The conductor Frieder Bernius regards the motets of Hans Fährmann as an “indispensable and extremely welcome addition to the late Romantic repertoire”. The composer’s output is little known nowadays. Born in 1860, he was considered the “Richard Strauss of the organ” during his lifetime. With their demanding harmonies, Fährmann’s choral motets place high demands on choirs and – like Reger’s works – stretch tonality to its extremes. And not least, their sonorous expressivity is thanks to their chr...