‘Panem et Circenses’ Bread and Games were essential for keeping the citizens of ancient Rome in check. While the bread was meant for the poorest among the Romans the Games were Popular Pastime Number One for everybody.There were different kinds of games such as chariot races (especially popular with female spectators) or wild-beast fights where lions tigers bulls or bears were set on one another or even on human beings. Most popular however were the Gladiator fights. In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum. 1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for after which the Gladiators entered the Arena at the sound of heroic marching-music.2.Swordfight: We can hear that the fights were not mere child’s play in this part.On the contrary they were a matter of life and death and were fought accordingly.3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate depending on the mercy of the audience. Waving one’s handkerchief meant mercy a turned-down thumb meant no pardon. The Emperor had the right to take the final decision but he usually complied with the wish of the majority of the public. 4.Lap of Honour: Gladiators were mainly selected among slaves convicted criminals or prisoners of war. Consequently winning was very important as it would mean fame honour and sometimes even wealth. A lap of honour therefore was the winner’s due reward.

‘Panem et Circenses’ Bread and Games were essential for keeping the citizens of ancient Rome in check. While the bread was meant for the poorest among the Romans the Games were Popular Pastime Number One for everybody.There were different kinds of games such as chariot races (especially popular with female spectators) or wild-beast fights where lions tigers bulls or bears were set on one another or even on human beings. Most popular however were the Gladiator fights. In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum. 1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for after which the Gladiators entered the Arena at the sound of heroic marching-music.2.Swordfight: We can hear that the fights were not mere child’s play in this part.On the contrary they were a matter of life and death and were fought accordingly.3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate depending on the mercy of the audience. Waving one’s handkerchief meant mercy a turned-down thumb meant no pardon. The Emperor had the right to take the final decision but he usually complied with the wish of the majority of the public. 4.Lap of Honour: Gladiators were mainly selected among slaves convicted criminals or prisoners of war. Consequently winning was very important as it would mean fame honour and sometimes even wealth. A lap of honour therefore was the winner’s due reward.

‘Panem et Circenses’ Bread and Games were essential for keeping the citizens of ancient Rome in check. While the bread was meant for the poorest among the Romans the Games were Popular Pastime Number One for everybody.There were different kinds of games such as chariot races (especially popular with female spectators) or wild-beast fights where lions tigers bulls or bears were set on one another or even on human beings. Most popular however were the Gladiator fights. In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum. 1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for after which the Gladiators entered the Arena at the sound of heroic marching-music.2.Swordfight: We can hear that the fights were not mere child’s play in this part.On the contrary they were a matter of life and death and were fought accordingly.3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate depending on the mercy of the audience. Waving one’s handkerchief meant mercy a turned-down thumb meant no pardon. The Emperor had the right to take the final decision but he usually complied with the wish of the majority of the public. 4.Lap of Honour: Gladiators were mainly selected among slaves convicted criminals or prisoners of war. Consequently winning was very important as it would mean fame honour and sometimes even wealth. A lap of honour therefore was the winner’s due reward.

The Yiddish word ‘Klezmer’ has been derived from the Old Hebrew words ‘Kley’ (tool instrument) and ‘Zemer’ (song singing making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music Klezmer music has succeeded in preserving its distinctive Jewish character. ‘Klezmer Discovery’ is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of anumber of motives from different traditional melodies (a Mitzve Tenzel and L’cha Dodi) followed by a melody in 3/8th time (Kandel’s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently ‘Der Terk in Amerika’ a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast cheerful dance melodies (bulgars) form the finale of ‘Klezmer Discovery’ (Lebedyk un Freylekh Lomir sich iberbetn and Sherele).

The Yiddish word ‘Klezmer’ has been derived from the Old Hebrew words ‘Kley’ (tool instrument) and ‘Zemer’ (song singing making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music Klezmer music has succeeded in preserving its distinctive Jewish character. ‘Klezmer Discovery’ is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of anumber of motives from different traditional melodies (a Mitzve Tenzel and L’cha Dodi) followed by a melody in 3/8th time (Kandel’s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently ‘Der Terk in Amerika’ a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast cheerful dance melodies (bulgars) form the finale of ‘Klezmer Discovery’ (Lebedyk un Freylekh Lomir sich iberbetn and Sherele).

The Yiddish word ‘Klezmer’ has been derived from the Old Hebrew words ‘Kley’ (tool instrument) and ‘Zemer’ (song singing making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music Klezmer music has succeeded in preserving its distinctive Jewish character. ‘Klezmer Discovery’ is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of a number of motives from differenttraditional melodies (a Mitzve Tenzel and L’cha Dodi) followed by a melody in 3/8th time (Kandel’s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently ‘Der Terk in Amerika’ a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast cheerful dance melodies (bulgars) form the finale of ‘Klezmer Discovery’ (Lebedyk un Freylekh Lomir sich iberbetn and Sherele).

