Bohm Sarabande Violin and Orchestra

Böhm: Sarabande (Solo Violin & String Orchestra)

Böhm's Sarabande takes its title from the stately Baroque dance but handles it in his own late Romantic way: a piece with clear structure, varied bowing demands, and a slow central section that gives the soloist space to make the violin really sing. This arrangement sets it for solo violin and string orchestra at around ABRSM Grade 6.

The piece opens with chords in the solo part, which are straightforward at this level and give the entry real presence. The outer sections ask a good deal from the bow arm: accents, staccato, and off-the-string strokes in close succession, and getting variety and clarity across those different bow types is where most of the technical interest lies. The left hand is not the main challenge here; it's the right hand that needs to be alive and responsive. The middle section changes character completely, slowing to a lyrical cantabile that calls for a warm, sustained tone and a different kind of bow control entirely. That contrast between the crisp outer sections and the singing middle is what gives the piece its shape, and it rewards musical thinking as much as technical progress.

At four minutes, it fits well in a school concert or festival programme, and the string orchestral accompaniment gives a Grade 6 soloist useful ensemble experience alongside the solo work.

Check the score and parts preview images above, then watch the complete score video below. They'll give you a clear picture of the engraving quality and overall difficulty before you buy.

Key features

• Instrumentation: Solo Violin + String Orchestra (Violin I, Violin II, Viola, Cello, Double Bass)
• Difficulty: approximately ABRSM Grade 6
• Duration: approximately 4 minutes
• Style focus: varied bowing (accents, staccato, off-the-string), opening chords, lyrical cantabile
• Format: PDF download, full score and all parts

Who it's for

This suits Grade 6 violinists looking for a solo vehicle that develops bow arm variety and tone production together. It works well in student recitals, school concerts, and festival programmes where something characterful and musically satisfying is needed without stretching the soloist beyond their level.