Contributor: Mirosława Modrzewska
Location: Teatr Wielki – Opera Narodowa (the Teatr Wielki – Polish National Opera)
Description: The story of Frédéric Chopin’s piano is part of Polish Romantic cultural heritage. It has been passed down in a poem by Cyprian Kamil Norwid (1821-1883) entitled Fortepian Szopena. Norwid wrote the poem in the years 1863-64 and it refers to an authentic event in Warsaw, which took place on September 19th, 1863 during the Polish insurrection against Russian occupation. Continue reading “Frédéric Chopin’s grand piano”
Contributor: Delia da Sousa Correa
Location: Herbert Art Gallery & Museum, Coventry.
Description: Purchased on 22 November 1869 for the 50th birthday of the novelist George Eliot by her partner George Henry Lewes, this Broadwood piano was delivered to a grieving household. Lewes’s middle son, Thornfield, had returned from farming in Africa with a painful illness and had died, aged 25, just a month previously. It was a period when neither Eliot, who was writing Middlemarch, nor Lewes, were able to work. That the piano was purchased then, indicates that it represented something of deep significance. Not surprisingly, no flurry of references to the new piano fills Eliot’s correspondence at this date. Fittingly however, the piano has an implied presence as a source of solace a decade later when, on the first anniversary of Lewes’s own death, a line in Eliot’s diary for 8 Sept 1879 reads simply: ‘Darwin. Schubert’ (Journals, 180). ‘Darwin’ may denote a visitor, or his books; Schubert she must have been playing at the piano. Eliot’s journal further records that she had ‘Touched the piano for the first time’ after Lewes’ death on 27th May (Journals, 175). This piano is, however, representative not just of the personal importance for George Eliot of Romantic music but of its significance for numerous areas of Victorian culture in Britain.
Continue reading “George Eliot’s Piano”
Contributor: Cameron Morin
Location: Alloway, Ayrshire (Scotland)
Description: This beautiful, good-as-new instrument, made of pine and sporting a flower-like red, green and black design on the back, is displayed in the Robert Burns Birthplace Museum, Alloway, as ‘the fiddle of William Gregg’. Born in 1766 in Ayr, Gregg learned to play the vioin at a very young age, eventually becoming what was called a “Dance Tutor” or a “Master of Manners”, based in Tarbolton, Ayrshire. In 1779, he accepted a most peculiar pupil: Robert Burns.
Continue reading “The Fiddle that taught Robert Burns his manners”
Location: Royal Irish Academy, Dawson Street, Dublin, Ireland
Contributor: Francesca Benatti
Description: Thomas Moore’s harp is held in Dublin in the Library of the Royal Irish Academy, which also houses Moore’s personal library. It was donated to Moore in 1821 by Dublin harp maker John Egan in a publicity drive for his new line of Portable Irish Harps, which culminated the following year with an endorsement by King George IV. Moore’s Portable Irish Harp features in the anonymous portrait of Thomas Moore in his Study at Sloperton (National Gallery of Ireland, Dublin), next to his cabinet piano. We know that, despite Egan’s efforts, which greatly expanded the sale of Irish harps in Ireland and Britain, Moore himself preferred the piano as an instrument.
During the eighteenth century, the Irish harp had become powerfully charged with nationalist symbolism through the publications of the Volunteers and the United Irishmen, who chose it as the emblem of their revolutionary movement. Continue reading “Thomas Moore’s Harp”