To me, this monstrosity of a font looks like what you’d get if you asked a 10 year old to design a poster containing musical symbols. Furthermore, some of the symbols (Ped., fermata, all articulations) look identical to their modern appearances. Whoever designed the font evidently didn’t have a firm grasp of circa 1800 notation. Many of the original printings of Beethoven’s compositions are available to view on the IMSLP website for all to see.
I was wondering why I recognized your name when you asked for permissions for the directory. I use RealScore as my default jazz font. I was trying to decide between RealScore and BopMusic. I also purchased The Copyist. I love your fonts.
My plan is to use Copyist for my classroom worksheets and BopMusic for all my jazz performance stuff.
For classical music I am currently using September 2.0.
Thanks for being a valuable NorFonts costumer Mark. For classical I think you can try Da Capo (Schott engraving style) and Scordatura (modern engraving style) and maybe when available my latest MEZZO (similar to Igor Engraver -late 90s) & MEZZA (similar to Henle engraving style).
I mean the person who designed (drawn) the font is someone else, Pièchaud maybe only ported the design to a font? I don’t really remember where I’ve read that years ago that someone else have drawn the font. Anyway, I maybe wrong…
What I’m really loving about the concept of SMuFL fonts, and I can’t believe it’s taken me long to think of it this way, is that it gives composers like me (transitioning away from sketching on paper) an opportunity to reclaim a written style - here, I can design my own clefs and noteheads, and it can be my own computerised style.