SKU: BR.PB-5557

ISBN 9790004213674. 10 x 12.5 inches.

The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work.Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.

SKU: BR.OB-5557-26

ISBN 9790004341148. 10 x 12.5 inches.

The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work.Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.

SKU: BT.DHP-1175811-020

English-German-French-Dutch.

The introductory theme of this composition echoes the majestic size of the mountains that are visible from the picture-postcard Cortina d’Ampezzo—the so called Queen of the Dolomites. Then we hear a lyrical theme, in which we feel the peacefulness of the surrounding countryside. We can even hear the hustle and bustle of the popular ski resort, before the two opening themes return in reverse order to bring this musical sight-seeing excursion to a close.

Jacob de Haan neemt ons mee naar de majestueuze bergen rondom het schilderachtige Italiaanse bergdorp Cortina d’Ampezzo, ook bekend als de koningin van de Dolomieten. Het beginthema verbeeldt de imposante rotsformaties die je rondom je ziet in Cortina. Dan klinkt een lyrisch thema, refererend aan het vredige berglandschap van deze contreien. Ook de bedrijvigheid van het geliefde wintersportdorp weerklinkt in deze mooie compositie. Beide thema’s komen nog één keer terug in omgekeerde volgorde om tenslotte dit muzikale panorama te besluiten.

Im Eingangsthema dieser Komposition hallt die majestätische Größe der Bergformation wider, die vom malerischen Cortina d’Ampezzo - der so genannten Königin der Dolomiten“ - aus sichtbar ist. Dann erklingt ein lyrisches Thema, in dem der Frieden der umliegenden Berglandschaft zu spüren ist. Auch die Betriebsamkeit des beliebten Wintersportortes ist zu hören, bevor die beiden Eingangsthemen in umgekehrter Reihenfolge den musikalischen Rundblick beenden.

Le premier motif de cette pièce reflète la majesté de la couronne“ de montagnes entourant Cortina. Il est suivi d’un thème lyrique qui évoque la tranquillité du cadre ainsi que les maisons nichées dans la vallée. De retour en ville, nous entendons les accents joyeux de l’harmonie locale qui joue pour les vacanciers descendant des téléphériques. L’œuvre s’achève avec les sons grandioses du motif initial, qui exprime nouveau la beauté imposante de la couronne montagneuse.

Cortina d’Ampezzo è anche chiamata “la regina delle Dolomiti” per la bellezza mozzafiato del suo paesaggio. Cortina è la meta obbligatoria invernale di VIP italiani ma anche di molti turisti desiderosi di affrontare le splendide piste d’inverno e gli innumerevoli sentieri per indimenticabili passeggiate d’estate. La musica di Jacob de Haan riflette la sublime bellezza dei paesaggi ed è un vero omaggio alla natura.

SKU: BT.DHP-1115212-140

9x12 inches. English-German-French-Dutch.

The introductory theme of this composition echoes the majestic size of the mountains that are visible from the picture-postcard Cortina d’Ampezzo—the socalled Queen of the Dolomites. Then we hear a lyrical theme, in which we feel the peacefulness of the surrounding countryside. We can even hear the hustle and bustle of the popular ski resort, before the two opening themes return in reverse order to bring this musical sight-seeing excursion to a close.

Jacob de Haan neemt ons mee naar de majestueuze bergen rondom het schilderachtige Italiaanse bergdorp Cortina d’Ampezzo, ook bekend als de koningin van de Dolomieten. Het beginthema verbeeldt de imposante rotsformaties die je rondomje ziet in Cortina. Dan klinkt een lyrisch thema, refererend aan het vredige berglandschap van deze contreien. Ook de bedrijvigheid van het geliefde wintersportdorp weerklinkt in deze mooie compositie. Beide thema’s komen nog éénkeer terug in omgekeerde volgorde om tenslotte dit muzikale panorama te besluiten.

Im Eingangsthema dieser Komposition hallt die majestätische Größe der Bergformation wider, die vom malerischen Cortina d’Ampezzo - der so genannten Königin der Dolomiten“ - aus sichtbar ist. Dann erklingt ein lyrisches Thema, in dem der Frieden der umliegenden Berglandschaft zu spüren ist. Auch die Betriebsamkeit des beliebten Wintersportortes ist zu hören, bevor die beiden Eingangsthemen in umgekehrter Reihenfolge den musikalischen Rundblick beenden.

