Soon after, the first Haarlem songbook "Haerlemsche Zangen" was published with this font. Previous songbooks had had their music engraved on copper plates by musicians. The new font was designed to be used by publishers in the same way that typeface could be used to print words, but this idea was not successful, as the musicians who wrote the music needed training in order to use the font. An innovative musician who used the Enschedé-Fleischman font was Leopold Mozart for his Dutch edition of his "Instructions to play the violin" in 1766. His son the "wunderkind" played the organ in the St. Bavochurch across the street from Enschedé's publishing company in the same year. Flesichman's typefaces have a high x-height (large lower-case letters, following the "Dutch taste" style of the preceding century) and strong appearance on the page, and have not always been well-reviewed aesthetically. In 1777 Johann Gottlob Immanuel Breitkopf considered Fleischman one of the three greatest punchcutters of the eighteenth century alongside Fournier and John Baskerville (although in practice Baskerville's typefaces were probably cut for him by John Handy), although he was not impressed by every aspect of his aesthetic. They generally did not appeal to printers and type designers in the twentieth century, for instance receiving criticism from Daniel Berkeley Updike's influential "Printing Types", and have been less commonly been revived than the work of Renaissance and early modern punchcutters such as Claude Garamond, Robert Granjon and Miklós Tótfalusi Kis, although 1927 revival was published supervised by Georg Belwe. Lane comments that "his romans lack the staid majesty and subtle curves" of Baskerville's delicate typefaces of the same period, and James Mosley wrote that "Fleischman was undoubtedly a virtuoso punchcutter, even though there is something rather arid about his hard, angular types." Interest in Fleischman's work has been greater in the digital type period, and numerous digital type designs have been influenced by Fleischman's work. Several contemporary designs influenced by Fleischman have been intended for newspapers, including Hoefler & Co.'s Mercury and Fenway by Matthew Carter, son of Harry Carter. Kris Sowersby comments that "for all their extroverted detailing, Fleischman’s text typefaces work extraordinarily well.