{"id":5764,"date":"2018-06-07T22:14:04","date_gmt":"2018-06-07T20:14:04","guid":{"rendered":"http:\/\/partitura.org\/?p=5764"},"modified":"2021-02-27T17:14:18","modified_gmt":"2021-02-27T15:14:18","slug":"georg-friedrich-kauffmann-o-lamm-gottes","status":"publish","type":"post","link":"https:\/\/partitura.org\/index.php\/georg-friedrich-kauffmann-o-lamm-gottes\/","title":{"rendered":"Georg Friedrich Kauffmann, O Lamm Gottes"},"content":{"rendered":"<p>The intended structure of Kauffmann&#8217;s prelude to &#8220;O Lamm Gottes&#8221; is not immediately clear. Kauffmann gives an alternative ending for the piece that can be played from bar 9 and further. And the alternative has a second part, called &#8220;a 3 per Imitationes&#8221;. Did Kauffmann intend this piece as a da capo prelude with the imitationes as a middle part? Or are they two different pieces: one that ends as a four voice piece, one that ends with the imitationes? Or are they intented as three seperate pieces? I don&#8217;t know. In the performance I choose to play it as a da capo prelude. <\/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><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\/2018\/06\/Kauffmann-81-O-Lamm-Gottes.pdf\" data-kccpid=\"5764\">Kauffmann, O Lamm Gottes<\/a><\/p>\n<p><strong>Performance<\/strong><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/UsM-EoR7BeU\"  width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Views: 31<\/p>","protected":false},"excerpt":{"rendered":"<p>The intended structure of Kauffmann&#8217;s prelude to &#8220;O Lamm Gottes&#8221; is not immediately clear. Kauffmann gives an alternative ending for the piece that can be played from bar 9 and further. And the alternative has a second part, called &#8220;a 3 per Imitationes&#8221;. Did Kauffmann intend this piece as a da capo prelude with the imitationes as a middle part? Or are they two different pieces: one that ends as a four voice piece, one that ends with the imitationes? Or are they intented as three seperate pieces? I don&#8217;t know. In the performance I choose to play it as a da capo prelude. The recording was done on the sample set of the M\u00fcller-organ in the Sint Bavokerk in Haarlem by Voxus Organs for Hauptwerk. Score Kauffmann, O Lamm Gottes Performance Views: 31<\/p>\n","protected":false},"author":1,"featured_media":5766,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_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-5764","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kaufmann-georg-friedrich","category-scores","genre-choral-prelude","genre-o-lamm-gottes"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/partitura.org\/wp-content\/uploads\/2018\/06\/Kauffmann-O-Lamm-Gottes-preview.png?fit=934%2C604&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5LnuZ-1uY","_links":{"self":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/5764","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=5764"}],"version-history":[{"count":3,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/5764\/revisions"}],"predecessor-version":[{"id":9353,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/posts\/5764\/revisions\/9353"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media\/5766"}],"wp:attachment":[{"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/media?parent=5764"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/categories?post=5764"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/partitura.org\/index.php\/wp-json\/wp\/v2\/tags?post=5764"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}