{"id":2893,"date":"2016-11-20T14:42:42","date_gmt":"2016-11-20T12:42:42","guid":{"rendered":"http:\/\/partitura.org\/?p=2893"},"modified":"2021-02-28T17:38:02","modified_gmt":"2021-02-28T15:38:02","slug":"georg-bohm-gelobet-seist-du-jesu-christ","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/georg-bohm-gelobet-seist-du-jesu-christ\/","title":{"rendered":"Georg B\u00f6hm, Gelobet seist du Jesu Christ"},"content":{"rendered":"<p>The prelude by Beorg B\u00f6hm on &#8220;Gelobet seist du Jesu Christ&#8221; shares a lot of simlarities with the prelude by Buxtehude on the same choral melody. For example the rapid notes in the pedal part near the end of the piece. B\u00f6hm must have kown the prelude by Buxtehude, and perhaps even used it as a model for his own piece.<\/p>\n<p>The recording was done on the sample set of the Bader-organ in the Walburgiskerk in Zutphen by <a href=\"http:\/\/www.sonusparadisi.cz\/en\/organs\/top-selection\/zutphen-virtual-organ-model.html\">Sonus Paradisi<\/a> for Hauptwerk.<\/p>\n<p>Registration<br \/>\nMauaal: Holpijp 8&#8242;, Gemshoorn 4&#8242;<br \/>\nRugwerk: Holpijp 8&#8242;, Quintadeen 8&#8242;, Quint 3&#8242;<br \/>\nPedaal: Subbas 16&#8242;, Gedekt 8&#8242;<\/p>\n<p><strong>Score<\/strong><br \/>\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-128\" src=\"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2015\/02\/pdf_icon.jpg?resize=32%2C32&#038;ssl=1\" alt=\"pdf_icon\" width=\"32\" height=\"32\" \/><a class=\"count\" href=\"https:\/\/partitura.org\/wp-content\/uploads\/2016\/11\/B\u00f6hm-Gelobet-seist-du-Jesu-Christ.pdf\"data-kccpid=\"2893\">B\u00f6hm, Gelobet seist du Jesu Christ<\/a><\/p>\n<p><strong>Score (non alto)<\/strong><br \/>\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-128\" src=\"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2015\/02\/pdf_icon.jpg?resize=32%2C32&#038;ssl=1\" alt=\"pdf_icon\" width=\"32\" height=\"32\" \/><a class=\"count\" href=\"https:\/\/partitura.org\/wp-content\/uploads\/2016\/11\/B\u00f6hm-Gelobet-seist-du-Jesu-Christ-non-alto.pdf\"data-kccpid=\"2893\">B\u00f6hm, Gelobet seist du Jesu Christ<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/K7tiylNpJ-g\"  width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 39<\/p>","protected":false},"excerpt":{"rendered":"<p>The prelude by Beorg B\u00f6hm on &#8220;Gelobet seist du Jesu Christ&#8221; shares a lot of simlarities with the prelude by Buxtehude on the same choral melody. For example the rapid notes in the pedal part near the end of the piece. B\u00f6hm must have kown the prelude by Buxtehude, and perhaps even used it as a model for his own piece. The recording was done on the sample set of the Bader-organ in the Walburgiskerk in Zutphen by Sonus Paradisi for Hauptwerk. Registration Mauaal: Holpijp 8&#8242;, Gemshoorn 4&#8242; Rugwerk: Holpijp 8&#8242;, Quintadeen 8&#8242;, Quint 3&#8242; Pedaal: Subbas 16&#8242;, Gedekt 8&#8242; Score B\u00f6hm, Gelobet seist du Jesu Christ Score (non alto) B\u00f6hm, Gelobet seist du Jesu Christ Performance Views: 39<\/p>\n","protected":false},"author":1,"featured_media":2897,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[63,7],"tags":[],"class_list":["post-2893","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bohm-georg","category-scores","genre-choral-prelude","genre-gelobet-seist-du-jesu-christ"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2016\/11\/B%C3%B6hm_gelobet_seist_du_preview.jpg?fit=758%2C496&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-KF","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/2893","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"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=2893"}],"version-history":[{"count":2,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/2893\/revisions"}],"predecessor-version":[{"id":9537,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/2893\/revisions\/9537"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/2897"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=2893"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=2893"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=2893"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}