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Anatomy of The Orchestra - Norman Del Mar
Anatomy of The Orchestra - Norman Del Mar
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SiS 4,The Strings
chief claim to a repertoire status in the orchestra derives from the
parts in Bach's Sixth Brandenburg Concerto, in the Passions and in
some of the Cantatas, Bach's notation for it is generally similar to that
of the cello, but in Cantata No. 106, Gottes Zeit ist die allerbeste Zeit, the
first of the two gambas is notated in the alto clef and the second in the
tenor and bass clefs:
Ex. 2
‘The viola da gamba has six strings and unlike the cello has no spike,
being gripped between the knees. Moreover, as with all viols, the bow
is held from beneath much like the Dragonetti bass-bow. A dis-
concerting feature of this gamba bow-style is that the bow strokes
work the opposite way to the regular strings—ie, the down bow
travels from point to heel.
The gamba has not been revived in nineteenth- and twentieth-
century music, unlike the viola d'amore which makes periodic
reappearances, such as the obbligato at the beginning of Raou!’s aria
from Act 1 of Meyerbeer’s Les Huguenots, the offstage solo in Act 2 of
Puccini's Madama Butterfly, or Pfitener’s inclusion of it in Palestrina. Yet
even in the latter opera it oddly appears only briefly in a not
particularly exposed passage, whereas the many obbligatos which
portray a sixteenth-century instrument in the hands of one of the
characters on stage are taken by one—or at times two—ordinary
violas. This is pethaps because players of the extraordinary viola
d'amore, with its seven strings plus a further seven sympathetic
strings, are extremely rare; in practice all such examples of these are
usually played by the conventional viola, which is even given as an
32
Personnel
asia for the soto in the ‘Parting of Romeo and Juliet’ from Prokofiev's
ballet, In the case of the Puccini at least, it must be admitted that the
imaginative subtlety in the composer's choice of colour for Butterfly's
touching night vigil largely goes for nothing, played as it is behind the
scene in unison with the offstage chorus,
None of the other ancestors of the violin family have sufficient
status orchestrally speaking to warrant inclusion here despite th
appearance in scores by Schiitz or other Baroque composers. The
tiolino piccolo of Bach’s First Brandenburg Concerto, Schiita’s violetta
and the numerous other instruments listed and described by Terry in
his book Bach’s ‘Orchestra', belong wholly to the specialist and to
history.
4 PERSONNEL
While the orchestral string section consists of groups of four related
instruments, it has a basic fivefold organization. This arises out of the
standard division of the violin strength into Ists and 2nds, which are
as much complete and self-contained units as are the violas, cellos and
basses. The Germans refer to the strings equally as the Streichyuarlett
or Streichquinett according to whether or not the Ist and 2nd violins are
considered collectively as a single instrument genus. In this context
these terms, normally associated with the solo string quartet or
quintet of chamber music, are occasionally usurped in the instrumen-
tal lists at the beginning of orchestral scores, or in analyses. The
abbreviation ‘Q’ may thus also be found in piano atrangements or
vocal scores in German editions where these give indications of the
instrumentation,
However true it may be that the repertoire ranging from early to
contemporary music can be found to show similar divisions for
instruments other than the violins, or different divisions (into thtee,
etc,), or no divisions whether for violins ot any of the others, these
variations are far less frequent and do not affect the constitution or
administration of the otchestra.
Professional orchestral musicians are employed on three seales of
seniority: principals, sub-principals and rank-and-file. Of these, the
last group only applies to the strings and does not exist in any other
* Charles Sanford Terry, Bact’ Orcheita, Oxford University Press, London, 1952.
336
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Buns METhe Strings
be an outside player, engage their no. 3 Ist violin in that capacity,
thus leaving the subleader (no. 2) undisturbed in the event of a
change of leader. On the other hand, some top-line international
orchestras actually engage two leaders who share that extremely
exacting office. They may then either sit together on the first desk
(taking turn and turn about with the outside leading and inside
supporting positions) or only appear at all in alternation if they fee!
that their prestige might otherwise be compromised.
5 DIVIDED PLAYING
Each string section is frequently required to be divided into numerous
different parts and this can be carried out in various ways. Even the
simplest divisi a2! can be executed either at the desk or by desks. Divisi
at the desk signifies that the file of outer players takes the upper line,
that of the inner players the lower, and ia the manner normally
adopted by players for any two-fold division unless instructed other-
wise. Divisi by desks, on the other hand, denotes that the two players
at cach desk play in unison, the odd numbered desks taking the top,
the even numbered the bottom part. This is a very convenient method
for page turns where the music continues without rests, as the outside
player can keep the line going while the inside player turns,
Where divisi at the desk is adopted it is only natural that the
foremost outside and inside players should represent the leaders of
their respective files, But this may be confused when not only are the
tutti divisi but at their head there is an odd number (1, 8, 5 etc.) of
players with solo lines. The leader of tne remainder (gli altri, die
Gorigen) will then inevitably be seated on the inside at the head of
those players with the lower line, though he himself will play the
upper. An example may help to clarify this complicated state of
affairs
"This often indented inthe score simply by ‘a2 producing a confusingly diferent
use ofthis mark ftom its application to the wind: see p. 191.
