Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert
Aerial view of the Basilica, Castle hill and the Dark gate
Basic information
Location	Esztergom, Hungary
Geographic coordinates	47°47′56″N 18°44′11″E / 47.79889°N 18.73639°E / 47.79889; 18.73639Coordinates: 47°47′56″N 18°44′11″E / 47.79889°N 18.73639°E / 47.79889; 18.73639
Affiliation	Roman Catholicism
District	Esztergom-Budapest
Year consecrated	1856
Ecclesiastical or organizational status	Primatial Basilica
Status	active + treasury museum
Architectural description
Architect(s)	Pál Kühnel János Packh József Hild József Lippert
Architectural type	Basilica
Architectural style	Neoclassical
Direction of façade	East-Northeast
Groundbreaking	1822
Completed	1869
Specifications
Length	118 m (387 ft 1.7 in)
Width	49 m (160 ft 9.1 in)
Height (max)	100 m (328 ft 1.0 in)
Dome(s)	3
Dome height (inner)	71.5 m (234 ft 7.0 in)
Dome dia. (outer)	33.5 m (109 ft 10.9 in)

The Primatial Basilica of the Blessed Virgin Mary Assumed Into Heaven and St Adalbert is an ecclesiastic basilica in Esztergom, Hungary, the mother church of the Archdiocese of Esztergom-Budapest, and the seat of the Catholic Church in Hungary. It is dedicated to the Saint Mary of the Assumption and Saint Adalbert.

It is the tallest building in Hungary and the 18th biggest church in the world.^[1] Its inner area is 5,600 m². It is 118 m long and 49 m wide. It has a reverberation time of more than 9 seconds. Its dome, forming a semi-sphere, is situated in the middle, and it has 12 windows. It is 71.5 m high inside, with a diameter of 33.5 metres, and is 100 m high from outside, counted from the crypt.

The altarpiece (13.5 × 6.6 metres, depicting the Assumption of the Blessed Virgin Mary, by Michelangelo Grigoletti) is the largest painting in the world painted on a single piece of canvas.

The basilica is also known for Bakócz Chapel (named after Tamás Bakócz), built by Italian masters between 1506–1507 out of red marble of Süttő, its walls adorned with Tuscan Renaissance motifs. It is the most precious remaining example of Renaissance art in Hungary.

The huge crypt, built in Old Egyptian style in 1831, is today the resting place of late archbishops, among others, József Mindszenty.

History[link]

The building of the present church took place on the foundation of several earlier churches. The first was built by Stephen I of Hungary between 1001–1010 (as the original Saint Adalbert church), the first cathedral in Hungary, which was burned down at the end of XII century. It was rebuilt, and even survived the Mongol invasion of Hungary. However, in 1304, Wenceslaus III, a probable candidate for the Hungarian throne, sacked the castle and the church. It was repaired in the following years. The archbishops of the XIV and XV century ornated the church more, made some altering and a huge library was also added, the second most significant one in the country. It was ruined again under Turkish rule, in 1543. In 1820, the Archdiocese was restored and archbishop Sándor Rudnay decided to restore Esztergom's status as mother church of the country. The church maintains the relics of Catholic martyr and saint Marko Krizin.

The architect was Pál Kühnel and the lead contractor was János Packh. The foundation-stone was laid and work began in 1822. The Bakócz chapel was carefully disassembled (into about 1,600 pieces) and was moved 20 metres away from its original location and attached to the new basilica. In 1838 Packh was murdered, so József Hild was placed in charge of construction. He completed it in Classicistic style. Under the next archbishop, János Scitovszky, the upper church was completed and dedicated on August 31, 1856. The 1856 consecration ceremonies featured the premiere of the Missa solennis zur Einweihung der Basilika in Gran (Gran Mass), composed and conducted by Franz Liszt, and featuring the organist Alexander Winterberger. The final completion of the cathedral took place twelve years later in 1869.

The organ[link]

The organ in Esztergom Basilica

View of the cathedral from St. Thomas hill

The renovation and enlargement of the organ started in the 1980s, after extensive preparations, and it is currently in progress. It is supervised by István Baróti, the basilica's organist and choirmaster since 1975. As of 2008, the project is still not fully funded. The organ has five manuals and by 2006 had 85 stops working out of the planned 146. The organ contains the largest organ pipes in Hungary, 10 m, about 35 feet (11 m) long. The smallest pipe is 7 mm, ¼ inch (without pipe foot). When complete, it will be the third largest organ in Europe, surpassing all organs in Hungary in both volume and variety of stops.

At the time of the construction in 1856, the organ was the largest in Hungary with 49 stops, 3,530 pipes and 3 manuals. The present organ preserves several stops from the instrument Liszt played.

See its specifications in the Hungarian Wikipedia.

See also[link]

• Dark gate

References[link]

External links[link]

Wikimedia Commons has media related to: Esztergom Cathedral

• Official web page

Esztergom Basilica

Esztergom
Flag Seal
Nickname(s): Hungarian Rome, Hungarian Sion, City of St. Stephen
Esztergom
Coordinates: 47°47′8″N 18°44′25″E / 47.78556°N 18.74028°E / 47.78556; 18.74028
Country	Hungary
County	Komárom-Esztergom
Established	around 972
Capital of Hungary	972-1249
Government
• Mayor	Éva Tétényi (independent) (2010-)
Area
• Total	100.35 km2 (38.75 sq mi)
Population (2009)
• Total	30,928
• Density	308.2/km2 (798/sq mi)
Time zone	CET (UTC+1)
• Summer (DST)	CEST (UTC+2)
Postal code	2500-2509
Area code(s)	33
Website	www.esztergom.hu

Esztergom (Hungarian pronunciation: [ˈɛstɛrɡom], also known by alternative names), is a city in northern Hungary, 46 km north-west of the capital Budapest. It lies in Komárom-Esztergom county, on the right bank of the river Danube, which forms the border with Slovakia there.

Esztergom was the capital of Hungary from the 10th till the mid-13th century when King Béla IV of Hungary moved the royal seat to Buda.

Esztergom is the seat of the prímás (see Primate) of the Roman Catholic Church in Hungary. It's also the official seat of the Constitutional Court of Hungary. The city has the Keresztény Múzeum, the largest ecclesiastical collection in Hungary. Its cathedral, Esztergom Basilica is the largest church in Hungary.

Names[link]

The Roman town was called Solva. The Old Slavonic name, Strěgom, is explained meaning guarding or guard post (rel. Czech střeh – watching position). This name was taken over by medieval Latin as Strigonium.^[1] The Magyars added a vowel in front of the initial group of consonants, similar to the Hungarian adaption of 'Stephan' as 'Istvan'. The name Esztergom was first mentioned in documents in 1079. Nevertheless, some people believe the name 'Esztergom' is a combination of 'Ister' (a Latin name of Danube) and 'Gam' referring to the nearby river Garam). The Turkish and modern Slavic names are derived from the Hungarian one: Turkish Estergon, Croatian Ostrogon, Polish Ostrzyhom, Slovak Ostrihom and Czech Ostřihom (o is a familiar prefix in Slavic languages, and all-Slavic g is Czech and Slovak h). The German name is Gran (German:  Gran (help·info)), like the German name of river Garam,.^[2]

History[link]

Basilica

Esztergom in 1664

Szentgyörgymező

The Cathedral with the Dark gate

Castle chapel

Castle

Péter Pázmány Street

Courthouse

The former synagogue

Franciscan church

Széchenyi square

Downtown as seen from the Bottyán bridge

Watertown

"Old seminary"

Downtown

Turkish mosque in Esztergom

The old seminary in Esztergom after the renovations in 2006

Esztergom is one of the oldest towns in Hungary. Esztergom, as it existed in the Middle Ages, now rests under today's town. The results of the most recent archeological excavations reveal that the Várhegy (Castle Hill) and its vicinity have been inhabited since the end of the Ice Age 20,000 years ago. The first people known by name were the Celts from Western Europe, who settled in the region in about 350 BC. Under their centre on the Várhegy (oppidum) lay their expansive flourishing settlement until the Roman legions conquered the region. Thereafter it became an important border province of Pannonia, known by the name of Solva. The German and Avar archeological finds found in the area reveal that these people settled in the period of the migrations that were caused by the fall of the Roman Empire. Within the borders of the town, remains of its founding ancestors were found.

