Hammerschmidt is undoubtedly the most unjustly neglected composer of seventeenth-century Lutheran Germany. Very few recordings have been devoted to him, even though his music was widely published during his lifetime.

The fifteen or so published collections offer a great variety of works, which, like those of his famous contemporary Heinrich Schütz, illustrate the fusion between the Lutheran polyphonic tradition and the various stylistic influences of the Italian Baroque. The entire programme is structured around texts for Passiontide and Easter, introduced by an intensely moving madrigalian motet on the death of Christ, Ach Jesus stirbt.