Fortunately, the violins were sat on one side. I once went to the Symphonic Dances at LA Phil, under Gustavo Dudamel. First and second violins were at the opposite sides. I was sitting at the side balcony. When the first violin staccato started, first and second violin were noticeably not together, because of sound finite speed (30 m / 330 = 0.09 s). For comparison, a hand watch ticks 5 bps.
This kind of setup is called (British) Island setup. Reversing cello and viola sections is called Continental setup. Often seen violin I and violin II sitting on opposite sides, but don't know the name of it. (not my preference). Years ago, I saw Allen Gilber put violin II behind violin I and celli behind viola, like a choir. By the way, many youth orchestras have double bass and viola sections short-handed. So I had my boy audition for viola, easier to get in. 🤩
Fortunately, the violins were sat on one side.
I once went to the Symphonic Dances at LA Phil, under Gustavo Dudamel. First and second violins were at the opposite sides. I was sitting at the side balcony. When the first violin staccato started, first and second violin were noticeably not together, because of sound finite speed (30 m / 330 = 0.09 s). For comparison, a hand watch ticks 5 bps.
Gerard Schwartz preferred that setup for some reason. Not everyone in the Seattle Symphony agreed with him...
This kind of setup is called (British) Island setup. Reversing cello and viola sections is called Continental setup. Often seen violin I and violin II sitting on opposite sides, but don't know the name of it. (not my preference). Years ago, I saw Allen Gilber put violin II behind violin I and celli behind viola, like a choir. By the way, many youth orchestras have double bass and viola sections short-handed. So I had my boy audition for viola, easier to get in. 🤩