{"id":214,"date":"2015-03-18T21:58:44","date_gmt":"2015-03-18T19:58:44","guid":{"rendered":"http:\/\/partitura.org\/?page_id=214"},"modified":"2019-01-15T10:28:18","modified_gmt":"2019-01-15T08:28:18","slug":"kaufmann-georg-friedrich","status":"publish","type":"page","link":"https:\/\/partitura.org\/index.php\/kaufmann-georg-friedrich\/","title":{"rendered":"Kauffmann, Georg Friedrich"},"content":{"rendered":"
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\n \"\"<\/a>

Georg Friedrich Kauffmann, Harmonische Seelenlust, Part III<\/a><\/h2>\n
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\n Posted on Jan 13th, 2019 <\/span>\n <\/p>\n <\/div>\n

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\n Georg Friedrich Kauffmann (1679 - 1735), a German composer and organist, is the autor of the \"Harmonische Seelenlust\". This work, containing all of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Harmonische Seelenlust, Part II<\/a><\/h2>\n
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\n Posted on Dec 21st, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Georg Friedrich Kauffmann (1679 - 1735), a German composer and organist, is the autor of the \"Harmonische Seelenlust\". This work, containing all of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Harmonische Seelenlust, Part I<\/a><\/h2>\n
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\n Posted on Dec 8th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Georg Friedrich Kauffmann (1679 - 1735), a German composer and organist, is the autor of the \"Harmonische Seelenlust\". This work, containing all of\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Ach Gott und Herr<\/a><\/h2>\n
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\n Posted on Jul 21st, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n The last piece from the \"Harmonische Seelenlust\" that was composed by Kauffmann is a prelude to \"Ach Gott und Herr\". Obviously not meant as a grande\u2026 <\/p>\n

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Georg Friedrich Kauffmann, Ach Gott vom Himmel sieh darein<\/a><\/h2>\n
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\n Posted on Mar 28th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n The third prelude of Kauffmann's \"Harmonische Seelenlust\" that employs the oboe for the choral melody is as beautiful as the two I posted earlier.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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Georg Friedrich Kauffmann, Ach Herr mich arme S\u00fcnder<\/a><\/h2>\n
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\n Posted on Jan 15th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n This melody is one of the most famous and most used of the Lutheran church. It is for example also used for \"Wie soll ich dich empfangen\", \"Ach Herr\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Ach Herr, mich arme S\u00fcnder<\/a><\/h2>\n
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\n Posted on Apr 30th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to ``Ach Herr, mich arme S\u00fcnder'' is a simple yet attractive bicinium. Well, I say 'simple', writing an attractive simple\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Alle Menschen m\u00fcssen sterben<\/a><\/h2>\n
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\n Posted on Jul 9th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's chorale prelude to \"Alle Menschen m\u00fcssen sterben\" is a bicinium, with the choral melody in the right hand part, accompanied by rapid\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Allein Gott in der H\u00f6h sei Ehr<\/a><\/h2>\n
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\n Posted on Jul 15th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n When Kauffmann uses a ternary rythm, something special is the result. The prelude on \"Allen Gott in der H\u00f6h sei Ehr\" is no exception to that rule.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Allein zu dir Herr Jesu Christ<\/a><\/h2>\n
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\n Posted on Jun 14th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's first prelude to \"Allein zu dir, Herr Jesu Christ\" is a small treasure of contrapuntal writing. It has the chorale melody in the bass\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Allein zu dir Herr Jesu Christ (alio modo)<\/a><\/h2>\n
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\n Posted on Jun 24th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's second chorale prelude to \" Allein zu dir, Herr Jesu Christ\" is even shorter than the fisrt one. Just 8 bars, whch are played twice. The\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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Georg Friedrich Kauffmann, Auf meinen lieben Gott<\/a><\/h2>\n
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\n Posted on Sep 9th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n In the prelude to \"Auf meinen lieben Gott\" Kauffmann has the melody embellished in the soprano voice. Alto and bass provide a simple yet effective\u2026 <\/p>\n

