"Hark! The Herald Angels Sing" is a Christmas carol that first appeared in 1739 in the collection Hymns and Sacred Poems, having been written by Charles Wesley. In 1840, a hundred years after the publication of Hymns and Sacred Poems, Mendelssohn composed a cantata (Festgesang) to commemorate Johann Gutenberg's invention of the printing press. In 1855, English musician William H. Cummings adapted Felix Mendelssohn's secular music from Festgesang to 
fit the lyrics of "Hark! The Herald Angels Sing" written by Charles Wesley.
Here a version for youth orchestra with four-part choir ad. lib. The original is adorned by a prelude, two interludes and figuration. Thereby it's festive impression is increased.

Level: medium,

Mendelssohn wrote his "March for Orchestra" op. 108, in 1841 for a festival celebrating the famous painter Cornelius' visit to Dresden. It is a large piece with a splendid main part and two trios. The original key is changed (warmer sound, better to play for the wind) and the instrumentation is increased. So it would be a perfect frame for your celebration.

Level: medium - advanced

Not only at the wedding ceremony, but also a popular piece in your concert! Very suitable in combination with other extracts from "Summernight's dream".

Level: medium.

Mendelssohn wrote this music in 1836 for the funeral of his friend, composer colleague and contemporary Norbert Burgmüller, who had died in a tragic accident.
It is in A-B-A form, the martial main movement in the tutti is interrupted by a lyrical subsidiary movement with solo woodwinds and repeated at the end.
Here is a version for youth orchestra, the original was composed for harmony music to suit the occasion. The two high trombones were replaced by two alto saxophones and are also available as horn 3 & 4.

level: medium

Why to play always a whole symphony? A single movement can convey a wonderful view into the manner of classical composition too. The three Menuets (No. 35, "Haffner-Symphony", KV 385, No. 39, "late symphony in EbMaj", KV 543  and No. 40 "great symphony in gMin", KV 550) provide this particulary. Wonderful, universally wellknown themes, in great setting and no to difficult to play. A "highlight" for your concert, used "en bloc" or single (e.g. as an surprising encore).

Whether both composers have met each other is questionable. When Beethoven came to Vienna in 1790 to introduce himself to Mozart as a new student, Mozart was probably travelling (Potsdam). When Beethoven finally moved to Vienna in 1792, Mozart had already died.
The present arrangements of single movements from Mozart's and Beethoven's piano sonatas were composed during my studies in Freiburg in 1970 (Beethoven Year). They were pure instrumentation studies and were never performed. Recently I had the idea of reworking these pieces and combining them. The movements are similar in character and structure to a four-movement symphony, but the keys have been chosen and adapted to each other. It would certainly be a successful contribution for the Beethoven anniversary in 2020.
Inside: Mozart, Allegro aus KV 332, Beethoven, Allegretto aus op. 14,1, Beethoven, Largo appassionato aus op. 2,2, Mozart, Alla Turca aus KV 331

Inside: Promenade 1 & Bydlo, Promenade 2 & The Old Castle, The Hut on Chicken Feet, The Great Gates of Kiev.
More info at the single pieces.

Level: medium-advanced.

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The penultimate picture is originally titled "The hut on chicken feet". Hartmann's drawing shows a clock in the shape of Baba Yaga's hut on chicken feet. Mussorgsky's composition describes the terror and frantic pace of the witch as she kicks the air on a mortar. The middle section presents a glimpse into the spooky interior of the hut. Tritone sounds, tremolos and chromaticism dominate the soundscape. The transition into the brilliant final image (The Great Gate of Kiev, C major) is hinted at.

Level: advanced .

The first promenade powerful introduces the cycle and underlines the unusual phrases and change of time by means of the instrumentation. The following "Bydlo" - an image of a heavy oxcart - starts with loudness, increases again and ends with a pianissimo.
The special keys and the not too difficult kind of voice leading let these movements being playable also by your orchestra.

Level: medium.

A royal gem from the pen of the russian composer, full of strongness and dance-like character. The more quiet middle section might be a contribution from César Cui, the first publisher of Moussorgsky's opera.

Level: medium - advanced.

Joyful variations about the well known old german folk tune in style of ancient composers. Many ironic quotations from original compositions (1. Bach, 2. Haydn, 3. Mozart, 4. Joh. Strauß, 5. Verdi, 6. Gounod, 7. Wagner, 8. Beethoven, 9. Mendelssohn-Bartholdy, 10. Schumann, 11. Brahms, 12. Meyerbeer, 13. Militär-Marsch). 

Level: advanced.

The world-famous harmony sequence - set for 3 high instruments by Pachelbel - in a little changed version for youth orchestra. Extended instrumental colours by winds and brass, more akzentuated rhythms by timpani and triangle. Facilities in melody and key make this popular composition in a new version also playable for your group. 

Level: medium

Perhaps the best known piece from Puccini's "Trittico" in a version for soprano or choir and small youth orchestra in the key of F major. The instrumentation is based on the original, but adds new aspects and facilitations in places.

A German text version is available because the original one is still under copyright.

Level: medium

The Grand Chacony in GMin and the associated Pavane in a version for youth orchestra. The originally four-part piece - probably composed for a quartet of viole da gamba - was colourful differentiated and tonally enhanced by addition of winds and brass. An effective contribution to your Christmas concert!

Level: medium

This gently flowing Emin movement is a masterpiece of orchestral colouring. With its glowing colours and indolent motion, it could be a sound picture of a gondola crossing the Venice lagoon on a hazy summer's day. Always swelling string passages are counterpointed by delicate woodwind melodies. In the central section you hear five times chords from the brass fading away by falling string and flute melodies.

The Swiss composer Raff - often performed around 1900 - could brought to attention of the present audience by this piece.
By the way: the flute part is very demanding.

Level: medium-advanced