That is very interesting information, Daniel. It's good to hear that the Henle Finale engravers are taking such care. I dearly hope that they and the whole editorial staff have access to the Henle plate engravers, whose knowledge it would be wonderful to tap.dspreadbury wrote: ↑25 Oct 2021, 15:53 I find that a bit unlikely, John. I've met Henle's two Finale engravers, and I can tell you that more than any other Finale users I've ever met, they use Finale as closely as they can like the proverbial metal engraving plate. No detail is left unchanged, and I'm certain that they spend more time per page tweaking things from their defaults than pretty much any other user you could name.
Then it must be the Henle Amadeus or Sibelius engravers who are producing engraving that is not up to the old standards. I noticed these balloon-shaped slurs in their new "improved" edition of the Brahms Clarinet Trio, which look like the engraver simply allowed what was produced by the software to stand without the necessary hand adjustments. I commented on it along with the generally anemic look of the engraving compared to the plate engraving of the past on the Henle blog.
One can look through the whole piece at:
https://www.henle.de/us/detail/?Title=C ... cello_1125
Here is one example from the new Henle edition: Here is the same measure from the Breitkopf and Haertel Complete works: I haven't seen this decline at Wiener Urtext, which apparently also uses Finale.