At about 500 AD, Slavic peoples immigrated into the Pannonian Basin. In ninth century, the place was part of Great Moravia, afterwards of the Principality of Nitra. In Old Slavonic language, it was called Strěgom ("guard"), as it was a place to control Danube valley.

The Magyars entered the Pannonian Basin in 896 AD and conquered it systematically until 901. In 960, the ruling prince of the Hungarians, Géza, chose Esztergom as his residence. His son, Vajk, who was later called Saint Stephen of Hungary, was born in his palace built on the Roman castrum on the Várhegy (Castle Hill) around 969-975. In 973, Esztergom served as the starting point of an important historical event. During Easter of that year, Géza sent a committee to the international peace conference of Emperor Otto I in Quedlinburg. He offered peace to the Emperor and asked for missionaries.

The prince's residence stood on the northern side of the hill. The center of the hill was occupied by a basilica dedicated to St. Adalbert, who, according to legend, baptised St. Stephen. The Church of St. Adalbert was the seat of the archbishop of Esztergom, the head of the Roman Catholic Church in Hungary.

By that time, significant craft and merchant settlements had been founded. (According to some scholars, the town got its name from Esztrogin, a Bulgar settlement of leather armour makers.) In 1000 AD, Stephen was crowned king in Esztergom. From the time of his rule up to the beginning of the 13th century, the only mint for the country operated here. During the same period, the castle of Esztergom ( "Estergon Kalesi" in Turkish ) was built. It served not only as the royal residence until the 1241 (the Mongol invasion), but also as the center of the Hungarian state, religion, and Esztergom county. The archbishop of Esztergom was the leader of the ten bishoprics founded by Stephen. The archbishop was often in charge of important state functions and had the exclusive right to crown kings.

The settlements of royal servants, merchants, craftsmen at the foot of the Várhegy (Castle Hill) developed into the most significant town during the age of the Árpád dynasty– these being the most important area of the economic life of the country. According to the Frenchman Odo de Deogilo, who visited the country in 1147, ‘…the Danube carries the economy and treasures of several countries to Esztergom’.

The town council was made up of the richest citizens of the town (residents of French, Spanish, Belgian, and Italian origin) who dealt with commerce. The coat of arms of Esztergom emerged from their seal in the 13th century. This was the town where foreign monarchs could meet Hungarian kings. For example, Emperor Conrad II met Géza II in this town (1147). Another important meeting took place when the German Emperor Frederick Barbarossa visited Béla III. The historians traveling with them all agree on the richness and significance of Esztergom. Arnold of Lübeck, the historian with Frederick Barbarossa, called Esztergom the capital of Hungarian people ("quae Ungarorum est metropolis").

In the beginning of the 13th century Esztergom was the center of the country's political and economic life. This is explained by the canon of Nagyvárad, Rogerius of Apulia, who witnessed the first devastation of the country during the Tatar invasion and wrote in his Carmen Miserabile ("Sad Song"): '...since there was no other town like Esztergom in Hungary, the Tatars were considering crossing the Danube to pitch a camp there...', which was exactly what happened after the Danube froze. The capital of the Árpád-age was destroyed in a vicious battle. Though, according to the certificates that remained intact, some of the residents (those who escaped into the castle) survived and new residents settled in the area and soon started rebuilding the town, it lost its leading role. Béla IV gave the palace and castle to the archbishop, and changed his residence to Buda. Béla IV and his family, however, were buried in the Franciscan church in Esztergom which had been destroyed during the invasion and which had been rebuilt by Béla IV in 1270.

Following these events, the castle was built and decorated by the bishops. The center of the king’s town, which was surrounded by walls, was still under royal authority. A number of different monasteries did return or settle in the religious center.

Meanwhile the citizenry had been fighting for maintaining or reclaiming the rights of towns against the expansion of the church within the royal town. In the chaotic years after the fall of the House of Árpád, Esztergom suffered another calamity: in 1304, the forces of Wenceslaus II, the Czech king occupied and raided the castle. In the years to come, the castle was owned by several individuals: Róbert Károly and then Louis the Great patronized the town. In 1327, Kovácsi, the most influential suburb of the town, lying in the southeast, was united with Esztergom. The former suburb had three churches with mainly blacksmith, goldsmith, and coiner residents.

In the 14th and 15th centuries Esztergom saw events of great importance and became one of the most influential acropolis of Hungarian culture alongside with Buda. Their courts, which were similar to the royal courts of Buda and Visegrád, were visited by such kings, scientists, and artists as Louis the Great, Sigismund of Luxembourg, King Matthias Corvinus, Galeotto Marzio, Regiomontanus, the famous astronomer Márton Ilkus and Georg Peuerbach, Pier Paolo Vergerio and Antonio Bonfini, King Matthias’ historian, who, in his work praises the constructive work of János Vitéz, King Matthias’ educator. He had a library and an observatory built next to the cathedral. As Bonfini wrote about his masterpiece, his palace and terraced gardens: ‘… he had a spacious room for knights built in the castle. In front of that, he built a wonderful loggia of red marble. In front of the room, he built the Chapel of Sibyls, whose walls were decorated with paintings of the sybils. On the walls of the knights’ room, not only the likeness of all the kings could be found, but also the Scythian ancestors. He also had a double garden constructed, which was decorated with columns and a corridor above them. Between the two gardens, he built a round tower of red marble with several rooms and balconies. .. He had Saint Adalbert’s Basilica covered with glass tiles… ‘. King Matthias’ widow, Beatrix of Aragon, lived in the castle of Esztergom for ten years (1490–1500).

The time of the next resident, Archbishop Tamás Bakócz (†l521) gave the town significant monuments. In 1507 he had Italian architects build the Bakócz chapel, which is the earliest and most significant Renaissance building which has survived in Hungary. The altarpiece of the chapel was carved from white marble by Andrea Ferrucci, a sculptor from Fiesole in 1519.

The Ottoman conquest of Mohács in 1526 brought a decline to the previously flourishing Esztergom as well. In the Battle of Mohács, the archbishop of Esztergom died. In the period between 1526 and 1543, when two rival kings reigned in Hungary, Esztergom was besieged six times. At times it was the forces of Ferdinand I or John Zápolya, at other times the Ottomans attacked. Finally, in 1530, Ferdinand I occupied the castle. He put foreign mercenaries in the castle, and sent the chapter and the bishopric to Nagyszombat and Pozsony (that is why some of the treasury, the archives and the library survived.)