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Georg Friedrich Kauffmann, Aus tiefer Noth schrei ich zu dir<\/a><\/h2>\n
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\n Posted on Jul 19th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to \"Aus tiefer Noth schrei ich zu dir\" is largely a manualiter piece. Setup as a fugato on the first phrase of the choral melody,\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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Georg Friedrich Kauffmann, Christ lag in Todesbanden<\/a><\/h2>\n
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\n Posted on Mar 18th, 2015 <\/span>\n <\/p>\n <\/div>\n

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\n Georg Friedrich Kauffmann (1679 \u2013 1735) was a Baroque composer and organist from southern Germany. He studied with Buttstett and Alberti. Later in\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Christ lag in Todesbanden (Alio Modo)<\/a><\/h2>\n
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\n Posted on Mar 12th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n This is the twin prelude to a piece I uploaded almost two years ago. It uses just the first two phrases of the choral melody. But Kauffmann has them\u2026 <\/p>\n

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Georg Friedrich Kauffmann, Christe du Lamm Gottes<\/a><\/h2>\n
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\n Posted on Jul 18th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to \"Christe, du Lamm Gottes\" is another example of using a chorale melody as a bass line, to create a little trio for organ. The\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Christus der uns selig macht<\/a><\/h2>\n
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\n Posted on Jul 16th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to \"Christus der uns selig macht\" is a is a simple yet effective bicinium. The soprano voice plays the chorale melody, the other\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Du o sch\u00f6nes Weltgeb\u00e4ude<\/a><\/h2>\n
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\n Posted on Jul 10th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's \u201cHarmonische Seelenlust\u201d contains six chorale preludes for the combination of organ and oboe. The oboe plays the chorale melody,\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Durch Adams Fall ist ganz verderbt<\/a><\/h2>\n
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\n Posted on Jul 20th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n The last few chorale preludes from Kauffmann's \"Harmonische Seelenlust\" all have the same form of a fugato on the first phrase of the chorale melody.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Ein feste Burg ist unser Gott (2)<\/a><\/h2>\n
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\n Posted on Jan 24th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's second prelude on \"Ein feste Burg ist unser Gott\". It's a trio-like setting, with the melody in the pedals. The hands play a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Erschienen ist der herrliche Tag<\/a><\/h2>\n
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\n Posted on Jul 2nd, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's chorale prelude to \"Erschienen ist der herrliche Tag\" is a fugato play between the first two phrases of the chorale melody. Kauffmann\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Erschienen ist der herrliche Tag (alio modo)<\/a><\/h2>\n
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\n Posted on Jul 3rd, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's second chorale prelude to \"Erschienen ist der herrliche Tag\" has the chorale melody in the soprano voice. The other two voices weave a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Es ist das Heil uns kommen her<\/a><\/h2>\n
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\n Posted on Jan 13th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann wrote two preludes to \"Es ist das Heil uns kommen her\". The first is a three part setting with the chorale melody in the soprano voice.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Es ist das Heil uns kommen her (alio modo)<\/a><\/h2>\n
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\n Posted on Jan 22nd, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann wrote two preludes to \"Es ist das Heil uns kommen her\". The second one is a nice bicinium. Kauffmann prescribes again a curious combination\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Es spricht der unweisen Mund wohl<\/a><\/h2>\n
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\n Posted on Apr 22nd, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to ``Es spricht der unweisen Mund wohl'' is written for two manuals and pedal. It is however not immediately clear which part\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Fuga \u00fcber Ein feste Burg ist unser Gott<\/a><\/h2>\n
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\n Posted on Jan 18th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann wrote two preludes on \"Ein feste Burg ist unser Gott\". They are both strong compositions, in which the greatness, reliability or\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Fughetta \u00fcber Wir glauben all’ an einen Gott<\/a><\/h2>\n
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\n Posted on Mar 12th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's fughetta on \"Wir glauben all' an einen Gott\" is really short. Just 10 bars and that's it. It's a charming little piece nonetheless,\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Gelobet seist du Jesu Christ<\/a><\/h2>\n
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\n Posted on Nov 22nd, 2016 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude on \"Gelobet seist du Jesu Christ\" is a bicinium. The registration Kauffmann prescribes that the left hand should probably be\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Gelobet seist du Jesu Christ<\/a><\/h2>\n
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\n Posted on Feb 17th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann seems to be the inventor of chorale prelude in which the chorale prelude is not played on the organ, but on a seperate instrument, in this\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Gottes Sohn ist kommen<\/a><\/h2>\n
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\n Posted on Dec 20th, 2015 <\/span>\n <\/p>\n <\/div>\n

