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Steven Isserlis’s new album takes a single year—1851—as its starting point, the date of the French Érard piano played by Connie Shih, and of the Great Exhibition at which the instrument may well have been played, before exploring some of the music written in that year by a circle of musical friends, at the forefront of which was Robert Schumann.
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Steven Isserlis’s new album takes a single year—1851—as its starting point, the date of the French Érard piano played by Connie Shih, and of the Great Exhibition at which the instrument may well have been played, before exploring some of the music written in that year by a circle of musical friends, at the forefront of which was Robert Schumann.
