The material

The following example is a little more challenging.
8 bars for solo violin and piano: The violin part has a range of almost 2 ½ octaves and is rhythmically more differentiated than the rather evenly progressing piano accompaniment.

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Musically, the 8 bars are a "real sequence", i.e. a strict harmonic sequence in which the chord model always advances by the same interval size (here a whole tone down):

Dm (9-8-maj7-6) | Cm (9-8-​maj7-6) | Bbm (9-8-​maj7-6) | Abm (9-8-​maj7-6)

Such strict models have been in use since Romanticism. Contemporary film composers, such as the British composer Collin Towns, also like to use them. Listen to the beginning of the YouTube Video.

To get a first impression of the music, it was rendered without further processing, just with some reverb - once with SibeliusSounds and once with NotePerformer.

The next step is the musical elaboration of the violin part, bar by bar - in a similar way to the rehearsal and musical elaboration of an instrumental part. 
This gives instrumentalists the composer's or arranger's musical idea. This is very desirable in practice and saves a lot of time. 
For studio productions using software instruments and possibly live instruments, this is not sufficient. This is where the use of a DAW is recommended.

Musical elaboration 

The piano part is somewhat ignored this time; the volume for the left and right hands is "piano", only the descending melody line in the right hand has been set to "mezzo piano" in the notation programme. In scenario 2, the focus is on the violin part. In terms of interpretation, there would now be many ways to shape the 8 bars. And practice shows that even if the score contains many indications of dynamics, phrasing or articulation, the interpreter will "always" use something personal. 

Here is a possible plan:

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  The first note of the violin comes out of nowhere and ends with a "mezzo forte" in the 2nd bar on the triplet, preferably with increasing vibrato.
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  The triplet is played "portato", without pressure.
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  The quintole "jumps" slightly from the note "g" down into the octave "g" and becomes softer.
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  The 4th bar has the character of an accompaniment: The first note is decorated with a mordent, the eighth notes are played more lightly, only the first eighth of the triplet may sound a little longer.
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  The 5th bar should "shine": with a small crescendo on the longest note and with a more intense vibrato.
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  At the beginning of the penultimate bar, the quarter notes are played 'heavy-light', and the following triplet lands with a small crescendo 'from the sonorous depths' of the empty G string on the 'g' an octave higher in the last bar.
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  The small semitone-whole tone sequence is acoustically divided into two groups, which are played softer at the end.

Which sounds are proper?

Composers and arrangers have normally found their preferred notation software and the sounds that go with it, and usually have little time to deal with other systems: "Never change a running system".

However, anyone who uses third-party sounds instead of the built-in sounds of a notation software will know how difficult it is to control controllers and key switches.

Avid, MakeMusic, Presonus or Steinberg offer the user various interfaces (e.g. VST, AU) for working with plugins, but usually do not take care of further communication with the plugin instruments.

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Over the past few years, DAW manufacturers have made it easier for third-party plug-ins to communicate with each other, so that the manual configuration of key switches is now quite fast. For example, Babylonwaves' Art Conductor provides over 10,000 presets for all major sample libraries for leading DAWs.

A lot has also happened in the field of notation software. Integrated programme elements or additional plug-ins now make it possible to edit various parameters graphically, similar to DAWs. The Vienna Symphonic Library, for example, offers users of the notation software Dorico, Finale and Sibelius corresponding "Expression Maps", "Human Playback" or "Soundsets", which automatically execute articulation or controller changes on the basis of musical performance notations written in the programme.

Summary

This is an example of how a score can be made to sound with relatively little effort, if the notation software and plug-ins are in tune with each other. Those who use this method frequently think about the musical arrangement from the beginning and "intuitively" note down the dynamic, articulation or technique cues provided by the software. 
The advantage of this method is that the sheet music is ready to be played on acoustic instruments – mock-up and sheet music in one step .
The outcome is not yet perfect, and cannot be compared to an elaborate production in a DAW. The results can be tweaked using the notation software's built-in tools or additional plugins.

Even without common standards, collaboration between notation software and sound plugins has become more user-friendly.

The leading manufacturers have different strategies: Presonus, for example, relies on communication between its own notation software Notion and the DAW Studio One, Steinberg offers DAW features in Dorico, and Notation Central plugins developed for Sibelius allow graphical editing of MIDI controllers.
There are several tutorials on YouTube that explain the interaction between VST/AU plugins and notation software.