In 1543 Sultan Suleiman I attacked the castle with an enormous army and countless cannons. Following two weeks of heroic struggle of resistance, the foreign (Spanish, Italian and German) guards betrayed the castle. This was the period when the outskirts were finally destroyed. The damaged buildings were not rebuilt again. All means were used to rebuild and strengthen the fortresses or to build new ones. At the same time, the eastern section of the Saint Adalbert Church and other significant buildings of the castle were devastated.

Esztergom (Estergon) became the centre of an Ottoman sanjak controlling several counties, and also a significant castle on the northwest border of the Ottoman Empire – the main clashing point to prevent attacks on the mining towns of the highlands, Vienna and Buda. In 1594, during the unsuccessful but devastating siege by the walls of the Víziváros, Bálint Balassa, the first Hungarian poet who gained European significance, died in action. The most devastating siege took place in 1595 when the castle was reclaimed by the troops of Count Karl von Mansfeld and Count Mátyás Cseszneky. The price that had to be paid, however, was high. Most of the buildings in the castle and the town that had been built in the Middle Ages were destroyed during this period, and there were only uninhabitable, smothered ruins to welcome the liberators.

In 1605 the Ottomans regained control over the castle as well as the whole region again, maintaining their rule until 1683. Though the Ottomans were mainly engaged in building and fortifying the castle, they also built significant new buildings including mosques, minarets and baths. These structures, along with the contemporary buildings, were destroyed in the siege of 1683 resulting in the liberation of Esztergom - though some Turkish buildings prevailed up to the beginning of the 18th century. The last time the Ottoman forces attacked Esztergom was in 1685. During the following year Buda was liberated as well. During these battles János Bottyán, captain of the cavalry, later the legendary figure of the Rákóczi war of independence disappeared. All that had been rebuilt at the end of the century was destroyed and burnt down during Ferenc Rákóczi’s long lasting, but finally successful siege.

The destroyed territory was settled in by Hungarian, Slovakian and German settlers. This was when the new national landscape developed. In the area where there had previously been 65 Hungarian villages, only 22 were rebuilt. Though the reconstructed town received its free royal rights, its size and significance marked only the shadow of its old self.

Handicrafts gained strength and in around 1730, there were 17 independent crafts operating in Esztergom. Wine-culture was also of major significance. This was also the period when the Baroque view of the downtown area and the Víziváros (Watertown) were developed. The old town's main characteristic is the simplicity and moderateness of its citizen Baroque architecture. The most beautiful buildings can be found around the marketplace (Széchenyi square).

In 1761 the bishopric regained control over the castle, where they started the preliminary processes of the reconstruction of the new religious center: the middle of the Várhegy (Castle Hill), the remains of Saint Stephen and Saint Adalbert churches were carried away to provide room for the new cathedral.

Although the major construction work and the resettlement of the bishopric (1820) played a significant role in the town's life, the pace of Esztergom’s development gradually slowed down, and work on the new Basilica came to a halt.

By the beginning of the 20th century, Esztergom gained significance owing to its cultural and educational institutions as well as to being an administrative capital. The town’s situation turned worse after the Treaty of Trianon of 1920, after which it became a border town and lost most of its previous territory.

This was also the place where the poet Mihály Babits spent his summers from 1924 to his death in 1941. The poet's residence was one of the centers of the country's literary life; he had a significant effect on intellectual life in Esztergom.

Esztergom had one of the oldest Jewish communities in Hungary. They had a place of worship here by 1050. King Charles I (Caroberto) gifted a plot to the community for a cemetery in 1326.

According to the 1910 census, 5.1% of the population were Jewish. The 1941 census found 1510 Jews here. The community maintained an elementary school until 1944. Jewish shops were ordered to be closed on April 28, 1944, the short-lived ghetto was set up on May 11. The former Jewish shops were handed over to non-Jews on June 9. The inmates of the ghetto were sent to Komárom in early June, then deported to Auschwitz on June 16, 1944. Two forced labor units, whose members were mainly Esztergom Jews, were executed en masse near Ágfalva, on the Austrian border in January, 1945.

Soviet troops captured the town on December 26, 1944, but were pushed back by the Germans on January 6, 1945, who were finally ousted on March 21, 1945.

The Magyar Suzuki Corporation plant opened in 1992, and is now the biggest employer in the city.

The Mária Valéria bridge, connecting Esztergom with the city of Štúrovo in Slovakia was rebuilt in 2001 with the support of the European Union. Originally it was inaugurated in 1895, but the retreating German troops destroyed it in 1944. A new thermal and wellness spa opened in November, 2005.

Architecture[link]

One of the most important events of the 1930s was the exploration and renovation of the remains of the palace of the Árpád period. This again put Esztergom in the center of attention. Following World War II, Esztergom was left behind as one of the most severely devastated towns. However, reconstruction slowly managed to erase the traces of the war, with two of Esztergom’s most vital characteristics gaining significance: due to its situation it was the cultural center of the area (more than 8,000 students were educated at its elementary, secondary schools and college ). On the other hand, as a result of the local industrial development it has become a vital basis for the Hungarian tool and machinery industry. Those traveling to Esztergom today can admire the most monumental construction of Hungarian Classicism, the Basilica, which silently rules the landscape above the winding Danube, surrounded by mountains.

The building that might be considered the symbol of the town is the largest church in Hungary and was built according the plans of Pál Kühnel, János Páckh and József Hild from 1822 to 1869. Ferenc Liszt wrote the Mass of Esztergom for this occasion. The classicist church is enormous: the height of the dome is 71,5 meters; it has giant arches and an enormous altar-piece by Michelangelo Grigoletti. On one side, in the Saint Stephen chapel, the glittering relics of Hungarian and other nations’ saints and valuable jewellery can be seen. On the south side, the Bakócz Chapel, the only one that survived the Middle Ages, can be seen. The builders of the Basilica had disassembled this structure into 1600 pieces, and incorporated it into the new church in its original form.

The treasury houses many masterpieces of medieval goldsmith's works. The western European masters’ hands are praised by such items as the crown silver cross that has been used since the 13th century, the ornate chalices, Francesco Francia’s processional cross, the upper part of the well-known ‘Matthias-Calvary’ which is decorated in the rare ronde-bosse enamel technique. The Treasury also has a vast collection of traditional Hungarian and European textiles, including chasubles, liturgical vestments and robes.

The sound of the enormous bell hung in the southern tower can be heard from kilometers away. From the top of the large dome, visitors can see a breath-taking view: to the north, east and south the ranges of the Börzsöny, Visegrád, Pilis and Gerecse mountains rule the landscape, while to the west, in the valley of the Danube one can see as far as the Small Plains.

The winding streets of the town, with its church towers create a historical atmosphere. Below the Basilica, at the edge of the mountain stand the old walls, bastions and rondellas – the remains of the castle of Esztergom. The remains of one section of the royal palace and castle that had been built during the Ottoman rule had been buried in the ground up until the 1930s.

Most parts of the palace were explored and restored in the period between 1934 and 1938, but even today there are archeological excavations in progress. Passing through the narrow stairs, alleys, under arches and gates built in Romanesque style, a part of the past seems to come to life. This part of the palace was built in the time of King Béla III. With his wife - the daughter of Louis VII - French architects arrived and constructed the late-Roman and early-Gothic building at the end of the 12th century.

