In 1656 the new Elector Johann Georg II reorganised musical life, and he attached great importance to the fact that Italians were now active in the decisive positions. Probably the most important of them was Giuseppe Peranda, who was appointed Kapellmeister by the Elector. Together with his colleague Vincenzo Albrici, he also established the new tone in sacred music, characterized by a stronger emphasis on the melodic and above all by a rhythmic liveliness previously unknown in sacred music. The Basler Abendmusiken make audible what caused so much sensation in Dresden at the time.

Abendmusiken Basel
Soprano: Miriam Feuersinger (1, 2, 6, 9)
María Cristina Kiehr (1, 2, 8, 9)
Alto: Alex Potter (1, 2, 3, 5, 6, 8, 9)
Tenore: Raphael Höhn (1, 2, 9),
Jakob Pilgram (1, 2, 3, 5, 6, 8, 9)
Basso: Markus Flaig (1, 2, 5, 8, 9)
Cornetto: Bork-Frithjof Smith (1, 2, 3, 5, 6, 9)
Gebhard David (1, 2, 3, 5, 6, 9)
Trombona: Simen van Mechelen (1, 2, 6, 9)
Catherine Motuz (1, 2, 6, 9)
Joost Swinkels (1, 2, 6, 9)
Violino: Katharina Heutjer (1–4, 6–9)
Regula Keller (1–4, 6–9)
Viola: Katharina Bopp (1, 2, 6, 7, 9)
Viola da gamba: Brian Franklin (1, 2, 6, 7, 9)
Thomas Goetschel (1, 2, 7, 9)
Fagotto: Silke Gwendolyn Schulze (1, 2, 3, 5, 9)
Violone: Matthias Müller (1–9)
Tiorba: Julian Behr (1–9)
Cembalo: Christoph Anzböck (1–9)
Organo: Jörg-Andreas Bötticher (1–9)