Klarinet Archive - Posting 000213.txt from 2005/04

From: "colin.touchin@-----.com>
Subj: [kl] orchestral seating
Date: Tue, 12 Apr 2005 10:45:53 -0400

Hi Karl - orchestras tend to work in either violins-opposite or violins-
neighbourly versions more often than any other, but Stokowski did try
various plans including one I saw in an early Companion to Music
where all the violins formed a semi-circular ring at the back of the
whole orchestra!
Certain repertoire in certain halls seems to ring best with violins-
opposite e.g. Elgar's works almost always benefit from this approach,
putting the celli inside first violins and violas in their regular place
(inside right). But some Russian and German orchestras are often to
be found reversing the cello and viola sections with violins-
neighbourly, so from L to R we see firsts, seconds, celli, violas. A lot
of baroque music for chamber orchestra certainly works well with
violins-opposite, but sometimes there are no viola parts.
The considerations are usually to do with relative strength of each
section (seconds or violas on right are at somewhat of a
disadvantage over other positions in projecting their line with the
same clarity and impact as the firsts), and the directional value of
having celli play out to the audience from inside positions rather than
playing side-on.
There are also Stokowski plans where all the woodwinds are in the
usual first violins spot! Percussion and double basses seem to move
from back to side and back again.
Further general question : If we had the choice as clarinettists in
standard late Classical/early Romantic orchestra, would we prefer to
be in a line of 8 woods, or 2-row block of 4 per row with the four
principals in central chairs? Cheers, Colin.

-------------------------------------------------------------------
Klarinet is a service of Woodwind.Org, Inc. http://www.woodwind.org