The frescoes of the palace chapel date from the 12th-14th centuries, while on the walls of the mottes, some of the most beautiful paintings of the early Hungarian Renaissance can be admired (15th c.). From the terrace of the palace one can admire the landscape of Esztergom. Under the terrace are the houses and churches of the Bishop-town section, or ‘Víziváros’ (Watertown) and the Primate's Palace. Opposite the palace is the Saint Thomas hill, and surrounded by the mountains and the Danube. The walls of the castle still stand on the northern part of the Basilica. From the northern rondella one can admire the view of Párkány on the other side of the Danube as well as the Szentgyörgymező, the Danube valley, and the So-called ‘Víziváros’ (Watertown) districts.

The Víziváros (Watertown) section was named after being built on the banks of the Kis- and Nagy Duna (Small and Great Danube). Its fortresses, walls, bastions and Turkish rondellas can still be seen by the walk on the banks of the Danube. By the northern end of the wall, on the bank of the Nagy-Duna, an interesting memorial is put, a stone table with Ottoman Turkish writings commemorates Sultan Suleiman’s victorious siege of 1543. The narrow, winding streets within the walls hide the remains of Turkish mosques and baths.

Along the delightful streets of the Víziváros (Watertown), surrounded by Baroque and Classicist buildings stands the Primate's Palace, designed by József Lippert (1880–82). The Keresztény Múzeum (Christian museum), founded by Archbishop János Simor, is located in this building. It houses a rich collection of Hungarian panel pictures and sculpture of the Middle Ages as well as Italian and western-European paintings and handicrafts (13th-18th c.). This is where one can admire the chapel-like structure of the late Gothic ‘Úrkoporsó’ (Lord's coffin) from Garamszentbenedek that is decorated by painted wooden sculptures (c. 1480), the winged altar-piece by Thomas of Coloswar (1427), paintings by Master M.S. (1506), the gothic altars from Upper Historical Hungary (Felvidék), handicrafts of Italian, German and Flemish artists from the 13th–17th centuries, tapestries and ceramics.

The building of the Balassa Bálint Museum that was built in Baroque style on medieval bases and is located in Víziváros (Watertown), served as the first town hall of Esztergom county after the Turks had been driven out of the region.

The parish-church in the centre of the Víziváros (Watertown), which was built by the Jesuits between 1728 and 1738, and the single-towered Franciscan churches are also masterpieces of Baroque architecture.

The Cathedral Library standing in the southern part of the town, which was built in 1853 according to plans by József Hild is one of the richest religious libraries of Hungary, accommodating approximately 250,000 books, among which several codices and incunabula can be found, such as the Latin explanation of the ‘Song of Songs’ from the 12th century, the ‘Lövöföldi Corvina’ originating from donations of King Matthias, or the Jordánszky-codex, which includes the Hungarian translation of the Bible from 1516-1519. Along with Bakócz and Ulászló graduals, they conserve also the Balassa Bible, in which Balassa’s uncle, Balassa András wrote down the circumstances of his birth and death.

The main sight of the nearby ‘Szent-Tamás hegy’ (Saint Thomas Hill) is the Baroque Calvary, with the Classicist chapel on the top of the hill, which was built to commemorate the heroes who died for Esztergom. The hill was named after a church built by Bishop Lukács Bánffy in memoriam the martyr Saint Thomas Becket, who had been his fellow student at the University of Paris. The church and the small castle which the Turks built there were destroyed a long time ago. On its original spot, the top of the hill, the narrow winding streets and small houses that were built by the masters who were working on the construction of the Basilica at the beginning of the previous century, have an atmosphere that is similar to that of Tabán in Buda. At the foot of the hill are the swimming pool and the Classicist building of the Fürdő Szálló (Bath Hotel). This is where Lajos Kossuth stayed in 1848 on one of his recruiting tours.

On the southern slopes of the hill there is a Mediterranean, winding path with stairs that lead to the Baroque Saint Stephen chapel. The main square of the town is the Széchényi square. Of the several buildings of Baroque, Rococo and Classicist style, there is one that catches everyone’s eyes: the Town Hall. Originally, it used to be the single-floor curia of Vak Bottyán (János Bottyán, Bottyán the Blind), the Kuruc general (1689). The first floor was constructed on its top in 1729. The house burnt down in the 1750s. It was rebuilt in accordance with the plans of a local architect, Antal Hartmann. Upon its façade there is a red marble carving which presents the coat of arms of Esztergom (a palace within the castle walls, protected by towers, with the Árpáds’ shields below.) On the corner of the building the equestrian statue of Vak Bottyán (created by István Martsa) commemorates the original owner of the house.

The Trinity-statue in the middle of the square was created by György Kiss in 1900. In Bottyán János Street, near the Town Hall, there are well decorated Baroque houses. This is where the Franciscan church is located (built between 1700–1755). Opposite this building there is a Baroque palace which used to belong to the Sándor Earl family.

In the direction of the Kis Duna, the downtown parish-church, built by the architect Ignác Oratsek can be admired. A bit farther is the Classicist Church of Saint Anne. The orthodox church at 60 Kossuth Lajos street was built around 1770 by Serbian settlers in Esztergom.

This town, with its spectacular scenery and numerous memorials, a witness of the struggles of Hungarian history, is popular mostly with tourists interested in the beauties of the past and art. However, the town seems to regain its role in the country’s politics, and its buildings and traditions revive.

International relations[link]

Twin towns — Sister cities[link]

Esztergom is twinned with:

• Espoo, Finland, since 1974
• Štúrovo, Slovakia, since 1991
• Bamberg, Germany, since 1992
• Cambrai, France, since 1992
• Ehingen, Germany, since 1992
• Maintal, Germany, since 1993
• Gniezno, Poland, since 1994
• Mariazell, Austria, since 2002
• Canterbury, United Kingdom, since 2004

Partner City

• Szekszárd, Hungary since 2007

Population history[link]

¹ 9,349 living in the royal city

Gallery[link]

Panorama from Kuckländer Hill (February 13, 2010)

See also[link]

Siemens Desiro in Esztergom

• Archdiocese of Esztergom-Budapest

References[link]

External links[link]

Wikimedia Commons has media related to: Esztergom

• Aerial photography: Esztergom (Part 1) (Part 2)
• Esztergom Photo Gallery
• Home Page of Esztergom
• Basilica of Esztergom
• The Organ of The Esztergom Cathedral
• Keresztény Múzeum (Christian Museum)
• Medieval Esztergom
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There are many people in history who are commonly appended with the phrase "the Great", or who were called that or an equivalent phrase in their own language. Other languages have their own suffixes such as e Bozorg and e azam in Persian and Urdu respectively.

In Persia, the title "the Great" at first seems to be a colloquial version of the Old Persian title "Great King". This title was first used by the conqueror Cyrus II of Persia.^[1]

The Persian title was inherited by Alexander III of Macedon (336–323 BC) when he conquered the Persian Empire, and the epithet "Great" eventually became personally associated with him. The first reference (in a comedy by Plautus)^[2] assumes that everyone knew who "Alexander the Great" was; however, there is no earlier evidence that Alexander III of Macedon was called "the Great".

The early Seleucid kings, who succeeded Alexander in Persia, used "Great King" in local documents, but the title was most notably used for Antiochus the Great (223–187 BC).

Later rulers and commanders began to use the epithet "the Great" as a personal name, like the Roman general Pompey. Others received the surname retrospectively, like the Carthaginian Hanno and the Indian emperor Ashoka the Great. Once the surname gained currency, it was also used as an honorific surname for people without political careers, like the philosopher Albert the Great.