In the composition 'La terre' several aspects of Earth have been translated into sounds in an associative manner. The first part depicts Nature Mother Earth stability the soil which is the source of life. Earth symbolizes tradition rituals fertility. In the music of the composition this can be heard in tonic and ostinato passages. Furthermore human emotions such as gladness sorrow wonder resignation hope and despair indissolubly connected as they are to mankind's life on earth are musically reflected in sudden gusts of expression. Earth for us human beings is the solid ground on which everything in life takes place. In the second part different moodsare evoked in a sort of toccata. Now and then the music sounds fragmented at other times as a solid whole. The robustness of the music in this part has its roots in the earth originates from it. It reflects stability and strength but love and nostalgia are also present in soft and fragile tones. 'La terre' is a musical narrative about Earth in which music has been given ample room to show its many-sided beauty.

From the composer: High Flyers are regarded as people with promise and potential.They are winners. This is music for winners.The title as well as being a play-on-words implies the nature of the work. It is a bright optimistic and upbeat piece attempting to depict an exhilarating ride on flying carpet. The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights leading to a hint of a first theme in the horns at Fig. B. The first four notes provide the thematic material for the whole work: C F G A.A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme. Fig. E sees the music of the opening bars fully realised with flourishes from the euphonium and baritones representing swirling clouds shooting stars or passing birds in flight.The same subject is developed into a lyrical second theme with a new lush harmonic treatment evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones. This figure suggests for the first time that there may be trouble ahead. In fact there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure. The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.

An Astrological Composition. Astrology is based on the principle that each sort of time has its own quality. In order to determine the quality of a particular moment an astrologer looks at the position of the planets in the solar sustemat that moment. Each planet has specific types of energies and its location provides unique information for a certain moment on Earth. Thus: its position in the sky tells something about what happens on Earth. In this composition the typesof energies of four planets are musically translated. The four planet were not randomly chosen. There are two pairs whose influence and energy are opposite. Venus and Mars. Venus represents the feminine principle: harmony beauty art and the ability to make relationships and to keep the peace. Venus connects and communicates in order to maintain the balance. Mars represent the masculine principle: winning impulsiveness enthusiasm and sexual energy for procreation.He creates war enabling the strongest to triumph. Mars is musically depicted in a stirring march in which enthusiasm characterises the masculine character. Saturn and Jupiter. Saturn represents concentration and withdrawal: the strongnotion of responsibility seriousness self-discipline and melancholy. Saturn is the hermit who will conquer his fears and worries in minimal conditions and by self-chastisement. This contemplative character is depicted in the music as if it isalmost standing still which also reflects the given character of this planet. Jupiter represents growth and expansion: the positive self-confidence the good Samaritan the healer. Jupiter is the philosopher who will make the world a betterplace sees future possibilities and searches for eternal values. He is the prophet who sometimes rants and raves his doctrine and proclamations resulting musically in a whirling and upbeat finale. not looking back at what has been but searchingfor new challenges. 'Heaven and Earth' was commisioned by the Music Lending and Information Centre (MUI) a department of the library for the province of Gelderland in Arnhem The Netherlands.Een astrologische compositie. Astrologie is gebaseerd op het principe dat elke tijd zijn eigen kwaliteit heeft. ''Tijd voor koffie'' of ''het was je tijd nog niet'' als bijvoorbeeld een baan aan je neus voorbij is gegaan. Om de kwaliteit van een moment te lezen kijkt deastroloog naar de stand van de planeten in ons zonnestelsel op dat tijdstip. Elke planeet heeft specifieke energieën en de plaats aan de hemel geeft unieke informatie over een bepaald moment op aarde. Oftewel: de stand aan de hemel (Ouranos) verteltiets over wat er op aarde (Gaia) gebeurt. In deze compositie worden de energieën van vier planeten muzikaal vertaald. De vier planeten zijn niet lukraak gekozen. Het zijn twee paren die qua invloed en energie tegenovergesteldzijn. Venus en Mars.

Oxygen (2004) is a short composition for fanfare orchestra constructed with elements from rock and popular music.The composer used funky rhythms jazzy harmonies and pulsating rock to illuminate the fanfare band from a different angle.The music demands a groove from the percussion section and the wind players are asked to use playing techniques from light music. And for this all the performers and audience alike need a good supply of oxygen.

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.

Oxygen (2004) is a short composition for fanfare orchestra constructed with elements from rock and popular music.The composer used funky rhythms jazzy harmonies and pulsating rock to illuminate the fanfare band from a different angle.The music demands a groove from the percussion section and the wind players are asked to use playing techniques from light music. And for this all the performers and audience alike need a good supply of oxygen.

In imitation of the huge ‘House rage’ (at the end of the eighties) John Emerson Blackstone composed ‘House of Dance’ for youth orchestra. It proved to be a success. House owes its name to the place where this music was ‘developed’ i.e. an old night club called ‘The Warehouse’ in Chicago. Many subcultures followed. Whether you like the style or not one thing is certain: House music (also called Dance music) for many provides the basis for hours of fun on the dance floor.