On May 12, 2006, at 9:23 AM, Christopher Smith wrote:
In the rare instances where there actually are three distinct parts
for the violins (not octave-doublings of other voices) the conductor
split the firsts and seconds in this way:
The front 2/3 desks of firsts played violin 1.
The front 2/3 desks of seconds played violin 2.
The back 1/3 desks of firsts and seconds played violin 3.
This way the players playing the same parts sit together, and are more
or less evenly weighted. The concert master tells me that this last
method is overwhelmingly the most usual way of dividing three ways....
Thanks very much for remembering the question, and for this
illuminating reply. I note, though, that the method of division
suggested only works if all the violins are seated together (the
20th-c. model). If the 1sts and 2nds are on opposite sides of the stage
(as anticipated by all composers pre-Mahler), then the "violin 3"
grouping would end up being played by two widely separated bodies of
players, creating precisely the kind of ensemble-coordination issues
that Mahler hoped to avoid when he reorganized the orchl. layout.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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