Piano reduction of two chants of Jewish liturgy by the German-Jewish composer Louis Lewandowski (1821-1894) in a version for 12 Cellists and Tenor solo with Double Bass and Harp ad lib.

1. The 116th Psalm [3'40"]
2. Ma tovu [3'15"]

(see also version for 12 Celli)

The song titles:

1. O wirke, Liebe, fort! (O Love, just continue!) [3' 10"]
2. Wochenstube im Kriege (Maternity Room in War) [1' 55"]
3. Gang durch den Garten (Walking through the Garden) [2' 55"]

• Lyrics
• Recording (Download)

The movements:

1. O wirke, Liebe, fort! (O Love, just continue!) [3' 10"]
2. Wochenstube im Kriege (Maternity Room in War) [1' 55"]
3. Gang durch den Garten (Walking through the Garden) [2' 55"]

• Lyrics
• Recording (Download)

The song titles:

  I. Morgens (In the morning) [1' 55"]
 II. Am Abend (In the evening) [3' 45"]
III. Lobgesang (Hymn of praise) [4']

The song titles:

  I. Morgens (In the morning) [1' 55"]
 II. Am Abend (In the evening) [3' 45"]
III. Lobgesang (Hymn of praise) [4']

This first three lieds composed in his early creative period were assembled in 1935 by Wilhelm Mohr in memory of his sister Anita, who sang this songs for the first time.

The song titles:

1. Der Gärtner (The Gardener) [2' 10"]
2. Abendlied (Evensong) [3' 10"]
3. Gewissheit (Certainty) [1' 50"]

• Lyrics
• Recording (Download)

The choral piece "Glaube" (Faith) is based on the poem "Fichte an jeden Deutschen" (Fichte to every German) by Albert Matthai, which due to its title is often falsely attributed to the German philosopher Johann Gottlieb Fichte. This composition, written in 1934, is an appeal by Kranzhoff to society to actively participate in shaping the future with personal responsibility. In terms of content today as up-to-date as it was then, the work unfolds musically a great and sublime suggestive effect.

The choral piece "Glaube" (Faith) is based on the poem "Fichte an jeden Deutschen" (Fichte to every German) by Albert Matthai, which due to its title is often falsely attributed to the German philosopher Johann Gottlieb Fichte. This composition, written in 1934, is an appeal by Kranzhoff to society to actively participate in shaping the future with personal responsibility. In terms of content today as up-to-date as it was then, the work unfolds musically a great and sublime suggestive effect.

With the original piano version also published here, a choral score is available, too.

This vocal quatet For Gunhild Mundt, composed in 2011, transcribes the name Gunhild Mundt into a sequence of musical notes, similar to a numerological procedure. The composer gives such pieces the subtitle Namen in Noten (Names in Music).