{"id":3267,"date":"2017-03-27T20:05:14","date_gmt":"2017-03-27T18:05:14","guid":{"rendered":"http:\/\/partitura.org\/?p=3267"},"modified":"2021-02-28T17:04:25","modified_gmt":"2021-02-28T15:04:25","slug":"georg-friedrich-kaufmann-o-heiliger-geist-o-heiliger-gott","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/georg-friedrich-kaufmann-o-heiliger-geist-o-heiliger-gott\/","title":{"rendered":"Georg Friedrich Kauffmann, O heiliger Geist, O heiliger Gott"},"content":{"rendered":"<p>Kauffmann&#8217;s prelude on &#8220;O heiliger Geist, o heiliger Gott&#8221; calls for the almost impossible combination of a Quintadena 16&#8242; and Fagot 16&#8242; in the left hand and a Vox Humana in the right hand. The M\u00fcller organ in Haarlem is not exactly a small organ, but I had to use a coupler not present in the real instrument to approach the sound Kauffmann intended. And even then I had to mimic the Vox Humana with the Oboe of the hoofdwerk.<br \/>\nBut the result is very nice. There obviously is a lot to be learned in Kauffmann&#8217;s registration prescriptions.<\/p>\n<p>The recording was done on the sample set of the M\u00fcller-organ in the Sint Bavokerk in Haarlem by <a href=\"http:\/\/www.voxusorgans.com\/en\/product\/haarlem\">Voxus Organs<\/a> for Hauptwerk.<\/p>\n<p>Registration:<br \/>\nBW: Quintadena 16&#8242;, Baarpijp 8&#8242;, Fluit douce 4&#8242;<br \/>\nHW: Viola di Gamba 8&#8242;, Oboe 8&#8242; (RH)<br \/>\nRW: Fagot 16&#8242; (LH)<br \/>\nRw+Bw<\/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\/2017\/03\/Kauffmann-22-O-heiliger-Geist-o-heiliger-Gott.pdf\"data-kccpid=\"3267\">Kauffmann, O heiliger Geist, o heiliger Gott<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/F0o1WgSA9uI\"  width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 12<\/p>","protected":false},"excerpt":{"rendered":"<p>Kauffmann&#8217;s prelude on &#8220;O heiliger Geist, o heiliger Gott&#8221; calls for the almost impossible combination of a Quintadena 16&#8242; and Fagot 16&#8242; in the left hand and a Vox Humana in the right hand. The M\u00fcller organ in Haarlem is not exactly a small organ, but I had to use a coupler not present in the real instrument to approach the sound Kauffmann intended. And even then I had to mimic the Vox Humana with the Oboe of the hoofdwerk. But the result is very nice. There obviously is a lot to be learned in Kauffmann&#8217;s registration prescriptions. The recording was done on the sample set of the M\u00fcller-organ in the Sint Bavokerk in Haarlem by Voxus Organs for Hauptwerk. Registration: BW: Quintadena 16&#8242;, Baarpijp 8&#8242;, Fluit douce 4&#8242; HW: Viola di Gamba 8&#8242;, Oboe 8&#8242; (RH) RW: Fagot 16&#8242; (LH) Rw+Bw Score Kauffmann, O heiliger Geist, o heiliger Gott Performance Views: 12<\/p>\n","protected":false},"author":1,"featured_media":3271,"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":[11,7],"tags":[],"class_list":["post-3267","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kaufmann-georg-friedrich","category-scores","genre-choral-prelude","genre-o-heiliger-geist-o-heiliger-gott"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2017\/03\/Kauffmann_o_heiliger_geist_preview-1.jpg?fit=826%2C511&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-QH","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/3267","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=3267"}],"version-history":[{"count":3,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/3267\/revisions"}],"predecessor-version":[{"id":9517,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/3267\/revisions\/9517"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/3271"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=3267"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=3267"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=3267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}