Le klezmer est la musique instrumentale des Juifs ashkénazes particulièrement ceux d?Europe de l?Est. À l?origine ce terme était employé dans la vie culturelle juive pour qualifier un musicien itinérant qui jouait pour les mariages. Lors des noces juives qui duraient généralement plusieurs jours les musiciens klezmer n?interprétaient pas seulement des airs de danse mais aussi de la musique solennelle - par exemple pendant la cérémonie elle-même avant la fête. Autrefois il n?existait pas de terme spécifique pour ce style - on l?appelait simplement 'musique de mariage juive'. Dans les années 1970 cette musique - dont les ascendances sont nombreuses - connut unregain de popularité et acquit le nom de klezmer. On y trouve non seulement les sonorités des Balkans mais aussi des influences orientales et tziganes.Jan de Haan n?a pas emprunté de mélodies klezmer originales pour Klezmeriana mais a composé dans ce style une série d?airs pour orchestre d?harmonie.

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.

The legends surrounding Saint Catherine of Alexandria also known as the Great Martyr Saint Catherine were the source of inspiration for this work. It depicts events surrounding her life in five musical episodes. The first episode presents the Emperor’s procession and theme. All is well until a heathen sacrificial ritual is heard in the second movement. After the sacrifice Catherine and her lyrical reflective theme make an appearance. A dispute breaks out between Catherine and the Emperor which can be heard in the heated exchange between their respective themes. Catherine is sentenced to die by the breaking wheel. The voices of angels can be heard in the finale asCatherine ascends to heaven.

Amity and Sweetness (?Amitié et douceur?) poursuit un double idéal : celui de la paix et du bonheur. Le compositeur belge Tom de Haes a dédié cette pièce à son amie. La sixte ascendante un des intervalles les plus expressifs est l?élément central de la musique. Elle exprime l?intensité lumineuse de la pièce.L?introduction volontaire et réfléchie développe un court et charmant motif qui s?étoffe progressivement pour former une ligne mélodique fluide et ample. La mélodie sillonne plusieurs registres et instruments dans une trame qui prend toute son intensité vers la fin du développement. Le motif initial est ré-exposé une dernière fois dans une grandeorchestration. Le finale est calme et serein.

This dynamic concert work from the magical pen of Samuel Hazo has been transformed into an extremely effective closer/production for the field. Designed to work especially well with small bands this arrangement includes apowerful opening a fugue middle section percussion section feature and a driving finish!