NOTATIO

Anders, that's a vast improvement on mine. Thank you.

Now to attempt to apply that same principle to all the many similar or related passages… It's a rather daunting prospect for this old man, but I shall do my best.

You are very welcome. Glad to be of help.
I have nothing much to do this summer (my clients are already on holiday apparently), so if you would need some more assistance, just ask.

Anders Hedelin wrote: ↑23 Jun 2021, 11:23… …  so if you would need some more assistance, just ask.

Thank you very much.

You are welcome.
I was wondering about an English word for the pianist accompanying the singers in an opera rehearsal - could it be 'repetitor', 'corepetitor' or what? I couldn't find it in my dictionaries.

We use the French word: repetiteur. (In the UK anyway, I'm not certain about the US, but I think they do the same.)

David Ward wrote: ↑22 Jun 2021, 09:24 Is it acceptable for the first slur in the piano (this is a vocal score) to be like this, crossing the hairpin, wide sweeping untamed shape etc etc?

To me, in purely aesthetic terms, it looks OK, but I suspect it is breaking several rules of engraving.

I would simply copy the dynamics from the instruments above since musically looks perfectly clear. Remember that the musicians will play 50% by eye and 50% by situation, following each other.

This way it is unnecessary complex, for a simple effect.
The rule: notate as simple as possible that gives the same acoustical result as wanted.

I think the issue here is transferring an orchestral score into a piano reduction. In the score/parts it's quite logical to have the detailed dynamics in the different woodwind instruments, "knowing nothing about each other", or not exactly. In the piano reduction they are not necessary.