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)

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)

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

(see also orchestral version)

The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for amateur choir. Considering that it was consitently held in traditional tonality. In the present version for mixed choir soprano part and alto part may be substituted by boy’s voices. The middle movement of the alternative setting for male choir however requires obligato 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 versions for organ / 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 versions for organ / 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 amateur choir. Considering that it was consitently held in traditional tonality. In the present version for mixed choir soprano part and alto part may be substituted by boy’s voices. The middle movement of the alternative setting for male choir however requires obligato 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 “Agnus Dei” for seven-part mixed choir op. 40 by Kaiser-Lindemann is formatwise similar to the “Tre pezzi sacri“ op. 31. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for

1. Organ op. 41
2. Orchestra op. 41a

(see also version for organ / symphony orchestra)

Coral part of 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. Original piano score by the composer.

(see also orchestral version)

Original piano reduction of the high- to late-romantic Concertino for English Horn and Orchestra. The movements 2 und 3 are adaptions from the romantic pieces "Gruß an Robert Schumann" for piano and violin op. 9.

The movements:

1. Allegretto amabile [4' 45"]
2. Romanze [3' 30"]
3. Finale [5' 25"]

(see also version for orchestra)

Original piano reduction by the composer of his op 33 "Multas per gentes“.

This work was originally (2004) planned as 6 pieces for 6 to 8 part mixed choir with piano accompaniment based on Latin words by Gaius Valerius Catullus. Kaiser-Lindemann just realised one of them, the Carmen 101 "Multas per gentes“, that was left in the presented version for mixed choir and symphony orchestra.

(see also orchestral version)