Historical information about Händel's Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed 'Water Music?, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel's Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession. / 4 Saxophones (SATBar)

Conducteur et parties Saxophone Quartet (SATB) The Three Songs (Trois Chansons) dating from 1914/15 were arranged for four a cappella voices by Ravel immediately after he had written the music of these pieces. The lyrics were penned by the composer himself. The songs represent Ravel’s sole contribution to choral literature. The first song consists of three sections and tells the story of Nicolette, who sets out to pick flowers in the fields. Just like Little Red Ridinghood, she meets a wolf who asks her if she is on her way to her grandmother’s house (M.1-13). Fleeing from him, she meets a page who wonderswhether she would like to have him as her “lover true”. She dismisses his proposition though she finds it hard to do so (M. 14-39). In the third section, she encounters a plump, unhandsome man (lento!). He speaks to her:”Stay, stay, my Nicolette, all this gold I give to thee”, and - “VIVO” - Nicolette takes refuge in his arms. (M.40 to end). The Three Lovely Birds from Paradise are sky-blue, white as fallen snow and bright red - just like the colors of the Tricolore, the national flag of France - which has been interpreted in many reviews as a sign of an increasingly nationalistic attitude becoming apparent in the war year of 1914. This song mourns the loss of the beloved one who went to war. The Ronde is also made up of three sections. The old women are the first to sing (M.1-28). They warn the young maidens against entering the forest since it is inhabited by all kinds of dangerous (male) beasts. Then (M. 29 – 56) the old men warn the young lads against going into the woods because of the numerous (female) demons living there. The irony of the story is to be found in the final answer of the young people (as of M. 57), who conclude: “We will not go into the woods since the old folks have frightened off all the beasts, anyway.”