De adventu Domini: Hymnus "Veni redemptor gentium" (Tabulatura nova III, 1624)

Part III of the "Tabulatura nova" by Samuel Scheidt (1587-1654), published in 1624, contains various organ settings based on early church hymns and the Magnificat, which were probably primarily intended for vespers services. Among them are also five versettas on the cantus firmus of the Ambrosian Advent hymn "Veni redemptor gentium":
The extended Versette I is composed in the manner of a four-part polyphonic motet; each section is based on its own soggetto, always derived from the cantus firmus, which is then elaborated in imitation. The introverted piece conceals an impressive wealth of melodic and rhythmic finesse beneath its austere exterior.
The shorter versets II to V each perform the cantus firmus in long note values in one voice of the four-part movement: Versus II in the soprano, Versus III in the alto, Versus IV in the tenor and Versus V in the bass. I have always understood this descent of the cantus firmus from the highest to the lowest voice as an image of the descent of the Son of God to mankind in need of redemption, which is sung about in the hymn.