NOTATIO

Might I ask why, in the final bar, you slur on the note-side rather than the beam-side? Just to keep the continuity of appearance?

m. 169 - why the B ?

My opinion as a thickness queen is that Carrig's thickness is fine for everything but lyrics, which naturally require thicker typefaces in order to stand out properly against the music and remain readable at small type sizes. Have you considered Carrig for everything but lyrics and Vollkorn for lyri...

It will be interesting to see how much improvement you can get on the Schenker edition, John. Even seventy-five years later, it's still the reference edition for many, with engraving from one of the finest publishing houses in their prime.

(m) under the note when you want humming to begin. So doo - (m)

Your second choice fits the aesthetic of your score much better, although a slightly thicker version (if it can be found) would be even better. The use of sans-serif fonts in music should be extremely limited. In the past only Universal Edition routinely used sans-serifs for text markings, and even ...

I think you could stand to make the staves themselves larger but space them more closely. Lots of white space that could be put to good use if you're having issues with readability.

Stave lines need to be thicker if you're using noteheads that big.

It's not the modern beaming that makes it redundant, but rather the "espress." marking. What I read you wanting from the slur is an entirely connected musical idea with a bit more liberty than usual to preserve the connection - in other words, what espress. would tell me.

And Mozart is never uniformly coloured like a Dorico score.

Perhaps a better analogy would be an all-legato performance of Bach -- technically perfect, but lacking the subtle human variations in articulation and phrasing that make the piece truly sparkle.

I find I like the thickness of Bravura but moreso the design decisions of Maestro, if that makes any sense.