Re: Substituting glisses for arpeggios in Trio Sonata?

Saul Davis Zlatkovski on #148440

It was my impression that Salzedo came up with the substitution of aeolian fluxes for the fingered pattern, not to make it easier, per se, but to modernize it, in a sense. Stokowski liked to do this in many orchestral works, turning arpeggios into glissandos, considering that a preferable effect. While the glissandi may seen easier, if you try to replicate the phrasing of the fingered pattern, they are not so easy. If Renie played with glissandi, I am curious when she did that, perhaps Salzedo got the idea from her or the other way around.
The Boston Symphony Chamber Players recording, with Ann Hobson Pilot playing, she uses the glissandi. Salzedo has other edits that are very helpful in making the harp part speak clearly.