Wie schön leuchtet der Morgenstern:
a 3 (Musae Sioniae IX/208, 1610), a 4 (Musae Sioniae IX/210, 1610), a 5 (Musae Sioniae IX/211, 1610), a 9 (Polyhymnia Caduceatrix, 10, 1619), a 13, Teil I-II (Puercinium, 10, 1621)
Nun komm, der Heiden Heiland:
a 6 (Musae Sioniae V/55, 1607), a 4 (Musae Sioniae V/52, 1607), a 3 (Musae Sioniae V/51, 1607), a 3 (Musae Sioniae IX/3, 1610), a 8 (Musae Sioniae II/2, 1607)
Als der gütige Gott:
a 15, Teil I-IV (Polyhymnia Caduceatrix, 27, 1619)
Vom Himmel hoch:
a 3 (Musae Sioniae V/71, 1607), a 4 (Musae Sioniae V/72, 1607), a 5 (Musae Sioniae V/74, 1607)
Wachet auf, ruft uns die Stimme:
a 4 (Musae Sioniae V/98, 1607), a 2 (Musae Sioniae V/97, 1607), a 4 (Musae Sioniae IX/214, 1610), a 19, Teil I-III (Polyhymnia Caduceatrix, 21, 1619)
In dulci jubilo:
a 3 (Musae Sioniae V/81, 1607), a 2 (Musae Sioniae IX/12, 1610), a 3 (Musae Sioniae IX/36, 1610), a 8 (Musae Sioniae II/5, 1607)
Gelobet seist du, Jesu Christ:
a 8, Teil I-III (Polyhymnia Exercitatrix, 9, 1620)

From Michael Praetorius‘ extensive works we hear the same pieces again and again during the Christmas season, such as Es ist ein Ros’ entsprungen (A great and mighty wonder). Thus wellcomposed, but at the same time, because of their congregational use, simple compositions have become well-known to a larger audience. In this way Praetorius has gained the unjustified reputation of being a composer of naive and folk-like music.

The aim of this recording is to adjust this false picture somewhat. In order to emphasize the whole range of his art of arrangement, the choice was limited to five groups of hymns and two additional concertos. In this way it can be shown just how much vivid imagination was used by Praetorius: from the canonic bicinium through the simple four-part harmonization and the very complex contrapuntal chorale motet right up to the multi-choral vocal concert with solo voices, choir, instruments and figured bass.