ABSTRACT
The idiomatic use of the organ and the new stylistic elements found their most original realization in the chorale fantasia, and it has become clear that not only was Heinrich Scheidemann the creator of this genre. But that he also stands as its most important master ever: no fewer than sixteen such pieces can at present be attributed to him. Like the Nun freut euch fantasia, Scheidemann's Magnificat fantasias, with one possible exception, form part of larger variation cycles. In Hamburg and elsewhere in North Germany there was a strong tradition of writing chorale motets for organ — particularly apparent from those included by Hieronymus Praetorius in his Magnificat cycles for organ. A problematic aspect of the seminal piece is its relationship with the Magnificat cycle as a whole. The most stable and stereotyped verses are of course the opening ones, with their single cantus firmus presentation and overall avoidance of lively passagework.
