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It's not that complicated. Strings are not like wind and brass where adding one or two players can make a big difference to the sound. First, strings can play really very quietly indeed and the more there are the easier it becomes to do this. Fifty players can be quieter than one soloist if they are all at a true pp. Second, good players have a very developed instinct for balancing with the rest of the orchestra. They know to play down underneath anybody with a more important part. So you can divide sections into almost any number of parts and the players will organise themselves to balance automatically as long as you don't do anything like pit one double bass against all the violins at forte. You can have one solo cello at the same level as all the violins though, or just the first desk of violins and all the celli. If you want one string section or sub-section to dominate a texture, just write them at a higher dynamic and keep the others out of the same register. As so often, the best advice is to find scores containing what you want to study and listen with them. IMSLP is your friend.

The Applause Music team is seeking original,published or unpublished, works for piano solo for its 1st annual Applause Music Festival. The specific concert will take place on July 13, 2013 at University of Texas at Arlington and will feature music by living composers only. The length must be between 5 and 10 minutes, exceptions can be made depending on the maturity and originality of thepiece. Those selected will be notified by email no later than May 30th. The selected composers are encouraged to attend, but no travel stipends or funds are available. Works will be performed by pianist Dr. John Solomons. Scores and CD's are due by May 15th, 2013 and may be submitted to: Applause Music Festival 515 Tish Circle #2002 Arlington, TX 76006 Or send PDF and mp3 files to applausemusicfestival@gmail.com. While no recording is needed, it is encouraged to submit this as well. If further information needed, please email applausemusicfestival@gmail.com. Also, Please see and like our facebook page! :) (https://www.facebook.com/pages/Applause-Music-Festival/541311985908757)

I was in the final of an orchestral competition a few years back, but as runner-up all I got as a prize was a recording of the performance, a night in a resonable hotel and a lot of free beers from the band. To be honest, my main concern would be the amount of effort needed to compose a piece for this level of competition. I'd need to be certain of getting it published or of several performances to make it worthwhile writing even if it didn't win. Wheras, the next three pieces I'll be working on won't make much money, if any, but will be guarenteed performances and all the experience that comes with them. I don't write bespoke pieces for competitions these days - I write stuff to get performed. Whitacre does neglect to mention that competions don't fund themselves without a fee unless there is a public body or some serious philanthropy behind them. I can only imagine what Magnus Lindberg charges for his adjudication services.

You posted this then came back to read the comments more than two years later?