This is a very interesting example that demonstrates RKs genius. The first thing to note is that this is a very weak melody for the violins. Those middle strings are dramatically weaker than the outer ones. RK knows this and combats the problem in all the right ways. 1. He doubled the 1sts and 2nds.. You really lose a lot of power on the inner strings so RK wisely doubles at the unison. 2. He marks the melody one dynamic above the accompaniment. 3. He calls for Sul D. The natural tendency would be to break the melody between both the A and D strings but he realizes a little extra gusto by forcing the melody into a high position on that D string.
In a previous question someone asked if it is necessary to learn what notes would be played on what strings. My response was that one should not concern themselves with such matters from the onset and that with time and experience these things will clarify themselves. This is a perfect clarification of how a composer/orchestrator has utilized his knowledge of the instrument to make a decision about which strings to play.
Notice here that RK has just broken his own rule about the upper limit of the Violins range and has given us the much higher Adler definition of the upper limit. Always remember that the upper limit of range is often subject to change dependent on the player and the players instrument. Also, please note that this melody should and will sound a lot more passionate and intense than it is presented here. It’s a very very moving passage that high on the cello.
It is true what RK says. When you do have the quartet in tutti unison it is very full and very rich. Again, RK takes it one step further with Sul G in the 1st Violins. (I have to wonder why he didnt do the same in the 2nds) This string is very earthy and those down bows will really get meaty.
Please listen to the example with caution as it is not quite representing the resultant sound accurately.