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\n An interesting prelude by Kauffmann on this Christmas choral. All phrases of the melody are introduces and accompanied by themselves in diminution.\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Helft mir Gottes G\u00fcte preisen<\/a><\/h2>\n
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\n Posted on Mar 19th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Like in so many of his preludes Kauffmann prescribes the use of the Quintadena 16' for this piece. Since he gives an alternative registration, based\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Herr Christ, der einig Gottes Sohn<\/a><\/h2>\n
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\n Posted on Jul 12th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n This is the fourth prelude in which Kauffmann employs the oboe to play the choral melody. The organ plays an elegant trio to accompany the oboe.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Herr Gott, dich loben alle wir<\/a><\/h2>\n
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\n Posted on Mar 24th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n This is the fifth prelude in which Kauffmann employs the oboe to play the choral melody. The organ plays an elegant trio to accompany the oboe.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Herr ich habe misgehandelt<\/a><\/h2>\n
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\n Posted on Jan 29th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n In his registration prescriptions Kauffmann often uses a 16 feet stop. Sometimes that makes the music needlesly heavy to my ears. But in this piece\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Herr Jesu Christ mein’s Lebens Licht<\/a><\/h2>\n
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\n Posted on Jan 10th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffman's is perhaps best remembered nowadays as author of \"Die Harmonische Seelenlust\", a complete edition of his organ chorales. He started\u2026 <\/p>\n

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Georg Friedrich Kauffmann, Herr Jesu Christ, ich schrei zu dir<\/a><\/h2>\n
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\n Posted on Feb 3rd, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to \"Herr Jesu Christ, ich schrei zu dir\" is a relatively simple three part piece. The choral melody is in the upper voice. The\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Herzlich lieb hab ich dich, o Herr<\/a><\/h2>\n
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\n Posted on Mar 20th, 2018 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to \"Herzlich lieb hab ich dich, O Herr\" is a trio with the choral melody in the pedals. As always when Kauffmann uses a ternary\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Herzliebster Jesu, was hast du verbrochen?<\/a><\/h2>\n
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\n Posted on Mar 23rd, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude on \"Herzliebster Jesu was hast du verbrochen\" is short but ingeniously constructed. It starts as a fugue on the first phrase of\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Heut f\u00e4nget an das neue Jahr<\/a><\/h2>\n
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\n Posted on Oct 10th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to \"Heut fanget an das neue Jahr\" is a cleverly constructed fugue. In the exposition the theme is (halfway) answered by its own\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Ich ruf zu dir Herr Jesu Christ<\/a><\/h2>\n
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\n Posted on Mar 16th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude on \"Ich ruf zu dir Herr Jesu Christ\" is a bicinium. The choral melody is stated in half notes and accompanied by the rapidly\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, In dich habe ich gehoffet<\/a><\/h2>\n
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\n Posted on Jun 10th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's first prelude to ``In dich habe ich gehoffet'' is a fugue on the first phrase of the choral melody. It is a cleverly constructued piece.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, In dich habe ich gehoffet (alio modo)<\/a><\/h2>\n
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\n Posted on Jun 18th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann prescribes again a 16-feet reed for this choral prelude. I tried the combination he suggets, but it makes the music very heavy to my ears.\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Jesu deine tiefe W\u00fcnden<\/a><\/h2>\n
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\n Posted on Jul 9th, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n The melody of this choral is also known with the words \"Freu dich sehr, o meine Seele\". That seems an interesting contrafact, since based on the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Jesus Christus, unser Heiland<\/a><\/h2>\n
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\n Posted on Apr 5th, 2015 <\/span>\n <\/p>\n <\/div>\n

