Given the goal of playing the same pitches in each hand (with one portion of the keyboard octave-transposed to match the other), I would voice the chord as shown below. The bass G is, as surmised, necessary, as is the F# on top. The Eb I would also keep, because it carries over from the previous chord in the parallel position.

The A I would leave out, because it adds the least to the sound, muddies the G, and is physically the most awkward to include.

The Bb (in red) is in parentheses. Play it if possible, but it can be dropped if one or both hands has difficulty reaching it. Note that in the case of one hand playing it comfortably, the chord repetition is so quick, that its absence in the other hand would probably not be noticed.

FWIW: given the option of playing the complete chord ...

I would play the chord as notated below: A G octave in the left hand, and the chord A-Bb-Eb-F# in the right.

The contrabass sounds an octave lower than written, so the bass and cello Gs are an octave apart, which accounts for the left hand.

The viola and violin I are playing the A-F# sixth in unison, with the violin II playing the Bb-Eb fourth.

It's true that if one reorders the pitches, the F#, G, A, and Bb all fit within a (enharmonic) major third, but that isn't a concern in this case. The notes are actually spread out in a way fairly convenient for translation to the piano.

Given the goal of playing the same pitches in each hand (with one portion of the keyboard octave-transposed to match the other), I would voice the chord as shown below. The bass G is, as surmised, necessary, as is the F# on top, being the highest — and therefore most aurally prominent — pitch. The Eb I would also keep, because it carries over from the previous chord in the parallel position.

The A I would leave out, because it adds the least to the sound, muddies the G, and is physically the most awkward to include.

The Bb (in red) is in parentheses. Play it if possible, but it can be dropped if one or both hands has difficulty reaching it. Note that in the case of one hand playing it comfortably, the chord repetition is so quick, that its absence in the other hand would probably not be noticed.

FWIW: given the option of playing the complete chord ...

I would play the chord as notated below: A G octave in the left hand, and the chord A-Bb-Eb-F# in the right.

The contrabass sounds an octave lower than written, so the bass and cello Gs are an octave apart, which accounts for the left hand.

The viola and violin I are playing the A-F# sixth in unison, with the violin II playing the Bb-Eb fourth.

It's true that if one reorders the pitches, the F#, G, A, and Bb all fit within a (enharmonic) major third, but that isn't a concern in this case. The notes are actually spread out in a way fairly convenient for translation to the piano.

I would play the chord as notated below: A G octave in the left hand, and the chord A-Bb-Eb-F# in the right.

The contrabass sounds an octave lower than written, so the bass and cello Gs are an octave apart, which accounts for the left hand.

The viola and violin I are playing the A-F# sixth in unison, with the violin II playing the Bb-Eb fourth.

It's true that if one reorders the pitches, the F#, G, A, and Bb all fit within a (enharmonic) major third, but that isn't a concern in this case. The notes are actually spread out in a way fairly convenient for translation to the piano.

Given the goal of playing the same pitches in each hand (with one portion of the keyboard octave-transposed to match the other), I would voice the chord as shown below. The bass G is, as surmised, necessary, as is the F# on top. The Eb I would also keep, because it carries over from the previous chord in the parallel position.

The A I would leave out, because it adds the least to the sound, muddies the G, and is physically the most awkward to include.

The Bb (in red) is in parentheses. Play it if possible, but it can be dropped if one or both hands has difficulty reaching it. Note that in the case of one hand playing it comfortably, the chord repetition is so quick, that its absence in the other hand would probably not be noticed.

FWIW: given the option of playing the complete chord ...

I would play the chord as notated below: A G octave in the left hand, and the chord A-Bb-Eb-F# in the right.

The contrabass sounds an octave lower than written, so the bass and cello Gs are an octave apart, which accounts for the left hand.

The viola and violin I are playing the A-F# sixth in unison, with the violin II playing the Bb-Eb fourth.

It's true that if one reorders the pitches, the F#, G, A, and Bb all fit within a (enharmonic) major third, but that isn't a concern in this case. The notes are actually spread out in a way fairly convenient for translation to the piano.