Fanfare

This quiet piece with its broad tones was originally written for brass
band on request of Robert Leveugle, chairman of the composer's own
band: Brass Band Midden Brabant (Belgium). The direct cause was a visit
to the beautiful cathedral of the English city Canterbury, in which so
many fine compositions sounded throughout the centuries. Later on, Jan
Van der Roost rescored this piece for symphonic wind band, exploring
the full richness of colours of this formation. Besides solo phrases
for several instruments, there are some massive tutti passages making
the wind orchestra sound like a majestic organ. By the way: an "ad
libitum" organ part adds an extra richness, colour and power to this
piece, making it sound even more broad and grand.

EXCALIBUR has been awarded in the "Adolphe Sax Composition Contest",
organised by the Flemish Brass Band Association in 1987. It was
selected to be the test piece in the 1st division during the 1991
National Championships in Bergen (Norway) and in the B division during
the 2002 European Brass Band Championships in Brussels (Belgium).

As the title already explains, the direct inspiration for this work was
the legendary sword of King Arthur. One can roughly distinguish 3
sections, each one with its own musical themes and subjects. This
wealth of musical ideas is directly connected with the fact that
several extra-musical qualities of King Arthur himself and his sword
are depicted, just like velocity, nimbleness and power, to name only
those. The expressive slow section breathes the generosity of King
Arthur as well as his love to Guinevre.

However, Excalibur is no "program-music" in the strict sense of the
word as no concrete story is told: the composer only tried to express
the somewhat magic atmosphere around this medieval subject. Technically
and rhythmically it's a pretty challenging work which also calls for a
good stamina. The percussion section got the composer's full attention,
adding a lot of colors and effects to the entire work. There are no
virtuoso "cadenzas" but several solo instruments get the opportunity to
show their lyrical qualities during the middle section (euphonium,
baritone, soprano cornet, tenorhorn, solo cornet).

Excalibur has proved to be an attractive work and is played and
recorded all over the brass band world nowadays, obviously pleasing
both performers as well as audiences worldwide. Later on, Jan Van der
Roost wrote 2 more major brass Band works inspired by the British
Middle Ages: STONEHENGE (test piece at the World Music Contest in
Kerkrade - Holland - 1993) and ALBION (test piece in Great Britain,
Switzerland, Holland and Belgium for the 2001 Nationals and in Norway
in 2002).

‘Toccata Festiva’ was commissioned in 1994 by the Dutch Brass Band
Championships. The wind band version was made a year later by the
composer himself. Historically speaking, the toccata is considered to
be one of the first independent instrumental forms for keyboard
instruments. Originally the toccata was typically more or less
improvised, later this musical form was given a more regulated
structure. Both elements are used in the ‘Toccata Festiva’: on the one
hand the different themes are developed freely, on the other, the piece
has an orderly structure. It is in a three part form (quick-slow-quick)
and includes both strong rhythmical figures and broad melodic lines.
Part of the composition is written in a more or less archaic tone
idiom, referring to the period from which the toccata form originates
(16th century).

This 4-movement suite is based on authentic folktunes from the
beautiful southern province in France: the "Provence". The composer
used an harmonic language respecting the popular characteristics, but
on the other hand also contains some "spicy" notes (... just like the
wellknown "Provençal sauce"! ...).
The instrumentation is very colourful, paying a lot of attention to the
different timbres of both brass and wood winds as well as to the
percussion section.

Every movement has its own character: "Un Ange a fa la crido"
(= An angel brought the creed / credo) is like a bourrée, "Adam e sa
Coumpagnou" (= Adam and his companion) is an old love song, "Lou
Fustié" (= the carpenter) a fast dance and finally "Lis Escoubo" (= a
whistle tune / popular ballad) is a farandole. In the latter, the old
tradition of folk musicians who play a whistle with one hand and a drum
with the other hand, is clearly represented during the first
presentations of the one and only theme)

Although this piece is not too demanding, a well balanced band is
necessary to perform it successfully. Thanks to the contrasts and the
varying colours, it keeps on holding the attention.

This suite was composed by Jan Van der Roost on the occasion of the
110th anniversary of the ‘Koninklijke Sint Martinusfanfare’ (Royal
Saint Martinus Fanfare Band) from Halle (Belgium). The composer was
required to create a suite in three movements based on three images
associated with the ‘Sint Martinusfanfare’ from the small town of Halle
in the province of Brabant. The first movement (Andante Pomposo)
describes Martin, a soldier in the Roman army. In Andante Moderato we
see the image of Martin, who become a Christian and chooses to devote
his life to God. In this movement, the composer was inspired by the
Brabantine gothic art of the Sint Martinus Basilica in Halle. The
contrast between the dark Basilica and the statue of Our Lady between
the soaring pillars will vividly come to life for audiences of this
descriptive piece. The final movement, Allegro Molto Vivace’, could
have been an image for a frivolous peasant in the Halle carnival. In a
triptych about St. Martin it is more fitting to refer to it as an
apotheosis, the crown on the pastoral work of Martin, Bishop of Tours,
Patron Saint of the Fanfare Band and the Basilica of Halle.

‘Spirit of Independence’ was commissioned by the Koninklijke Fanfare
‘Onafhankelijkheid’ (‘Independence’) from Wiekevorst (Belgium) on the
occasion of its 25th anniversary. The piece depicts an enthusiastic
amateur music club, practicing and making music together in an
attentive and companionable atmosphere. The conductor has the good
habit of trying to improve the sound of the fanfare by means of
practicing chorales and hymns. Jan Van der Roost has used these facts
in the dynamic concert piece ‘Spirit of Independence’: a chorale-like
middle section is surrounded by music bubbling full of energy.