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\n This Choral prelude on \"Jesus Christus unser Heiland, der den Tod uberwand\" is transcribed from a manuscript (Mus.ms. 22541 III) owned by the\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Jesus Christus, unser Heiland<\/a><\/h2>\n
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\n Posted on Jul 19th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The source for most of the Kauffmann pieces is the original edition of 1733 of the \"Harmonische Seelenlust\". Some of the pieces can also be found in\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Jesus Christus, unser Heiland.<\/a><\/h2>\n
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\n Posted on Oct 2nd, 2017 <\/span>\n <\/p>\n <\/div>\n

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\n Kauffmann's prelude to \"Jesus Christus unser Heiland\" is a magnificent Trio. The first phrase of the choral melody is combined with a chromatic\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Komm heiliger Geist, Herre Gott<\/a><\/h2>\n
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\n Posted on Apr 17th, 2015 <\/span>\n <\/p>\n <\/div>\n

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\n The chorale prelude Komm heiliger Geist, Herre Gott was transcribed from from manuscript Mus.ms. 22541 III, owned by the Staatsbibliothek zu\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Komm heiliger Geist, Herre Gott<\/a><\/h2>\n
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\n Posted on Apr 21st, 2015 <\/span>\n <\/p>\n <\/div>\n

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\n The second prelude by Kauffmann on Komm heiliger Geist, Herre Gott in manuscript Mus.ms. 22541 III owned by the Staatsbibliothek zu Berlin\r\n\r\nThe\u2026 <\/p>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Komm heiliger Geist, Herre Gott<\/a><\/h2>\n
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\n Posted on Apr 30th, 2015 <\/span>\n <\/p>\n <\/div>\n

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\n The third choral prelude by Kauffmann on \"Komm heiliger Geist, Herre Gott\", found in manuscript Mus.ms. 22541 III owned by the Staatsbibliothek zu\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Kommt her zu mir, spricht Gottes Sohn<\/a><\/h2>\n
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\n Posted on May 19th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Komt her zu mir, Spricht Gottes Sohn\" is a very nice example of how to derive a musical piece from a choral melody. The\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Lobt Gott ihr Christen all’ zugleich<\/a><\/h2>\n
\n

\n Posted on Oct 9th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude on \"Lobt Gott ihr Christen all' zugleich\" is a vivid three-part invention. The choral melody is presented in the middle voice,\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Lobt Gott ihr Christen all’zugleich<\/a><\/h2>\n
\n

\n Posted on Dec 4th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The second prelude by Kauffmann on \"Lobt Gott ihr Christen all'zugleich\" is a much shorter work than the one I published almost two months ago. It is\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Man lobt dich in der Stille<\/a><\/h2>\n
\n

\n Posted on May 7th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to ``Man lobt dich in der Stille'' is a lively, concertante work. The chorale melody is played against a fast paced accompaniment\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Mit Ernst, ihr Menschenkinder<\/a><\/h2>\n
\n

\n Posted on May 18th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Mit Ernst, ihr Menschenkinder\" is more a 4 part setting of the chorale melody, usable for as accompaniment for the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun danket alle Gott<\/a><\/h2>\n
\n

\n Posted on Sep 18th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann wrote two preludes on Nun danket alle Gott. They are both manualiter, well worked out pieces. The first one has the melody unadorned in the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun danket alle Gott (alio modo)<\/a><\/h2>\n
\n

