The work of the great French baroque master Marc-Antoine Charpentier gathered dust in the archives for more than 200 years. Not until this century started a renaissance of Charpentier. The boldness of his harmony which is not even afraid of dissonant combinations in the interest of consequent part-writing is amazing for those days. Since the range of an octave plus sixth is not exceeded in the upper parts, even recorders or gambas can be used. Finally, the third part (vi-ola) can be played almost exactly from music by a third violin.