Le premier motif de cette pièce reflète la majesté de la couronne“ de montagnes entourant Cortina. Il est suivi d’un thème lyrique qui évoque la tranquillité du cadre ainsi que les maisons nichées dans la vallée. De retour en ville, nous entendons les accents joyeux de l’harmonie locale qui joue pour les vacanciers descendant des téléphériques. L’oeuvre s’achève avec les sons grandioses du motif initial, qui exprime nouveau la beauté imposante de la couronne montagneuse.

Cortina d’Ampezzo è anche chiamata “la regina delle Dolomiti” per la bellezza mozzafiato del suo paesaggio. Cortina è la meta obbligatoria invernale di VIP italiani ma anche di molti turisti desiderosi di affrontare le splendide piste d’inverno e gli innumerevoli sentieri per indimenticabili passeggiate d’estate. La musica di Jacob de Haan riflette la sublime bellezza dei paesaggi ed è un vero omaggio alla natura.

SKU: BT.DHP-1135493-140

9x12 inches. English-Dutch.

Laudate Regem - or Praise the King! After a reign of 33 years, Beatrix, Queen of the Netherlands, stepped down from the throne to make way for her eldest son Willem-Alexander. For this special occasion, Matthias van Nispen tot Pannerden haswritten a majestic work for the Royal Netherlands Air Force Orchestra, which sounded at precisely the moment the new king left the Nieuwe Kerk after his inauguration. A festive work for a memorable occasion!

Laudate Regem, Lof aan de koning! Deze muziek werd gespeeld op het moment dat de koninklijke familie de Nieuwe Kerk in Amsterdam verliet, en het werd door de Kapel van de Koninklijke Luchtmacht tevens gespeeld tijdens de NationaleHerdenkingsplechtigheid op 4 mei. Na een korte beginfanfare volgt een prachtige, gedragen melodie waarin even muzikaal verwezen wordt naar het Wilhelmus. Naar het eind toe volgt een overweldigend slot. Met dit werk is het altijd even opnieuw 30 april2013...

Laudate Regem, oder: Preiset den König! Nach einer Regierungszeit von 33 Jahren hat Beatrix, Königin der Niederlande, am 30. April 2013 den Thron für ihren ältesten Sohn Willem-Alexander frei gemacht. Für diesen besonderen Anlassschrieb Matthias van Nispen tot Pannerden ein majestätisches Werk für das Orchester der Königlich Niederländischen Luftwaffe, die genau in dem Moment erklang, als der neue König die Nieuwe Kerk nach seiner Amtseinführung in Amsterdamverließ. Festliche Musik

Laudate Regem ou plutôt Louange au Roi ! Après 33 années de règne, Beatrix, reine des Pays-Bas, céda le trône son fils aîné Willem-Alexander, le 30 avril 2013. Matthias van Nispen tot Pannerden a écrit, cette occasion, une oeuvremajestueuse qui fut donnée en création mondiale par le Royal Netherlands Air Force Orchestra, le jour même de l’investiture. Lorsque le nouveau roi quitta la Nouvelle Église pour traverser Le Dam (place principale du centre ville historiqued’Amsterdam), les premières notes de cette musique hautement festive marquèrent un évènement mémorable.

Laudate Regem o piuttosto Lodate il Re! Dopo 33 anni di regno, il 30 aprile 2013, Beatrice, regina dei Paesi Bassi, ha abdicato in favore di suo _x001E_figlio Willem-Alexander. Matthias van Nispen tot Pannerden ha scritto per questa occasioneun’opera maestosa, eseguita per la prima volta dalla Royal Netherlands Air Force Orchestra, il giorno dell’investitura. Le prime note di questa musica festiva hanno accompagnato il nuovo Re all’uscita della Nuova Chiesa di Amsterdam e poi mentre siaccingeva a raccogliere il saluto dei sudditi nel Dam, la piazza principale della citt olandese.

SKU: CL.015-2505-01

Your band can have a Banner Year when they play this exceptional march by Ken Harris. Written in traditional march style with fresh melodies and stirring rhythms, this playable arrangement is a great choice for contest or concert use. HIGHLY RECOMMENDED!

SKU: BR.PB-15129

In Cooperation with G. Henle Verlag

ISBN 9790004214305. 10 x 12.5 inches.

Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a donkey in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well.Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann Andre. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition.

With parts for horn in F and Eb major.