Naderman Sonata No. 3

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    In the 3rd movement, Andantino con Spirito, here and there there are slanted lines drawn through the stems of octaves played by the right hand.These lines are there both in the Leduc 1925 edition, and also in the newer Salvi edition. Would you agree that they indicate those octaves should be slightly broken rather than solid, or is there another interpretation?


    What’s the value of the notes in question? Half notes? Quarters? Maybe it means a kind of tremolo (4141414141,etc.) to fill out the note value?


    Yes, a fine diagonal line through the stems of octave or chords means they should be played broken. Hope this helps!


    Thank you, Paul; that is a great help. And Carl, the notes in that movement with those fine lines through the stems are sometimes eighths, and sometimes sixteenths. Paul’s explanation seems reasonable. Sometimes, with oversized music from French publishers that is difficult to file without trimming the edges somewhat, and other things such as these markings, makes me wish there could be a summit meeting of publishers (!) where it would be decided that all would use the same standard in size, notation markings, etc. I’m not holding my breath! Another need of standardization: Chord symbols!!


    I love the big paper. Please don’t do anything to discourage publishing on big paper, but they don’t do it much anymore, anyway. It sounds like you don’t have legal-size drawers. I have a legal-size cabinet, and an x-rays cabinet for really oversize scores. It’s wonderful.


    Yes, the diagonal slash definately means to break the chord or interval. These marks were generally unknown to the harp world until recently because in the past editors have simply disregarded these marks for one reason or another and so many copies today do not have these slashes. Recently, though, through research it has been discovered that these slashes, which do indeed indicate ripling, are found on many old manuscripts for pieces like Naderman sonatas or Dussek pieces. This is interesting because it shows that these composers had a much more romantic period writing style than we give them credit for.



    This is exactly the reason I use facsimiles or photocopies of original editions whenever possible. They almost always contain information that gets lost in modern editions. The copperplate engravers weren’t limited to the features of their music printing program, so they had more flexibility, especially in notating ornaments. Of course, learning how to interpret those ornaments is a project in itself!

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