Motet intabulations – the instrumental versions of polyphonic vocal pieces – were long neglected by publishers, even though this arrangement technique was widely practiced in the early 17th century. And, to judge from the twelve surviving intabulations by the Hamburg organist Heinrich Scheidemann (c. 1596-1663), they were anything but occasional works. Painstakingly transcribed and frequently based on famous original works (by Orlando di Lasso, Hans Leo Hassler and others), Scheidemann’s motet i...