The Best of Arcangelo Corelli: 2nd Violin Book

Paul Paradise's edition transforms eight of Corelli's most rewarding concertos into repertoire genuinely playable by school ensembles. The editorial work here is substantial: combining concertino and grosso parts with thoughtful bowings and fingerings removes the guesswork and lets your musicians focus on the architecture and character of each movement. These pieces reward ensemble musicianship without demanding the virtuosity of the original parts.

Corelli's concerti grossi breathe with unhurried elegance and harmonic logic. Each movement unfolds like a carefully reasoned argument, balancing moments of lyrical repose with passages of energetic brilliance. The string textures shimmer with warmth, and the interplay between sections creates a sense of musical conversation that feels both intimate and grand.

String orchestras and quartets at the intermediate-advanced level will find these eight concertos accessible yet musically substantial. Directors seeking to program genuine Baroque masterworks without drowning in historical performance practice complications will appreciate the clarity of this edition.

• Approach the dialogue between sections as genuine conversation rather than dramatic contrast. The transition from concertino to ripieno should feel like a natural continuation of the musical thought, not an abrupt shift.
• Shape the opening phrase of each movement with care; Corelli's opening gestures often establish the harmonic and emotional frame for everything that follows. Clarity here pays dividends in the sections ahead.
• Balance the second violin part to support and enhance the first violin without sitting passively underneath. These inner voices carry essential harmonic content and deserve intentional voicing.
• Pay attention to the fingerings and bowings provided. They reflect both historical practice and modern pedagogical logic, and following them will improve intonation and bow control across the section.

These concertos work beautifully as concert openers or closers, setting a tone of sophisticated musicianship without demanding extravagant staging. The Christmas Concerto (No. 8) is an obvious winter concert candidate, while the others pair naturally with contemporary Baroque works or provide an elegant bridge between modern and classical repertoire.

• Baroque phrasing and articulation conventions
• Inner voice independence and harmonic awareness
• Ensemble balance within concertino-ripieno textures
• Reading and executing period-appropriate bowings
• Intonation in rapid harmonic progressions
• Sustained tone production with musical direction