Two excerpts from the famous ballet: Scene - with the wellknown Swan's Theme - and the dance of the swan maidens. The keys were adapted (half tone upwards). Therefore the pieces can be also played by a middle youth orchestra. The instrumentation is similar to the original. The important part of the harp is integrated into the piano part.

Level: medium.

Handel used many of his compositions in multiple ways - a common manner in the music of the Baroque era. The choir "And the glory, the glory of the Lord" is here in the pure instrumental arrangement of the "Concerto a due cori 1", written in 1747. In this version  the orchestra is divided in two choirs of woodwinds and a string choir with continuo.

The arrangement follows this. The first choir uses flutes & oboes the second clarinets as high voices, brass and timpani are added

Your Christmas concerto will get a special accent by this arrangement.

Level: medium

"August - Harvest" from "The seasons", op.37b

The harvest has grown,
people in families cutting the tall rye down to the root!
Put together the haystacks,
music screeching all night from the hauling carts.
(Aleksey Koltsov)

A stormy summer wind blows over the mowed fields. In a restless six-eighth time the orchestra rushes forwards.  Converse accents  increase the tension, which leads to a great cascade. In the central section a peaceful melodie in wide note values and EbMaj comes up before the piece ends in a mighty reprise.

"July - Song of the Reapers" from "The seasons", op.37b

Move the shoulders,
shake the arms!
And the noon wind
breathes in the face!
(Aleksey Koltsov)

A cheerful jubilant march is proceeding, contrasted by a more lugubrious pedal point and frequently interrupted by a little standstill. At the end the first theme fades away in pianissimo.

"June - Barcarolle" from "The seasons", op.37b

Let us go to the shore;
there the waves will kiss our feet.
With mysterious sadness
the stars will shine down on us.
(Aleksey Pleshcheyev)

The quietly flowing main theme in GMin is superseded by a second theme in GMaj , which sounds in thirds. Now a short vivid central section with rhythmical accents and a mighty increase. Then a reprise of the main theme in changed instrumentation. The end is formed by a little coda with a syncopal movement over a bordun bass.

"May - Starlit Nights" from "The seasons", op.37b

What a night!
What bliss all about!
I thank my native north country!
From the kingdom of ice,
snowstorms and snow,
how fresh and clean May flies in!
(Afanasy Fet)

Clearly drawn and impressive sounding the first theme in nine-eight time, where the beginning is played only by the wind instruments. Following a change between winds and strings (partly pizz.). The central section in minor and two-four time is more agitated and runs up to a culmination in major. At the end a reprise with reversed instrumentation which fades away in the strings (con sordino).

"April - Lilly of the Valley" from "The seasons", op.37b

The blue, pure snowdrop — flower,
and near it the last snowdrops.
The last tears over past griefs,
and first dreams of another happiness.
(Apollon Maykov)

Delicate spring rounds in six-eight time and soft BbMaj. Strings - lightly coloured with winds - play the main theme in different levels. In the middle part ascending lines of the winds rise up. They carry in a cheerful touch of spring.

"March - Song of the Lark" from "The seasons", op.37b

The field shimmering with flowers,
the stars swirling in the heavens,
the song of the lark
fills the blue abyss.
(Apollon Maykov)

A frothy tender little spring picture. Solo woodwinds convey the singing of the lark, muted strings describe the light fog in the atmosphere.

"February - Carnival" from "The seasons", op.37b

At the lively Mardi Gras
soon a large feast will overflow.
(Pyotr Vyazemsky)

Jolly moved rhythms, changing orchestal colours, varying sound intensity, many percussion instruments: That is the picture of a humorous carnival parade.

"January - At the Fireside" from "The seasons", op.37b

A little corner of peaceful bliss,
the night dressed in twilight;
the little fire is dying in the fireplace,
and the candle has burned out.
(Alexander Pushkin)

Beautiful melodies in changing instrumentation and shimmering chords  determine the beginning. In the middle the fire is flaring, sending out sparks.  A string tremolo accompanies the descending figuration of the winds. At the end the fire's glow goes out slowly, the figuration gets higher and more quietly.