The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for mixed amateur choir. Considering that it was consitently held in traditional tonality. In the present version for male choir soprano part and alto part have to be performed by boy’s voices.

The “Tre pezzi sacri“ are formatwise similar to the “Agnus Dei” for seven-part mixed choir op. 40. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for Organ op. 31, for Symphony Orchestra op. 31a and for Symphonic Brass Orchestra op. 31b (see also version for symphony orchestra / brass orchestra).

The movement names:

1. Jesu nostra Redemptio [ca. 12']
2. Ave Maria [ca. 8' 20"]
3. Aeterne Rex, altissime! [ca. 10' 40"]

The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for mixed amateur choir. Considering that it was consitently held in traditional tonality. In the present version for male choir soprano part and alto part have to be performed by boy’s voices.

The “Tre pezzi sacri“ are formatwise similar to the “Agnus Dei” for seven-part mixed choir op. 40. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for Organ op. 31, for Symphony Orchestra op. 31a and for Symphonic Brass Orchestra op. 31b (see also version for organ / symphony orchestra).

The movement names:

1. Jesu nostra Redemptio [ca. 12']
2. Ave Maria [ca. 8' 20"]
3. Aeterne Rex, altissime! [ca. 10' 40"]

The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for mixed amateur choir. Considering that it was consitently held in traditional tonality. In the present version for male choir soprano part and alto part have to be performed by boy’s voices.

The “Tre pezzi sacri“ are formatwise similar to the “Agnus Dei” for seven-part mixed choir op. 40. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for Organ op. 31, for Symphony Orchestra op. 31a and for Symphonic Brass Orchestra op. 31b (see also versions for symphony orchestra / brass orchestra).

The movement names:

1. Jesu nostra Redemptio [ca. 12']
2. Ave Maria [ca. 8' 20"]
3. Aeterne Rex, altissime! [ca. 10' 40"]

The Agitato for clarinet and piano was built in 1965.

The "Weihelied" (consecration song) was composed by Kranzhoff for male choir a cappella in 1933. The choral piece is based on words by Matthias Claudius (1740-1815) and on a melody by Albert Methfessel (1785-1869).

The Westphalian folk song "The Postillion" composed by Kranzhoff as a choral piece a cappella.

In 1818 Johann Georg Christian Apel was appointed the first university music director of the Christian-Albrechts-University Kiel. As a jubilee edition for the 200th anniversary of Apel's appointment, a song volume has already been published here. The present collection of his male choirs should direct a further focus on Apel's rich compositional work.

Content:

1. Lied auf dem Wasser (Song on the water) [2' 30"]
2. Sehnsucht und Liebe (Longing and love) [5' 20"]
3. Wir sind nicht mehr am ersten Glas (It is not the first glass anymore) [4' 00"]
4. Das Veilchen und das Mädchen (The violet and the girl) [1' 25"]
5. Abschied (Farewell) [1' 20"]
6. Sehnsucht nach dem Vaterlande (Yearning for the Fatherland) [1' 55"]
7. Sehnsucht (Nostalgia) [1' 50"]
8. Der Sinn der Lebensfeste (The meaning of life festivals) [3' 50]
9. Der ritterliche Sänger (The chivalric singer) [2' 35"]
10. Stumme Liebe (Silent love) [3' 05"]
11. Der Fischer (The fisherman) [2' 15"]
12. Die Rache (The revenge) [2' 40"]
13. Der junge Jäger (The young hunter) [2' 25"]
14. Sonnenuntergang (Sunset) [0' 45"]
15. Tischlied am Dürerfest (Table song at the Dürer's party) [2' 55"]
16. Das Wassermädchen (The mermaid) [2' 45"]
17. Des Knaben Heimkehr (The boy's homecoming) [1' 30"]
18. Ich bin nicht gern allein (I do not like being alone) [4' 50"]
19. In allen guten Stunden (In all lovely hours) [2' 50"]
20. Wo möcht' ich sein? (Where would I like to be?)  [2' 35"]
21. Freunde, seht die Gläser blinken (Friends, see the cups sparkle) [3' 20"]
22. Wein, Weib und Gesang (Wine, broad and chanting) [3' 35"]
23. Kommt, Brüder, trinkt mit mir! (Come, brothers, drink with me!) [1' 25"]

Single sheets of the songs here.

The composition "An den Tod" (To the death) op. 73.1 for boys' choir and male choir based on words by Gerrit Engelke (1890-1918) was written in 1937. As the composer himself fell in the fight at an age of 36 barely three years later at the beginning of the Second World War, this work seems like a foreshadowed anticipation on the own destiny.

Lyrics:

The composition Auf dem Felde der Ehre (In the Field of Honor ) op. 73.2 for male choir with piano or organ accompaniment was written in 1937. As the composer himself fell in the fight at an age of 36 barely three years later at the beginning of the Second World War, this work seems like a foreshadowed anticipation on the own destiny.

The movements:

1. An den Tod (To Death) [3' 10"]
2. Ritornel [2' 10"]
3. Bitte (Prayer) [1' 05"]
4. Abschied vom Leben (Farewell to life) [3' 30"]

Lyrics:

The composition Bittgebet (Supplication) op. 91 for male choir based on words by Friedrich Holzapfel was written in 1936.