The collection “Polyhymnia Caduceatrix & Panegyrica” of 1619 is rightly regarded as the high point in Michael Praetorius’s output. It combines “Solennische Friedt- und Frewden-Concert:” which Praetorius as a travelling musician had composed largely for festive occasions – he writes of “Kayser: König: Chur: vnd Fürstlichen zusammen Kunfften” – and also for “fürnehme Capellen vnd Kirchen”. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of “Es ist ein Ros entsprungen”. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. The six-part polyphonic choral setting of the German Gloria (the first and fourth verses are underlaid) is divided, following Italian models, by tutti sections in triple meter. Instruments join the tutti sections ad libitum, strengthening the vocal parts.