TLDR: Let the performers choose how to handle the challenge you've presented them.
I'll very respectfully offer a dissenting opinion to many of Todd's points.
Assuming that you don't want to simply alter your composition to create some page turns—give some material to a different part for moment, etc.—then "something's gotta give." Either players must have multiple pages laid out in advance, or they must make "heroic-efforts" turns, perhaps leaving out notes to do so, or they must use electronic screens. (Or other exotic solutions, like providing page-turners to each desk.)
In my experience and personal preference, laying out multiple pages is the easiest and best of these. That is, if you don't create foldouts yourself, the players will with photocopies and tape. If there's grumbling about foldouts, it's perhaps grumbling that players are being put in this position at all, not that having to whip through the pages one at a time would be preferable. There's much to grumble about, though: It does require extra equipment. The folded-out page will simply flop back and forth uselessly unless supported by something rigid. If these foldouts come as a surprise in rehearsal, they may well be useless unless there are extra music stands available, and room for them. The Manhasset "Stand-out" product works nicely but is proprietary and you have to have it on hand. I've often performed simply putting two stands side-by-side. Will there be room for so many to do this in the performance space, or is it an orchestra pit?
But to the concern about page-turning noise, the foldout is by far the winner. I don't see that this needs to be a big concern at all; every performance includes many page turns and they're often plenty noisy; it's just an artifact of live classical performance. Putting a page turn in a short rest will result in a desperate, violent turn that will be the noisiest option by far. If the player has the chance to arrange a foldout during a long rest or even between movements, then it can interfere minimally.
I would also reconsider not using tablets, at least with provisos. The first big one is one must always have a printed backup; as you say, there can always be problems. With paper and candles, you can perform even in a blackout. But I see many of my colleagues preferring tablets, and unless you want to ban them, e.g. for aesthetic reasons, they may well scan the parts and use them anyway. By the same token, you absolutely do not want to force them on anybody who doesn't want to use them. This can be about things like eyesight, astigmatism, etc., not just preference. So I've seen a number of gigs lately where two "stand partners" will use two stands, with a print copy and a tablet.
But ultimately, I would let the performers decide how to handle these passages. If you're writing for non-professionals, then they might be nonplussed. But professionals face this dilemma regularly, and have individually preferred ways of handling it. Some might just do a lightning-fast turn, perhaps even turning with their left hand while bowing an open string. Some will copy a single page and turn during a rest that's in the middle of the page. Some will do exactly what you propose, with photocopy and tape. But they will prefer to make their own choices rather than be forced into one.