\n Posted on Sep 28th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann wrote two preludes on Nun danket alle Gott. They are both manualiter, well worked out pieces. The second one has the melody in the soprano\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun freut euch lieben Christen gemein<\/a><\/h2>\n
\n

\n Posted on Jun 23rd, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude on \"Nun freut euch lieben Christen gemein\" is a lovely bicinium. The left had accompanies with scales and broken chords the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun freut euch lieben Christen gemein (alio modo)<\/a><\/h2>\n
\n

\n Posted on Jun 26th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's second prelude on this chorale melody is a three part piece. The chorale melody in the soprano voice, the other two parts weave a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun freut euch, Gottes Kinder all<\/a><\/h2>\n
\n

\n Posted on Apr 18th, 2015 <\/span>\n <\/p>\n <\/div>\n

\n

\n The chorale prelude Nun freut euch, Gottes Kinder (found in manuscript Mus.ms. 22541 III, owned by the Staatsbibliothek zu Berlin) has the same\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun komm der Heiden Heiland<\/a><\/h2>\n
\n

\n Posted on Sep 16th, 2015 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Mus.ms. 22541 II (owned by the Staatsbibliothek zu Berlin - PK) contains 73 preludes based on chorales suitable for the Christmas period.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun komm der Heiden Heiland (2)<\/a><\/h2>\n
\n

\n Posted on Sep 23rd, 2015 <\/span>\n <\/p>\n <\/div>\n

\n

\n Manuscript Mus.ms. 22541 II (owned by the Staatsbibliothek zu Berlin - PK) contains four preludes by Kauffmann on \"Nun kom der heiden Heiland\". They \u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun komm der Heiden Heiland (3)<\/a><\/h2>\n
\n

\n Posted on Sep 28th, 2015 <\/span>\n <\/p>\n <\/div>\n

\n

\n The third prelude by Kauffmann on \"Nun kom der heiden Heiland\" in Manuscript Mus.ms. 22541 II (owned by the Staatsbibliothek zu Berlin - PK). It is a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun komm der Heiden Heiland (4)<\/a><\/h2>\n
\n

\n Posted on Oct 14th, 2015 <\/span>\n <\/p>\n <\/div>\n

\n

\n This is the fourth prelude by Kauffmann, based on the prelude \"Nun kom der heiden Heiland\". In it's three part simplicity it is perhaps the most\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun lob mein Seel den Herren<\/a><\/h2>\n
\n

\n Posted on Jun 24th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's second prelude on \"Nun lob mein Seel den Herren\" is a fugue on the first phrase of the chorale melody, though on a smaller scale than his\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun lob mein Seel’ den Herren<\/a><\/h2>\n
\n

\n Posted on May 22nd, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n The chorale prelude on \"Nun lob mein Seel' den Herren\" is a fugue on the opening phrase of the choral melody. No frivolous registration this time,\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Nun ruhen alle W\u00e4lder<\/a><\/h2>\n
\n

\n Posted on Feb 22nd, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Usually in choral preludes I tend to have stronger stops for the chorale melody and softer stops for the accompaniment. In this prelude, however,\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, O Gott du frommer Gott (alio modo)<\/a><\/h2>\n
\n

\n Posted on Mar 2nd, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's second prelude to \" O Gott, du frommer Gott\" is a relativly simple bicinium. Kauffmann does not give a registration prescription with\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, O Gott, du frommer Gott<\/a><\/h2>\n
\n

\n Posted on Feb 17th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n In the original publication Kauffmann's prelude to \"O Gott, du frommer Gott\" is notated on three staves. The choral melody is notated on the upper\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, O heiliger Geist, O heiliger Gott<\/a><\/h2>\n
\n

\n Posted on Mar 27th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude on \"O heiliger Geist, o heiliger Gott\" calls for the almost impossible combination of a Quintadena 16' and Fagot 16' in the left\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, O Herre Gott, dein G\u00f6ttlich Wort<\/a><\/h2>\n
\n

