Concertino in G: String Orchestra Conductor Score & Parts

Del Borgo's classical sensibility feels fresh at Grade 2, giving young orchestras real musical architecture to work with rather than simple exercise-like material. The fugal foundation transforms what could be a straightforward contest piece into a genuine learning laboratory where every player discovers their role within a cohesive texture.

The piece unfolds with the formality and architectural clarity of Baroque counterpoint, inviting players into a structured musical conversation. Melodic lines sing with classical restraint, and the fugal design creates moments of both intimate dialogue and collective strength.

String orchestra directors building confidence in younger ensembles, particularly those preparing for festivals and contests. This work suits programs serving students in their second or third year of orchestral experience who are ready to engage with contrapuntal thinking and individual voice responsibility.

• Balance the fugal voices carefully during entrances; mark cue notes in parts so players anticipate their thematic material and listen actively to surrounding lines.
• Work the opening exposition slowly at first, isolating each voice part to establish the subject clearly before layering entries together.
• Shape the dynamic arc as a conductor, resisting the urge to let the piece settle into uniform mezzo-forte; the classical style requires intentional phrasing and breath.
• Rehearse bow coordination in unison passages to achieve the articulation clarity that fugal writing demands, especially where voices move together in accompaniment.

Program this as a concert opener to showcase ensemble maturity and technical control, or place it strategically in a festival rotation where its classical purity offers contrast to Romantic or contemporary works. It works equally well as a mid-season learning project that deepens musicianship before tackling more complex repertoire.

• Fugal voice leading and independence within ensemble texture
• Listening to and balancing multiple simultaneous melodic lines
• Classical articulation and phrasing appropriate to Baroque style
• Individual responsibility and confident solo playing within group context
• Score reading and anticipation of thematic material across parts