This composition was inspired by the solo cellist Maria Kliegel, who was deeply moved by Nelson Mandela's autobiography "Long Walk to Freedom". At her suggestion, Wilhelm Kaiser-Lindemann composed this work and through her it was then published together with Stephan Froleyks on drums premiered in the Düsseldorf Tonhalle on December 16, 1996.

Notes of the composer concerning the respective movements:

1 Robben Island [ca. 12’]
“Robben Island“ is refering to the 26 years of Nelson Mandela’s imprisonment, the first of which under most terrible conditions. The movement expresses nagging desperation and violent emotional outbursts. Nevertheless the music suggests some hope for a better future.

2 Hunting [ca. 7’]
"Hunting" is a term of Bebop-Jazz where the instruments are alternating rapidly, they are hunting each other. This style formes the base of the second movement together with further jazz elements. But what is ment here is the “menhunt” – a brutal movement, which is on the other hand highly virtuous and a rewarding challenge for the protagonists.

2a Meditation [ca. 9’]
This meditaion was originally planned as 5^th movement and later on placed here as 2a by the composer. It can be understood as a transition, as a vision which will become concrete in “Meditation” of the following movement “Metamorphosis”.
(The publisher)

3 Metamorphosis [ca. 8’ 30"]
This might be the most “African” movement with its 7/8 time rhythm. Changing between muted and apparent joy of life the composer not least expresses hope for finding normality and freedom of thought in Sout Afria.

4 Lullaby (for Zaziwe) [ca. 8’]
A quiet finale, which is based on a lullaby of Mandela’s home tribe. I expressed herein my deep desire, that the mothers of this country may end their lullabies in pieace and quiet without the ever present fear of persecution.
Zaziwe is a young relative of Mandela. Obviously there is a close and intensive emotional relationship between them.

Nelson Mandelas expression of thank for the dedication:
“The President is humbled by the great honour bestowed upon him through your dedication of a music composition to him entitled Hommage à Nelson M. Your kind gesture is greatly appreciated.”

Two concert miniatures for flugelhorn solo and orchestra.

1. Love Song in Autumn [ca. 3' 50"]
2. Tears on the Snow «Chanel Nº 6» [ca. 2' 50"]

Both pieces were performed first on February 1979 on the occation of the Theater Ball in the Kieler Schloss.
The soloi instrument may be replaced by corno or e.g. violin.

High- to late-romantic Concertino for English Horn and Orchestra. The movements 2 and 3 are adaptations 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"]

The famous Nocturne E flat major op. 9 Nr. 2 for piano by Frédéric Chopin arranged for cello solo, piano and symphony orchestra by Wilhelm Kaiser-Lindemann.

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)

Piano concerto No. 2 C minor by the Hamburgian composer Ferdinand Thieriot, a contemporary and friend of Johannes Brahms.

Movements:

1. Allegro ma non troppo [11' 20"]
2. Andante lento [4' 30"]
3. Allegro con brio [9' 15"]

Piano concerto No. 2 C minor in the original version for two pianos by the Hamburgian composer Ferdinand Thieriot, a contemporary and friend of Johannes Brahms.

Movement names:

1. Allegro ma non troppo [11' 20"]
2. Andante lento [4' 30"]
3. Allegro con brio [9' 15"]

Großmann's concerto for alto saxophon and orchestra "Orion's belt" is a commissioned work by the orchestral workshop norddeutsche sinfonietta on occasion of the 200th birthday of Adolphe Sax, the designer of the saxophone. The Première took place on 15th of february 2014 in the festival hall of the Freie Waldorfschule in Rendsburg, Germany.

The composition is structured in three movements, which are named after the three the three bright stars of Orion's belt Alnitak, Alnilam and Mintaka. All three names from the Arabic language are refering to terms as link, belt, conjunction. Precisely this ist reflected by the composition: the conjunction, cross-border merging of various musical styles as well as the thematic relationships among the three movements. Improvisation in music has been significantly influenced by the Sax especially by Jazz. And thus Jazz sounds meet classical inspired music in this concert. Enriched with elements of contemporary music such as Ligeti's "Melodies for Orchestra" all three elements are merging to something new, yet unheard, in which the musicans are acting as orchestra on the one hand and as big band on the other. In this respect, the composer deliberately makes ambiguous reference with his title selection "Band des Orion" to "das Band" the belt of Orion as well as "die Band" the performing orchestra.

The movements:
  I Alnitak [4' 45"]
 II Alnilam [3' 30"]
III Mintaka [5' 25"]

A recording of this concert is available

• on the CD „Nachthimmel“ (Nocturnal sky) recorded by the norddeutsche sinfonietta with the composer Fynn Großmann as a soloist
• as download

The concert piece for piano and orchestra "Impromptu" op. 45, 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