The Best of Antonio Vivaldi Concertos, Volume One: 2nd Violin Book

Paul Paradise's selection respects each player's voice rather than relegating second violins to filler parts. These eight concertos offer genuine musical interest in the 2nd Violin part without sacrificing the authentic character of Vivaldi's original writing, making it possible for second violins to feel ownership of the material they're playing.

Vivaldi's concertos shimmer with energy and clarity. The 2nd Violin part sits close enough to the upper voices to feel the conversation between lines, yet far enough removed to support harmonic shape and provide architectural stability. You'll move between moments of rhythmic drive and surprising passages of intimate lyricism, all within the characteristically bright, forward-moving spirit of the Baroque.

This collection belongs in the hands of advancing high school or early college string players who are ready to engage with substantial Baroque repertoire without being overwhelmed by extreme technical demands. Second violins in a school or community string orchestra will find eight different concertos that each demand focused attention and reward careful listening.

• Pay close attention to Paradise's edited bowings and fingerings. Contemporary string pedagogy has evolved considerably since Vivaldi's time, and these suggestions reflect an approach that will feel more natural under the hand than period-correct alternatives.
• The slower movements reward long, shaped phrases. Resist the temptation to treat accompanying figures as background; even in supportive roles, second violins can shape harmonic movement and support the soprano line with intentional musicality.
• Rhythmic precision matters enormously in Baroque concertos. Lock into the energy of the first violins during fast movements, but maintain an independent sense of pulse rather than waiting for cues.

String orchestras can program one or more of these concertos as a Baroque suite alongside other period works, or use them throughout the year as repertoire that develops facility with Baroque style and concerto form. The six concertos included also work for chamber music coachings, allowing advanced students to experience this music in both large and small ensemble settings.

• Reading Baroque articulation and phrasing conventions
• Balancing independence and blend within a string ensemble
• Executing period-appropriate ornaments and embellishments
• Sustaining musical focus in accompanying roles
• Navigating rapid scalar passages and string crossings with clean intonation