Naderman, Henri Pascal
Naderman, Nadermann, Jean François Joseph, *1781 Paris, †3 April 1835 Paris (?), born into a family of French musicians, publishers, and harp makers, harpist and composer, eldest son of Jean Henri. He moved in aristocratic circles, as evidenced by the dedications in his works. He gained great fame as a harp virtuoso, performed before Napoleon I, was appointed harpist of the Royal Chapel in 1813, and in 1825 became professor of harp at the Paris Conservatory, where he remained until his death. He was a staunch supporter of the single string tuning system for the harp and criticized Érard’s two-step system. He worked in his father’s publishing company, maintaining its original profile; together with his brother Henri Pascal, he was also a co-owner of the harp factory founded by his father, although he soon left its management to his brother. He composed nearly 100 pieces for solo harp, mainly études, sonatas, fantasies, variations, dances, and potpourris, as well as two concertos and numerous duets, trios, and quartets accompanied by other instruments. His solo compositions were primarily intended to improve playing technique, although only some of them (études, sonatas) entered the canon of harp literature. He wrote a textbook, Ecole ou Méthode raisonnée pour la harpe (Paris, 1832), which was criticized for its conservative teaching methodology.
Literature: P. Erard The Harp in its Present Improved State Compared with the Original Pedal Harp, London 1821, 21980; H.J. Zingel Harfe und Harfenspiel vom 16. Jahrhunderts bis ins zweite Drittel des 18. Jahrhunderts, Halle 1932; M. Haine Les facteurs d’instruments de musique a Paris au 19e siècle, Brussels 1985; R. Wagner Die Harfe und Harfen-Spiel von 1760–1820, Bonn 1986; R. Rensch Harps and Harpsists, Bloomington 1989; C. Michel, F. Lesure Répertoire de la musique pour harpe publiée du XVII au début du XIX siècle, Paris 1990; R. Keppel Single-Action Harp (about 1720–1820). A View Backwards to Serve in Building and Playing Practice, in: Studien zur Aufführungspraxis und Interpretation der Musik des 18. Jh., ed. M. Lustig, Blankenburg 1995; K.-P. Brenner Die Naderman-Harfe in der Musikinstrumentensammlung der Universität Göttingen. Ein französisches Instrument des 18. Jahrhunderts als Maschine, Skulptur, Möbel, Prestigefetisch, Ware und Klangwerkzeug, Göttingen 1998; D. Droysen-Reber Harfen des Berliner Musikinstrumenten-Museums, with B. Wolf et al., Berlin 1999; R. Rensch Three Centuries of Harp Making, Chicago 2002; L. Barthel Au coeur de la harpe au XVIIIe siècle, Paris 2005; J. Dugot Sonorites inouies: la nouvelle harpe de Messieurs Krumpholtz et Naderman, “Musique, Images, Instruments” 7, 2005; R. Adelson The Viscountess de Beaumont’s Harp and Music Album (1780), “The Galpin Society Journal” 62, 2009; F. Guillaume-Castel „Noble throughout”. The transformations of the pedal harp in Paris and London, between 1749 and 1811, thesis, Royal College of Music, London 2023, https://researchonline.rcm.ac.uk/id/eprint/2536/1/Thesis_Fanny_Guillaume-Castel_FOR_PUBLICATION.pdf.