension of the church took place in the 1470s. The side chapel San Carlo was built in 1581. The Santissimo Sacramento followed t in 1591, and the apse, two sacristies and the main altar in 1750-1758.

The 15th- and 16th-century frescoes are highlights of the Lombard style. Before admiring these works of art, however, 404 steps must be climbed.

The church tower can be seen from afar and is one of Tessin’s typical towers, characterised by its diverse styles and features. If you have had enough of stone, art and religious objects, you can take a short diversion to the exotic Scherrer Park with its breathtaking views of Lake Lugano and the mountain landscape or stroll along the lake promenade.

(Source and further information: Morcote, la perla del Ceresio)