NOTATIO

Working for Boosey & Hawkes I deal with the music of HR Gruber who uses a lot of extreme dynamics. Page 1 of his opera shows how this starts, there are 0ver 700 pages like this!

I think it is a little presumptuous to consider an old engraving that one likes to be, per se, good engraving, and another option to be somehow bad, or by implication lazy. I think this is a matter of fashion and to some extent house style. To quote Durande's Feuille de style: " Les barres de t...

I think we're all fairly much in agreement that there is no rule to fix all, we just choose to start with slightly different defaults.

Slurs, I think, are perhaps the most personal part of the engraving process, and as such, I find that nearly every slur needs some manual adjustment.

Sorry not to be on here (or anywhere) much recently die to a bit of work needing doing, but here are my preferred settings

I totally agree. Music engraving is an art in its own right. Finale and Sibelius are only tools. One might say a computer programme is an intelligent tool, but it's choices are algorithms that are only as good as the ability of the programmer(s) to understand the problem, and to create a formula tha...

I think it is possible to become too pedantic or too precious about details. If anyone were to play a piece by a living composer without reference to the composer it would inevitably vary from the composer's exact intentions. Does that invalidate it or does it enrich it? Should everyone who plays a ...

Knut wrote:

OCTO wrote:Oh....
Than there is no purpose to spend three months...

Pictures at an Exhibition was orchestrated at least three times…

At least. I made the score and parts for the Ashkenazy orchestration (Boosey) a few years back.

John Ruggero wrote:I see a great page turn at the end of the next-to-last line! (-:

Dammit, there's always one!!!!

YAY!!! double bar.

Still a lot of work to do, but I got to the end.

4 day+ (43 hours) for 12 pages!!!

Indeed, and I am keeping your comments on Liszt editions in mind.