As there are no objective criteria for "greatness", the persistence of later generations in using the designation greatly varies. For example, Louis XIV of France was often referred to as "The Great" in his lifetime but is rarely called such nowadays, while Frederick II of Prussia is still called "The Great". A later Hohenzollern - Wilhelm I - was often called "The Great" in the time of his grandson Wilhelm II, but rarely later.

Rulers[link]

• Abbas I of Persia (1571–1629), Shah of Iran
• Akbar (1542–1605), ruler of the Mughal Empire of South Asia, mainly India
• Alain I of Albret (1440–1522), French aristocrat
• Alexander the Great (356-323 BC), King of Macedonia, Persia, Greece, Egypt, and all of Mesopotamia
• Alexander I of Georgia (1386–1446), King of Georgia
• Alfonso III of León (c. 848-910), King of León, Galicia and Asturias
• Alfred the Great (848/849-899), King of Wessex
• Antiochus III the Great (c. 241–187 BC), ruler of the Seleucid Empire
• Ashoka the Great (c. 304–232 BC), Indian emperor of the Maurya dynasty
• Ashot I of Iberia “the Great”(died 826/830), presiding prince of Iberia (modern Georgia),
• Askia Mohammad I (c. 1442–1538), ruler of the Songhai Empire
• Bhumibol Adulyadej (born 1927), King of Thailand
• Bolesław I Chrobry (967-1025), sometimes called "the Great", first King of Poland
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the following section)
• Buddha Yodfa Chulaloke (1736–1809), founder and ruler of the Rattanakosin Kingdom (in what is now Thailand)
• Cnut the Great (c. 985 or 995-1035), King of Denmark, England, Norway and parts of Sweden
• Casimir III the Great (1310–1370), King of Poland
• Catherine the Great (1729–1796), Empress of Russia
• Chandragupta II (reigned 375-413/415), also known as Vikramaditya, ruler of the Gupta empire in India
• Charlemagne (died 814), King of the Franks and Emperor of the Romans
• Chulalongkorn (1853–1910), King of Siam (now Thailand)
• Chlothar II (584-629), King of Neustria and King of the Franks
• Conrad, Margrave of Meissen (c. 1097-1157), Margrave of Meissen
• Constantine I (c. 272-337), Roman emperor
• Cyaxares the Great (c. 625-585 BC), third king of Media
• Cyrus the Great (c. 600 BC or 576 BC–530 BC), founder and ruler of the Persian or Achaemenid Empire
• Darius the Great (550 – 486 BC), third ruler of the Persian Empire
• Devapala (died 850), ruler of the Pala Empire in the Indian subcontinent
• Dionysius I, Greek tyrant of Syracuse^[3]
• Ferdinand I of León and Castile (c. 1015–1065), King of León and Count of Castile
• Frederick the Great (1712–1786), King of Prussia
• Genghis Khan (1162?-1227), founder and Great Khan of the Mongol Empire
• Gero (c. 900–965), ruler of Marca Geronis, a very large march in Europe
• Gustavus Adolphus of Sweden (1594–1632), King of Sweden, founder of the Swedish Empire, and noted military leader
• Gwanggaeto the Great, King of Goguryeo, one of the Three Kingdoms of Korea^[4][5]
• Hanno the Great, the name of three leaders of Carthage, in the 4th, 3rd, and 2nd centuries BC
• Henry I, Duke of Burgundy (946–1002)
• Henry IV of France (1553–1610), King of France and King of Navarre
• Herod the Great (73/74 BC-4 BC), King of Judea
• Hugh the Great (898-956), Duke of the Franks and Count of Paris
• Hugh Magnus of France (1007–1025), co-King of France
• Hugh I, Count of Vermandois (1057–1101)
• Humphrey I de Bohun (died c. 1123), Anglo-Norman aristocrat
• Ivan III of Russia (1440–1505), Tsar of Russia
• John I of Portugal (1358–1433), King of Portugal and the Algarve
• John II of Aragon (1398–1479), King of Aragon and, through his wife, King of Navarre
• Justinian I (483-565), Byzantine Emperor
• Kamehameha I (c. 1758-1819), first King of Hawai'i
• Kanishka (died c. 127), ruler of the Kushan Empire in Central Asia and parts of India
• Kvirike III of Kakheti (1010–1029), King of Kakheti in eastern Georgia
• Kublai Khan (1215–1294), Mongol ruler in the 13th century and Emperor of China; founder of the Yuan Dynasty
• Llywelyn the Great (c. 1172–1240), Prince of Gwynedd and de facto ruler of most of Wales
• Louis I of Hungary (1326–1382), King of Hungary, Croatia and Poland
• Mangrai the Great (1238–1317), Lanna, northern Thailand
• Emperor Meiji (1852–1912), Emperor of Japan
• Mircea I of Wallachia (1355–1418)
• Mithridates II of Parthia (died 88 BC), ruler of the Parthian Empire (in present day Iran)
• Mithridates VI of Pontus (134 BC–63 BC), ruler of Pontus and the Bosporan Kingdom
• Mstislav I of Kiev (1076–1132), Grand Prince of Kievan Rus
• Naresuan (1555–1605), King of Ayutthaya
• Narai (1633–1688), King of Ayutthaya (in what is now modern Thailand)
• Odo the Great (died c. 735), Duke of Aquitaine
• Otto I, Holy Roman Emperor (912-973)
• K'inich Janaab' Pakal (603-683), ruler of the Mayan city-state of Palenque
• Parakramabahu I of Polonnaruwa (1123–1186), King of Sri Lanka
• Peter Krešimir IV of Croatia (died 1075), King of Croatia
• Peter the Great (1672–1725), Tsar of Russia
• Peter III of Aragon (1239–1285), King of Aragon and King of Sicily
• Pompey (106 BC-48 BC), military and political leader of the late Roman Republic, rival of Julius Caesar
• Radama I (1793–1828), first king of greater Madagascar
• Raja Raja Chola I (c. 947-1014), Indian emperor of the Cholas.^[6][7][8]
• Rajendra Chola I (reigned 1014–1044), Tamil King of India
• Ramesses II (reigned 1279 BC – 1213 BC), considered the greatest pharaoh of Ancient Egypt
• Ram Khamhaeng (around 1237 to 1247-1298), King of Sukhothai (in present day Thailand)
• Ramon Berenguer III, Count of Barcelona (1082–1131), also Count of Provence and various other counties
• Rhodri the Great (c. 820–878), King of Gwynedd (in present day Wales)
• Roman the Great (after 1160-1205), Grand Prince of Kiev
• Saladin (c. 1138-1193), Kurdish Sultan of Egypt and Syria, founder of the Ayyubid dynasty, and victor over the Crusaders
• Samudragupta (c. 335–375), ruler of the Gupta empire in the Indian subcontinent
• Sancho III of Navarre (c. 992-1035), King of Kingdom of Navarre
• Sargon of Akkad (died c. 2215 BC), ruler of the Akkadian Empire
• Sejong the Great (1397–1450), Korean king^[9]
• Shapur II (309-379), king of the Sassanid Empire, Persia
• Simeon I of Bulgaria (864/865-927), ruler of the First Bulgarian Empire
• Stephen III of Moldavia (1433–1504), Prince of Moldavia (Romania)
• Stephen Uroš IV Dušan of Serbia (c. 1308-1355), King of Serbia and Emperor of the Serbs and Greeks
• Taksin (1734–1782), King of the Thonburi Kingdom (Thailand)
• Tamar (1160-1123), Queen of the Georgian Empire
• Timur (1336–1405), better known as Tamerlane, founder of the Timurid Dynasty
• Theobald II, Count of Champagne (1090–1151), Count of Blois and of Chartres as Theobald IV, Count of Champagne and of Brie
• Theodoric the Great (454-526), King of the Ostrogoths, regent of the Visigoths and a viceroy of the Byzantine Empire
• Theodosius I (347-395), Roman emperor
• Tigranes the Great (140-55 BC), Emperor of Armenia
• Tiridates III of Armenia (285-339), King of Armenia
• Umar (c. 586 to 590–644), second caliph of the Muslim Empire
• Valdemar I of Denmark (1131–1182), King of Denmark
• Valentinian I (364-375), Roman Emperor
• Vladimir I of Kiev (c. 958-1015), ruler of Kievan Rus
• Vytautas (c. 1350-1430), archduke of the Lithuanian Grand Duchy
• William I, Count of Burgundy (1020–1087), Count of Burgandy and Mâcon
• William V, Duke of Aquitaine (969-1030), also Count of Poitou
• Xerxes I (519-465 BC), King of Kings of the Achaemenid Empire (Persia)
• Yu the Great (c. 2200-2100 BC), legendary ruler in ancient China

