Dialoghi notturni: nightly talking. It is a dialogue between two ever differeng individuals, represented by the piano and by the Cello, however beeing not allways the same person by changing amongst themselves as well. In so doing, the Cello represents the more serious partner with deeper emotions, the sage one. The piano on the other hand plays the smattering, self-indulgen part

Stylistically the composition is embedded in an chord, possibly not just a chord but merely and simply a stroke of the gong. This stroke is repeated time and time again to recall the partner that I can't master the matter and the cello answers allways in a different way.until finally after a tough discussion the chord resolves.

Dieser Akkord taucht immer wieder auf und erinnert den anderen daran: ich werde mit einer Sache nicht fertig und das Cello, der andere Partner reagiert immer wieder anders darauf, bis sich am Schluss nach zäher Diskussion dieser Akkord endlich auflöst.

(The Composer)

The second of the 3 Preludes for Piano by George Gershwin was arranged by Wilhelm Kaiser-Lindemann for 12 Celli, a commisorial work for the 12 Cellists of the Berlin Philharmonic Orchestra. Further arrangements of this piece by Kaiser-Lindemann are available for string orchestra and for string quartet.

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.”

The famous Lullaby of Maria by Max Reger was originally written for voice and piano. Here it is arranged for Sopran solo, Cello solo and orchestra by Wilhelm Kaiser-Lindemann.

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.

6 Negro Spirituals arranged for 12 Celli:

1. Deep River – version 1 [3']
2. Deep River – version 2 [2' 45"]
3. Let my People go! – version 1 [3' 15"]
4. Let my People go! – version 2 [2' 45"]
5. Nobody knows… [1' 45"]
6. I got a Robe [2'15"]
7. Were you there? [4'50"]
8. Sometimes I feel [4']

Four movements from Bach's famous Art of Fugue as arrangements für 12 Celli by Wilhelm Kaiser-Lindemann.

Fuga I [3' 10"]
Fuga VI [3' 20"]
Fuga XI [10' 15"]
Fuga XV and Choral [7' 20"]

The choral movement "Wie lieblich sind deine Wohnungen" from "A German Requiem" by Johannes Brahms arranged for 12 Celli by Wilhelm Kaiser-Lindemann.

Prélude sur une basse obligée pour Magnificat à trois voix by Charpentier arranged for 12 cellists by Johannes Bublitz.