This composition, inspired the Freedom Convoy in Canada, early 2022, consists of twelve 'stanzas' that flow into one another without breaks. Here follows a description of each of these movements: 00:00 I. Introduction: Under the Yoke A depiction of a bleak atmosphere of suppression, under the guise of ‘prioritizing the health and safety of citizens’. Central theme is a melody derived from ‘O, Canada’, Canada’s national anthem. 01:46 II. Announcement: Crossing a Borderline Needless to say that the title is also meant in the sense of ‘going too far’. Lyrics: The Government's response to the pandemic will continue to prioritize the health and safety of its citizens. Therefore: Truck drivers, in order to be permitted to re-enter the country from abroad, will be required to submit proof of being fully vaccinated. The Government will continue to consider further targeted measures, to keep its citizens safe. 02:59 III. Growing Protest Next to the O Canada motive, bits of Beethoven’s Alle Menschen werden Brüder theme start to appear. 05:21 IV. Framing and Shaming The Alle Menschen werden Brüder theme is ridiculed, while the O Canada motive is wrapped in a cloak of cheap seduction. 06:45 V. Charity A merging of Beethoven’s melody with the O Canada motive symbolizes the people’s willingness to help by donating. Halfway this ‘stanza’ the Vita Aeterna motive, symbolizing positive karma, appears for the first time. 08:26 VI. Announcement: Freezing of Accounts The discrepancy between the intention to ‘prioritize the health and safety of citizens’ and the new legislation now becomes apparent. Lyrics: The illegal blockades have highlighted the fact that crowdfunding platforms are not fully captured under the Proceeds of Crime and Terrorist Financing Act. Therefore: As of today, a bank or other financial service provider will be able to immediately freeze or suspend an account of anyone financially supporting the demonstrators, without a court order. And if you are involved in this protest, we will actively look to identify you and follow up with financial sanctions and criminal charges. The Government will continue to consider further targeted measures, to keep its citizens safe. 10:00 VII. ‘Material Aid’ The Vita Aeterna, the O Canada and the Alle Mensche warden Brüder motives, all together in a tender triple counterpoint. 11:47 VIII. Announcement: Arrests The discrepancy between the intention to ‘prioritize the health and safety of citizens’ and the new legislation now takes on surreal proportions. Lyrics: The Government's response to the pandemic will continue to prioritize the health and safety of its citizens. Therefore: Anyone bringing material support, such as fuel as a protection against the freezing cold , to the demonstrators will be subject to arrest. The Government will continue to consider further targeted measures, to keep its citizens safe. 12:58 IX. March with Empty Jerry Cans When the government had descended to the level of making things like carrying jerry cans filled with fuel punishable by law, people started walking the streets with empty jerry cans, thereby making use of one of the mightiest weapons that humanity has at its disposal: humor. Beethoven’s theme, in the shape that he used in the scherzo from the finale of his ninth symphony, is now in counterpoint with the O Canada motive, now reshaped into the global anthem melody that will conclude the composition. 14:47 X. Brute Force Time and time again, history has shown that the one thing that totalitarian systems can’t stand is humor. So, now the government descends to the level of brute force and it violently crushes the Freedom Convoy movement. It doing so, the noble O Canada motive is besmirched. XI. Despondency 16:46 This ‘stanza’ can be subdivided into three parts: a depiction of a desolate battlefield after a battle, an expression of grief, and finally a return to the somber atmosphere of the opening stanza. 20:24 XII. Finale: Ode an die Freiheit (Ode to Freedom) To keep a tyrannical system in place, people must be convinced that the system is there for their own good. This means that by descending to a level of brute violence, a totalitarian regime in fact signs its own death warrant, in the long run. Time and again, history has shown this, and the globalists know it. This stanza starts off with a lonely fugue theme, getting stronger and more lively as time goes by, and then being joined by the Vita Aeterna, the O Canada and the Alle Menschen warden Brüder themes respectively. The movement culminates first into a jubilant merging of the Alle Menschen werden Brüder and the O Canada themes, and finally into the global anthem, the melody of which had already appeared in the ninth movement. Lyrics: Finally, Humanity Shall shed its shackles and shall be free . / Has shed its shackles and is now free. Humanity Henceforth shall be As one in its resolve to guarantee Freedom for each and ev’ryone, you and me. ... https://www.youtube.com/watch?v=iOYnuxmzGaY

This is the first piece I wrote for wind orchestra, after I had had written quite a lot for symphony orchestra. This performance was a very pleasant surprise for me, even more so as I hadn't attended a single rehearsal. It is full of drive. The Introduction starts with the in Armenia well known melody Dle Yaman, a song of complaint. This melody returns at the end of the third movement - a shalakho dance, where the motives from the previous movements all reappear - in a glorious C major. I hope some day to make a version for symphony orchestra of this composition. ... https://www.youtube.com/watch?v=97keyrHIIDc

During my years as a composition student, the Utrecht Symphony Orchestra commissioned me to arrange a number of Kurt Weil Broadway Songs, to be performed as part of their season's programme. This is the Overture I wrote for the occasion. My free adaptation of Weil's Broadway Songs can be heard here: http://www.youtube.com/watch?v=ivckGLmnK4U. Live performance: 7 May 1982, Music Centre Vredenburg, Utrecht. Chamber Orchestra of the Utrecht Conservatory conducted by Melvin Margolis, to whom the piece has been dedicated. ... https://www.youtube.com/watch?v=zMaR0YStPVE

I wrote the first version of the Four Pieces for Violin and Piano in 1978 - '79, but the music needed a thorough revision (1990) before it could be presented. The last of the four pieces, Toccata, is here played by the then 17 year old Liza Ferschtman, accompanied by Mireille Heijltjes. The picture of Liza is by KassKara ... https://www.youtube.com/watch?v=1s_AIfAZbOw