This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif which will reappear later in the work. Next the rest of Elburg is featured including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then cheerful sounds can be heard at the Vischpoort (Fish Gate) where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature reflecting the mercantile spirit of the town residents.Then follows the slow middle movement in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea) and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time a slow expressive theme in Baroque style mirrors Elburg’s tranquil places such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now suddenly there is an echo from the past depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre.

A beautiful expressive flugelhorn solo on a Norwegian religious folk song of Ole Olsen I himmelen.

The Corrs est un groupe pop irlandais des plus connus. Leurs tenues vestimentaires sont empruntées au style folk irlandais et leurs chansons largement influencées par la musique celtique sont souvent accompagnées d?instruments traditionnels. Le titre Lough Erin Shore est un de leur plus grands succès. L?arrangement réalisé par Dirk Soetenay nous projette dans l?étourdissant monde celtique.

This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif which will reappear later in the work. Next the rest of Elburg is featured including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then cheerful sounds can be heard at the Vischpoort (Fish Gate) where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature reflecting the mercantile spirit of the town residents.Then follows the slow middle movement in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea) and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time a slow expressive theme in Baroque style mirrors Elburg’s tranquil places such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now suddenly there is an echo from the past depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre.

In the early days of the United States a main source of transportation was the many waterways rivers and the Great Lakes. From this focal point of commerce and social activity came many wonderful folk songs. Shore to Shore uses two of these sailing songs. Blow ye winds blow and Leave her no more.

Suite of Singaporean Folk Songs-Postcard from Singapore ('Carte postale de Singapour') est une ?uvre en trois mouvements inspirés de chants traditionnels singapouriens. Le premier mouvement est basé sur le chant Gelang Sipaku Gelang originaire de la région de Geylang. Le texte parle de l'esprit communautaire et de la vie en harmonie au sein d'une communauté. Le second mouvement plus lent développe la mélodie d'un chant que les enfants chantent souvent en ch?ur Di-Tanjung Katong. Le troisi¬me mouvement rassemble deux airs traditionnels : Lenggang Kangkung chante le gracieux mouvement du cresson de rizi¬re avant d'¼tre associé ± Munnearu Vaalibaa dans un délicat traitement contrapuntique.

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

E tangi ana cow Hine e Hine ... Do not cry girl do not cry ... Every culture has its own melodies to comfort children to sleep. Jan Gerrit Adema made a beautiful arrangement of this lovely folk melody of the Maori also called the national anthem of New Zealand.

Vous connaissez certainement l'hilarante série 'The Police Academy'. Les bandes son de ces films sont de véritables chef d'ouvres et valent assurément les meilleurs arrangements. Malgré la notoriété immense de ces films il n'a été réalisé jusqu'ici que peu d'arrangements de leurs musiques. La version spectaculaire que donne Steven Verhaert du thème principal va entraîner votre public dans une envo?tante spirale musicale.