This composition basically consists of three fragments and an epilogue (conclusion):1) Plateaux, 2) Sherpas, 3) Climb. The piece starts with a musical depiction of the deserted plateauxs and mountain peaks of the Himalayas. The mysteriousness of the Tibetan country was caused by its inaccessibility to other nations. One even believed that there was a paradise behind the huge mountains; the land of Shangra La. 1) After the sound of a gong, the Asian-like theme arises extremely softly from the decay of the percussion. In bars 4 and 5 the syllables of Hi-ma-la-ya echo. Then a second theme appears; it symbolises the enchantment of the mountaineers by seeing the Mount Everest. 2) Eastern percussion, very evenly without emotion, sound from the deserted village of the sherpas. The phrasing is prescribed by the number ‘three’. From measure 56 Tibetian monks sing a chant, also with the religious background of the number ‘three’. 3) The third part starts of with the sight of the giant Mount Everest with an entirely new theme, that is played impressively by the strong low brass instruments of the band, immediately followed by the excited big climbing. The many surprises are depicted by the changing time signatures. Two themes are in constant battle; the binary Himalaya theme and the ternary Mount Everest theme. Only once there is a steely composure. The registers in which the piece is played increase. The tension rises…Then the peak is reached. A long pause follows before one realises that one is on top of the world. Slowly the emotions of joy grow and lead to an enormous climax. The first enchanted theme sounds again in total glory.

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