It's December, and winter has officially begun. This is a program of music with wintery themes.

In celebration of the Christmas season, some classical compositions that have Christmas carols in them.

Ralph Vaughan Williams arrived on the scene just as a definite English classical music sound was being established. His three main teachers at the Royal Academy of Music were Arthur Sullivan, Hubert Parry, and Charles Stanford. Edward Elgar and Gustav Holst also had an influence on Vaughan Williams.

Originally, a musical fantasy was a piece that instrumentalists made up as they went along. Eventually, fantasies evolved into pieces that composers built out of various melodies they liked -- like the Scottish folk tunes that Max Bruch put into his Scottish Fantasy for violin and orchestra.

Ralph Vaughan Williams was one of the most important 20th century English composers. He spent years traveling the country collecting English folk songs, writing them down, and publishing them. Many of those melodies wound up in his music.

Charles Ives loved to put hymns into his music. Several other composers borrowed hymn tunes; here are several examples from 20th Century American compositions.

The Country Band March has 12 recognizable popular and folk tunes in it. But Ives was not the only composer to put borrowed tunes in his music. Many classical composers -- including Ludwig van Beethoven, Mily Balakirev, and Percy Grainger -- used folk music in the pieces they wrote.

Charles Ives wrote the Country Band March about amateur musicians -- people who make music for the love of it. In the Country Band March Ives combines a tune that he wrote with bits and pieces of many other popular and folk tunes. See how many of them you can recognize.

The music that Charles Ives wrote was greatly influenced by his father, George. From the time he was a kid, Ives heard his father experiment with sound. George Ives always told Charlie to "stretch his ears," and Charlie did that with every piece of music he wrote.

Appropriately spooky classical music for Halloween.

Nikolai Rimsky-Korsakov spent years as a professor at the St. Petersburg Conservatory. Many of his students became famous composers themselves: Anatol Liadov, Alexander Glazunov, and Igor Stravinsky. A lot of famous composers studied with each other.

To go with this month's music from Igor Stravinsky's ballet The Firebird, some more music by composers who were playing with fire.

Igor Stravinsky based his ballet The Firebird on a Russian folk tale about an evil demon named Kashchei, who has thirteen princesses under his spell. A prince who wanders into Kashchei's garden to hunt the Firebird winds up defeating Kashchei and freeing the princesses -- with the help of the Firebird's magic feather.

Russian composer Igor Stravinsky had a big hit with his first ballet, The Firebird. Stravinksy kept on writing ballets, followed by operas, and orchestral and choral music.

"Gigue" is the French word for jig -- a lively dance in triple time. The jig started out as folk dance in Ireland, Scotland, and northern England, before finding its way into classical music.

Georg Philipp Telemann never studied composition - he taught himself how to write music. There are quite a few composers who taught themselves, including Nikolai Rimsky-Korsakov, Edward Elgar, Francis Poulenc, Scott Joplin and others.

Georg Philipp Telemann composed during the Baroque period, which ran from about 1600 to 1750. Suzanne Bona, host of the National Public Radio program Sunday Baroque, talks with Naomi Lewin about Baroque music.

Telemann loved to write. He wrote more pieces of music than any other composer, and he also wrote not one, not two, but THREE autobiographies.

Tritsch-Tratsch -- the title of a polka by Johann Strauss, Jr. -- is Austrian slang for "chit-chat." A lot of composers used music to portray people making sounds: talking, laughing, crying -- even sneezing!

The waltz is a dance in 3/4 time that was very popular in Vienna, Austria in the 19th century. But the roots of the waltz go back to the German Dance of Mozart's day. After the waltz became popular on the dance floor, it moved onto the concert stage, the ballet stage and the opera stage.