Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.

À partir de 776 avant J.-C. et pendant plus d?un millénaire les Jeux Olympiques antiques ont eu lieu dans le site sacré d?Olympie en Grèce. L?année 1896 voit la renaissance de l?olympisme. Le baron Pierre de Coubertin organise les premiers Jeux modernes à Athènes. En 1996 Atlanta célèbre avec faste le centenaire des Jeux. James Curnow compose à la demande du Comité Olympique d?Atlanta cette œuvre brillante idéale pour débuter un concert.

This concert march is a tribute to the ?pioneers? in the world of brass music in the Lowlands of Netherlands the original founders of the bands and the people who take the lead in organising the societies and associations in the band movement. Celebrate the joy and friendship of the brass band movement with this truly uplifting march.

‘Jubilant Prelude’ is an orchestration of the ‘Preludium over Psalm 150’ originally composed for organ by Toon Hagen. Since 1998 Toon Hagen has been organ-player of the ‘Grote or Sint Michaëlskerk’ in Zwolle (the Netherlands). He has written several ‘contemporary’ compositions for organ.‘Jubilant Prelude’ has a capricious character by the use of irregular measures and its many measure changes. The structure of the Prelude is that of a fugue and is based on motives from the psalm.After the first climax which is both dynamic and harmonic the theme in the Andante Jubiloso is clearly audible and it is alternated with erratic motifs. Tension increases until at last the psalm itself isheard in all its glory. The melody of the psalm sounds as a cantus firmus in tenor register with motifs in ornamentation for saxophones bugles and trumpets. The finale like the prelude is capricious and vehement.The instrumentation for fanfare band was made by Wim Rouw. It is particularly colourful and has a surprising role for the percussion section.

Renowned Belgian composer Kevin Houben composed ?Ride? for the ?Fanfare ?Bereden Wapens??. This orchestra originated after drastic reorganisations and cutbacks within Defense in 2011 and 2012, including in the military music armed forces. The thought behind the composition ?Ride? is the signal ?forward?. The signal ?Forward? is part of a military memorial ceremony, as the sign to close off a sad or dark period, and to go on with renewed force. ?Ride? is also a command for horses to go forward. Appropriate, as the ?Fanfare ?Bereden Wapens??, part of the regiment Huzaren van Boreel, is part of the Cavalry. When the Fanfarekorps Koninklijke Landmacht ?Bereden Wapens? was abrogated, this was an extremely sad and radical moment for the orchestra members. The ?Fanfare ?Bereden Wapens?? announces the dawn of a new period and picks up again with an effervescent and splashing composition: ?Ride?.

As the title suggests this work is a partita: it consists of a number of variations on a chorale melody. The partita has been popular for centuries especially when it comes to organ music. Henk van Belcum who is active in the choir world chose for his Partita Piccola the German hymn Wunderbarer König as a starting point. Partita Piccola consists of four variations and a choral setting. After a majestic opening fanfare the second variation follows based on a canon by Pachelbel. Händel?s Sarabande is the basis of the third variation. Next comes the chorale setting after which the work ends festively with a dance that has been written in the form of a courante. PartitaPiccola is an asset for church services and for concert platforms.

Cathedrals have always appealed to the imagination. Hundreds of years of manpower have been invested in their building and it is not for nothing that today they represent imposing symbols of architecture and history. The cathedral is also a great source of inspiration for compositions drawing on a full palette of acoustic echo effects Gregorian melodies and organ based choral themes.The work ?Catedrals? opens with a five tone motif using double tonguing which resonates through space. Then comes a Gregorian antiphonal theme ?Salve Regina? which is heard in the euphonium and later combines with the opening motif. The quicker passage that follows is basedentirely on the intervals in the motif which by now has added rhythmic variations and develops in different forms including a fugue. The work then builds towards its first climax from which unusual muted sounds emerge creating an atmosphere shrouded in mystery.Gradually more melodious fragments are added to the Gregorian antiphonal theme which develops into an expansive choral emulating the organ and which rises above the sound mass. The work grows more powerful and brilliant in sound until it culminates in a short and explosive finale wherein elements from the whole work come together.

Trias Politica is de aanduiding voor de driemachtenleer oftewel de leer der machtenscheiding geformuleerd door de Franse wijsgeer Charles Montesquieu (1689-1755). Ter bescherming van de rechten en de vrijheid van burgers moeten deze drie machten (wetgevende- rechterlijke- en de uitvoerende macht) in een staat streng gescheiden blijven. Deel 1 - de wetgevende macht - is gegoten in de klassieke sonatevorm. In de grondwet van de muziek is dit één van de belangrijkste muzikale vormen. Net zoals in een wet is de sonatevorm strikt omschreven. Deel 2 - de rechterlijke macht - geeft de sfeer weer van het werk van de rechters. Na het dossier van een afstandin alle rust te hebben bekeken en alle partijen ter zitting te hebben gehoord komen zij tot een weloverwogen oordeel. Deel 3 - de uitvoerende macht - is er in vele gedaantes. Blauw op straat rechercheurs in burger en niet te vergeten het leger. Op vele manieren wordt er opgetreden tegen personen en organisaties die denken boven de wet te leven en een gevaar vormen voor onze samenleving. Verplicht werk minirepertorium 1e divisie fanfare.