Liebeslieder-Walzer, Op. 52
Neue Liebeslieder-Walzer, Op. 65
Quartette (3), Op. 31
Quartette (3), Op. 64
Gesänge (3) for six-part mixed choir, Op. 42
Lieder (7) for mixed choir, Op. 62
Lieder und Romanzen (6), Op. 93a
Gesänge (5) for mixed choir, Op. 104
Quartette (4), Op. 92
Quartette (2), Op. 112a
Folk Songs (14), WoO 34
German Folk Songs (12), WoO 35
Ave Maria, Op. 12
Der 13. Psalm "Herr, wie lange" Op. 27
Zigeunerlieder, Op. 103
Zigeunerlieder (Gypsy Songs) Op. 112b Nos. 3-6
Es stunden drei Rosen (No. 43 from Deutsche Volkslieder, WoO 33)
Dem Himmel will ich klagen (No. 44 from Deutsche Volkslieder, WoO 33)
Es saß ein schneeweiß Vögelein (No. 45 from Deutsche Volkslieder, WoO 33)
Es war einmal ein Zimmergesell (No. 46 from Deutsche Volkslieder, WoO 33)
Es ging sich unsre Fraue (No. 47 from Deutsche Volkslieder, WoO 33)
Nachtigall, sag' (No. 48 from Deutsche Volkslieder, WoO 33)
Verstohlen geht der Mond auf (No. 49 from Deutsche Volkslieder, WoO 33)
Tafellied, Op. 93b
Kleine Hochzeitskantate, WoO 16
Dem dunklen Schoss der heilgen Erde, WoO 20
Kanons Op. 113
Motets (2), Op. 29
Geistliches Lied, Op. 30
Motets (2), Op. 74
Motets (3), Op. 110
Missa canonica, WoO18
Gesänge (4), Op. 17
Marienlieder, Op. 22
Fest- und Gedenksprüche, Op. 109
Lieder (5) für Männerchor, Op. 41
Lieder und Romanzen (12) für Frauenchor, Op. 44
Sacred choruses (3) for unaccompanied four-part female chorus, Op. 37
6 CD + CD ROM
Brahms conducted amateur choirs throughout his professional life, both as a useful source of income and because he enjoyed his contact with enthusiastic, amateur music-makers, not least the ladies in his various choirs. It also gave him a chance to explore music of former eras, by Bach, Schütz, Buxtehude and more, which Brahms considered a vital part of his musical heritage and which, practically speaking, he was bringing back to life in a culture that barely knew its own history.
We may with some justice speak of Brahms the periodinstrument pioneer. These splendid modern performances come from a choir of a similar size to the one Brahms would have recognised, and are directed by the experienced choral trainer Nicol Matt.