Krone Krone

Groningen, Martinikerk

Arp Schnitger 1691, Frans Caspar Schnitger (+1729) and Albertus Anthoni Hinsz 1728-1730 and 1739/40; including reuse of older pipes of the 15th to 17th centuries. Case by Allart Meijer 1691, parapet case by Egbert Tiddens 1730.

State of preservation: After successive removal of harmonics ranks in 1808 and 1817 and reed stops in 1855 and 1867 a pneumatic action was installed in 1904, electrified in 1937/38. Restoration according to the state of 1740  by Jürgen Ahrend in two terms 1976/77 and 1983/84.

The organ of Groningen Martinikerk is an instrument grown and shaped over more than five centuries. Father and son Schnitger and their head journeyman and successor Albert Hinsz (Hinsch) used all older pipes still functioning so that the instrument now contains pipes from 1481 to 1984. The sound qualities of the older structures still kept in the diapasons and their integration in the advanced concepts of the Schnitger workshop with all their typical reed colours (eg reed Viola da gamba HW, Dulciaan and both reed cornets P) obviously worked very well. Charles Burney called it "one of the most pleasing instruments I ever met with" (The present state of music in Germany ..., vol. 2, 2London 1775, p. 283).

Later ages did not share this enthusiasm. Massive losses of historic pipes during the 19th and loss of original action in the 20th century did not prevent but rather create further damages and needs for repairs so the restoration to the baroque state of the Schnitger/Hinsz-era seemed appropriate..

Music sample:

J. S. Bach (1685-1750) :
„Wo soll ich fliehen hin“ oder „Auf meinen lieben Gott“, BWV 646
Gespielt von Bram Beekman

Specification:

III+P/54

Hoofdwerk (HW)
Praestant        16’ 1481/1542
Octaaf                8’ 1481/1542/1685
Salicet               8’ 1816
Quintadena       8’ 1542/1627/1685
Gedekt               8’ 1685
Octaaf                4’ 1729
Gedektfluit        4’ 1808/1816
Octaaf                2’ 1984
Vlakfluit             2’ 1816
Tertiaan 2f.            1984
Mixtuur 4-6f.          1691/1984
Scherp 4f.               1984
Trompet              8’ 1691
Viola da gamba 8’ 1984

Rugpositief (RP)
Quintadena   16’ 1481/1729
Praestant        8’ 1729
Bourdon           8’ 1542/1729
Roerfluit           8’ 1729
Octaaf               4’ 1977
Speelfluit         4’ 1977
Gedektquint    3’ 1729
Nasard             3’ 1977
Octaaf               2’ 1729
Fluit                  2’ 1481/1542/1729
Sesquialtera 2f.   1977
Mixtuur 4-6f.        1729/1977
Cimbel 3f.             1977
Basson           16’ 1977
Schalmei          8’ 1977
Hobo                 8’ 1740/1977

Bovenwerk (OW)
Praestant         8’ 1542/1685/1691
Holfluit             8’ 1564
Octaaf               4’ 1542/1685
Nasard             3’ 1691/1977
Sesquialtera 2f.  1977
Mixtuur 4-6f.       1977
Trompet        16’ 1977
Vox humana   8’ 1977

Pedaal (P)
Praestant      32’ 1692
Praestant      16’ 1481/1542
Subbas           16’ 1984
Octaaf               8’ 1481/1542/1692
Gedekt              8’ 1740
Roerquint         6’ 1854
Octaaf               4’ 1542
Octaaf               2’ 1984
Nachthoorn     2’ 1740
Mixtuur 4f.            1984
Bazuin            16’ 1692
Dulciaan         16’ 1984
Trompet            8’ 1692
Cornet               4’ 1692
Cornet               2’ 1984

Couplers HW/RP, OW/HW, tremulant, tremulant RP

 
 
 
 

© Greifenberger Institut für Musikinstrumentenkunde | info@greifenberger-institut.de