NOTATIO

Thank you very much OCTO for responding. I'm greatly relieved to hear that you are back and sympathize with all your difficulties with Covid, deadlines et al, and hope all will be well with you.

Checking his profile, he was last active here on 6 April and his last post was on 19 February. He may just be too busy for now to spend time on the forum. Someone more proficient with Google et al than am I may be able to find out more…

No: I was wondering also. I'm away from home at present, but may try to send him an e-mail early next week if nobody reports back here that they've heard from him. He had a violin concerto due for premiere in April 2022, but I can't find any references/reviews relating to its performance when I Goog...

I don't know whether or not there is a rule as such, but I would do what I remember seeing in various scores from the past, which is to write in the notes of the tutti.

Again, definitely the upper.

If that's in 4/4 definitely the upper.

I use Engraver, but I wouldn't go so far as having a favourite…

I've found that the old style can be quite useful in recitative, especially when a degree of freedom is anticipated. Otherwise, I agree it's best to give singers the same beams as one might an instrumentalist.

FWIW someone on Twitter has linked to the score of Boulez’s Éclat - Multiples & it seems to have normal ties, not the short backwards ties in the rather old printed Boulez scores I have here. https://www.youtube.com/watch?v=7ggRDq8SWnw

The ‘tied to’ notation you mention was quite common for a while, especially but not only in French music. I've just checked, and it can be found in Boulez. I used it for a period in my own manuscripts, as it seemed to reduce clutter, but I later abandoned it. No performer ever commented either direc...