Heinrich Schütz’s Weihnachtshistorie (Christmas Story) dates from the 1660s, when the composer was in his seventies. With its narrative told through tenor recitatives, this work helped to establish the model of oratorio later developed by J.S. Bach. Its rich instrumental scoring shines brightly in the choruses, and provides dramatic colour for the story’s characters—violas accompany the angel, recorders pipe alongside the shepherds, and brass bestow dignity to King Herod. The Vox Luminis continuo is sprightly in the intimate moments, but it’s the thrilling sonority of the full orchestra and chorus, bolstered by trombones and organ, that really stands out in this performance. Preluding the main event, as it were, is a selection of festive motets by Schütz and his prolific contemporary Andreas Hammerschmidt, all similarly vibrant. Their striking use of dialogue between ensemble groups shows the influence of the Italian polychoral style that made use of spatially separate choirs—Schütz’s monumental Magnificat is the most ambitious in this regard. Hammerschmidt’s joyful Machet die Tore weit and Freude, Freude, große Freude herald the Messiah with a dancing triple metre, while the chorales of Schütz’s O bone Jesu are sung with great sensitivity. Michael Praetorius’ timeless carol Es ist ein Ros entsprungen offers a moment of sublime calm.