In his choral composition The Tyger, based on William Blake's outstanding poem published in 1794, Franz M. Herzog reflects on the contrasts between aesthetic beauty and primal wildness. Implented in a musically impressive manner, the voices move at times as antipodes and at other times in perfect harmony. Expressive solo passages are contrasted by the eight-part choral setting, and glissandi clusters alternate with expressive melodic arcs and chorale-like sections. Herzog's The Tyger is alternately brilliant, beautiful, expressive and poetic, yet these contrasts seem to miraculously merge together several times.