\n Posted on May 17th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann wrote three preludes to the choral \"O Herre Gott, dein G\u00f6ttlich Wordt\". Or perhaps I should say \"two and a half\" since the third one is\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, O Herre Gott, dein G\u00f6ttlich Wort (Alio modo)<\/a><\/h2>\n
\n

\n Posted on May 19th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Again a piece with an unusual registration prescription. No indication however which hand should play on which manual. So I made two recordings.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, O Lamm Gottes<\/a><\/h2>\n
\n

\n Posted on Jun 7th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n The intended structure of Kauffmann's prelude to \"O Lamm Gottes\" is not immediately clear. Kauffmann gives an alternative ending for the piece that\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Puer natus in Bethlehem<\/a><\/h2>\n
\n

\n Posted on Nov 13th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n The Staatsbibliothek zu Berlin has at least three sources for this prelude by Kauffmann: two copies of \"Der Harmonische Seelenlust\" and the\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Schm\u00fccke dich, o liebe Seele<\/a><\/h2>\n
\n

\n Posted on Feb 10th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Schm\u00fccke dich, o liebe Seele\" has the choral melody in the upper voice. The other two voices are never far apart and can be\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Sch\u00f6nster Immanuel<\/a><\/h2>\n
\n

\n Posted on Mar 6th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n In this choral prelude Kauffmann again prescribes the use of the Quintadena 16'. Together with the Praestant 8' it forms an interesting combination I\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Treuer Gott ich muss dir klagen<\/a><\/h2>\n
\n

\n Posted on Oct 28th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Treur Gott ich muss dir klagen\" is a bit of a challenge for the listener. The choral melody is well hidden in the tenor voice\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Treuer Gott, ich muss dir klagen (alio modo)<\/a><\/h2>\n
\n

\n Posted on Oct 30th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n This is the twin prelude to the one I uploaded two days ago. This time the choral melody is more easily discernible, as it is played in the soprano\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Valet will ich dir geben (1)<\/a><\/h2>\n
\n

\n Posted on Apr 20th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's first prelude on \"Valet will ich dir geben\" calls for a combination that I by now consider as 'typically Kauffmann': Fagott 16',\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Valet will ich dir geben (alio modo)<\/a><\/h2>\n
\n

\n Posted on May 6th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's second prelude to the melody of chorale \"Valet wil ich dir geben\" is again a piece with an unusual registration prescription. No\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Vater unser im Himmelreich (alio modo)<\/a><\/h2>\n
\n

\n Posted on Apr 13th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kaufmann wrote three choral preludes to \"Vater unser im Himmelreich\". The second is a bicinium, with the choral melody in the soprano voice. The\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Vater unser im Himmelreich (alio modo)(2)<\/a><\/h2>\n
\n

\n Posted on Apr 19th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kaufmann wrote three choral preludes to \"Vater unser im Himmelreich\", two of which are bicinia. This is the second bicinium, with the chorale melody\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Vater unser im Himmelreich (Fuga)<\/a><\/h2>\n
\n

\n Posted on Apr 4th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kaufmann wrote three choral preludes to \"Vater unser im Himmelreich\". The first is a powerfull 4-voice fugue on the first phrase of the chorale\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Vom Himmel hoch da komm ich her<\/a><\/h2>\n
\n

\n Posted on Oct 18th, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n Another go at this choral melody, this time by Kauffmann. It is intruiging how one melody can give rise to so many different pieces. This version is\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Vom Himmel hoch da komm ich her (2)<\/a><\/h2>\n
\n

\n Posted on Oct 22nd, 2016 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann is best known for the \"Harmonische Seelenlust\". This work, containing all of his known chorale preludes together with figured bass settings\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, W\u00e4r Gott nicht mit uns dieser Zeit<\/a><\/h2>\n
\n

