Concerto in D Major: String Orchestra Conductor Score

McCashin's orchestration opens up this Telemann gem to young string players who benefit enormously from tackling Baroque counterpoint without being overwhelmed by technical demands. The slow introduction gives you genuine pedagogical real estate to develop sound before moving into the playful, conversation-driven Allegro, and that structural gift is rare at this grade level.

The opening moves with unhurried elegance, giving the orchestra space to shape phrases with intention and beauty. Once the Allegro arrives, the mood shifts to one of playful discovery, as different sections toss musical ideas back and forth in a conversation that feels natural and light despite its compositional sophistication.

String orchestra conductors working with Grade 2 ensembles who are ready for genuine Baroque music but need scaffolded counterpoint and manageable technical demands. Players at this level can execute the moderate bow technique and intonation work required, while gaining real exposure to the imitative writing that defines the era.

• Shape the slow introduction with long, sustained phrases and deliberate dynamic control. Young players often rush soft passages; marking phrase peaks in your score and conducting them clearly prevents the introduction from collapsing into monotone.
• Isolate the canonic exchanges in separate rehearsals by section. Have first violins and violas learn their lines independently, then layer in the other sections one at a time so students hear exactly how the imitation works before playing full score.
• Balance between violin sections requires careful attention to blend. The Allegro's exchanges work best when each section plays with consistent weight and tone; use seating adjustments or partial divisi if needed to keep conversation lines audible.
• Let tempo breathe between the introduction and Allegro. A brief pause gives players time to shift mental gears from sustained, lyrical playing to rhythmic alertness, and it gives the form clarity.

Program this alongside other Grade 2 Baroque or early Classical works to build a coherent concert section, or use it as a standalone showcase of what young orchestras can accomplish with Baroque repertoire. It works particularly well mid-program where audiences appreciate the contrast between the lyrical introduction and the spirited Allegro.

• Sustained bow control and tone production across whole notes and half notes
• Intonation accuracy in slow, exposed passages
• Hearing and executing canonic imitation between orchestral sections
• Following conducted phrase shapes and dynamic contours in Baroque context
• Rhythmic precision in conversational exchanges between string choirs