The genre accompanied him for almost his entire creative career: the sacred choral song op. 30 was written by the 23-year-old Johannes Brahms in 1856, the Fünf Gesänge for mixed choir a cappella are his late legacy in the field of secular choral song, composed between 1886 and 1888. In between lie the Drei Gesänge, composed at a time when Brahms was also very practically involved with choral singing as a choirmaster, then the Sieben Lieder for four to eight-part choir and finally his large-scale Mottete op. 74, No. 1 Warum ist das Licht gegeben from 1877 and the sister work O Heiland, reiß die Himmel auf op. 74 No. 2. Over the course of more than 30 years, the composer showed a fascinating development which – of course always in the most demanding style – led from the romantic opulence of the six- to eight-part movement to more reduced austerity. Chorwerk Ruhr traces this development with fascinating intensity.

From Schütz to Bräutigam by way of Schumann, Reger, Mauersberger, Poulenc and Werner – this recording by the Chamber Choir of the Freiburg University of Music under the direction of Morten Schuldt-Jensen takes the listener through the entire history of the motet. All of these compositions have one thing in common: their uniquely personal expressive force. The Drei Paulusmotetten by Fritz Werner, a contemporary of Poulenc, appear for the first time on HIGHRESAUDIO. These brilliant motets reflect the period and events of the time of their creation. The works by Werner and Mauersberger, for instance, were composed during the horrors of the Second World War.