The album title "1825 Echoes of Vienna" refers to the year the Érard harp No. 3804, used for this recording, was built.
Historical Context
Vienna had a lively harp scene in the early 19th century, with harp-makers and famous virtuosos performing in important halls and salons.
Composer's Artistic Vision
Beethoven, in 1796, expressed a desire for the harp and piano to become two completely different instruments, as the piano was often played like a harp.
Composer Biography
Louis Spohr, a composer on this album, had a close connection to the harp through his wife, Dorette Scheidler, and his niece, Rosalie Spohr, both famous harpists.
Cultural Impact
The harp became a fashionable instrument in the late 18th century, especially in France, where it was associated with gracefulness and sophistication, and was a favorite of Marie Antoinette.
Performer Biography
Elisabeth Plank, the harpist on this recording, made her solo debut at the Vienna Konzerthaus at age seventeen and is an artist-in-residence there.
Instruments
The double-action pedal harp, invented by Sébastien Érard around 1800, allowed for greater freedom in modulations and became established in less than twenty years.
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