The expression 'Joining Forces' means that different people 

and parties work together towards one common goal.

This refers directly to this 4-part composition, 

in which a fanfare orchestra and percussion ensemble form a whole, 

a fairly unique combination!

It portrays the unity of a music association in which everyone is
important part to keep the association healthy, musically ánd socially.
Therefore, the composition has a positive atmosphere.

In the first part the musicians meet each other and forces are gradually joined.

Turbulent and sad periods, which inevitably occur in a music association, 

are expressed in the 2nd and 3rd part.

In the final part, hands are joined again in a figurative ánd literal sense! 

The composition reaches a festive climax with the main theme in a broad setting.

Instrumentation: full fanfare orchestra & percussion ensemble (14 parts). 

The Marimba 2 and Percussion 2 parts are possible with one player each 

but two players per part is adviced.
Duration: 9'45"
Level: Medium Difficult
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Alta Crucis is the Latin name for 'the High Cross' - Hoogcruts in old Dutch - , a monastery situated between Noorbeek and Slenaken in the beautiful rolling hills of Limburg. 

The history of this monastery goes back many centuries and proved te be a suitable subject when'Berggalm' Noorbeek commissioned the composer for their wind band and percussion ensemble. 

The premiere took place in the monastery's ruins, maintained by the Limburg Landscape Foundation.

It has four parts. Part I the Shepperd and the Vision. 

Part II the Monastery’s Founding. 

Part III Turmoil and Destruction. The last part is called Resurrection.

Instrumentation: full wind band (27 parts, extra part for bastuba in Eb included) 
and percussion ensemble (10 parts, minimum of 13 percussionists adviced).

Level: medium

Duration 9:30
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This concert piece was commissioned by the flute and percussion corps
Schutterij St. Willibrordus Obbicht.
The history of Obbicht Castle and the Schutterij (Guards) are closely intertwined.
First built in the Middle Ages, the castle and the Schutterij were a source of
guidance and protection for the Obbicht population.

This composition consists of a chronological structure of 6 musical impressions
that expresses this history:
Long time ago in a peacefull village; Resurrection; Tension;
War and Turmoil; Downfall; Reconstruction & Nowadays
Instrumentation 12 parts: 2x Piccolo flutes (at least four players,
parts in Bb and C available), 4x Flutes, marimba,
one tubular chime, battery and aux. percussion.
Duration 6:30
Level: medium
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Looking for inspiration to write a humorous and energetic wind quartet for the 

2007 CD 'Hollandse Nieuwe' Offenbachs famous Can Can came across.

It is one of those classics everybody knows. 

I thought, let's take this typical dance as a starting point and make it atypical.

It includes only two quotes from the original: the reason for the title's question mark.

The exciting charactre has remained by means of the tempo, rhythms and accents

while the dissonants and modulations have a humoristic effect. 

The can can takes a breath in the contrasting 3/4 intermezzo but 

regains its energy as it rushes to the exciting finale.
Instrumentation: Oboe, Clarinet Bb, Bassoon, Percussion
(triangle, tambourine, small susp.cymb.)
Level: medium difficult
Duration 4:00
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In this 3-part rhapsody, contemporary classic is mixed with popular music styles.

The composition is written in a way that flute and vibraphone support each other 

and at other times complement each other into a whole.

Next to the flute's lyrical possibilities in the first and second part, 

it also mimics percussive effects in the third part. 

On the contrary, the vibraphone also shows the instrument's lyrical possibilities.

Duration: 5,5 min.
Level: Difficult
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In this piece i have challenged myself to visualize a percussionist
who stands in front of his mirror image that wants to break out
of the confinement this mirror creates.
In the confident intrada the mirror image is in tact but soon after,
the first cracks appear..
As the first part evolves, the mirror begins to oppose his own image
and seems to have a will of it´s own
and gradually become musically insurgent .
In the second contrasting part the mirror images start conversating
by playing an eary music box tune but they are still entwined,
as portrayed by the complementary glockenspiel.
In the contrasting third part both players seem to have loosened themselves
from their mirror images; the alternating motives give them a sense of freedom.
However, the motives are still conjoined as they seem to complement each other.
The motives build up to an exhilarating groove
which is the exciting finale of this demanding piece.
Quotes from the second and first part appear as the mirror
seems to come together again.
A final resurgent outburst ends the piece as the players fight the mirror,

concluding with a conjoined breakdown.
Instrumentation: bongos, tom toms, congas, bassdrums,
gong(2), glockenspiel(2), woodblocks(2), hihat(2).
Detailed information on notation, setup and instrumentation 
is attached in the full set.
Duration: 6,5 min.
Level: Difficult
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