By his own account, Erasmus Kindermann was pressured by friends into setting poems by Martin Opitz to music and did so in works such as his Opitianischer Orpheus. The poems that he chose for the most part were selections from the Bücher Deutscher Poemata. The texts of the songs mostly focus on themes taken from ancient models: “carpe diem” and “memento mori” as well as love’s joy and love’s grief. Poems with moral and religious content and for special occasions and entertainment are also represented, and the pastoral idyll often provides the scenic background. The instrumental preludes and interludes consist of only a few measures but very skillfully render the character of the song and underscore its textual message. In the subtitle of his Opitianischer Orpheus, Kindermann terms his poem settings “Musical Delights” in this way clearly emphasizing his intention not to compose laments on sad times but instead to convey joy, intellectual stimulation, and pleasure. Instead of designing the music for the poems in his Opitianischer Orpheus as an opulent work in multiple voices for a larger concert setting, Kindermann very deliberately chose chamber music as his medium. The composer intentionally refrained from including broad melismas in the song melodies.