This programme explores Danish church music from the reign of Christian IV, a period when international influence and local tradition combined to create a distinctive sacred style. At its centre stands the Mass from Pratum Spirituale, whose five-part writing favours clarity of text and luminous sonority over dense contrapuntal display. Its alternation of imitative and homophonic textures gives the music an eloquent, almost conversational flow, marked by a recurring melodic gesture that lends unity across the movements. Alongside it appears an anonymous Mass of contrasting character, more elaborate in its counterpoint and broader in liturgical scope, reflecting a different strand of compositional thought at court. Motets by Mancinus, Bertholusius, and Schattenberg broaden the perspective further, moving between ceremonial grandeur and intimate devotion. Together, these works illuminate a vibrant musical culture in which expressive restraint, rhetorical clarity, and spiritual inwardness coexist, offering a nuanced view of sacred polyphony at a moment of exceptional artistic richness.