Man in Motion is the title number from the film St. Elmo’s Fire from 1985. The song was a huge hit and was even nominated for a Grammy. In the meantime it’s become a world-wide classic which in this entertaining concert band arrangement will enliven any concert programme.

as performed by The Blues Brothers-This classic song by songwriter Woody Payne performed by the Blues Brothers achieved world fame. In this song a man tries to convince his wife to return to the American city of Chicago: “Baby don’t you wanna go back to that same old place: Oh sweet home Chicago”.This transparent blues arrangement can be played by almost any orchestra to enhance your concert.

The term ’Pastorale’ originally meant a (musical) poem extolling the virtues of rural life. Beethoven’s 6th symphony is a fine example of this. In his Hymnus Pastorale Bert Appermont has dressed this concept in a modern guise with a composition featuring a magnificent and broad chorale which can be played by any ensemble. It is ideal as an interlude in your concert or as a warm-up piece.

The mystique surrounding life and death formed the starting point of this composition. I wanted to write a work without a story mixed up in a kind of musical quest for a new world of sound original rhythm sequences melodies filled with suspenseand distinct orchestral tones.The indirect cause was the birth of my first child which took place during this time followed by the death of a close family member. At such a moment you experience just how close life and death are to each other anddespite one being the antithesis of the other they are incredibly similar. Both radical events are passages into new worlds and have great emotional impact. Moreover the work was commissioned by �New Life� an orchestra that lost oneof its musician in a plane crash which also led me to believe that this approach would be appropriate.I would prefer not to comment on which passages in the composition concern life (birth) and which refer to death. It seems to me that it is moreinteresting to question traditional conceptions and leave it open for the listener. If you think that a passage is about birth and this idea then shifts it is this that raises fascinating questions on both a musical and metaphysical level.Music isin an indirect but incredibly persuasive way in which to express the endless striving and seeking of mankind. Music can even touch eternity as it were and give us the feeling that we can transcend death. This endless search (and also longing) canbe heard throughout the work; as much in the sound fields and accent shifts in the first part as in the enormous tension curves and compelling themes of the second part. The semi-tone functions in this way as a guide or something to hold on to running through the whole work and upon which much of the musical material is based. Traces of profound love resound with quiet simplicity in the slow section�s melodious solos after which the work contemplates life and death one last time muses upon joy and sadness on the possibilities and limitations of people and on the why of all things.I would like to dedicate this work to my dearest daughter Paulientje to Meterke and to Johan de Jong of the �New Life� orchestra.May it fare them well here or in another dimension�

From Four Original Warm-Ups For Band-From my experience as a conductor and a jury member I know that many orchestras are faced with typical problems: lack of sound control intonation difficulties uncontrolled articulation and insufficient phrasing. Practising these aspects is very demanding of an orchestra and there is little material available that is also enjoyable to play.“Four Original Warm-Ups” is therefore intended to improve this situation. It consists of four enjoyable warm-up pieces. Each piece focuses on one of the said issues without the music being dull as a result of this.Part 3: Articulation TrainAll aspects of articulation are addressed in this hellish train journey. The gradual acceleration notonly suggests a train that is driving faster and faster but is also intended to practise staccato playing. For a concert performance a child or a musician could be dressed up as an engine driver and sound the train departure whistle. A real train whistle can enhance the atmosphere in certain places that have been marked for this purpose. This part can also be used as an encore piece for a concert.These four pieces can but do not have to be played in succession. Each part can be used separately for a rehearsal or concert. I truly hope that these four parts will contribute to improving the standards of many orchestras without spoiling the fun of playing!

This work was commissioned by the municipality of Kapelle-op-den-Bos on the occasion of the 150th anniversary of canon Jaak Muyldermans. Haexdonck is the old spelling of the present day region of �Oxdonk� where Jaak Muyldermans lived. In this three-part work the composer describes the different human aspects of canon Muyldermans� rich life. The first part slow and dreamy describes the writer/poet. The second dissonant part with much percussion describes his time as an army chaplain during the Great War. The third hymn-like part depicts his time as a priest. This work by Guido De Ranter a newcomer to composition is suitable for competitions or concerts.

as performed by Kiss-This 1979 megahit by heavy-metal rock band KISS was listed in the top 100 charts for some 90 weeks! This band achieved as much fame through their trademark face paint and tall boots as through their music. At the time this band was particularly innovative and even controversial reason for Klaus Fiellmann to produce an interesting and playable arrangement of their best known hit.

