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.

Fritz Stüssi (1874 - 1923) attended the Gymnasium in Zurich as well as the Zurich Music School, from which he graduated as a pianist and composer.

With its first own recording of a cappella repertoire, the Zurcher Sing- Akademie reveals its musical and emotional identity and opens the door to the unique Swiss musical landscape. HERZBLUT provides an insight into the multifaceted work of Swiss composers, from the Romantic period to the present day.

The great “composer of the millennium” Johann Sebastian Bach stands like a solitary rock in the landscape of music history. There is less talk about where he came from and what influenced him stylistically. Chorwerk Ruhr embarked on a search for clues with highly interesting results: the young Johann Sebastian also listened to and studied works that were already around 100 years old.

Michael Praetorius in the Context of his Italian Contemporaries: Michael Praetorius was anything but a cosmopolitan, rather he lived and worked within a manageable radius of the German-speaking area.