Encouraged by these fees, he later came to add further instrumental and vocal soloists, but it is under his successor Dieterich Buxtehude (organist at Lübeck from 1668 until 1707), that these concerts came to prominence.
[1] Already in 1669, Buxtehude had significantly expanded the required forces to include orchestra and chorus, necessitating the construction of additional galleries to have enough space for the about 40 performers.
Two oratorios, Himmlische Seelenlust auf Erden and Das Allerschröcklichste und Allererfreulichste, both in five parts, with the first one described as being in the opera style, with arias and ritornellos, were advertised for publication that year.
[1] Financed by the local business community, the performances offered free admission, although donors were rewarded with better seating and printed librettos.
The only two examples remaining which were performed for these occasions with certitude are Adolf Kunzen's Moses in seinem Eifer gegen die Abgötterey in den Wüsten and Absalon.