Richard Wagner's Grand Piano

Richard Wagner's Erard piano in the Richard-Wagner-Museum in Tribschen, Lucerne

Richard Wagner owned an Erard grand piano which today can be seen in his work room in the Richard Wagner Museum in Tribschen, Lucerne (about 500m from Lucerne main train station).

What was good enough for Richard Wagner (and Beethoven, Berlioz, Liszt, Mendelssohn, Ravel and Verdi) is good enough for us! We are lucky to have a similar Erard grand piano at Palais Kraft for our recitals. Please join us on Saturday at 16:00!

Every Saturday at 16:00 on Level 4: Piano Recital with Siwat Chuencharoen

Submitted by martinfrank on Thu, 04/20/2017 - 10:03
Siwat Chuencharoen playing the Erard grand piano at Palais Kraft

At 16:00 on Level 4 of the Palais Kraft Main Building

Piano Recital with music from the 18th and 19th Century

Artist: Siwat Chuencharoen

Siwat Chuencharoen, born 1986 in Bangkok, Thailand. After studying economics in his home country, he devoted himself to his passion, classical music, and began to study piano at the Bern University of Music, where he finished his master's degree in music pedagogy and is now working on his PhD thesis. Since 2015 he teaches piano at the Musikschule Seeland in Ins.


Sebastien Erard

Sebastien Erard

Sebastien Erard built his first piano in about 1777 and obtained a license from Louis XVI to produce pianos for the French Court.
In 1789, the French Revolution destroyed Sebastien Erard’s business. He moved his family to London and immediately began building pianos there. He returned to Paris in 1796. Part of his family remained in London building Erard pianos in London throughout the 19th Century.

Erard Grand Piano 1926

Erard Grand Piano from 1926

The Palais Kraft is happy to announce the acquisition of an Erard Grand Piano built 1926. It is the type of concert piano Frédéric Chopin, Franz Liszt, Clara Schumann, Sigismond Thalberg were playing. In an Erard grand piano the strings run parallel. Modern grand pianos are overstrung, which means that the bass strings cross other strings obliquely. This difference is noticeable in the clarity and timbre of the tones.