The term Accompagnato in music denotes an artful accompaniment of a principle melody in polyphonic music. Furthermore, in this particular case, the German composer Juergen Broschart (*1957) has made different melodies compete with each other. Such that each new instrument adds a particular novel atmosphere to the piece, ending in what is reminiscent of a Tango by Astor Piazzola.

The work, completed in June 2022 in this version, was premiered on September 4th, 2022 in Palermo (Sicily).

This oratorio, completed in February 2022, was premiered on April 14, 2022 at Chiesa del Santissimo Salvatore, Palermo, Sicily.
Soprano: Antonia Brinkers
Old: Constanze Heller
Tenor: Flavio d'Ambra
Bass: Lukas Gerber
Members of the Opera Choir of the Teatro Massimo in Palermo conducted by Gianfranco Giordano.
Orchestra: Palermo Classica Chamber Orchestra
Direction: Alessandra Pipitone
Introductory words: Maria Rosa Randazzo

“My oratorio Crucifixus, subtitled De perversione crucis (On the Reinterpretation of the Cross), presents a modern interpretation of Christ's crucifixion: how can it still be said that Jesus died for us? What grace do we have from his martyrdom?
The explanation chosen here appeals to the fact that Jesus' comfort and trust in God prevails with us as the pain fades:

Was vom Menschen übrig bleibt
Ist nicht sein Schrei'n und Leiden
Sein Trost, seine Zusicht
Die werden uns bleiben.

This view also reflects the renewed hope that came from my miraculous recovery from symptoms of Parkinson's disease through surgery in 2014."

Libretto / Lyrics:
The text is a combination of Latin and German. While the traditional interpretation of the crucifixion is in Latin, doubts abd modern ideas are expressed in German.

Crucifixus est pro nobis!
(Jesus has been crucified for us!)

Et iterum venturus est
Qui passus est
Passus et sepultus, sed pro nobis.
(And it will come back who suffered and was buried.)

This oratorio, completed in February 2022, was premiered on April 14, 2022 at Chiesa del Santissimo Salvatore, Palermo, Sicily.
Soprano: Antonia Brinkers
Old: Constanze Heller
Tenor: Flavio d'Ambra
Bass: Lukas Gerber
Members of the Opera Choir of the Teatro Massimo in Palermo conducted by Gianfranco Giordano.
Orchestra: Palermo Classica Chamber Orchestra
Direction: Alessandra Pipitone
Introductory words: Maria Rosa Randazzo

“My oratorio Crucifixus, subtitled De perversione crucis (On the Reinterpretation of the Cross), presents a modern interpretation of Christ's crucifixion: how can it still be said that Jesus died for us? What grace do we have from his martyrdom?
The explanation chosen here appeals to the fact that Jesus' comfort and trust in God prevails with us as the pain fades:

Was vom Menschen übrig bleibt
Ist nicht sein Schrei'n und Leiden
Sein Trost, seine Zusicht
Die werden uns bleiben.

This view also reflects the renewed hope that came from my miraculous recovery from symptoms of Parkinson's disease through surgery in 2014."

Libretto / Lyrics:
The text is a combination of Latin and German. While the traditional interpretation of the crucifixion is in Latin, doubts abd modern ideas are expressed in German.

Crucifixus est pro nobis!
(Jesus has been crucified for us!)

Et iterum venturus est
Qui passus est
Passus et sepultus, sed pro nobis.
(And it will come back who suffered and was buried.)

This canon was composed in 1924 by Wilhelm Mohr, who was then 20 years old.

What if you no longer love your partner but they still love you?
This chanson Du liebst mich (You love me) from 2014 was released in 2015 on the CD Eigenlieder - Blau auf Grau.

“I wrote this lullaby for my granddaughter Romina. But in this form as a four-part canon, the piece goes beyond the usual - it's hard to imagine that seven people gather around a cot and sing to the baby, in different languages at that. Non ti toc-chi il Corona, you only want to be loved. Global.”

This canon was created in September 2021.

Ennio Morricone's legendary theme music from the Italo Western Once Upon a Time in the West (Man with a Harmonica) arranged for 12 cellos by Wilhelm Kaiser-Lindemann.

Responding to the unrelenting insistence of the “catchy tune” Summertime from George Gershwin’s opera Porgy and Bess, these summer inspirations for 12 cellists with an optional double bass are the result. Images like this appear in the mind's eye

... a summer like it used to be
... a Midsummer Night's Dream
... a short but refreshing swim in the brook (Germ.: Bach)
... the blue from the sky

The political and economic “silly season” known as the “summer slump” in the sense of vacuum is also given a musical tribute here.