NOTATIO

Thank you MichelRE for this. In the score I am working on, the Strings are never hidden even if empty, apart from a couple of systems over 120 pages. It seems that the original engraver gave quite a lot of thought at the time to realise this. I have tried a few more options and, in the end, hiding s...

Thank you for explaining this John, but I am afraid we will have to agree to disagree. While it can look beautiful in handwriting, I would find it to look wrong in modern notation. The rests in the downstem voice wouldn't be unnecessary, I believe. I am not sure this notation should be interpreted a...

Interesting! I would have interpreted as a mistake, even if I understand your reasoning on voicing. If voicing needs to be preserved, explicit bar rests in the downstem voice would need to be added to justify the stem up, in my opinion. Since this is an autograph, it could even be that Mozart wrote ...

Thank you, David. So it doesn't bother you if you have a LH page with two systems, very compressed staves, and a RH page with all staves shown and a few of them empty because hiding them would not bring you any advantage?

I am working on a Romantic piano concerto. The original source is, as usual, the two-piano reduction and the orchestral parts (which include the solo piano). The only modern edition is from around the 1980-90s and uses a mix of show all / hide all / hide some that is sensible and makes general sense...

Would you engrave it upstem in a modern edition?
I have come through a similar issue in Liszt's Liebestraume recently and I have either flipped things down or added explicit rests in specific places.

Ahah! That's like saying: "you're the musician who needs to know how to do this, not me!"

Are you referring to the bass clef having the clef to the left and the dots to the right of the barline?

Fascinating! Thank you!

The composer's autograph is not available and his writing is usually correct, that is he includes ties. The editor is FEC Leuckart, Leipzig. From the other editions I have of this editor, it seems like it was a choice. Also Breitkopf used this around 1830 in some cello scores I have. Perhaps a Germa...