Category:Piano-Harmonium

See also categories: Claviorganum, Piano-mélodium and Piano-Harmonium.

References edit

• Michael Saffle (2013) Franz Liszt: A Research and Information Guide, Routledge Music Bibliographies (2nd ed.), Routledge, p. 500 ISBN 978-1-135-83959-8
  "1621. Verdin, Joris. “Le Piano-Harmonium de Liszt.” La Tribune de l'orgue 56/1 (2004): 9-20.
   Not seen; apparently another study of the “monster” instrument, published in a difficult-to-obtain “Suisse romande” periodical.",
  "1622. Moore, Wayne T. “Liszt's Piano-Harmonium.” The American Organist 20/7 (July 1986): 64–66. ISSN 0164-3150. MLI.M327.
   Describes the instrument's dimensions and character, Liszt's interest in it, and Richard Pohl's discussion of it—published under the pseudonym “Hoplit”—that appeared in 1854 in the Neue Zeitschrift für Music. Illustrated with a reproduction of a well-known steel engraving of the harmonium Liszt kept in the Altenburg, Weimar, during the 1850s. See to, “Letter from Thuringia (Liszt's Piano-Harmonium),” Journal of the American Liszt Society 18 (1985):47–51, which provides another version of Pohl's eyewitness description of Liszt's Altenburg “monster.”
• Wayne T. Moore. "Liszt’s Monster Instrument Revisited". The Diapason XCVI/5 (May 2005): 15.
  "In 1854, Richard Pohl, editor of the Neue Zeitschrift fur Musik, reported hearing Franz Liszt in Weimar, Germany, play a combination piano-harmonium, a newly developed instrument built to Liszt's specifications."
  • Liszt's monster instrument. Bibliolore. Répertoire International de Littérature Musicale (RILM) (October 22, 2011).
    "In September 1854 Liszt wrote ... “My monster instrumet with three keyboards ...” The 3000-pound instrument, a seven-octave grand piano plus two five-octave harmonium keyboards, was built by Alexandre Père et Fils and Pierre érard to Liszt's specification. Although the critic Richard Pohl reported having heard the composer play this piano-harmonium, apparently it was never heard in concert until Joris Verdin (left) presented a recital on the instrument, newly restored by newly restored by Patrick Collon and the Manufacture d’orgues de Bruxelles 150 years after it was built, at the Wiener Musikverein. In addition to the piano and pumping pedals seen above, the original version included a 20-note pedalboard and an attachment allowing an assistant to pump the bellows while the player used the organ or piano pedals; there are lost and have not been reconstructed. ..."
    (See also photograph)