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Our friends at the Frederick Piano Collection have started their 29th Spring Season Concert Series.

If you haven't attended their concerts, you should!

They have an amazing collection of wonderful Historical Pianos!

"The purpose of the Collection, owned by Michael and Patricia Frederick of Ashburnham, MA,
is to acquaint musicians and the concert-going public with the sounds of pianos of the types (and where possible, the makes) known to and played
by the composers whose works comprise the standard late eighteenth through early twentieth century piano repertoire."

May 4, 2014 Concert Constantine Finehouse will present a selection of polonaises, ballades and fantasies by Chopin and Schumann on the 1846 Streicher.

May 11, 2014 Concert Artem Belogurov performs a program titled The New England Romantics, a selection of pieces by Arthur William Foote, Arthur Whiting, John Knowles Paine, George Whitefield Chadwick, and Margaret Ruthven Lang, on an 1862 Chickering piano built in the Tremont Street factory in Boston.

May 18, 2014 Concert Shiela Kibbe, playing the 1830 Tröndlin, and Heather Braun, violin, present the Grand Duo sonata by Franz Schubert and pieces by Robert Schumann.

May 25, 2014 Concert Beatrice Long in a solo recital featuring Chopin's Sonata No. 3 and a selection of Liszt transcriptions of Schubert Lieder, on the 1840 Erard.

June 1, 2014 Concert Dmitry Rachmanov, music by Scriabin, in recognition of the hundredth anniversary of the composer's death in April 1915, playing the 1877 Erard "Extra-grand modèle de concert".

Additional Concert Information


About the Collection (from their web site):

The Frederick Collection of Period Grand Pianos includes over twenty original pianos in playing condition, specifically, the sorts of pianos known to important composers from about 1790 to 1907. At present, there is no comparable collection of period, playing grand pianos in the United States. Most museum collections that include pianos focus on their decorative appearance rather than their musical value. Such instruments are rarely used for performance; perhaps two or three pianos in each of the other major collections in this country are maintained in regular playing condition. The following points clarify the purpose of the Collection:

• Piano was the most important solo instrument, for which the most music was composed, from the late 18th through early 20th centuries.

• Music from the late 18th through early 20th centuries represents the core of present-day piano repertory.

• Until around World War I, piano design was constantly changing. As in clothing fashion and furniture design, changes in taste do not necessarily mean improvement. Piano design changes reflect not only shifts in musical taste, but also ideals of technical perfection rooted as much in the Industrial Revolution as in music.

• Every composer wrote for the pianos he knew, capitalizing on particular musical effects available from those instruments. The same music played on a significantly different instrument will have a different sound, and not necessarily one the composer would have preferred.

• To hear and/or play the piano literature on an instrument such as it was conceived for, is to discover important features of the music. Effects unavailable on the standard modern piano (bass/treble balance, clarity of bass tone, tone-color changes over the dynamic range) become evident, enriching one’s appreciation and enjoyment of the music.

• Built on the Frederick Piano Collection, the Historical Piano Study Center offers lecture-recitals, master classes, seminars, workshops, tours and recordings.

• Located in a handsome, handicapped-accessible, renovated 1890 former public library building, the Collection is conveniently accessible to persons who value its resources, including pianists, musicians who perform with piano accompaniment, music scholars, teachers, students, music critics, piano technicians, builders of historic instrument replicas, concertgoers, and interested members of the general public.

The Frederick Piano Collection, Home Page:

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