One consistent problem of the performance concerned blend, particularly among the tenors, which tended to disrupt what was otherwise an often seamless sound. Furthermore, balance in the group could be fine-tuned, as the male voices frequently overwhelmed the female parts — a curious circumstance given that the choir's women outnumber the men.

The program opened with three motets from Psalmen Davids (1619), Schütz's first collection of choral music. These pieces reflect the influence of Schütz's study in Venice with Giovanni Gabrieli, whose choral output is largely sacred and who used divided choruses in many of his works. The inward, beseeching quality of "Ach Herr, straf mich nicht in deinem Zorn" (O Lord, do not punish me in your anger) was finely conveyed in the choir's soaring melodic phrasing. In "Ich hebe meine Augen auf" (I lift up my eyes) a quartet of soloists (soprano Andrea Fullington, alto Suzanne Elder Wallace, tenor Mark Mueller and bass Hugh Davies) were featured in alternatum with the choir, first individually in monody and later as a solo ensemble. The solo group comprised fine individual voices that were well-matched as an ensemble, though again the men tended to overshadow the women.

"Quid commisisti, o dulcissime puer" (What have you done, O sweetest boy), a five-part Passion motet from Schütz's Cantiones Sacrae (1625), adopts a distinctly spiritual character in its depiction of Christ's death. The longest piece of this collection, this motet contains a variety of meditative moods across each of its five sections that demands sustained attention to detail, a challenge the choir generally met well by infusing the music with a vivid sense of dramatic contrast.

Rounding out the first half of the program was "Herr nun lässest du deinen Diener/Selig sind die Toten (Lord, now let your servant depart in peace/Blessed are the dead), a polytextual motet from Schütz's Musikalische Exequien (1636). This motet was written as part of a commission by the widow of Schütz's birth sovereign, Prince Heinrich Reuss Posthumus, following his death. It sets both the Nunc dimittis from the Office service of Compline, which the prince had wanted sung at his funeral, and a text from Revelation in which the dead are deemed blessed for joining the company of the Lord. As the choir performed the Nunc dimittis, three soloists (Fullington, soprano Jennifer Owen and Davies) sang the Revelation text from the back of the church, a visual representation of the soul and seraphim removed from the body. Fullington and Owen's voices have similarly lithe qualities and blend well together, though balance was not always perfect. Davies' voluminous, piercing bass provided an effectively stark contrast to the female pair.

Five works from Geistliche Chor-Music (1648) opened the program's second half. This collection of works, complied over the course of the Thirty Years War, is written in a more conservative stile antico style (though Stewart chose to retain the continuo players in this performance). With these pieces the choir's singing began to lose some of its precision, as attacks wavered slightly in pitch and timing, though the sound remained rich. Best among these works was the last motet, the highly affecting "Selig sind die Toten," whose unrelentingly somber character dovetailed effectively against the many chameleon-like shifts in the program's other works. Here the choir's singing was exquisite, providing a full-bodied and highly effective alternate reading of a text that had first been introduced by soloists earlier in the program.

Der Schwanengesang (1671), a group of 11 motets and Schütz's self- proclaimed swan song, marks a stylistic return to his younger days with Gabrieli, whose polychoral style was by now obsolete due to the rise of operatic singing. Performing the "Deutsches Magnificat" from this collection, the choir ended the program strongly, savoring the music's lilting rhythms and making the most of its dynamic contrasts.