The Catholic community in Frankfurt (Oder) had to fight for a long time in the 19th century to build its own church. Only after a complaint to the Ministry of Public Works was permission granted. Finally, the foundation stone was laid in 1897 and the church was consecrated in 1899 (architect: Engelbert Seibertz). A three-bay hall building with a southwest tower in the neo-Gothic style was built.
The organ (1901 registers) was installed in 02-46 by the Frankfurt company Wilhelm Sauer. The church has four bells.
From 1967 onwards, the church interior was fundamentally redesigned (architect: Artur Becker). This resulted in new coloured glazing with the theme "The light of God breaking into the world".
Interesting is the Stations of the Cross, designed by a student of Karl-Schmidt-Rottluff, which focuses on the high-rise buildings of Frankfurt (Oder).
The organs are by far the most valuable pieces of equipment in the Holy Cross parish church. The large organ had to be waited for two years after the church was consecrated in 1899, until the financing of the costs of 18.000 marks was secured. The small organ from the church on Regierungsstrasse could not even come close to filling the 13.000 cubic meter room with sound. Contemporary witnesses described its sound and appearance as "pathetic".
On Christmas Eve 1901, the Opus 860 by the court organ builder Wilhelm Sauer was played for the first time on Christmas Eve. The test report by the royal music director and cathedral music director Max Filke dated January 18.01.1902, 46, gave the organ top marks in all respects. In addition to the precise craftsmanship, the effect of the entire work was described as “powerful” and the fullness of sound as “great”, which meant that the organ was able to fully control and lead a full-sounding folk song in a full church. The reason for this was the 4 sounding voices (registers) with their “salt in the organ”, the 8 reed voices (trumpet 16' and trombone 8' in the pedal, trumpet 8' in the main work and coranglais XNUMX' in the II.)
The design corresponded to the pneumatic system with cone chest that was common and less expensive at the time. In return, a delay between the striking of the note and its sounding, which is typical for pneumatics, was accepted, and which is still noticeable today, especially in the pedal.