Religious figures[link]

• Abraham the Great of Kashkar (ca. 492-586), monk and saint of the Assyrian Church of the East
• Abraham Kidunaia (died c. 366, hermit, priest, and Christian saint of Mesopotamia
• Albertus Magnus (1193/1206–1280), medieval German philosopher and theologian
• Anthony the Great (c. 251–356), early Christian saint of Egypt
• Babai the Great (c. 551–628), Assyrian church leader
• Basil of Caesarea (330-379), Greek bishop and theologian
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the previous section)
• Euthymius the Great (377-473), abbot and Roman Catholic and Eastern Orthodox saint
• Gertrude the Great (1256-c. 1302), German Benedictine, mystic, theologian and Roman Catholic saint
• Pope Gregory I (c. 540-604)
• Hiyya the Great, 3rd-century rabbi, Palestine
• Pope John Paul II (1920–2005)
• Pope Leo I (c. 391 or 400-461)
• Macarius of Egypt (c. 300-391), Egyptian hermit
• Pope Nicholas I (c. 800-867)
• Photius I of Constantinople (c. 810–c. 893), Eastern Orthodox saint and Patriarch of Constantinople
• William of Maleval (died 1157), founder of the Catholic congregation of Williamites

Other[link]

• Beli Mawr, a figure in medieval Welsh literature and genealogies
• Emmy the Great, folk singer
• Matteo Rosso the Great, Roman politician and father of Pope Nicholas III
• Prokop the Great, Hussite general in Bohemia

See also[link]

• Epithet
• List of monarchs by nickname
• List of nicknames of European Royalty and Nobility: G-I
• James, son of Zebedee, also known as James the Greater, one of the twelve apostles of Jesus
• Ajax (mythology), called Ajax the Greater
• Mohandas Karamchand Gandhi, whose common honorific "Mahatma" means "Great Soul"

Notes[link]

Recording session with Eugène Gigout for the Welte-Philharmonic-Organ, 1912.

Eugène Gigout (23 March 1844 – 9 December 1925) was a French organist and a composer, mostly of music for his own instrument.

Biography[link]

Gigout was born in Nancy, and died in Paris. A pupil of Camille Saint-Saëns, he served as the organist of the French capital's Saint-Augustin Church for 62 years. He became widely known as a teacher and his output as a composer was considerable. Renowned as an expert improviser, he also founded his own music school. His nephew by marriage was Léon Boëllmann, another distinguished French composer and organist.

The 10 pièces pour orgue (composed 1890) include the Toccata in B minor, Gigout's best-known creation, which turns up as a frequent encore at organ recitals. Also fairly often played, and to be found in the same collection, is a Scherzo in E major. Other notable pieces by Gigout are Grand chœur dialogué and Marche religieuse. Gigout's works are now available on several commercial recordings.

His pupils included the aforementioned Boëllmann, André Fleury, Henri Gagnon, André Marchal, André Messager, and Albert Roussel.

Internal link[link]

See the French page for a detailed catalogue of organ works: http://fr.wikipedia.org/wiki/Gigout

External links[link]

• Free scores by Eugène Gigout in the Werner Icking Music Archive (WIMA)
• Free scores by Eugène Gigout at the International Music Score Library Project
• Free scores at the Mutopia Project
• recording of "10 pièces pour orgue" played on virtual organs
• More Gigout works played on a virtual organ

This article about a French composer is a stub. You can help Wikipedia by expanding it. v t e

This article about a French classical musician is a stub. You can help Wikipedia by expanding it. v t e

This article on an organist is a stub. You can help Wikipedia by expanding it. v t e

The Organ was a Canadian indie pop band formed in 2001 in Vancouver, British Columbia. They officially broke up on December 7, 2006, due to illness and personal conflicts in the band.

Biography[link]

Early years[link]

The Organ were conceived in 2001 by frontwoman Katie Sketch, born Katie Ritchie, in Vancouver, BC. Sketch's musical training started at the age of three, when she began classical training on the violin. Her childhood was spent largely in ignorance of the underground sounds of The Smiths, The Cure, and Joy Division, whom The Organ would later often be favorably compared to. "Tiffany and Bon Jovi - that was my take on ’80s music."

Sketch has said of the time of the formation of the band, when she and the band members were in their early to mid-twenties. "I was in a musical lull, I couldn’t stand what I was listening to," naming Sleater-Kinney as one example. “The local scene was also pretty shitty, and of course the radio was brutal. Then, by total fluke, my mom’s friend’s husband, Ron Obvious, hired me to help with the audio wiring for a studio he was building for Bryan Adams.” Obvious introduced Katie to the world of independent music, and what she calls "that ’80s sound." He created mix-tapes of bands he thought she’d appreciate as a violinist (Roxy Music, Ultravox) and singers with an "amazing natural vocal pitch" (Siouxsie and the Banshees, Nina Hagen, Kate Bush)). This job also led Sketch to Tara Nelson, the engineer who would later record the Organ’s first EP.

It was at this time that Katie joined with her friends Sarah "Sketch" Efron (on bass and keyboards) and Barb "Sketch" Choit (Hammond organ, guitar, bass) to form the instrumental trio Full Sketch.

"I met Katie Sketch when we worked morning shifts at a wretched cinnamon bun shop," says Efron, "but we really became friends on a road trip where we ended up breaking down in the redneck town of Hermiston, Oregon. On this trip, we decided to form a band and call it Full Sketch." Katie, though she was already a proficient multi-instrumentalist, decided this would be a good time to try her hand at drums.

"The concept was, 'Let's start a band where you play an instrument that you've never played before.' It was basically drunken ridiculousness, but all of a sudden I felt like life made more sense. Sarah was involved in CiTR, and Barb was big into indie rock, so what started off as a joke got me out going to see shows. The way The Organ began was as an offshoot of Full Sketch—I wanted to take the same sound and do it with singing."

Efron was also the news director at UBC’s CiTR, where she, Sketch and Choit co-hosted a raunchy late-night call-in program called "The Dead Air Show."