From Christmas in a Box : This collection is composed of three musical duos which belong together per region or style. You can order these separately per duo or as an entire collection.

This sparkling overture gets straight to the musical point with its majestic character. The theme starts out in the trumpets before moving through the entire brass section which is subsequently passed on to the woodwinds and followed by a dazzlingallegro. The impressive conclusion makes for an opening work that will be truly electrifying! Attention guaranteed!

‘Late Night Music’ takes us right back to the sounds of the 1970’s with a great collection of fabulous megahits:‘In the Stone’ ‘Can you feel it’ ‘Relight my Fire’ and ‘I’m so excited’.This arrangement by Juri Briat provides a highly varied combination of powerful rock songs and swinging big-band sounds along with intimate romantic ballads for a blue-lit dance floor.

The Awakening was first work by Bert Appermont who at that time was a student of Jan Van der Roost. A serene melody expands supported by the growing orchestration. It�s a sparkling composition thanks to it�s pure simplicity.

Danzas del infierno (Dances from Hell) is the score from an imaginary film. Therefore the images are intangible successively formed in the fantasies of the composer the conductor the musician and finally the listener.The scenario might go alittle something like this:The devil’s dance hallAfter a great but sinful life the souls of Adelbrecht and Engelbrecht descend into the dark depths of Hell. In the distance behind them the echoes of earthly lamentations resound. Over the groundand through the air moves a malignant and foul beast.They suddenly find themselves among millions of their companions in misfortune when a hellish light is kindled in a giant ballroom with six tall pillars and six gigantic chandeliers. Six footmenproclaim the Devil’s arrival (leitmotiv) and her tall silhouette promptly appears: Lucifrina! A black backless evening gown a long split up the left leg showing glimpses of her wine red garters. She looks directly into Adelbrecht’s eyes and inviteshim to open the dance with her.The devil’s tangoIn the tango we are introduced to the Devil’s dual personality. Seductive and sophisticated on the outside yet fundamentally malicious and cunning inside. The dance begins with a very subtle fugaltheme setting up the metaphor for her virtuoso dancing. But she soon lets the poor Adelbrecht know that he is supremely outdanced until he finally collapses from exhaustion.IntermezzoIn search of a new dance partner Lucifrina paves her way throughher newly arrived pupils. Engelbrecht tries to behave as unobtrusively as possible but there is no escape.The devil’s waltzFrom the very first measures of the waltz the dance is extremely wild. The centrifugal forces ensure that Engelbrecht rarelytouches the ground. He is so trampled beneath the violence of his too large and too strong partner that the other residents of Hell will scornfully call him “compote” for the rest of his death.The devils Can CanThe initiation ritual is complete. One“hell of a party” can start. There is singing drinking and dancing in a prelude to a sinfully sweet hereafter. Adelbrecht and Engelbrecht slowly get over the first shock and have a surprising meeting with their new neighbour. (The subject for the2nd suite of “Dances from Hell” is about how he went through the same thing more or less in 1827.)

Hans Vansant wanted something different with this lively number. Instead of I Will be Missin’ You he composed I Won’t be Missin’ You! After all each end of a friendship is a new beginning.

as performed by Whitney Houston

A Sky Full of Stars - Clocks - The Scientist - Viva La Vida-Bert Appermont is mostly known for his original works for band. With ‘Coldplay in Symphony’ he has combined his cinematic orchestral style of writing with the melodic genius of some of Coldplay’s greatest hits: 'Viva La Vida' ‘Sky Full of Stars' ‘Clocks’ and 'The Scientist’. Coldplay with a symphonic twist!

From Joy To The World

From Joy To The World

From Joy To The World

From Joy To The World

From Joy To The World