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 inspiration for this piece commissioned by the United States Army Band came from the Gulf and its constant presentation to the world as a media event on television. The composer wanted to capture the colour and events of war as they were played out on the television screen. Composed as a single movement rhapsody the work is framed by the riveting sounds of airborne bombing raids with brass and percussion combining to create a gripping sense of tension.

Singapura Suite was commissioned by Singapore's Ministry of Education Extracurricular Activities Branch to serve as a compulsory piece for the 1999 Singapore Youth Festival.'Singapura' is the original name of Singapore in Malay the native language there. Because Singapore is one of the most important harbors in the world this two-piece work opens with a seaman's dance. An authentic melody Chan Mali Chan is woven into the middle of this first part whose ABA form becomes clear through the recapitulation of the seaman's dance in a somewhat altered form.Singapore is also a dynamic city-state alive with excitement thus the second part begins with a fitting dance a fastbourrée. As contrast there is a second authentic melody Dayung Sampan a more easygoing sailing song. This short but curious suite ends in high spirits with a recapitulation of the beginning.

This flashing piece was commissioned by ?Het muziekverbond van West-Vlaanderen? and is dedicated to the ?Arlequino? youthband.Colourfully and effectfully instrumentated this piece speeds towards its finale without any tempochanges.The chord-blocks wich characterized the introduction unite this virtuoso piece by reappearing in the end.