[John Howell, quoting Darcy James Argue:]
>>Will it really cause that much confusion to divide the violins three ways
>>instead of two?
>
>YES!
But why? (Pardon me if I just don't get what is obvious to others.) If
the composer clearly indicates what he or she wants, where does the
communication break down?
>>Doesn't this happen often enough in the standard rep that
>>everyone knows what to do?
>
>NO!
But can't the composer *say* what they should do? If that is stated
clearly, is it too much to ask players to do that? When musicians can play the
most fearsomely complex rhythms and harmonies, and adjust their balance in
complex textures (as a non-orchestral-player, these seem impressive feats to
me), it sounds difficult to believe that such a simple thing will defeat them.
How would they manage in the far more complicated arrangements in the Banks and
Szymanowski works I mentioned earlier?
Is it just a case of players following certain habits and being unwilling
to ever change those habits - or is there something more fundamental I'm
missing?
In any case, referring to the original question that Darcy asked, I suppose
each violin section can at least be separately divided into three. Certainly
*this* is common enough (I've seen it quite frequently in scores), and surely
shouldn't cause confusion.
Regards,
Michael Edwards.
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