Tracks1.1 Primus Versus 1.2 Secundus Versus 1.3 Tertius Versus 1.4 Quartus Versus 1.5 Benedicam Domino (After Lassus) 1.6 Primus Versus 1.7 Secundus Versus 1.8 Praeambulum in F Major 1.9 Canzona in F Major 1.10 Nun Bitten Wir Den Heiligen Geist 1.11 Praeambulum in D minor 1.12 Versus Primus Et Secundus 1.13 Versus Tertius Et Quartus 1.14 Primus Versus 1.15 Secundus Versus 1.16 Tertius Versus 1.17 Praeambulum in G minor 1.18 Primus Versus 1.19 Secundus Versus 1.20 Primus Versus 1.21 Secundus Versus 1.22 De Ore Prudentis Procedit Mel (After Lassus) 1.23 Primus Versus 1.24 Secundus Versus 1.25 Tertius Versus 1.26 Quartus Versus
NotesIn quantity, quality and historical significance the work of Heinrich Scheidemann occupies the dominant position in North German organ music of the first half of the of the seventeenth century. Scheidemann assimilated Sweelinck's language, combining his master's polyphony and virtuosity with other elements to create a new, individual style. Scheidemann's legacy includes chorale arrangements and versions of the Magnificat in a series based on the eight psalm tones.