Music sample
A. Philips(1605-1695) - A Ground
Fragment of the ECHO-CD
Organist: Jan Willem Jansen
Church / Museum of the Augustins
Jürgen Ahrend organ (1981)
| Hauptwerk ( C-f3) | Rückpositiv (C-f3) | Brustwerk (C-f3) |
| Praestant 16' | Praestant 8' | Holzgedackt 8' |
| Praestant 8' | Gedackt 8' | Holzflöte 4' |
| Hohlflöte 8' | Oktave 4' | Blockflöte 2' |
| Oktave 4' | Rohrflöte 4' | Terz 4/5' - 1 3/5' |
| Splitzflöte 4' | Oktave 2' | Quinte 1 1/3' |
| Quinte 3' | Waldflöte 2' | Regal 8' |
| Oktave 2' | Sesquialtera II | |
| Mixtur IV-VI 1 1/3' | Scharf IV 1' | |
| Dulzian 16' | Dulzian 8' | |
| Trompete 8' | ||
| Pedal (c-f1) | Accessoires | |
| Praestant 16' | Rückpositiv/Hauptwerk | |
| Subbass 16' | Hauptwerk/Pedal | |
| Oktave 8' | Tremulant | |
| Oktave 4' | Nachtigal (Rossignol) | |
| Mixtur IV 2' | ||
| Posaune 16' | Tempérament inégal | |
| Trompete 8' | Werckmeister III (modifié | |
| Kornet 2' | par Jürgen Arhend) |
The present organ in the church-museum of the Augustins was constructed in 1981 by the East Frisian organ-builder JÜRGEN AHREND, following great endeavours by the following people. The idea is to be attributed to Xavier Darasse, who then was professor for organ at the Conservatory of Toulouse and whose impulse and perseverance were able to get the project under way. Furthermore, Denis Milhaud, then chief curator of the museum, assisted with lucid enthusiasm, as weil as Pierre Baudis, the former deputy mayor of the city, with his generous goodwill.
The first known notice of an organ in the church takes us back to January of 1504. Transformed several times, this first instrument will finally find itself on the quire screen and stay there for nearly two centuries. The Révolution will conclude these tribulations, converting the large church into the Museum du Midi, at the same time destroying the organ with the quire screen.
The current instrument is placed on a gallery erected specifically to host it and was ornamented by Pierre Belin. It embellishes the back of the huge nave magnificently. The work is built in the style of the large northern-German instruments. Simple mechanics, vivid wind provided by cunei-form bellows
and a powerful and majestic plenum impart remarkable Iyric and poetic beauty to this instrument.
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