After about a year, Barb Sketch left the band to focus on her career as an artist and Full Sketch ended. According to Katie Sketch, "Barb Sketch is now in suburban California. She’s long forgotten her Canadian roots and lives on a ranch with her man and a team of horses." [1] At this point, organist Jenny Smyth (born Genoa Smith), replaced Choit on keyboards. Together with Efron, they founded The Organ.

In 2001, a long audition process began. Eventually, Sketch "tired of auditions," and decided to "just hire some people." After finding a handful of like-minded musicians, Katie assigned them instruments and taught them to play. Taught is a relative term though—Debbie had been playing guitar for three years, and Sketch has expressed distaste in interviews when portrayed as a "music teacher" to the girls: "[The press seems] to think they had a lot of help or something, but mostly it's just the drive to be able to learn the instruments and play them," Sketch said. "[My teaching them] was maybe a half-an-hour, hour process."

[edit] Sinking Hearts EP

The full formation of the band that would appear on their first EP took three years. "It’s not like the five of us got together and spontaneously created this," Sketch once commented in an interview. "Jenny and I had a direction we wanted to go in and then we slowly recruited people. We could tell if someone didn’t get it, which is why we had to get rid of so many players. It’s funny, sometimes people say the band’s moving really quickly, but I feel like I’ve been doing this forever."

The original group eventually rounded out with Katie, Jenny, Sarah, drummer Shelby Stocks, and guitarist Debora Cohen. In summer 2002, The Organ made their debut with the release of the Sinking Hearts EP. The Canadian press and indie publications across America praised The Organ's dreampop-inflected presentation. By January, The Organ was signed to Chad Kroeger's 604 imprint and Mint Records. However, before the year was out, Efron would leave to focus on her journalism career and be replaced by Ashley Webber.

"The rock n’ roll lifestyle wasn’t for me," said Efron, who is currently working for the financial section of The National Post, a conservative Canadian newspaper.

Even with the band finally complete and their first EP released, it would take years before they would release their first proper album; the process of writing and recording (the album would end up being pieced together in four different studios) would take years—two, to be exact, to finish up as Grab That Gun, an album that barely breaks a half hour in length and recycles four of its eleven tracks from Sinking Hearts.

"We knew we had a problem when the album was being mixed," comments Cohen. "When we heard it, we knew that it didn't sound like us. It was too, I don't know, crisp."

After much agonizing, the Organ decided to scrap the Dahle sessions and rerecord the album with producer Paul Forgues, who Sketch knew from her days at the Warehouse Studio.

"It was a really, really hard choice to make," Stocks says. "We had a window where we could have just released something that we weren't totally happy with. There was so much hype at that time, but we were like, 'No way. Let's fuck the hype and start over.' And I think that we ended up with a great album. I know that people who like us for being amateur and really simple are going to get it."

[edit] Grab That Gun

Despite numerous set-backs, their five years of slow going had produced a relatively sizable fan-following, and their new material showed even more promise than their first EP, which had done very well indeed, especially for a record that had gone largely unpromoted. As such, Grab That Gun spent more time on top of the Canadian campus-radio charts than any other record released that year.

That December (2004), Ashley Webber left the band.

"I think it's the usual reasons," explained Sketch in an interview. "I mean, I love Ashley, but we had different ideas. And then she wanted to try being in other musical projects, and we support her in that ... [but our band has] got to be a high priority, I guess that's what it comes down to."

However, with their first international tour looming and no replacement in sight, Webber was asked back and subsequently rejoined the band in the new year.

The Organ began touring heavily across Canada, the United States and Europe. They also produced a music video for "Brother," (directed by Robert Morfitt) arguably the strongest of the seven new tracks appearing on the record. The video consisted of a fairly straightforward montage of the band performing on a moodily lit stage. A fictitious reenactment of the video shoot for "Brother" can be seen during season two, episode two of the Showtime original series The L Word. "Brother" also appears on The L Word's season two soundtrack.

Following the well received promotion of "Brother," The Organ began production on the far more ambitious "Memorize the City" video, which depicted a dizzying tour through a city of sound, light, and color. The higher artistic standard and production quality of this video reflects an amazing amount of growth for the band in a very short period, and is very impressive considering that it was shot at a time when the band was engaged in the biggest tour of their careers. That July (2005) the standalone 7" single, Let the Bells Ring, was released on Go Metric Records. The title track was paired with a remix of "Memorize the City" by Dustin Hawthorne. Later that year, a second remix appeared on the French CD release of Grab That Gun.

During another North American tour promoting Grab That Gun, Ashley Webber left for good. She was then replaced with Katie Sketch's sister, Shmoo, who affirmed that she was "definitely permanent in the band" before it broke up in 2006.

On November 14, 2005, The Organ appeared live on BBC6 Radio with their new bass player. They gave a brief interview and performed live renditions of the songs "Nothing I Can Do" and "Love, Love, Love." On the 27th, a little over a week later, The Organ announced via their website that they had just been signed to Too Pure Records, through which Grab That Gun would be available throughout the world in February 2006.

The album cover was design by David Cuesta at 7th Avenue house, and is based on a grid constructed around the Fibonacci sequence, to match musical scales. He also designed the logo based on sketches by Katie and Jenny.

Breaking Up[link]

On 23 August 2006, the band released a statement on MySpace saying they were canceling the remaining portion of their UK tour which included dates at the Reading and Leeds Festivals. The reason given was illness to a band member and they assured fans the band were not splitting up.

On 7 December 2006 the band released a statement on their MySpace and official site stating that they were breaking up. The statement read:

"We are sad to announce that we're breaking up. We want to thank our friends, fans, and family for all the support you gave to us. Thank you.

Shelby, Jenny, Katie, Debora, and Shmoo."

In an interview on CBC Radio 3 the following day, Jenny declined to discuss the reasons for the breakup saying that there were issues they preferred to keep private but implied that it had little or nothing to do with either geography or Katie's modeling career. "There were," she said, "so many reasons," she "wouldn't know where to start."

Two years later, Katie Sketch would later go on to detail the full story behind the break-up in a 2008 interview:

"When the band ended, I was really burnt out. I thought if I took a few months off then I wouldn't be burnt out, but now, when I think about it, I wouldn't have the energy to do touring right now. I just feel absolutely exhausted with it, and band politics, and all that stuff. I am still writing music, but it's not my first priority any more. [My first priority now is] getting my life back together. We'd been touring for so long and working so hard that I didn't know how to function on a daily basis. So just little things, like, I'm going to have breakfast today, or I'm going to the gym, or I'm going to get a job. I didn't really have any concept of how to do it any more [...] I spent the majority of my twenties wanting to be in a band and it's all I ever thought about. And by the time the band ended I was in really bad health. Like drinking was a problem, and not knowing how to deal with personal crises. I was in bad shape. [...] If a band is really supportive of one another and can help each other through things, it works really well, but at the end we were completely unable to communicate. We'd all become self-deprecating, we were fighting all the time... we were basically just drunk all the time. We had no time to separate, so it was like being in a bad domestic situation, all the time. [...] When you're five girls touring in really terrible circumstances, where you're all in the same van and all sleep in the same hotel room every night, and you're drinking a lot, you have a lot of really fun times, but there's always fighting, there's always something going on. Towards the end, where things were becoming irreparable, it got to the point where we should have been in therapy as a group. And we should have taken breaks. And I knew that, and I was pushing for that. But the way our career had gone, we released the record in Canada, then somewhere else, then somewhere else, touring the same record. It was staggered, so we were always touring where the fanbase was hearing it for the first time. We built it like that, which is how a lot of bands do it, but it was gruelling. [...] We were at that point where everyone in a band wants to get, right where the financial stuff isn't going to be such a big deal, where we'd be able to tour and take personal space, but our relationships had deteriorated so much by that point. [...] It's like, you're doing everything that you dreamed of your whole life, and yet you've never been more miserable. You can't get away from these people. It's like you're married to them, basically. And we had other problems as well. What I consider to be a major part of our break-up is that this whole entire time that we were touring and doing all the stuff, we were never signed in the States. And to not have a record label in the States is to not have a career. We live in Canada so it's right there, but whenever we'd play in the States it would be to nobody. So we worked really, really hard to get a label in the States and when we finally had label interest there, and a label we wanted to sign to, our Canadian record label, who own our record, wouldn't let us go with what we wanted to do. It felt like we'd been busting our asses for however long, and we felt like we had no control. So what was going to happen? We'd finally sign in the States when I was 35, and we'd do gruelling tours then? You know what I mean? That was a major knock-down for us.

