O/T? layout for a particular concerto

[Michel R E]

I'm wondering how to approach the layout for a work I've been commissioned to write.

It's a concerto for string quartet and string orchestra.

My first reaction would be to have the quartet as one unit, above the string section.

But then I'm thinking that the members of the string quartet are also the 1st desks of this particular string orchestra, and will, at some points, be joining their respective sections.

Any suggestions?

[MikeHalloran]

I'm wondering how to approach the layout for a work I've been commissioned to write.

It's a concerto for string quartet and string orchestra.

My first reaction would be to have the quartet as one unit, above the string section.

But then I'm thinking that the members of the string quartet are also the 1st desks of this particular string orchestra, and will, at some points, be joining their respective sections.

Any suggestions?

It depends. Normally, this is pretty straightforward. The score is written out as you think it should be. The ensemble parts would have soloist cues as needed. You don’t have to include the entire lines. Multi-measure rests are fine.

Since the soloists are also part of the ensemble, just mark the parts Solo and Tutti as appropriate.

Are the soloists really expected to be part of the ensemble? If not, I would mark the solo lines the same but would mark Ens. Instead of Tutti and make those notes cues.

[Ere Lievonen]

My idea would be: if the solo quartet players are going to be sitting in the regular positions of section leaders - and sitting next to a desk partner like a regular section leader would - then the soloists' staves should be grouped with the other string groups. If this is not the case, i.e. the solo quartet players are each sitting alone (even if in front of their respective string sections), their staves should be grouped together as a quartet.

[motet]

Interesting dilemma. I guess if the quartet plays together like a string quartet much of the time, I would keep them separate as a unit.

Here's an aria from a Mozart Opera with wind and string obligato parts that are placed together above the section strings. (This is an older edition but the new Barenreiter Neue Mozart Ausgabe does it the same way.)

[mknoll]

Elgar wrote a piece with the same scoring. Not sure if your approach would/should be the same, but it might give you some ideas. The score is at IMSLP. Just search for Introduction and Allegro, Op. 47 (can't post the direct URL).

[Michel R E]

Thank-you for all the thoughtful replies.

I am suspecting that the "Elgar" approach would probably be best.. I hadn't thought when I posted my question, but there will be extensive divisi in the orchestra parts. keeping the solo quartet separate on the page will probably make things easier.

again, thank-you all for the suggestions.

michel