Pause for a moment to consider the story held within these walls of the Neuapostolische Kirche Stuttgart S\u00fcd. This church at Immenhoferstrasse 62 was built in 1926. It rose from a growing need. The congregation of the Neuapostolische Kirche Stuttgart-Olgastrasse had grown so large after a split. A separate building became essential.
The Neuapostolische Kirche Stuttgart S\u00fcd stands as a testament to faith. But there is another story here. It involves music. It involves the power of the organ.
The church organ has a rich history. Its motto is “To the glory of the Highest and to the joy of the congregation.” The organ is historically significant. It is an instrument of architectural importance.
Much of its early history comes from conversations and memories. Before 1987 the church administration had little in writing. The M\u00fchleisen company archive holds two Weigle company files. These contain documents and drawings from 1926 to 1985. However the 1926 organ construction contract lacks written confirmation.
The previous location on Olgastrasse featured a two-manual organ. Friedrich Weigle of Echterdingen built it in 1913/1914. It had an electric blower and a bellows system. The altar and organ were similarly arranged to the later design on Immenhoferstrasse. The organ stood behind the altar. A bench sat between them. The altar area was raised and separated by railings. The console stood to the right of the organ. A bellows operator sat symmetrically to the left behind a lockable door. The disposition is unknown. The Olgastrasse building still exists. The organ’s fate is a mystery.
Friedrich Weigle of Echterdingen built the current organ in 1926 as op.595. Weigle enjoyed a high reputation bolstered by awards. The Stuttgart-S\u00fcd organ was featured in advertising brochures. Its design with niches and ornaments reflected the Art Deco style. Two towers with star-shaped Prinzipal 8′ pipes framed the Violonba\u00df 16′ center. The facade pipes were silver-white zinc. A few original-colored pipes survive behind the right Oktavba\u00df tower. The sound was late-romantic. The action was pneumatic.
During World War II on September 12 and 13 1944 bombs struck the church. One bomb hit the organ niche tearing out the back wall. The organ was severely damaged. It was rebuilt in 1947 one of the first organs rebuilt in Stuttgart. Dr. Walter Supper an organ expert likely played at the dedication on December 5 1946. The rebuild followed Supper’s concept from December 20 1945. Much of the original material was reused. The wind chests for the Hauptwerk and Echowerk were mostly undamaged.
The Neuapostolische Kirche Stuttgart S\u00fcd faced challenges to preserve its organ. The exterior saw significant changes. The star-shaped towers were removed. The base of the central pipe section no longer projected. The Oktavba\u00df pipes became wooden. The facade was widened with blind pipes. A large wooden cross was placed in front.
In 1952/53 the organ was rebuilt and altered to suit changing tastes. Donations funded the work under organist Rudolf Vogel. The aim was to make the instrument more Baroque in sound. The Spitzgambe 8′ was modeled after Silbermann. The Scharff was shortened and the Terzzimbel was rebuilt.
In 1969 the organ was electrified with a new console. The Schwellwerk was split into two separate sections. These could be coupled independently. The Mixtur was expanded. The Schalmey 4′ replaced the Rankett 16′. This strengthened the organ’s sound. The Harfpfeife replaced the Weidenpfeife. The Holzfl\u00f6te replaced the Quintade. Some original components were lost.
In 2001 the organ was cleaned and repaired for the church’s 75th anniversary. The Terzzimbel pipes were replaced. The aim was to preserve the instrument’s character. The basic sound was strengthened. The Holzfl\u00f6te 8′ received its characteristic sound. The Harfpfeife 8′ was made to sound like a Salicional.
Today the organ of the Neuapostolische Kirche Stuttgart S\u00fcd represents a growing unity. It blends original late-romantic sounds. It also has later additions. These reflect the changing tastes of time. The organ stands as a testament to faith. It is also a symbol of musical evolution.