The deliciously erotic aspects of the Song of Songs inspired numerous composers in the 17th century. What is harder to imagine is that these same Lutheran composers could not resist setting it to music. The majority of Hammerschmidt's pieces on this text are written for soprano or tenor voices, obviously representing the two protagonists: the beloved. It is around this repertoire that this entertainment-style program is built, in which amorous evocations and sensual dialogues are framed by dances and instrumental pieces that form the backdrop of this small sacred opera.