Contenido / Duración:

1. Tema [0' 35"]
2. Andante / Allegro en G [4' 15"]
3. Seis versos que varían sobre D/Eb/E/F/F#/G/D [2' 45"]
4. Allegro / Andante en G [3' 15"]
5. Seis versos que varían sobre D/Eb/E/F/F#/G [2' 45"]

Himno de Pascua "Christ ist erstanden" (Cristo resucitó) en una transformación al tango [2' 55"]
Concerto in Manier der Wiener Klassik (Concierto al estilo del clásico vienés) [3' 55"]
Canzonetta [3' 50"]
Capriccio nach spanischem Gestus (según el estilo español) [2' 35"]
Chanson française [2' 20"]
Entrée [1' 45"]
Canticum [2' 45"]
Swing Bells [2' 20"]
Sortie [5']
Marche d’Église [2' 35"]
Concerto en Sol mayor [3' 15"]
Intermezzo [3' 35"]
Reminiscencias [4' 35"]
Concerto en Fa mayor [3']
Initiale [4' 25"]
Aria [2'30"]
Miniatura [2' 20"]
Invención 1']

Tocata "Española" para órgano basada en un ritmo de fandango español.

Two sacred compositions op. 3 for double chorus brass ensemble and percussion by Wilhelm Kaiser-Lindemann, composed in 1973 and 1974.

1. Osterfanfare über „Christ ist erstanden“ (Easter fanfare) op. 3a [3' 30"]
2. „Veni Creator Spiritus“ (Music for Pentecost) op. 3b [6' 20"]

Intention and target for this composition was a cantata to celebrate the octocentenary of the municipal church of Preetz (Germany). Since the first performance was fixed at 30th of May 2010, the week after Whitsun, a Whit cantata seemed to be indicated. The setting was guided by the musical resources involving the congregational singing during the anniversary celebration. Kaiser-Lindemann expanded the setting by five professional performers: solo soprano, solo flute, 2 piccolo trumpets and timpani.

The lyrics were based on the forceful latin “Veni, Creator Spiritus” by Rhabanus Maurus from the 9th century, which praises the Pneuma’s power. Furthermore two different german translations were added: on the one hand the familiar “Komm, Gott Schöpfer, Heiliger Geist” and on the other hand the less known “Komm, Schöpfer Geist, kehr bei uns ein”.

Stilistically Kaiser-Lindemann’s work ranges between Gregorian hints and ecclesiastical modes right up to contemporary atonal affinity.

El Salmo 24 de Wilhelm Mohr "Machet die Tore weit" (“Alzad, oh puertas, vuestras cabezas, Y alzaos vosotras, puertas eternas”) op. 3 para coro mixto, orquesta grande y órgano con coro infantil ad lib. es una música poderosa en la tradición romántica tardía. Su línea magníficamente estructurada conduce finalmente al conocido villancico Advenimiento "Macht hoch die Tür", para cantar opcionalmente por un coro de niños pero incluso acompañado por la congregación.

Parte coral de la Serenata sagrada op. 4 con la reducción original para piano del compositor.

(véase partitura orquestal)

This about 10 minute five mouvement composition "Geistliche Abendmusik" (Sacred Serenade) after lyrics by Eichendorff, M. Claudius and the Bible stilistically links to J. Brahms und R. Strauss. Readily accessible it develops an impressive atmosphere in its vespertine moods. By vocal and instrumental part splitting even rises time and again a grand harmonic richness besides a genereal tonal restraint. The composition suits for completion of programs with Roantic choral catata.
The short very lyrically composed solo parts call for voices with delicate timbre.
(Prof. Hans Gebhard)