Sibelius or Finale... choices choices

I'd really like to know now what things (purely concerning music notation) Finale can do, that Sibelius can not. And I'm not talking about whether it's difficult to achieve or not, I'm just asking whether there's anything that's actually impossible to do in Sibelius. So far, I haven't come across anything and for my last choir piece I've used quite a few 'avant-garde' techniques.

I'd really like to know now what things (purely concerning music notation) Finale can do, that Sibelius can not. And I'm not talking about whether it's difficult to achieve or not, I'm just asking whether there's anything that's actually impossible to do in Sibelius. So far, I haven't come across anything and for my last choir piece I've used quite a few 'avant-garde' techniques.

If you start digging through Finale's plug-ins, you'll find a some.

Glissandi are difficult. But I'm a newcomer to computer music so maybe I'll find ways.

I must admit I'm still interested in the articulations GPO provides but can't find them anywhere. Does it replicate the notated articulations properly at the right dynamic? On strings, for instance - martellato, spiccato, trem nat. trem sul pont, pizz, all with and without mutes, aside from up and down bows and legato and a few others. Do the appropriate winds give decent sounding flutter, staccato, sfz etc. I want to be sure it's better than what I have (which wouldn't be difficult)!

You know my views, though - I'll take this seriously when someone can synthesize La Mer or Le Sacre du Printemps...or move out of the traditional orchestral domain altogether. I'm sure it won't be long.

GPO does not have sul pont, yet. I believe it is included in the upcoming "GPO-Advanced", along with real string harmonics (which are sadly missing from GPO).

there is sampled tremolo for strings.

pizz and arco are there (and in Finale you only need to write the word "pizz", "arco", "con sord", or the articulation for tremolo for it to switch to the right sample)

there are sampled rolls on snare, cymbal, bass drum

brass and strings all have muted sounds.

for complex and more varied brass mutes, however, it's better to get the Jazz and Big band library, since those sorts of effects are included in that library and not in the "standard orchestral" GPO.

flutes have flutter, not not clarinets.

the harp has all sorts of effects available.

all strings and brass have "ag" samples, which can be layered over the regular samples for a still more aggressive sound (particularly nice for cuivr

I'd really like to know now what things (purely concerning music notation) Finale can do, that Sibelius can not. And I'm not talking about whether it's difficult to achieve or not, I'm just asking whether there's anything that's actually impossible to do in Sibelius. So far, I haven't come across anything and for my last choir piece I've used quite a few 'avant-garde' techniques.

I remember reading that Sibelius did not allow the changing of staff sizes relative to other staves at random. Is this still true of Sibelius 4? For example, if I wanted one staff to be slightly smaller on one page than on the next, then again, slightly larger than the others on the following?

I believe that Sibelius has caught up to Finale in all things "notation". The only major difference lies in the note entry method. This isn't a weakness, nor a fault, just a different approach. Some prefer Sibelius' way, others are more used to Finale's (although, in all honesty, Finale does have like 3 or 4 different note entry methods.. I don't like any but the "speedy entry" method).