The Best of Johann Strauss, Jr. Waltzes: Viola Book

Paul Paradise's selection here captures the full spectrum of Strauss's waltz writing, from the gorgeous outer movements that demand expressive playing to the lighter internal sections that give players room to breathe. Each piece is substantial enough to matter in rehearsal but accessible enough that a medium-advanced quartet or section can prepare it thoroughly without weeks of labor. The editing honors the original intent while respecting modern technique, so your violas get genuinely rewarding parts instead of filler.

Elegant and flowing, with the sweeping lyricism Strauss perfected. The melodies invite you into Vienna's golden age, and the warm harmonic language of the Romantic era surrounds every phrase. Your part sings alongside the first violins or provides the structural warmth that makes these waltzes feel like complete musical statements rather than mere dance tunes.

Viola players in advanced high school orchestras, college string orchestras, and chamber ensembles ready to play meaningful repertoire at the medium-advanced level. This collection works equally well for violists building confidence in the concert setting or those seeking rewarding material for a standalone chamber recital.

• Balance the melody with the harmonic underpinning; in waltzes, the viola often anchors the middle voices, so a clear tone at moderate volume lets the first violins shine without disappearing from the texture.
• Shape phrases across bar lines rather than by measure, especially in the more lyrical sections, so the three-beat meter feels like dance rather than mechanical counting.
• Use the rubato inherent to Romantic-era waltz writing; slight flexibility in tempo during cadences and at structural seams adds elegance without losing the lilting character the form requires.

Program these as a suite within a larger orchestral concert, or select individual waltzes to frame more modern works and add historical context. They also serve beautifully as the backbone of a spring pops program, where their accessibility and immediate appeal connect with broader audiences while your ensemble demonstrates genuine artistry.

• Phrasing across multiple measures in triple meter
• Balancing as a harmonic voice rather than a solo line
• Style-appropriate vibrato and rubato in Romantic-era concert music
• Reading contemporary fingerings and bowings in published arrangements
• Intonation in passages requiring sustained inner harmony