Thanks musos, Beat, julian, jbm, Guy, mplaster, Christof and Paul for listening and posting your reactions.
julian-- I think the Beethoven took me roughly 7 long days.
jbm-- I agree that the Beethoven is more successful than the Borodin although I am quite fond of several passages including the last 1:30 of the piece. I think this is because there are fewer places to hide in the Borodin due to its exposed lyrical nature. Also the Beethoven was written by...well...Beethoven. The guy knew what he was doing. For the Beethoven, I used almost all of the faster performance articulations including detache, spiccato, marcato, and harsh. I also used the performance repetition articulations extensively.
Guy--I think that if the sample performer has something very unusual to "say" about a piece then it might might challenge a real recording. With more traditional interpretations (like my own) I think that a real recording of live players is still several levels above a sampled approach.
To varying degrees my performances are inspired by real recordings. I usually listen to as many performances of a piece as I can find. Then I study my 1 or 2 favorites in GREAT detail --tempo, phrasing, position of slides, vibrato, etc. I then make changes to accommodate the realities of samples. Finally I make changes to appease my own personal interpretation. Interestingly my favorite real recording of the Beethoven was played MUCH faster (over 170 bpm throughout) than samples could handle, so I was forced was to make the Beethoven more my own interpretation.
Christof-- As one of the VSL cellists you have only yourself to blame for VSL being so good. [:D]
Paul-- First, I think it's cool that you have a violin teacher-- when did you start studying? Second, I want to know the reaction of your teacher when you told him the piece was created with VSL. Did he smash your violin over the top of your computer. [:O]
Thanks again all.
Best,
Jay