I was wondering if orchestra players play triple (and quadruple stops) divisi most of the time?
In particular, should the chords in the fast section of the 4th movement of Tchaik Symphony No. 5 be played as it is divisi? I'm asking because my section leader plays the full chords!
Thanks!!
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Basically, it depends on the music and how the conductor wants to interpret it, taking into account the technical capabilities of the orchestra.
The chords at 316 are most often played divisi. The chords at the molto meno mosso near the end are usually played unison.
My default setting is to play all chords (except obvious ones such as those at the molto meno mosso) divisi unless instructed to do so otherwise by concertmaster or conductor.
Cotton is right about the classifications of good players and hotheads.
Editing to add to Trevor's point, the better the orchestra, the more likely string players are to do the professional thing and divide.
Mary, does divisi also apply to the chords in bar 58 (allegro vivace)?
Octaves are the WORST when violinists in a section don't divide. Please divide all octaves unless specifically instructed to do otherwise, no matter how easy they seem, with the only possible exception being single octaves that include an open string on the bottom. Just imagine your tiny imperfections in the octave intonation multiplied by twelve or fourteen. Yikes.
Editing to answer Joel's question: I have always played those chords (58 in the last movement) divisi and would only play unison if instructed to do so by conductor or concertmaster--I think that could happen, though. But we've always done it two-way divisi with the inside player playing both of the lower notes on the triple stops.
And I can't tell you how many recording sessions have been derailed because someone didn't get that memo, played an out-of-tune double stop, and the engineer asked for a do-over. :(
Otherwise, you'll never have a problem for divisi. Maybe a correction, but it will be the conductor asking for the unexpected.
Concertmaster solos are another matter entirely. There's not really an option to do those divisi or to cook up any of the usual community-orchestra cheats.
For the orchestras in which I have been principal violist, I have always asked for divisi except in two situations: 1) the end of a movement where the triple and quadruple stops are both easily playable and well covered by winds and brass, and 2) passages where the composer seems to be calling for either a ringing open string or a drone-like effect.
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