Symphony No 2 in A Major: Viola

McCashin has solved the real challenge of feature-writing for mixed-ability orchestras by structuring this Boyce symphony to let soloists shine without abandoning the ensemble. The alternating tutti and concertino sections give you built-in flexibility: pull out your principals for the chamber passages, keep everyone together when the full sound is needed. At Grade 3, the writing is transparent enough to expose individual players while remaining musically substantial.

Boyce's elegant classical sensibility shines through McCashin's transparent orchestration, blending baroque counterpoint with classical clarity. The alternating textures create momentum and lightness, never heavy or dense; soloists emerge from the ensemble like spotlit dancers stepping forward and retreating. There's intelligence in the harmonic writing and genuine musical conversation between the concertino and tutti sections.

Directors seeking repertoire that showcases individual players within a cohesive ensemble framework will find this arrangement invaluable for both chamber and full orchestra settings. High school orchestras at the intermediate level and college pre-major groups benefit from the balanced demands and flexible performance options. Festival and contest programs benefit from music that combines pedagogical value with genuine musical substance.

• Balance the concertino sections by seating soloists slightly forward; resist the urge to over-amplify them, as Boyce's counterpoint needs clarity rather than dominance.
• Establish a clear textural contrast between tutti and solo passages in early rehearsals so the ensemble understands when they're accompanying versus participating equally.
• Use the recorded accompaniment to lock tempo and phrasing if rehearsal time is limited, especially for the ensemble sections that frame the solos.
• Attend to bow coordination in the tutti moments; Boyce's rhythmic drive depends on precision across your string sections.

Nest this work alongside other baroque-influenced masterwork arrangements to build a themed concert on classical orchestration and the art of the concertino. Its Grade 3 accessibility makes it ideal for fall or early winter festivals when your ensemble is still building stamina. The flexible scoring works equally well in a chamber concert setting or as a contrasting mid-program piece in a larger orchestral concert.

• Balancing solo and ensemble roles within a single work
• Baroque-classical phrasing and rhythmic articulation
• Maintaining transparency and clarity in contrapuntal textures
• Listening to other sections while maintaining independent lines
• Coordinating bow attacks across an entire string section