String orchestra

A string orchestra is an orchestra consisting solely of a string section made up of the bowed strings used in Western Classical music. The instruments of such an orchestra are most often the following: the violin, which is divided into first and second violin players (each playing different parts), the viola, the cello, and the double bass.

String orchestras can be of chamber orchestra size ranging from between 12 (4 first violins, 3 second violins, 2 violas, 2 cellos and 1 bass = 12) and 21 musicians (6 first violins, 5 second violins, 4 violas, 4 cellos and 2 double basses= 21) sometimes performing without a conductor. It could also consist of the entire string section of a large symphony orchestra which could have 60 musicians (16 first violins, 14 second violins, 12 violas, 10 cellos and 8 double basses = 60; Gurre-Lieder calls for 84: 20.20.16.16.12).[1]

Types

Film scores generally have quite varied string set-ups: for example, James Newton Howard's score for The Last Airbender featured 33 violins, 21 violas, 14 celli and 15 double basses, making it a total of 83 strings. During the big band era, some large swing bands had string sections. In pop music and in some heavy metal music concerts, a string section is used. Musical theatre works are often accompanied by a string section which plays in the orchestra pit. A twentieth-century development has been the reappearance of the concerto grosso pitting of soloists against the full ensemble. During the past eras of pop music, it also employed up to 65-piece string orchestras (Two Tribes).

Repertoire

The repertoire includes several works by Mozart (including Eine kleine Nachtmusik) and Haydn which dispense with the baroque basso continuo. Some of these works are problematic when it comes to deciding whether they are for orchestra or string quartet. Particularly in Haydn's early works it is argued that the inversions of harmony from the occasional crossings of the bass and viola line imply a double bass; the question is not settled, however.

Important 20th century works have been written for string orchestra by Bartók (Divertimento for String Orchestra), Stravinsky (Apollo), Witold Lutosławski (Musique funèbre), Benjamin Britten (Simple Symphony and Variations on a Theme of Frank Bridge), Charles Wuorinen (Grand Bamboula), and Malcolm Williamson (Symphony No. 7). Sir Michael Tippett wrote a Concerto for Double String Orchestra and Ralph Vaughan Williams wrote a Partita for Double String Orchestra. Composers who have written a Serenade for string orchestra include Tchaikovsky, Dvořák, Suk and Elgar. Mendelssohn also wrote a number of symphonies for string orchestra.

Sometimes works originally written for string quartet, quintet, sextet etc. are arranged for string orchestra. Samuel Barber's Adagio for Strings, Alban Berg's 3 Pieces from his Lyric Suite, Arnold Schoenberg's string sextet Verklärte Nacht, Pyotr Ilyich Tchaikovsky's sextet Souvenir de Florence, John Corigliano's Second String Quartet and Jean Sibelius's Andante Festivo are examples. An optional timpani part is also added in the Sibelius piece. The work Shaker Loops written in 1978 for septet then arranged in 1983 for string orchestra by the American composer John Adams has become a popular addition to the repertoire in recent times. Graham Waterhouse composed several works for string orchestra (Sinfonietta), also in combination with contrasting sounds as Great Highland Bagpipe (Chieftain's Salute).

Imitations

A number of attempts have been made to imitate the sound of a real string ensemble, including the Mellotron, string synthesizers, samplers, and physical modelling synthesizers, with increasing authenticity and realism over time. While frequently used in popular music, none of them have so far succeeded in exactly replicating the sound of a real ensemble of human musicians.

Other works for string orchestra

Instrumentation

References

  1. ↑ Josep Gustems Carnicer; Edmon Elgström Misol (2008). Guía práctica para la dirección de grupos vocales e instrumentales (in Spanish). Grao. pp. 32–34. ISBN 978-84-7827-643-1.
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