David Runnion wrote:

>John Escapa wrote:
>
>>Hello everyone, Could someone please clarify why sometimes when watching
>>different performances, instruments or instrument groups are placed in
>>different areas of the stage?
>
>It is a combination of regional and historical tradition, acoustics of a
>hall, and the whim/desire/philosophy of the conductor.  Correct me if I'm
>wrong, but I think the 18th c.  German tradition was as you say, with the
>firsts and seconds facing each other, to give "stereo" separation.

Some composers seem to be writing for this specific placement of first
and second violins.  I can think of one obvious example (I hope no one has
mentioned it--I was "nomail" briefly):  The opening of the last movement of
Tchaikovsky's Pathetique symphony.  The famous theme begins in the violins,
but what we hear as the descending scale-wise melody is actually split up
between the first and second violins, the firsts having the odd-numbered
notes and the seconds the even.  When the firsts play the melody note, the
seconds play the "alto part" and vice versa.  When the usual bunching of
firsts and seconds to the left of the conductor is used, this effect makes
little sense (some conductors actually write in the melody notes for the
firsts to play, thus defeating Tchaikovsky's entire concept!) But when the
seconds are placed opposite the firsts, you get a true "pan" or what might
be called a "Lezlie" effect (after the patented rotating speakers in some
electric organs (Hammond?).  I would go so far as to say this symphony
shouldn't be performed unless the conductor is willing to rearrange the
seating of the violins to produce Tchaikovsky's effect!

Can anyone think of other examples where the effect would be enhanced by
the opposition seating of violins?

Chris Bonds