Adagio and Allegro: Conductor Score & Parts

Percy Hall's arrangement proves that rescoring a concerto for four violas works perfectly at this level. The transposition to G major and the balanced distribution of material across all four parts mean no player is idle or outmatched, which builds ensemble confidence. Contest judges consistently reward this piece because it demonstrates genuine musicality, not just technical execution.

The Adagio unfolds with the elegance and restraint typical of Baroque string writing, allowing space for each viola voice to sing. The Allegro section brightens considerably, shifting to a more rhythmic, dance-like character where all four players propel the music together with energetic forward motion.

This arrangement works beautifully for high school viola quartets preparing for state or regional contests, or for chamber music programs building ensemble skills. Violas at this level often struggle to find repertoire that gives all players meaningful parts; this piece solves that directly. The Allegro provides genuine challenge without requiring advanced technical facilities.

• Balance the melodic lines between viola 1 and 2 in the Adagio so the second viola's responses are heard with clarity; this is where the piece teaches real ensemble listening.
• Bring the viola 3 and 4 parts forward slightly in the Allegro section's faster passages, as violas often sit back in the mix and these parts deserve attention.
• Shape phrases in the Adagio with a long bow; let the strings breathe rather than articulating too crisply, which will highlight Telemann's gift for vocal-like melody.
• Lock the rhythmic unison figures in the Allegro with precise bow coordination during rehearsals, then gradually back off the rigidity in performance so the momentum feels natural rather than mechanical.

Schedule this for a contest where the class 'B' designation fits your ensemble's category, or program it on a chamber music recital alongside other Baroque string works to give context for Telemann's style. It also pairs well pedagogically with solo viola repertoire from the same period, reinforcing stylistic understanding across the student's musical diet.

• Balancing multiple independent melodic lines in a small ensemble
• Playing Baroque phrasing and ornamentation with historical awareness
• Sustaining longer note values and shaping legato lines over Allegro accompaniment figures
• Ensemble intonation across four similar voices without the reference of higher instruments
• Rhythmic precision in the Allegro without sacrificing musicality