followed in 1975 until the beginning of 1977, when he was commissioned by the Edition Klaus Blahak in Espelkamp to write the most comprehensive biography possible on Klaus Mann. During a hiatus in this task, from 1979 to 1980, he composed Act 1 of his second opera, “Eine Nacht an der Newa” (“A Night on the Neva”), on Dostoevsky's novella “White Nights” - the subject of which he had first encountered as a TV dramatization in Freiburg in 1964. 1980 brought with it the rediscovery in Germany of German Literature in exile from Nazi Germany, and with it the rediscovery of Klaus Mann – especially of his novel “Mephisto,” which was still banned in Germany. Suddenly, Kroll's work on Klaus Mann was in something akin to popular demand. After the triumphant staged world premiere of his “Scarlet Letter” with piano accompaniment under Kroll's own direction at Cape Coral High School in Florida on January 10, 1981 (on the selfsame evening, the first Klaus Mann exposition of all time opened in Ahlen in Westphalia, West Germany), Kroll composed up to and including 2003 only two songs, “Den ungeborenen Enkeln” (“To the Unborn Grandchildren,” 1986, after Clemens Brentano) and “Der Steppenwolf” after Hermann Hesse (2000) – in his own estimation, two of his best works. During this period, in the summer semesters of 1988 and 1989, Kroll led two undergraduate seminars at the University of Freiburg. The entirety of Kroll's 3,000-page biography of Klaus Mann was published by the Männerschwarm Verlag in Hamburg on the occasion of the centennial of Klaus Mann's birth in 2006. For this occasion, and during a kind of working holiday in Fortaleza, Brazil, Kroll also edited and translated into German for the Rowohlt Verlag, Hamburg, fragments belonging to the sphere of Klaus Mann's autobiography “Der Wendepunkt” which had hitherto been published only in English (under the title “The Turning Point,” 1942), in Swedish – or not at all. After the centennial celebrations were over, Kroll began – again in Fortaleza – to carry out his intention, of which he had never lost sight, of orchestrating “The Scarlet Letter,” adding a considerable amount of counterpoint as he went along. This task was completed in February, 2010. Kroll then set nearly half of his 41 lieder for printing at the computer, orchestrated Act 1 of “Eine Nacht an der Newa,” and composed and orchestrated Act 3. Act 2 is