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Augsburg, ev. Barfüßerkirche

Augsburg, ev. Barfüßerkirche
Augsburg, ev. Barfüßerkirche

The fame of Johann Andreas Steins today is founded on his importance as one of the most important makers of pianos. In his own days he enjoyed equal fame as an organ maker with his organ of Augsburg Barfüßer. This organ united all his experiences of this apprenticeship on the Rhine and with Silbermann in Straßburg (french „Grand Cornett“, typical manual reeds) with the organ style south of the Danube (string stops) and the requirements of protestant rite (melody stops in the pedal) in a quite unique way. The case design reveals that all manuals were placed on top of another, then a quite modern way to arrange divisions.

The instrument attracted numerous musicians and music lovers in Stein's lifetime, among others Wolfgang Amadé Mozart, and by rumour, also Beethoven. It also served as a model for Stein's younger brother Johann Heinrich Stein, when he planned his organ in Schopfheim.
After numerous remodelings in the 19th century the remains of the organ were destroyed in WW II.




HW: „Gravitätische Mensuren“

Bordun                  16’ (lowest octave of wood)
Prinzipal                 8’ (tin, front)
Viola                        8’ (M´metal)
Bordun                   8’ (wood)
Quintatön               8’ (metal)
Grand Cornett       8’ 5f. (tin, from g0)
Nazard                    6’
Oktav                       4’
Spitzflöte:               4’
Hohlflöte                 4’
Quinte                      3’
Super Octav            2’
Mixtur Crescendo  2’ 4-8f.
Cimbel                     1’ 4f.
Trompette               8’ (B+D)
Clarinette                4’

OW: “Scharf Intonirt”
Gamba                      8’ (tin, front)
Waldflöte                  8’ (wood)
Bordun                      8’
Echo                          8’
Flute Traversiere    8’ (tin, from g0)
Octav                         4’
Spitzflöte                  4’
Quinte                       3’
Super Octav             2’
Flageolet                  1’ (tin)
Mixtur                       2’ 3-5f.
Cromorne                 8’
Carillon                    (2’, from c1)

The chest positive was neither initially planned nor built by Stein. It was, however, shown and mentioned with 6 special ranks „zum affectuösen Spielen“ (for affectuous playing) on the  copper engraving publsihed by Eichel 1757 (see picture) probably as an intention gaining support for some future expansion.

Prinzipal Baß       16’ (tin, front)
Violon Baß            16’ (wood)
Octav Baß               8’ (wood)
Violoncello             8’ (lead)
Hohlflöten Baß      4’ (metal)
Bombard Baß      16’
Fagott Baß             8’
Zinken Baß             2’

Couplers manuals, pedal, stop knobs


© Greifenberger Institut für Musikinstrumentenkunde |