'Weerspiegelingen' unfolds the musical story of fanfare “Looft den Heer ” from Oudega (Smallingerland) through various interconnected sections. The composition was written to celebrate the 120th anniversary of this fanfare orchestra. The first section portrays the “blue stone, ” which, as a “ modern totem, ” marks the (musical) path to Oudega and is surrounded by many stories, though its origin remains unknown. This section introduces a series of themes and motifs that will play a role later in the composition. The old clock of the St. Agatha Church, which traditionally set the rhythm of life, leads the composition into the second section. The second section is inspired by the characteristic landscape around Oudega, the Alde Feanen, and how time has shaped and continues to shape the landscape. The area was originally difficult to access and was therefore inhabited relatively late. After a history of wars and Viking attacks, Oudega, under the initiative of the Diocese of Utrecht, received its own church after the year 950, gradually giving shape to the community. The third section focuses on the fanfare “Looft den Heer. ” A chorale-like approach with solo passages reflects the character of this ensemble. Thematic material from the first section is combined with solo passages, particularly in the trumpet and trombone parts. This section also includes a quote from a composition written in the same year as the founding of this ensemble (1904), namely from Maurice Ravel’ s “Miroirs ” (part 5; “La vallée des cloches ”). In the fourth section, the Grietman is central topic. In the past, he was the head of the civil municipality and wielded considerable power and influence. Additionally, he had the authority to administer justice. Convicts were imprisoned in the tower of St. Agatha Church, and the pillory and torture stake were also used. This section is characterized by a decisive nature and contrasting musical material. From the fifth section onward, the composition builds towards a grand finale. This section revisits various musical materials from the previous sections. Additionally, the theme of Psalm 150, a request from the commissioner, plays an important role. The Psalm also served as a blueprint for each individual section. Each section uses the head motif of one of the lines of this Psalm as material for new motifs and melodies.