"Cantique de Noël" is a well-known Christmas carol composed by Adolphe Adam in 1847 to the French poem "Minuit, chrétiens" (Midnight, Christians) by Placide Cappeau (1808–1877).

This instrumental version has three sections. In the last you can use also a four-part mixed choir (ad lib). By the colorful instrumentation and the impressive technique of increase this anthemic piece will be a highlight in your Christmas concert.

Level: medium.

The well-known composition in a version for mixed student ensemble without choir. The key was facilitated, whereby the piece is now more simply to play for the winds. Pedagogical suitable for introduction in baroque fugato technique.

Level: easy - medium

In 1747 and 1748 Handel wrote three Concerti a due cori, where the orchestra is divided in two choirs of woodwinds and a string choir with continuo. These concerts are mostly no independent compositions but have been arranged by Handel from several oratorio choirs and played as interludes in his oratorio performances.
It is possible to perform the most of the seven movements completely successive or particular.

In this version the first woodwind choir is orchestrated with flutes, oboes and bassoon 1. The second choir is played by two clarinets and bassoon 2. You will partly find an intensification by brass and timpani.

Level: medium-advanced

The well-known composition in a version for orchestra without choir. The key was facilitated, whereby the piece is now more simply to play for the winds.

Level: easy

"Joy to the World" is a popular Christmas carol.

The words are by English hymn writer Isaac Watts and first published in 1719.

The music was adapted and arranged to Watts' lyrics by Lowell Mason in 1839 from an older melody which was then believed to have originated from Handel, 

This version encloses the original vocal score with a prelude and some interludes. Thus the festive charakter will be increased. 

Level: easy - medium

The ecclesial Christmas song from the sixteenth's century is mainly known in the four-part choir setting of Michael Praetorius. He also created the popular text of the second verse. In this impressive arrangement the choir is substituted by wind instruments. The choir part is also inside as vokal part.

In the recitative introduction the vocal part can be played by several instruments (alternativo).

Level: medium

Though the music to the choir “For unto us a child is born” is original from an Italian chamber duet with secular amorous text Handel has included this piece in "The Messiah" in congenial manner. In this version the original choir is substituted by wind instruments.
The following shepherd's music (Pifa) is presented in the longer threepart form. Also here a colorful enrichment of the original pure string orchestra is builded by wind and brass instruments.

Level: medium

Extract from the third part of the today only little known Christmas oratorio of the Austrian composer Heinrich von Herzogenberg - a friend of Johannes Brahms and Edvard Grieg.

The numerous vocal parts (solo and choir) have been substituted by instruments until one soprano part. The keys were facilitated and colour and sonic differentation were carried over. The outstanding usage of old Christmas songs (Quem pastores laudavere, Kommet ihr Hirten, In dulci jubilo) is a special feature, whereas the soprano part is ad.libitum in this version.

This piece will be a true enrichment for your Christmas concerto!

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.

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

3 Duos B. 544 - 546 by Ignaz Pleyel in the version for violin and viola after the edition of I. Pleyel, Paris.
Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.  

Level: medium - advanced

Reduced bundle price

Duo B. 546 by Ignaz Pleyel in the version for violin and viola after the edition of I. Pleyel, Paris.
Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.

Level: medium - advanced,

Duo B. 545 by Ignaz Pleyel in the version for violin and viola after the edition of I. Pleyel, Paris.
Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.

Level: medium - advanced,

Duo B. 544 by Ignaz Pleyel in the version for violin and viola after the edition of I. Pleyel, Paris.
Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.

Level: medium - advanced,

Three Duos B. 501 - 503 by Ignaz Pleyel in the version for violin and cello after the edition of J. Schmitt, Amsterdam (1788).
Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.    

Level: medium - advanced

Reduced bundle price

Duo B. 503 Fmaj by Ignaz Pleyel in the version for violin and cello after the edition of J. Schmitt, Amsterdam (1788).

Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.

Level: medium - advanced,

Duo B. 502 Dmaj by Ignaz Pleyel in the version for violin and cello after the edition of J. Schmitt, Amsterdam (1788).

Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.

Level: medium - advanced,

Duo B. 501 Cmaj by Ignaz Pleyel in the version for violin and cello after the edition of J. Schmitt, Amsterdam (1788).
Correction of mistakes and transcription into modern notation. Both parts are set quite virtuosic. The rediscovery of this group of pieces is a real enrichment of the duo literature.

Level: medium - advanced,

Hungarian dances No 5, 6, 7. 

Level: medium

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The original key Amaj was transposed to Fmaj. Some facilitaties of notation and sound effects were added, whereby the rhythmical and distinctive dance character survived.

Level: medium

This well known dance has the original key Dbmaj and ist mostly played in Dmaj. Here a version in Cmaj, which is now well playable just for your orchestra.

Level: medium

The surely best known dance of this sequence, with some facilities and new sound effects for your orchestra! Retained were the distinctive character and the usual key Gmin.

Level: medium

The three dancing interludes inside the opera are played successively. They are the climax of a public festival. The third piece (Skocnà)  is danced by a circus troup and often known as the Dance of the Comedians.
Powerful melodies and significant folklore rhythms has introduced these pieces also in the concert hall. 

Level: medium - advanced.

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Skocná is a rapid Slavic folk-dance, normally in 2/4 metre. In the third act of the opera it is danced by a circus troup and often known as the Dance of the Comedians.
The multiple sixteenth-notes in the violins are not to difficult to play, because they easily fit in the hand. 

Level: medium - advanced.

A Furiant is a rapid and fiery Bohemian dance in changing 2/4 and 3/4 time. Here it is in 3/4 with frequently shifting accents (hemiolas) and the central of the three dances inside the opera.

Level: medium.

The Polka is a buoyant circular dance in a lively to quick 2/4 metre from Czechia (Bohemia). Typical are the alternating steps (short-short-long) and a little hop (at the beginning or end). It is the first of the three dancing interludes inside the opera.
This version of the original is facilitated, but not shortened.

Level: advanced

Based on piece for piano solo Tchaikovsky's "Seasons" were some of the best selling pieces for the composer. They came out with epigraphs as monthly supplement of a music magazine.

In this set: powerful hunting song, contemplative autumn feelings, cheerful with the Troika across the snow, Christmas - a dancing festival! All pieces in original keys and in a pretty melodious arrangement for your orchestra

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Give your concert the touch of "The Last Night of the Proms"! This piece - some people call it the "Real Hymn of England" - will satisfy your audience. The soprano part should be set with a chorus, perhaps your listeners will sing along. Whether as final piece or as an encore, all will be enthusiastic.

Level: medium

This piece is fascinating by it's wonderful sonorous melody in the lower position of the violins. Like the "Chanson de Nuit" it is based on an opus for violin and piano. The small orchestra corresponds to Elgar's original intention. The piano part is inalterable to play the very important chord of the harp.

Level: medium

The composition, also known as "Nordisk Soeterrejse (Nordische Sennfahrt) / A Mountain Trip in the North", has the subtitle "Lustspiel Ouverture No. 2" and was written in 1860. More informations are not available.
The first part is a calm Andante in three-quarter time with associations to shawm sounds and alp horn blowers. Gade uses the Pastoral key FMaj. In the second part a cheerful buoyant  Allegro in two-quarter time is following, which remembers in it's mood to the first movement of Beethoven's "Pastorale" symphony.