[...] By the end, I feel like everybody in the band was mentally ill. [...] Quite frankly, I was not mentally well. [...] I needed to get away from it, or something really bad was going to happen. [...] We really needed a break and the record label, everybody, was pushing, pushing, pushing. And there's always the feeling that you're in financial debt too. The more you do it, the more money you make, and we felt like we owed it to people. And that's how management and the record company played it - "you kind of owe it to us to do another tour right now.

[After the breakup,] I moved to Toronto, had a mental breakdown, then I just got a job working for a doctor [...] I interview people with drug problems, and alcoholics. [...] Jenny the organ player just moved to Toronto and she and I bought a restaurant bar about two months ago. We're renovating it and we live above it in a teeny weeny apartment together. [...] It'll be a brunch place in the day, and we have a liquor license so it will be a bar at night. [Now that Jenny and I live together,] it's constantly like, "Remember the time when we..." and we'll laugh and it's hilarious. So the whole thing wasn't horrible. It's not like I'm saying "don't start a band". I'm just saying, you've got to set your personal boundaries, as far as touring goes. As far as the grind. It's really important to take a break and we never got one." [2]

[edit] Thieves EP

Less than two years after their breakup, the band released one last EP of unreleased material titled, Thieves, on October 14, 2008.[3] In the same October 16 interview where she would finally reveal the reasons behind the band's breakup, Katie Sketch would give insight into the motivating factors which caused the band to reunite in the studio one last time.

"I had heard a rumor that my record label was going to release songs that we hadn't released, from some demo recording we had done earlier. I was not happy with that. At all. Threatening isn't the right word, but I heard they were thinking about releasing it. So I freaked out, and during that freak-out period I realized that I really like the songs. People have been writing us, fans, asking about the songs, so I thought we should record them while we still remember them. [...] I can only speak for myself, but I found that [the recording process for the Thieves EP] was extremely emotionally draining. I made sure we did it under our own terms. I had a friend who engineered it and we did it at my mum's house in BC. She lives on this island, so it was really relaxed. And we did it in stages so the band was never there at the same time, so we couldn't fall back into the band dynamic because "the band" was never there. I gave my friend strict instructions, like, sit in the back seat and don't offer any opinion. We need it to be the easiest session ever, because people are really sensitive, and if one person says, "Fuck this, I'm leaving," then it won't work. So we did it like that. [Having to release the EP on the same record label] is fine. I've really separated myself from the situation. But that sort of thing, being bound by a contract, straight up, that's a major obstacle in my desire to do music any more."

Post-breakup solo projects[link]

Since the band's breakup in 2006, several of the members have gone on to pursue solo projects. Debora Cohen has begun making demo tracks available through her myspace under the name “Lovers Love Haters."[4] Shmoo has gone on to front Vancouver hardcore band, "Keep Tidy", whose EP is available free online.[5] A video of Katie Sketch performing with a new band called "Mermaids" as early as October 31, 2007 has surfaced on the internet. Sketch has publicly stated that she fully intends to release a solo effort, but that legal complications have thus far prevented the band from officially releasing any music. According to Sketch:

"I feel like, OK, so I'm going to write a solo record and pour every part of myself into it, and I won't have control over where it's released in the United States again? [With regard to the possibility of releasing solo material independently,] I'm arguably bound by contract. [...] It's seriously debatable and is being debated and has been for the last two years. I like to think that I'm not, and they like to think that I am. And that stress alone, honestly, keeps me from sitting down and working on music. I have no control over my own career. [...] I can play live, but when it comes to releasing a record, they've straight up said to me, if you release any music you will be sued. And that kind of pressure, after all the work that I've done, really isn't like anything I need in my life right now."

Katie Sketch is now performing with Gentleman Reg and has been seen in some shows at the Gladstone Hotel and the Beaver in Toronto, Ontario.

Discography[link]

Full lengths[link]

• Grab that Gun (2004)

Singles and EPs[link]

• "Full Sketch" (CD, 2000):

  "Picky" — "Cooler Than Clean" — "Steven Smith" — "Soundtrack" — "Sketchersize" — "Ice Fishing"

• "The Organ" (7", 2002):

  "It's Time to Go" — "We've Got to Meet"

• "Sinking Hearts" (CD, 2002):

  "We've Got to Meet" — "I Am Not Surprised" — "It's Time to Go" — "Sinking Hearts" — "There Is Nothing I Can Do" — "No One Has Ever Looked so Dead"

• "Memorize The City" (7", 2005):

  "Memorize The City" — "There Is Nothing I Can Do"

• "Memorize The City" (CD, 2005):

  "Memorize The City" — "There Is Nothing I Can Do" — "Memorize The City [Remixed by Simon Bookish]"

• "Let the Bells Ring" (7", 2005):

  "Let the Bells Ring" — "Memorize the City [Remixed by Dustin Hawthorne]"

• "Brother" (CD + 7", 2006):

  "Brother" — "Love Love Love" (Gideon Coe BBC 6 Music Session 14/11/05)

• "Memorize the City" (CD + 7", 2006):

  "Memorize the City"— "No One Has Ever Looked So Dead" (Gideon Coe BBC 6 Music Session 14/11/05)

• "Thieves" (CD, 2008):

  "Even In The Night" — "Oh What A Feeling" — "Let The Bells Ring" — "Fire In The Ocean" — "Can You Tell Me One Thing" — "Don't Be Angry"

Sources[link]

• / Full Sketch Interview with "The Ubyssey," February 1999
• / Interview with "Discorder," March 2002
• / Interview with "The Ubyssey," February 2003
• Interview with "Straight.com," May 6, 2004
• Interview with "Exclaim.ca," June 2004
• Interview with "Straight.com," December 2, 2004
• Interview with "Cokemachineglow.com," 2004
• Interview with "Sceneandheard.ca"

External links[link]

• Official Website on Archive
• The Organ 5x live videos Nov 2005
• Grab That Gun album review on Sound Generator
• Mint Records
• The Organ at Allmusic
• View "Memorize the City" music video
• The Organ on MySpace
• "Nothing to frown about hammond-heavy new-wave sounds" The Organ in Session at CBC Radio 3; story by Elianna Lev

See also[link]

• List of bands from British Columbia
• List of bands from Canada