Music has always had a great value in the Frauenkirche. As a substantial part of the proclamation, it had a firm place in services. In addition, religious works were performed in the baroque church. In the 18th and 19th centuries, the Frauenkirche profiled itself as a venue of high quality musical performances through the continuous contact with the royal opera house.
 
The Frauenkirche profited musically especially from the work of the choir masters and choir of the Kreuzkirche. The collaboration was particularly close when the Kreuzkirche was unfit for use after its destruction during the Seven Years’ War. The choir master and choir of the Kreuzkirche found temporary residence in the Frauenkirche from 1760 to 1792. At that time, the choir master was Gottfried August Homilius who had previously been the organist of the Frauenkirche for 13 years. The majority of his compositions (especially cantatas, motets and passion music) stem from his time at the Frauenkirche.
 
Of course there were also other great musicians who were close to the Frauenkirche. On 1 of December 1736, the choir master of St. Thomas’s Church in Leipzig, Johann Sebastian Bach, gave a concert shortly after the completion of the very impressive Silbermann organ to show his gratitude for the conferment on him of the title of a Composer to the Royal Polish and Saxon Courts.
 
Richard Wagner composed a piece especially for the Frauenkirche. For the 100th anniversary of the completion of the church, he wrote the oratorio ‘The Love-Meal of the Apostles’, which was premiered on 6 July 1843 in the Frauenkirche. For the expansively cast ‘biblical scene’ for male voice choir and orchestra, 1,200 choristers and 100 musicians were drawn together from throughout the whole of Saxony. Equally lavish in terms of personnel was the Dresden debut performance Gustav Mahler’s 8th Symphony. The piece, which also has the epithet ‘Symphony of the Thousand’, was performed in the Frauenkirche in 1920.