Symphony No 2 in A Major: String Orchestra Conductor Score & Parts

McCashin's treatment of this Boyce symphony strips away nothing essential while making the score sing in a string orchestra setting. The concertino-versus-tutti architecture gives you genuine programming flexibility: run it as a feature for your best players, or use it to distribute meaningful solo moments across your section principals. At Grade 3, the technical demands stay manageable, but the musical intelligence and harmonic richness keep audiences genuinely engaged.

Boyce's elegant melodies and clean harmonic language come through with grace and transparency. The piece moves between moments of intimate dialogue among soloists and fuller, more robust ensemble sound, creating a sense of conversation rather than display. There's an 18th-century courtliness here, but not formality; the writing feels conversational and human.

String orchestras at the intermediate level looking for repertoire that develops both ensemble cohesion and individual musicianship. Directors can program this for mixed-ability orchestras by assigning concertino roles to strong section leaders while keeping the accompanying parts accessible. It's equally at home in a chamber orchestra setting or a full-sized school string program.

• Balance the concertino voices clearly against the tutti texture. McCashin's writing assumes players can hear the inner dialogue, so a light touch from the accompanying strings lets the featured voices emerge naturally.
• Decide whether you'll use dedicated soloists or rotate principal players through concertino sections. Either approach works; communicate your choice to the ensemble early so parts are marked accordingly.
• Shape the phrase arcs generously. Boyce's melodies breathe best with slight tempo flexibility at cadential moments and warm vibrato from the concertino players.
• Pay attention to dynamics in the tutti passages. They're often the structural glue between soloistic sections, so uniform ensemble sound matters here.

Schedule this for a concert where you want to showcase individual players without pulling them away from ensemble work. The alternating concertino-tutti structure makes it a smart programming choice next to a larger ensemble work or a different Baroque composer, as it demonstrates stylistic range while staying rooted in the period. It's also effective at festivals where music with contest appeal draws favorable adjudication.

• Balancing solo line with ensemble accompaniment
• Playing sustained pitches with tonal consistency
• Responding to concertino-tutti texture changes
• Maintaining rhythmic precision in ensemble settings
• Reading and executing dynamic shaping in Baroque style