An Upright Erard with a history behind Franz Liszt.
Erard Upright piano serial number 14388 was sold on the 23rd April of 1839 to Madame Rosario de Los Hierros, student of Franz Liszt. Upright piano being made of Mahogany with bands of Citrus wood inlaid rare model of early Erard Uprights being what they called Tulip Leg Model. This is the first of this model I have come by.
Mme Rosario de los Hierros 1824, location unknown, - after 1859, Spanish pianist. ("Rosario" means rosary in Spain and is also used as a female first name.) She was a student of Franz Liszt, when and where the lessons took place was not to identify previously. However, it must soon have been the case, since Liszt in a letter in June 1834 makes a remark that suggests an intimate relationship: "J'ai deux mots promis à Rosario" (`I promised to write her short,` Correspondence ). That she was a student of Liszt, is mentioned in the contemporary press.
From late 1839 to mid-1840, She celebrated at the Paris Salon concerts and performances. Her success continued until their return to Madrid (in July 1840), Tours and Bordeaux. Apparently she then took an attempt to make herself known as a pianist in Spain. The "Revista de Madrid" reported in 1844 in retrospect: "Aun conservo bien presente en la memoria La Desdichada suerte de una Jóven y hábil instrumentalísta [Footnote: 'Señorita Doña Rosario de los Hierros.' ], que reducida á buscar en su talento de sus escasos substistencia, no ha podido contar en Madrid con la concurrencia afectuosa de sus compañeros de música para los gastos costear Sequiera de un concierto que sobre sus habia fundado vanamente pasajeras esperanzas " ( "Still very present to me is the unfortunate fate of a young and capable instrumentalist in mind, which was limited to draw on their talents to their limited funds for livelihood, but in a Madrid concert could not count on the friendly feed their musical comrades, so as to at least cover the costs of the concert can be, what they placed their hopes in vain temporary "had , Revista de Madrid 1844,).
1843, she has performed in Pau. Henri Blanchard, composer and writer, an employee since 1836, of the "Revue et Gazette musicale de Paris" , dedicated to his report of the southern French "aux partisans de la décentralisation musicale" ( "the pioneers of the musical decentralization" , RGM 1843, ), praising both her appearance and the fact that she had established herself there as a music teacher. 1844 Franz Liszt stayed for two weeks in Pau and gave two concerts there, that of 8 October 'favor Mme Molinas, a former pupil " . At the concert she appeared at his side, and the joint appearance led to her other students. The message of 1843 is the first time they "Madame Molina" was used, therefore, so probably married in the preceding three years.
Her repertoire included works by Beethoven (including one of his piano trios), by Johann Nepomuk Hummel (Septet op.74), Liszt (including arrangements of Schubert songs) and Sigismund Thalberg (fantasies to the operaMoses by Rossini and the Huguenots of Meyerbeer). The unusual combination of energy and momentum in the fast, of grace and elegance in the melodic passages, "une vélocité surprenante d'exécution et une main droite plus the brilliant" («a game at an amazing speed and of the most brilliant right hands», RGM 1840,). Praise was an interpretation of "intelligence avec cette de la bonne musique qui la Distingue" («with that understanding of good music, which sets them apart», ibid, p 167). "Elle a la fougue et la puissance de son maître. Quel feu! Énergie source! S'il ya you Liszt mademoiselle dans le talent de Rosario, aussi il ya de l'Espagne. Je me figure que Chimène aurait touché du piano comme la senorita Rosario de los Hierro " ("She's got the momentum and power of her teacher. What fire! What energy! If the skill of Mademoiselle Rosario of Liszt is mark, then so be it also for Spain . I imagine that Ximena would have played piano as Señorita Rosario de los Hierros " , ibid,; Ximena was the wife of the Spanish national hero El Cid). Objections relate to safety, although mostly unspoken, even on the playing style of her teacher. One reviewer advises her, "donner à plus de rondeur au son, à prendre ses mouvements un peu moins vite et ne pas autant jouer de la tête" ( " to give the sound more rounded, their rates a little less to take quick and restricting gestures and facial expressions). " Les connaisseurs ne lui font qu'un reproche, celui de trop modernizer la musique des grands maîtres " ( "The connoisseur you make only an accusation, namely that the music the great masters modernized too much " ). This was probably an allusion not only to the Schubert arrangements, but also to the well-known peculiarity of Liszt, to supplement the original text with the occasional ornaments and added Füllstimmen and make extensive use of rubato.