\n Posted on Jul 14th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"W\u00e4r Gott nicht mit uns dieser Zeit\" is written like a Trio for organ, with the choral melody as bass voice. The other two\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Warum betr\u00fcbst du dich mein Herz<\/a><\/h2>\n
\n

\n Posted on Jul 11th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Warum betr\u00fcbst du dich, mein Herz\" is a slow paced three part piece. Kauffmann prescribes both Cornet and Sesquialetra for\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Was mein Gott will<\/a><\/h2>\n
\n

\n Posted on Jul 18th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Was mein Gott will\" is his most rhapsodic or improvisatory prelude. Four different ideas, from fast trio writing to adagio\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Wenn mein St\u00fcndlein vorhanden ist<\/a><\/h2>\n
\n

\n Posted on May 28th, 2015 <\/span>\n <\/p>\n <\/div>\n

\n

\n This chorale prelude was transcribed from manuscript Mus. ms. 22541 III owned by the Staatsbibliothek zu Berlin. Kauffmann prescribes a Gemshorn 8'\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Wenn wir in h\u00f6chsten N\u00f6then sein<\/a><\/h2>\n
\n

\n Posted on Jul 20th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Wenn wir in h\u00f6chsten N\u00f6then sein\" is again a fugato with the first phrase of the chorale melody as theme. Though notated on\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Wer nur den lieben Gott l\u00e4sst walten<\/a><\/h2>\n
\n

\n Posted on Jun 30th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's 'Harmonische Seelenlust' contains three preludes to \"Wer nur den lieben Gott l\u00e4sst walten\". Only one of them was written by Kauffmann.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Wie sch\u00f6n leuchtet der Morgenstern<\/a><\/h2>\n
\n

\n Posted on Feb 28th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann wrote two preludes to the choral \"Wie sch\u00f6n leuchtet uns der Morgenstern\". For the organ solo one, Kauffmann prescribes the use of a\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Georg Friedrich Kauffmann, Wie sch\u00f6n leuchtet der Morgenstern<\/a><\/h2>\n
\n

\n Posted on Mar 14th, 2017 <\/span>\n <\/p>\n <\/div>\n

\n

\n This prelude is one of the six Kauffmann wrote for the combination organ and oboe. It is a lively piece in 6\/8 meter. Kauffmann has a knack for\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Wir glauben all an einen Gott<\/a><\/h2>\n
\n

\n Posted on May 12th, 2015 <\/span>\n <\/p>\n <\/div>\n

\n

\n Transcribed from manuscript Mus.ms. 22541 III owned by the Staatsbibliothek zu Berlin\r\n\r\nThe recording was done with the sampleset, made by Organ Art\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

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\n \"\"<\/a>

Georg Friedrich Kauffmann, Wo Gott zum Haus nicht gibt sein Gunst<\/a><\/h2>\n
\n

\n Posted on Jun 29th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's chorale prelude to \"Wo Gott zum Haus nicht gibt sein Gunst\" is a nice example of Trio writing, with the chorale melody in the bass\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n
\n \"\"<\/a>

Kauffmann\/Zachow, Nun lasst uns Gott den Herrn (LV 39)<\/a><\/h2>\n
\n

\n Posted on Jul 12th, 2018 <\/span>\n <\/p>\n <\/div>\n

\n

\n Kauffmann's prelude to \"Nun lasst uns Gott den Herrn\" is actually not by Kauffmann at all, but is a piece composed by Friedrich Wilhelm Zachow.\u2026 <\/p>\n

\n Continue Reading<\/a>\n <\/p>\n <\/div>\n

<\/div>\n<\/div>\n<\/div>\n\n

Views: 252<\/p>","protected":false},"excerpt":{"rendered":"

Views: 252<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-214","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P5LnuZ-3s","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/214","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/comments?post=214"}],"version-history":[{"count":3,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/214\/revisions"}],"predecessor-version":[{"id":7112,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/pages\/214\/revisions\/7112"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=214"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}