Robert Adelson - Böcker

Sébastien Erard's (1752-1831) inventions have had an enormous impact on instruments and musical life and are still at the foundation of piano building today. Drawing on an unusually rich set of archives from both the Erard firm and the Erard family, author Robert Adelson shows how the Erard piano played an important and often leading role in the history of the instrument, beginning in the late eighteenth century and continuing into the final decades of the nineteenth. The Erards were the first piano builders in France to prioritise the more sonorous grand piano, sending gifts of their new model to both Haydn and Beethoven. Erard's famous double-escapement action, which improved the instrument's response while at the same time producing a more powerful tone, revolutionised both piano construction and repertoire. Thanks to these inventions, the Erard firm developed close relationships with the greatest pianist composers of the nineteenth century, including Hummel, Liszt, Moscheles and Mendelssohn. The book also presents new evidence concerning Pierre Erard's homosexuality, which helps us to understand his reluctance to found a family to carry on the Erard tradition, a reluctance that would spell the end of the golden era of the firm and lead to its eventual demise. The book closes with the story of Pierre's widow Camille, who directed the firm from 1855 until 1889. Her influential position in the male-dominated world of instrument building was unique for a woman of her time.

In the Music Museum presents an alternative view of Western classical music, as heard through historical instruments rather than musical works. It provides a fascinating guide to one hundred and fifty instruments preserved in eighty collections around the world. The instruments include the earliest or most representative examples of specific models or shed light on musical practice in a unique way. Some tell a particular story through their connection with individual musicians, famous or otherwise, while others are controversial or difficult to interpret. The chapters give readers the analytical tools needed to look at, listen to, and think about historical instruments and to understand how this knowledge can in turn help us better appreciate music. The analysis of each instrument begins, as in a music museum, by looking at it: noting how to relate what one sees with how the instrument sounds, and how those sounds influenced how music was played. From a prehistoric seashell horn to an eighteenth-century clavichord, historical instruments are the objects that produced the music of the past, and as such they are of fundamental importance. The extensive companion website has recordings and videos that showcase many of the instruments that are illustrated and discussed in the book.