portamento and Schindler:
that's interesting, because I think Perlmann did this exactly to get different timbres. He always performed the first of the two repetitiv intervall changes on the same string (with portamento - it's much easier to play with portamento), the second on 2 different strings (without portamento).
So he does more or less the same we do, avoiding repetitiv sounding passages.
Dance macabre:
Only a few notes of that part passage do have vibrato, and I used them to get more randomness in this repetitiv passage. There are a lot of nonvibrato patches in the soloviolin, and I used all of them, but I wanted more different options.
Personally I realy don't care about such issues. If it sounds convincing to me, it's OK for me.
best
Herb
that's interesting, because I think Perlmann did this exactly to get different timbres. He always performed the first of the two repetitiv intervall changes on the same string (with portamento - it's much easier to play with portamento), the second on 2 different strings (without portamento).
So he does more or less the same we do, avoiding repetitiv sounding passages.
Dance macabre:
Only a few notes of that part passage do have vibrato, and I used them to get more randomness in this repetitiv passage. There are a lot of nonvibrato patches in the soloviolin, and I used all of them, but I wanted more different options.
Personally I realy don't care about such issues. If it sounds convincing to me, it's OK for me.
best
Herb