‘Orchestre d’Harmonie du Val d’Aoste’ and dedicated the composition to
Lino Blanchod, the conductor of the orchestra. The first performance
was on 26th January 1997 by the orchestra itself and under the
direction of the composer. This extensive symphonic poem depicts the
atmosphere and history of the autonomous French speaking region ‘Val
d’Aoste’ in northern Italy, and is meant as a musical homage to the
historical figure Cathérine de Challant.
The opening of this piece describes the rugged nature of this region
dominated by Mont Blanc, the roof of Europe. A brief, combative passage
conjures up the numerous wars fought here through the ages, later
expanding into a surprising ‘Renaissance Dance’ with an original and
fitting recorder quartet. A broad, lyrical theme portrays the love that
has always played an important role here. After recapturing several of
the earlier themes, the piece closes with the renaissance dance, this
time played by the brass. A spectacular
finale brings this symphonic poem to a close.
military and civil, procession, and funeral. Orion is a so-called “slow
march,” in which the moderate tempo, however, does not make a passive
or heavy impression. On the contrary, this concert march contains
natural optimism and spontaneity. Since Orion does not make very high
demands upon the performers, the piece is suitable for many different
bands. The instrumentation is composed in such a way that smaller
formations can play Orion without a significant difference in the
overall sound. The almost constantly present rhythmic “pulse” in the
percussion gives this majestic march a noble character.
J apan- on occasion of its jubilee in 1992 and is dedicated to the
band’s conductor, Ikuo Inagaki.
The work is based upon three main themes, each symbolising a certain
theme. The first part is characterized by its bright themes played
mainly by the brass, accompanied by the woodwinds and festive
percussion. This part symbolizes the jubilee which is the origin of the
composition. This is followed by a bouncing allegro, in which each
register of the band displays brilliant techniques. Especially the
woodwinds come to the fore! This movement depicts the industriousness
and enthousiasm shown by the members of the “Nagano Community Band” in
the carrying out of their hobby. A third, main theme, is choral-like in
character and is displayed both in the (soft) brass as well as in the
warm medium register of the reeds. Here, nature’s beaty in and around
the city of Nagano is musically celebrated. Following a “chamber-music
episode” (featuring the flute, oboe, clarinet, alto-saxophone and horn)
the initial allegro re-occurs, weaving its way towards a grandiose
finale, in which the two previous themes are once again apparent. Due
to its very colourful scoring and the enormous diversity of musical
thoughts and ideas, this composition is a fascinating and memorable
piece, worthy a jubilee overture!
The surprising title of this work is an indication of its content. By
combining the somewhat similar names ‘Nemu no Sato’ and ‘Susato’ into a
new word, Jan Van der Roost has produced a significant and interesting
subject. The Yamaha corporation has extensive facilities in Nemu no
Sato, Japan, including a concert hall, recording studios, hotel and so
on. Concerts, workshops, clinics and other events are held here,
including the annual Nemu Band Directors Clinic, which consists of
numerous musical events. Jan Van der Roost served as guest conductor
and speaker in 1994. He was invited again for the 1997 clinic, this
time with a composition assignment. The difficulty level of his new
piece was to be Grade 2 - 3 bands. With this in mind, Mr. Van der Roost
strove to create a renaissance-like sound. Simultaneously he wished to
create a tribute to Tielman Susato who, like Jan Van der Roost, lived
and worked in Antwerp in the 16th century. The first performance of
Nemu-Susato was conducted by the composer, performed by the Tokyo
Metropolitan Police Band, and took place during the Nemu Band Directors
Clinic on May 19, 1997.
German “Musikverein Braunshausen” on the occasion of the 75th
anniversary of the orchestra. The composition, first performed on
September 17, 1999, is not a street march but a concert march, just
like Mercury and Arsenal. The use and variation of different rhythmic
patterns gives the first part of this march a distinctly dynamic
character. Two main themes are presented in several instrumental
combinations. The theme from the trio, on the other hand, is
characterized by a broad melodic approach using large intervals. This
theme, wreathed by high woodwinds, is heard one more time after a
contrasting new part, but now in a somewhat slower tempo. The
counterpoint in this part refers to the first part of the march. The
brilliant ending suits a festive anniversary march!
and dedicated to Ottomar Jung. The composer himself conducted the
premiere of the piece, which was performed by the 'Jugendorchester
Kreisverband Altenkirchen' on 25 March 1999.
The region of Altenkirchen is known for its iron mines, which find
musical expression in the dark mood of the introduction (andante
misterioso). This effect is accomplished with overlapping seventh
intervals, orchestral crescendos, a succession of broad chords and the
presentation of most themes in the middle register of the band.
The dynamic section (allegro energico) that follows the introduction is
characterized by concise figures in the brass and a second motif, a
kind of rippling motion depicting the Sieg River, an important element
in the landscape of the Altenkirchen region.
The work closes with a final theme that returns a number of times,
albeit in different guises. After a brief repeat of the seventh
intervals from the beginning, a last radiant chord signals the end of
1990, Jan Van der Roost wrote this piece on the occasion of the 15-year
anniversary of his own band: Brass Band Midden Brabant. Like many
British marches, the main theme is written in a minor key. Powerful and
virtuoso themes characterize the first part of this march, while the
trio melody is much more melodical, offering the tenor register to
display its lyrical skills. Follows a dynamic passage for trombones and
trumpets/cornets, leading to a "grandioso" version of the main trio
melody and thus concluding this march in a magnificent way.
energetic and multi-racial city life in Manhattan, using four
contrasting movements. The opening movement is rather short and
rhytmical. In the second “Picture”, a variety of musical entities
accumulate into a coloured “sound curtain”, on top of which the brass
section presents a broad theme. In contrast to the two previous
movements, the third movement is exremely quiet, featuring the first
flute, clarinet an oboe in broad melodies. Again, the orchestration
plays an essential role. Following on a majestic “tutti” (almost
“movie-like....) the serenity of the very beginning reappears. Finally,
the nervousness and dynamic style of the two first movements come back
in an exciting apotheosis with rich and sometimes surprising
instrumentation which explores the multiple possibilities of the large
symphonic wind band to the full.
their 25th anniversary. The piece was first performed on September 15,
2002 in Utsunomiya.
This characteristic opening piece starts with an energetic and robust
fanfare, soon followed by a contrasting, expressive, and lyrical theme.
These two ingredients alternate a few times, after which an allegro
brillante creates a new atmosphere. For a moment, a catchy and brisk
theme can be heard in various sections of the ensemble, and then the
introductory themes immerge again. The piece has a classic ABA-form.
The band can be presented in different ways without ever losing the
banks of the river Schelde has been nominated “Cultural Capital of
Europe” for 1993. The work-group “animatie” took the initiative and
commissioned a hymn, which -as the finale to a grand open-air event on
27th March- was premièred by hundreds of musicians from all over
Europe. Philippe Langlet (France) was the conductor at this majestic
Musically speaking the piece can no doubt be labeled easy. Indeed it is
meant to represent a hymn, playable by all in different instrumental
combinations. Consequently a variable instrumentation was chosen and a
type of music, which by native is easily accessible and uncomplicated.
The conductor is free -in the instrumentation- to score this piece
according to his own taste. It is perhaps advisable to use the sharp
brass in the forte parts, in order to make the range in the sound of
the orchestra as colouful as possible. The percussion parts are not
absolutely essential, so that the hymn can also be performed without