This fabulous performance was composed entirely of glorious music of the German renaissance and baroque by: Schutz, Schein, Scheidt, Schmelzer, Schmeltzel, Schlick, Schwemmer, Schickhardt, and Schonfelder. The concert included:

• Selig sind die toten (a 6), Heinrich Schutz (1585 - 1672)
  
  • A Capella. One of the most famous settings by the great German master, Schutz; taken from the Geitstliche Chormusik of 1648. The mood is dignified and deeply religious, but always poetically responsive to the text (Revelation 14:13) in the manner of an Italian madrigal. "Blessed are the Dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labors; and their works do follow them."
• Concerto I, Johann Christian Schickhardt (early 18th century)
  Allegro, Adagio, Vivace, Allegro.
  4 alto recorders and harpsichord
  
  • Little is known today of the northern German composer Schickhardt; this concerto was published as part of a collection in 1713, all dedicated to an obscure member of the court of Frederick the Great of Prussia. The combination of four alto recorders is very rare.
• Kommt her, ihr gesegneten (1634), Samuel Scheidt (1587 - 1654)
  Dialog for five voices and continuo
  
  • Scheidt, pupil of Sweelinck, friend of Schein, Court Kapellmeister at Halle, was one of the most distinguished composers of his time. This piece, from a collection of 1634, is his setting of a conversation of Christ with the Righteous and the Damned on the Day of Judgment. The text is based on Matthew 25: 34-45.

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