Contents / Duration:

1. Theme [0' 35"]
2. Andante / Allegro in G [4' 15"]
3. Six verses varying over D/Eb/E/F/F#/G/D [2' 45"]
4. Allegro / Andante in G [3' 15"]
5. Six verses varying over D/Eb/E/F/F#/G [2' 45"]

Easter Hymn "Christ ist erstanden" (Christ has arisen) in tango-like adaption [2' 55"]
Concerto in Manier der Wiener Klassik (in style of the Viennese Classical school) [3' 55"]
Canzonetta [3' 50"]
Capriccio nach spanischem Gestus (in Spanish style) [2' 35"]
Chanson française [2' 20"]
Entrée [1' 45"]
Canticum [2' 45"]
Swing Bells [2' 20"]
Sortie [5']
Marche d’Église [2' 35"]
Concerto G major [3' 15"]
Intermezzo [3' 35"]
Reminiscences [4' 35"]
Concerto F major [3']
Initiale [4' 25"]
Aria [2'30"]
Miniature [2' 20"]
Invention 1']  

Toccata "Espagnole" for organ after a Spanish Fandango rhythm.

Two sacred compositions op. 3 for double chorus brass ensemble and percussion by Wilhelm Kaiser-Lindemann, composed in 1973 and 1974.

1. Osterfanfare über „Christ ist erstanden“ (Easter fanfare) op. 3a [3' 30"]
2. „Veni Creator Spiritus“ (Music for Pentecost) op. 3b [6' 20"]

Intention and target for this composition was a cantata to celebrate the octocentenary of the municipal church of Preetz (Germany). Since the first performance was fixed at 30th of May 2010, the week after Whitsun, a Whit cantata seemed to be indicated. The setting was guided by the musical resources involving the congregational singing during the anniversary celebration. Kaiser-Lindemann expanded the setting by five professional performers: solo soprano, solo flute, 2 piccolo trumpets and timpani.

The lyrics were based on the forceful latin “Veni, Creator Spiritus” by Rhabanus Maurus from the 9th century, which praises the Pneuma’s power. Furthermore two different german translations were added: on the one hand the familiar “Komm, Gott Schöpfer, Heiliger Geist” and on the other hand the less known “Komm, Schöpfer Geist, kehr bei uns ein”.

Stilistically Kaiser-Lindemann’s work ranges between Gregorian hints and ecclesiastical modes right up to contemporary atonal affinity.

The first performance took place at 30th of May 2010 to celebrate the octocentenary of the  municipal church of Preetz (Germany).

Stilistically Kaiser-Lindemann’s work ranges between Gregorian hints and ecclesiastical modes right up to contemporary atonal affinity.

(see also orchestral version)

Wilhelm Mohr's Psalm 24 "Machet die Tore weit" (Lift up your heads, O ye gates) op. 3 for mixed choir, large orchestra and organ with children's choir ad lib. is a powerful music in the late romantic tradition. Its grandly structured line leads finally in the well known Advent carol "Macht hoch die Tür" (Open the Door High), to sing optionally by a children's choir but even accompanied by the congregation.

Vocal score of the "Geistliche Abendmusik" (Sacred Serenade) op. 4 (original piano score by the composer).

(see also orchestral version)

This about 10 minute five mouvement composition "Geistliche Abendmusik" (Sacred Serenade) after lyrics by Eichendorff, M. Claudius and the Bible stilistically links to J. Brahms und R. Strauss. Readily accessible it develops an impressive atmosphere in its vespertine moods. By vocal and instrumental part splitting even rises time and again a grand harmonic richness besides a genereal tonal restraint. The composition suits for completion of programs with Roantic choral catata.
The short very lyrically composed solo parts call for voices with delicate timbre.
(Prof. Hans Gebhard)