NOTATIO

I don't know how Sibelius deals with the additional information that notation apps usually need about font glyphs -- Finale used to use "Font Annotation Files" prior to SMuFL; and of course now uses the JSON metadata files that SMuFL uses (as does Dorico). I presume that Sibelius thinks th...

Ooh, I find that very confusing.

In your example, there's nothing to indicate that it's different from a normal bar number in any way. At least on mine, it's in brackets.
So it would be very easy to read that 'end' of the cadenza as "bar 35".

Here's the piano pedal up.

Increase the value of Minimum horizontal gap between fingering and other item on the Fingering page of Engraving Options from its default of 1/8 space. (I noticed that when I italicised the final fingering on a down-stem beam, the fingering moved to below the stem, because the italic glyph was wide ...

Thanks for your eye, John. Yes, I'd noticed that the fingering number were smaller on the plate, which again helps to eke out space. I can improve the over-reach of the arpeggio lines with a couple of Engraving Options, so easy enough. Yes, I manually centred the bars with whole notes. I have asked ...

Following on from my post about buying a plate from Henle, spurred by John Barron's recent video of " From Plate to Page ", I thought I'd try to recreate the plate I bought as a page in Dorico. Here's Henle's page, taken from the plate (luckily a free sample from their website): 0982_0011-...

Also, the sample page from the current publication on the Henle webpage looks to be taken from the plate, and not a Finale copy. I'm basing this on the uneven character spacing in the text, and the way that the braces don't always fit the staves. (And that the didn't fix the bar number.) 0982_0011-1...

Ooh: also there's a mistake!

The first system is a massive cadenza in one bar, numbered 63, which has no barline at the end, and the next system starts with (64) in brackets. It ought to be (63), as the continuation of the cadenza. Otherwise, we're off by one when we get to the next bar number.

No. I scanned the plate at 2400dpi, then flipped the image. Because of the light from the scanner, it makes it looks like the holes are actually raised!

I've also brightened up the colours and contrast a bit. It's quite golden and green in places, with the oxidized metals.

It's arrived! First impressions -- because of the lead, it's heavier but more malleable than I had expected. It's a page from Liszt's Petrarch Sonnets. It seems to match their modern edition pretty well. (Or vice versa.) It's page 5 here: (the 10th page of the sample) https://www.henle.de/en/Second-...