Bach's Lunch: 2nd Violin

Danny Seidenberg's arrangement reveals why the Turtle Island String Quartet chose this concerto as a foundation for their swung interpretations: Bach's melodic lines and dialogue between voices translate beautifully to a slightly relaxed, contemporary feel without losing an ounce of his architectural integrity. Grade 4 orchestras gain immediate access to music they might otherwise encounter only as an academic exercise, and the dual option of improvised or written-out solos lets you meet your ensemble exactly where it is.

Light and conversational, with two solo voices trading bright ideas over a walking accompaniment. The swing inflection adds a contemporary air that feels neither frivolous nor forced, inviting listeners to hear familiar contrapuntal logic through a slightly different lens while maintaining the refinement and clarity Bach's music demands.

String orchestra directors at the Grade 4 level who want to expand their students' relationship with Baroque masterworks beyond textbook arrangements. Players who thrive on melody and part independence will engage deeply with Bach's voice-leading, and ensemble members at this level have the technical foundation to execute both the written and improvisational elements.

• Balance the two solo voices carefully during the opening unison passage so both lines remain audible as they separate into dialogue.
• Approach the swing feel as a gentle sway rather than a dramatic rhythmic shift; Bach's contrapuntal clarity remains paramount.
• If you use the written-out solos, treat them as fully notated lines deserving the same attention you'd give any principal part. If you encourage improvisation, establish boundaries and harmonic anchors in rehearsal beforehand.
• Shape phrases in the ritornello sections with longer breath lines to honor Bach's original architectural proportions.

Schedule this early in a concert to showcase your orchestra's versatility and set a tone of musical sophistication and playfulness. It pairs naturally with other Bach arrangements or with contemporary works that engage with classical forms, and it serves as a bridge for audiences unfamiliar with Baroque repertoire.

• Baroque counterpoint and voice independence
• Interpreting historical repertoire with contemporary inflections
• Solo line projection and principal part responsibility
• Optional: improvisation within harmonic frameworks
• Listening to and responding to other string sections in real time