The latest beneficiary of this activity is Schtz's Geistliche Chormusik, a grand volume of twenty-nine motets for five to seven voices published in 1648 by Johann Klemmens in Dresden and, in that age of stylistic diversity, intended to encourage German composers to "bite this hard nut" (diese harte Nu . . . auffbeissen) of writing without continuo, the fruit of which is a proper understanding of counterpoint and the prerequisite for good composition in any idiom. In his dedication of the volume to the city fathers of Leipzig, Schtz points to the critical role of the continuo in differentiating the concertato idiom from the traditional motet style: it is integral to the former, but superfluous in the latter, and as in his 1625 Cantiones sacrae, Schtz attributes the presence of the bassus continuus in the Geistliche Chormusik to the initiative of the publisher.