This is what is, as far as my searching has found, the first concerto written for glockenspiel in the history of the instrument.

It is short, being around 7 minutes, and is in three movements: Allegretto, Adagio, and Grave. It is written on the theme of tranquil winter, particularly covering ice and snowfall.

To serve as a proper instrument for concerto, the glockenspiel can either be used in keyboard form (which is not recommended) or with four mallets, two to a hand (the desired form notated).

The Allegretto is written as a prelude, describing the month of December. The first few bars start with the glockenspiel, before introducing the viola and violin, and then introducing the rest of the string quartet and the flute, oboe, and bassoon in the woodwind trio. This gives the slow introduction of the calm winter, building chords in the glockenspiel before it begins with flurries of notes, which is the cue for the introduction of the harpsichord, symbolic of the ice forming and the gentle snowfall. After the glockenspiel ends with its flurry of notes, a slow progression of notes in an essential sine wave closes the short first movement. The Allegretto is in 4/4 time.

The Adagio starts with a gentle melody, before introducing the woodwinds along the same melody. At this point the viola and violin switch to pizzicato, whilst the violoncello and contrabass play as normal. After a small bit of time, the rest of the instruments join in, playing for a short time before it switches to primarily glockenspiel and harpsichord. This movement is very quiet, as it is intended to be a berceuse, and it represents January and the calm and silence of the dead of winter. The first part of the Adagio is in 4/4 time, but it does switch to 3/4 time about halfway through.

The Grave, representing February, starts with a few lone notes from the glockenspiel before the strings now normal play a bar before the woodwinds join in and the instruments play two bars, then signaling the harpsichord and the final instrument, the celesta. There must be great care taken than the celesta is never louder than the glockenspiel. At this point, the piece is quite slow before picking up with the glockenspiel, before playing a medium tempo melody twice and descending into a rapid scherzo with the glockenspiel and harpsichord, before introducing all the instruments and playing a nice, light melody. This is symbolic of dancing on the ice and the playing of children in the snow, hence the fast movements in the Grave. Then, the string quartet plays a few bars before playing a pizzicato note each, and for a few more bars regular before switching to the pizzicato permanently and playing a sequence of notes before a brief pause transitions to the glockenspiel and strings playing for a bit, before adding the celesta, and after that the rest of the instruments, which play softly for the rest of the piece before raising their volume just a tad for the final notes. In a sense, the Grave is a sonatina within a concerto, which are essentially made out of a berceuse, a scherzo, and a second berceuse. The Grave is in 6/4 time.