bow passages

I'll take a look as soon as I have a moment. It would be convenient for you to get an orchestration text like Casella-Mortari ... and verify the positions.

Why this choice of orchestration?

I didn't understand how you indicate the slurs. At measure 37, one goes up to a rest, where nothing is indicated ... are they intended to be detached?

Hi, these are parts of a piece, which is why the slurs and things seem to make no sense

anyway, I had thought of these passages this way, but given my lack of experience regarding double stops, I don't know if these are plausible movements, could you tell me?

Thanks, have a good evening

p.s

the numbers indicate the fingers and the Roman numerals the position

From my point of view, if "they are parts of a piece" and the piece has the ambition to remain within the sound context of the "beautiful sound," the double stops that work best are those that use one of the two strings... open (to be clear, measure 51). When you have 2 open strings, the instrumentalist is deprived of the vibrato resource (there are no indications in the score).

Regarding "this is why slurs and things seem to make no sense"

Honestly, I agree with Oracolo: for strings, you either indicate the bowings or the phrase slurs... but what does measure 37 of the viola indicate?

So if you mean phrase slurs, does that mean you don't want legato throughout the entire first part?

From a quick glance, I see the effort to respect the technical feasibility of the double notes and I think almost all of them are feasible; you should try the parts with the instrumentalist to verify if the sonic result matches the expectation.

eh the parts they were attached to are omitted in the photos.

Thank you for your interest, once the holidays are over I will also ask my professor and the instrument technician for advice.

Forgive me Natan, have you tried them? why do you say you see them as inconsistent timbres?