Piano version of "Dithyrambe", a hymn for solo bass, male choir and orchestra after the eponymous poem by Friedrich von Schiller.

(See also the orchestral version)

Cantata for baritone, choir, oboe, vibraphone and string orchestra based on words by Jörg Zink, Kurt Ihlenfeld, Martin Luther and biblical texts.

The movements:

I. Appell - Appeal (Isa 58: 7, Mt 6:11)
II. Brot zum Leben - Bread for life (Jörg Zink)
III. Brot für die Welt - Bread for the World (Jörg Zink)
IV. Appell - Appeal (Jes. 58:7)
V. Meditation und Choralfuge - Meditation and Chorale Fugue (Martin Luther)
VI. Vor dem Essen - Before eating (Psalms 104:27)
VII. Ermahnung zur Dankbarkeit - Admonition to Gratitude (Deuteronomy 8:9)
VIII. Brot des Lebens - Bread of life (Amos 8:11)
IX. Appell - Appeal (Jes. 58:7)
X. Das Angebot - The offer (Kurt Ihlenfeld)

Cantata for mezzosopran, choir, 2 trumpets, vibraphone and string orchestra according to texts from the Ephesian Letter, the Revelation of John and the chant "Praise and honour be to the highest good".

Particell of the "Impromptu" op. 45 for 2 pianos. The concert piece for piano and orchestra, which was written in 1929, is reminiscent of the 1885 burlesque D minor for piano and orchestra by the then twenty-one-year-old Richard Strauss.

Recording

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 most famous setting of the medieval hymn Ave verum corpus by Mozart in the form of a motet for mixed choir, strings and basso continuo.

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.)

Piano reduction of the orchestral version of the chanson Schwärmerei - Lovesong to Anoushka Shankar - was inspired by a magnificent concert in Hamburg, performed by the Indian musician Anoushka Shankar and her band. Unlike her better-known half-sister Norah Jones she largely sticks to the traditional Indian raga music handed down to her by her late father Ravi Shankar, who also inspired the Beatles in their Indian period.
For me, at any rate, this concern was a revelation. So strong that I burst into tears and convulsions. But rather than to try my hands on Indian music as a reverence, I wrote a piece in my own style, trying to recollect my sentiments in being confronted by this godly and at the same time utterly strange musical experience.
And as a counterpart to the Classical Indian music, for the text I turned to the classics of German literature - FAUST by Johann Wolfgang von Goethe. Who describes what I felt, a deep wish and seduction to be young again and be near to this goddess, so the devil help me.
But in the end, reason wins over: ...
Und ich weiß ja, dass es dumm wär, zu sag‘n 'verweile doch so schön'. Und so möcht ich dich nur bitten, beeil dich nicht zu gehn. (And I know that it would be stupid to say 'Please stay with me as beautiful as at this moment - because I had promised the devil he could take me if I were to say just that'. So I just want to ask you, not to go away in a hurry).

Jürgen Broschart, December 2021

The song cycle "Abendliche Welt und feierliche Nacht" (Evening world and solemn night) op. 70 for male choir, soloists and chamber orchestra was written in 1937/38 in Wanne/Essen.

The titles:

1. Vorspiel (Prelude)
2. Der Abend (The evening)
3. Lied des Türmers (Tower Keeper's Song)
4. O, dass meine Seele würde (O that my soul would)
5. Feierliche Nacht (Solemn night)
6. Ritornell (Ritornello)
7. Über allen Gipfeln (Above all the mountain peaks)
8. Vorspiel (Prelude)
9. Abendgebet (Evening prayer)
10. Lasst uns benedein (Let's beneed)