The Best of Antonio Vivaldi Concertos, Volume One: Viola Book

Paul Paradise's selection cuts through Vivaldi's vast output to give every string player a substantive role, moving well beyond the traditional violinist-centered view of these works. The contemporary fingerings and bowings respect the music's Baroque character while making it genuinely playable for accomplished high school and college violists, whose voice often gets shortchanged in string literature.

Vivaldi's concertos pulse with rhythmic vitality and harmonic invention that never feels static. You'll find yourself navigating both lyrical, singing passages and rapid scalar figures, all underpinned by the forward momentum that defines Baroque string writing at its finest.

Violists in advanced high school orchestras, college string orchestras, and chamber ensembles looking for Baroque repertoire that actually gives them substantial material to play. This collection works equally well for string quartet settings where the viola contributes meaningfully rather than filling harmonic holes.

• Shape the characteristic Vivaldi rhythmic figures with clarity; even busy passage work benefits from a slight lift on the second half of the beat rather than a relentless drive forward.
• Maintain consistent vibrato intensity across ensemble passages; the viola section will blend most successfully when vibrato is controlled and unified, especially in the slower movements.
• Balance your part carefully against the first violins during concertante passages. Vivaldi's inner voices carry harmonic and rhythmic weight that shouldn't disappear into the background.
• Use the edited bowings as a starting point, but adjust them based on how your section responds. Some passages may feel more natural with slight redistribution of bows to match the violin section's approach.

Pair these concertos with later Classical or Romantic string literature to chart how the concerto form evolved, or program them as a suite to showcase the breadth of Vivaldi's invention across different keys and character. They work beautifully as the centerpiece of a concert focused on Baroque string writing.

• Playing substantial viola parts in ensemble contexts rather than harmonic filler roles
• Navigating Baroque rhythmic figures and articulation conventions
• Reading contemporary fingerings and bowings that bridge period practice and modern technique
• Balancing passage work against outer voices while maintaining harmonic independence