Violin Concerto No.2 in E, BWV 1042: Conductor Score & Parts

This concerto sits at the intersection of accessibility and sophistication. The E major key and the lyrical character of the solo line make it engaging for younger orchestras, yet the harmonic language and contrapuntal underpinnings reward musicians who dig deeper. It's a piece that grows with your ensemble.

Graceful and spirited, the E major Concerto radiates the clarity and luminosity Bach favored in major keys. The solo violin soars above a gently rolling accompaniment, creating an intimacy that feels like a conversation between soloist and ensemble rather than a display of virtuosity.

String orchestras at the intermediate to advanced level will find this concerto a cornerstone repertoire choice. It works equally well for a chamber orchestra with a strong solo violinist or a full string section with multiple players per part.

• Balance the solo violin generously against the string section so the principal part emerges without the soloist forcing volume. The orchestra accompanies, not competes.
• Shape phrases with gentle forward motion rather than rigid tempo. Baroque style benefits from slight elasticity within measures, particularly during cadential figures.
• Bring out inner voices in the accompaniment, especially the violas and second violins. Bach writes three-voice counterpoint in the orchestral sections, and revealing that texture enriches the harmonic landscape.
• Tune the harpsichord continuo carefully with the bass line. Its rhythmic anchor is crucial to keeping the ensemble cohesive without modern conductors' gestures.

Program this as the centerpiece of a Baroque-focused concert, pairing it with other Bach works or contemporaries like Vivaldi. It also bridges nicely in mixed-era programs, offering a link between Baroque string writing and later Classical concerto form. Consider featuring it in spring concerts where lighter material balances heavier winter programming.

• Baroque articulation and phrasing conventions
• Balance and blend in four-part string texture
• Ensemble coordination with a featured soloist
• Listening to and responding to continuo accompaniment
• Intonation in diatonic harmonic progressions
• Independence of individual string parts in contrapuntal writing