36
i
Divided Playing :
Ex. 8 Strauss, ‘Wiegenlied’, Op. 41 no. 1
In this instance no. 4 Ist violin will be the leader of the tutti section
throughout the song (for the figure and divisi persist) playing the
upper line although he sits at the ‘head of the file playing the
Jower—the leader of whom will be no. 6.
Ex. 3 also shows the German equivalent, geteilt, to the standard
Italian term divis, The abbreviation div, is clear enough but the
German abbreviation geth., short for the old German form getheilt
found especially in Wagner, is not always understood by players. The
German contradiction Alle corresponds with the Italian uti, while
zusammen is the equivalent of unison,
It is rare to find one or other form of divisi actually specified in
scores but the Germans do have the indication Pullveise gett,
Unfortunately this, meaning literally ‘deskwise’, is misleading since it
is in fact used to signify divisi at the desk as in Strauss’s Salome:
Ex. 4
‘aa
SS
Ferrio
Here the extra stave for the first desk, introduced for the sake of a solo
passage a few bars later, confirms the meaning of the instruction, This
37The Strings
Divided Playing
is furthermore in keeping with normal practice in octave passages of
this kind,
‘A third method of divisi a 2is by blocks, front and back. Composers
sometimes force this method upon players and conductors by having
two different parts printed carrying'the music for only the front. or
back desks. Although this form of dividing may naturally be applied
to any section it may have special relevance to the cellos, whose lower
line will often be in unison with the basses, and so is best played by
the back desks who sit nearest to them, The cello parts of Smetana’s
Vitava, for example, are printed in this way.
It cannot be said that any one of these methods is the best in all
contexts, Each is freely used and the different forms of divisi may
replace each other even within the span of a single work or movement,
‘The choice will depend on various practical considerations arising
from the musical layout, or in response to specific instructions in the
score.
One outstanding example of such a choice arises when only half the
section is required to play. This may be indicated by the Italian meta,
or by the German die Halfte. (The French equivalent la moiti is very
rarely seen.) Except in the few instances where the score stipulates the
front desks, itis usual for the file of outside players to take the passage
by themselves. The virtue of this is not just to reduce the weight of
tone but to thin out the actual quality.
Divisi a 3 (en trois partis, dreifach getelt) can also be handled in
different ways. Left to themselves the players for simplicity’s sake
generally take a desk a line, thus:
Ex. 5
ROKR RK Ree
But as can be seen from Ex. 5 this places the players of the third line
very far back, as well as keeping cach of the desks with the same line
to play almost out of earshot of one another. If therefore the musical
context is one of harmonic or chordal textures a better mixture is
effected swith a dioisi by players:
Ex. 6
AS Are
38
(Ex. 5 and 6 show arrangements of players at their desks as seen to the
right of the conductor. Those on the left would, of course, appear
mirror-wise.)
Fourfold divisi (a 4, vieyfac, etc.) is on the face of ita simpler affair
since it is an obvious derivative of divisia 2 by desks, each line of which
is then subdivided again. Looked at from this point of view it can be
seen to equate with a divisi a 4 by players:
Ex. 7
He Fee aly yt ay
This is especially clear when the part is printed on two staves each
bearing a pair of lines, but is less obvious when the publisher has been
conscientious enough to lay out the whole scheme on four staves. ‘This
apparently enlightened practice in the event occupies so much space
con the printed page that it carries with it the hazard of frequent and
awkward, even impossible, page tums in busy extended passages. In
such cases it may be necessary to condone the ‘desk a line’ method
even here, where the disadvantages of ensemble already inherent in
threefold divisi are rendered still more acute. An example occurs in the
last movement of the Sibetius Symphony No. 5:
and'so on for a further 73 bars, The page turns can only be executed
with a divisi by desks although the closely-knit effect is sacrificed.
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Finals HALThe Strings
‘These Wagnerian problems are perhaps extreme cases, but simpler,
relatively straightforward issues are no less important. One of the
commonest is exemplified by a passage from Kodaly’s Dances of
Gatanta:
Ex,
In the interest of clarity the copyist has laid out the parts with the
passage after the eight-bar rest on three staves. But this automatically
Teads to equally distributed threefold divisions whereas Kodaly’s clear
intention was that the strength of the lower lirie should cor
‘equal that of the upper, divided itself as it is. Without a misleading
arrangement in the copy this would be easily carried out through a
divisi by desks. Where the upper line then subdivi
numbered desks to whom this becomes allocated then further divide
at the desk while the even-numbered desks continue to play the lower
line in unison.
‘Some of the most perplexing situations atise when the composer
‘keeps changing the dioisi between two, three, four, five and even six or
often within the space of a few bars, causing players to
Ex, 12
7
|
1
Divided Playing
a
Ex. 12 gives the 2nd violin part of an excerpt from Strauss's opera
Intermezzo, an. excerpt that also occurs as one of the Symphonic
Interludes under the title ‘Am Kamin’. The score specifies a section of
nine violins divided up as shown above with the first three players
detached and the remainder split into five, into three, into four and
then (for what is in fact an extended period) into two, with the lower
line subdivided. Exactly how this all works with a total of nine players
Strauss did not bother to explain; in practice decisions have to be
made over whi ould be doubled by the remaining back-desk
players, or whether it might be better for these to be silent in certain
bars,
Nor is this the only divisi headache in Intermezes for, having fixed
upon viola and cello sections comprising five players each, Strauss
writes for the three desks in different ways, as if it were alternately the
first and the back desk which has the single player, viz:
Ex, 13
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