The Best of Johann Strauss, Jr. Waltzes: 2nd Violin Book

Paul Paradise's editing transforms these waltzes into genuinely playable parts for second violins rather than relegating them to accompanimental figures. The progression from Tales from the Vienna Woods through the Emperor Waltz builds naturally in difficulty and musical substance, allowing your ensemble to grow into more demanding material while maintaining the characteristic Strauss lilt. These are pieces that sound accomplished from rehearsal one and feel like genuine repertoire, not exercises.

These waltzes capture Vienna's elegance and warmth: the easy confidence of dancers who know the steps by heart, the shimmer of a crowded ballroom, the bittersweet nostalgia Strauss wove into even his most cheerful melodies. The second violin part sits in the thematic heart of the arrangement, supporting the conversation between upper and lower voices while occasionally carrying its own lyrical moments. Playing through this collection feels like a journey through 19th-century Vienna's musical soul.

String quartets and string orchestras at the intermediate-advanced level seeking substantial, rewarding repertoire that doesn't require soloistic virtuosity. Second violinists will find parts that are genuinely musical rather than purely supportive, offering the satisfaction of meaningful contribution to the ensemble sound. Directors building a Viennese music program or spring concert will find immediate audience appeal and accessible technical demands.

• Shape each waltz's phrases as if conducting; the second violin line often carries transitional material that needs gentle forward motion to connect the primary melodies above and below it.
• Lift the rhythmic 'one' slightly after each downbeat in sections marked by strong accompanying figures to prevent the accompaniment from becoming plodding or mechanical.
• Balance vibrato carefully in the lower register; a light, controlled vibrato supports the harmonic foundation without muddying the ensemble sound that Strauss orchestration demands.
• Mark your part with the specific tempo for each waltz number at rehearsal; tempos can shift between movements within a single piece, and consistency with the first violins depends on clarity in your own preparation.

Create a complete Strauss concert pairing these five waltzes with other composers of the same era for a "Vienna in Concert" program, or open a spring concert with a single multi-movement waltz suite followed by contrasting contemporary or Baroque repertoire. The balanced difficulty progression works well for a pedagogical concert where advancing ensemble members play the later selections while developing players tackle the earlier ones.

• Reading and executing contemporary fingerings and bowings for Romantic-era string writing
• Maintaining the characteristic 3/4 waltz meter while sustaining long harmonic progressions
• Balancing an accompanying figure with the melodic line above and harmonic foundation below
• Executing elegant phrasing and shaping in sections featuring repetitive accompanying patterns
• Producing a warm, full tone in middle and lower register positions required by second violin parts