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)

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)

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

(see also orchestral version)

First edition of the famous choral work by Rachmaninoff with a phonetic transcription of the Cyrillic lyrics.

1. O Tannenbaum (O Christmas Tree) [1' 30"]
2. Am Weihnachtsbaume, die Lichter brennen (On the Christmas tree the lights are burning) [1' 15"]

The Slavonic dance op. 72 No. 2 was originally written by Antonin Dvořák for piano four hands and scored later on by himself. Here we present a brilliant arrangement for piano quartet by Wilhelm Kaiser-Lindemann.

The second of the 3 Preludes for Piano by George Gershwin was arranged by Wilhelm Kaiser-Lindemann for string quartet, Further arrangements of this piece by Kaiser-Lindemann are available for string orchestra and for 12 cellists, the latter was a commisorial work for the 12 Cellists of the Berlin Philharmonic Orchestra.

The second of the 3 Preludes for Piano by George Gershwin was arranged by Wilhelm Kaiser-Lindemann for string orchestra. Further arrangements of this piece by Kaiser-Lindemann are available for string quartet and for 12 cellists, the latter was a commisorial work for the 12 Cellists of the Berlin Philharmonic Orchestra.

The second of the 3 Preludes for Piano by George Gershwin was arranged by Wilhelm Kaiser-Lindemann for 12 Celli, a commisorial work for the 12 Cellists of the Berlin Philharmonic Orchestra. Further arrangements of this piece by Kaiser-Lindemann are available for string orchestra and for string quartet.

Dialoghi notturni: nightly talking. It is a dialogue between two ever differeng individuals, represented by the piano and by the Cello, however beeing not allways the same person by changing amongst themselves as well. In so doing, the Cello represents the more serious partner with deeper emotions, the sage one. The piano on the other hand plays the smattering, self-indulgen part

Stylistically the composition is embedded in an chord, possibly not just a chord but merely and simply a stroke of the gong. This stroke is repeated time and time again to recall the partner that I can't master the matter and the cello answers allways in a different way.until finally after a tough discussion the chord resolves.

Dieser Akkord taucht immer wieder auf und erinnert den anderen daran: ich werde mit einer Sache nicht fertig und das Cello, der andere Partner reagiert immer wieder anders darauf, bis sich am Schluss nach zäher Diskussion dieser Akkord endlich auflöst.

(The Composer)