Grandiose is probably the word that best defines the character of the alpine regions. The magnificence of the mountains is fascinating. It makes anyone who has visited this region feel nostalgic and cherishing the hope of returning to see them again one day. Alpine Variations is a four-movement work written in the theme and variations form which reflects the majestic grandure of this breathtaking region in music.

In this composition Jacob de Haan sees the 'Ross Roy' as a metaphor for the years spent at school (a monument in time) where one's personality is formed. So the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion which strides along in the lower register and percussion at the beginning of the next section is typical of 'Tempo di Marcia'. This movement accompanied by repetitions of sound is a metaphor for the structure and discipline in school. This is the introduction to a march theme symbolic of 'passing through' the classes up to the final examinations.Then the Ross Roy theme is dealt with again now in aplayful humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds constituting the modulation to the final theme are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture for the school years can be considered the 'overture' to the rest of one's life.

Variations on a Chord was composed on the occasion of the second lustrum of the Dutch Brass Band Championships celebrated in 1990. The piece is the immediate sequel to Contrasten a piece which was composed in 1986 and which is performed all over the world. Not only was the final chord of this previous work used as a starting point for the new composition but Variations on a Chord is also the first concert piece for brass band composed by Jan de Haan since then. The several variations are based on a solemn theme. The so-called minor-major seventh chord is easily detectable. The structure of the piece is such that the lyrical theme is preceded by a majestic introduction and isfollowed by eight variations each strongly contrasting in character. The piece finishes in a short but extremely spectacular coda.

'The Alchymist's Journal' gets its title from the book of the same name by American author Evan S. Connell. The book fictionalises a number of famous Alchemist’s writings each one developing another's thoughts thus continuing one idea but changing it subtly to provide a new view point or way of thinking. This process is in fact alchemical as one idea transmutes into another. This idea is parallel to the processes at work within these variants. The whole work is constructed from 6 notes (C A B flat E flat F sharp E) and is presented in nine different sections each individual in mood but still based upon the original pitches. This is not a thematic set ofvariations as the themes are developed one at a time from small segments of the six notes. For example the opening theme is the complete number of pitches the second theme uses three notes transposed then repeated at the original level and so on. Harmonically the six notes can be divided into two triads A minor and E flat minor – each key beginning and ending the piece respectively. Whilst this is essentially abstract music with no programme there is an introduction menacing scherzo slow reflective section followed by a recap of the scherzo and final coda. 'The Alchymist’s Journal' was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh to whom the work is dedicated.

The motivation for composing this test piece for the Concert Division Brassband of the 2001 WMC was Rob Goorhuis's deep respect for one of the greatest Dutch composers of the 20-th century who also enlarged the wind band repertoire in a most valuable way. Goorhuis wanted to light up the 'soft and kind' side of the brassband and wrote about this composition : 'The basis is a theme of twelve tones wich Badings once played at an International Organ Improvisation Contest in Haarlem.My organ teacher participated in that contest and so the theme remained somehow in the back of my mind.' The composer worked out a series of variations and clustered them into bundles ofthree and so the melody kept its diversity while remaining easy to recognise.

Solo for Eb Horn and Brass Band-Irish Mood was written in a classic ‘theme and variations’ construction opening with an Irish-inspired melodic theme which is then followed by four variations of divergent character. After the introduction of the theme by the soloist the cornets and trombones play the main melody in Variation 1 while the soloist provides a flowing counter melody. Next comes the highly extrovert and lively Variation 2 contrasted by an introverted Variation 3 in a minor key. A masterful tutti (Variation 4) then leads the piece toward a brilliant ending.

Theme and Variations est encore un morceau exceptionnel de la plume d?Oliver Waespi l?un des compositeurs pour orchestre les plus populaires de nos jours. Un morceau exigeant mais gratifiant qui offre plein d?occasions à plusieurs solistes de démontrer leur technique. Theme and Variations est basé sur un thème exploré durant le morceau entier menant à des variations spectaculaires et vives. Quel beau kaléidoscope musical !

Song of Liberation-A composition with the liberation from the Second World War as its theme. After a solemn introduction one hears the melody of the hymn Abide with you which was sung a lot during the war. Following there are variations on the theme finally leading to the magisterial conclusion that represents the ultimate liberation.The work may be interpreted as popular music (with the part for drumset) but a more serious version without drums is possible and indeed preferable.

Merry-Go-Round is a mini concerto for band in which each section takes a turn as soloist. On a merry-go-round the viewpoint is constantly changing this being portrayed by different instrumental groups playing variations on the main theme continually coming to the fore. This attractive work will bring all the excitement of the fairground to your concert.

Five Variations on the 'Brugg Song'-Kaleidoscope is a set of five variations of on the ‘Brugger Lied’ (Brugg Song) which is the traditional song of the town of Brugg. The lyrics tell of the geography people and traditions of this charming and historic town which is situated in the north of Switzerland near to the German border about halfway between Basel and Zurich.Each variation is based on tiny extracts of the theme the whole piece therefore resembling the effect of a kaleidoscope which juxtaposes small fragments of colour in a constantly changing pattern.

Cathedrals have always appealed to the imagination. Hundreds of years of manpower have been invested in their building and it is not for nothing that today they represent imposing symbols of architecture and history. The cathedral is also a great source of inspiration for compositions drawing on a full palette of acoustic echo effects Gregorian melodies and organ based choral themes.The work ?Catedrals? opens with a five tone motif using double tonguing which resonates through space. Then comes a Gregorian antiphonal theme ?Salve Regina? which is heard in the euphonium and later combines with the opening motif. The quicker passage that follows is basedentirely on the intervals in the motif which by now has added rhythmic variations and develops in different forms including a fugue. The work then builds towards its first climax from which unusual muted sounds emerge creating an atmosphere shrouded in mystery.Gradually more melodious fragments are added to the Gregorian antiphonal theme which develops into an expansive choral emulating the organ and which rises above the sound mass. The work grows more powerful and brilliant in sound until it culminates in a short and explosive finale wherein elements from the whole work come together.

Brass Metamorphosis as the title suggests is a set of variations based on an original theme. Each of the five variations is in a different style with the first being a lively rondo the second slow and intense the third an agile scherzando the fourth slow and expressive and the fifth full of majesty as it brings the piece to a triumphal close.

On a Theme in Ancient Style-Chorale Variations comprend six variations sur un thème authentique de la renaissance. Composé en tant que morceau imposé pour le concours connu Gouden Spiker Festival en Frise (Pays-Bas) cette ?uvre ambitieuse pour concert ou concours présente des parties attirantes et exigeantes pour toutes les sections.

Based on Mohrentanz (La Mourisque) by Tylman Susato-Tylman Susato (circa 1500-1561) was one of the worlds first music publishers and seller of musical instruments. He left behind several collections containing arrangements of Dutch songs and dance and also published several of his own works. Three of these published in 1551 were called Musyck Boexken or music book. Almost 500 years later Jan de Haan has used one of these melodies Mohrentanz for this theme with three variations.