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thus preparing the hearts of his listeners for the message of the sermon’ ( J. Kortkamp). Scheidemann’s influence appears in different forms, notably in the stylus luxurians or ornamented style that Weckmannn often used for the second verses set for two manuals and pedals in his chorale cycles. Following the example of his teacher Sweelinck, Scheidemann had greatly expanded the use of echo effects between two keyboards; the second verse of Gelobet seist du, Jesu Christ displays Weckmannn’s own mastery of this technique. We should also mention a certain relationship between Weckmannn’s Magnificat and Scheidemann’s settings of the Magnificat in the eight tones or modes. We may well wonder what exactly the ‘pleasing inventions’ described by Matheson were. Weckmannn also possessed an astonishing rhythmical invention that was almost certainly linked to his experience in composing for both voices and instruments. The two verses of Gott sei gelobet und gebenedeiet present us with a great diversity of rhythmical figures; the first verse even includes a section in 6/4 time in a predominantly binary musical context – an effect frequently used by Weckmannn. Another innovation was the use of the 16’ Trumpet stop in the left hand in the third verse of Es ist das Heil uns kommen her and in O lux beata trinitas; Weckmannn had a magnificent 16’ Trumpet stop available on the Oberwerk of the organ in the Jakobikirche in Hamburg. A double pedal part had first been exploited by Samuel Scheidt and others; Weckmannn then extended its use, often strengthening the tenor line played in the left hand with the right foot on the pedals; examples of this are to be found in the first verse of the