Returning in 1628 after Gabrieli's death, he studied with his successor at St Mark's Basilica, Claudio Monteverdi.

Schütz set the texts as concertos for various combinations of one to three voices, instruments (both strings and winds) and basso continuo.

The translations follow Emmanuel Music for SWV 257, 263, 264,[4] a study bible for the Song of Solomon, otherwise the King James version.

The last column provides a link to the details about the piece from the Schütz Association, which contains the text, a translation to German, the volume in the Neue Schütz-Ausgabe, biblical source(s), and further links to the collection's history, original foreword, analysis, dedication, original cover, reception and sources.

[4] Schütz followed Monteverdi's seconda pratica in setting the biblical texts not in the older polyphonic style, but in dramatic declamation close to the opera of the period.

[10] They were recorded in 2003 with the Cappella Augustana including singers Anna Mikołajczyk, Marzena Lubaszka, Piotr Lykowski, Krzysztof Szmyt, Robert Pozarski, Harry van der Kamp, Bogdan Makal, Walter Testolin and Gian Paolo Dal Dosso, conducted by organist Matteo Messori.

[3][2] They were recorded in 2016, as part of the complete recordings of works by Schütz, by the Dresdner Kammerchor and organist Ludger Rémy, conducted by Hans-Christoph Rademann, with soloists Dorothee Mields, Isabel Jantschek, David Erler, Georg Poplutz, Tobias Mäthger and Felix Schwandte.