Erard, Bochsa and their impact on harp music-making in Australia (1830-1866): an early history from documents.

Abstract

This study traces the emergence of the pedal harp in colonial Australia between 1830 and 1866 through the examination of primary source documents in the form of archival and newspaper resources. It does so by focussing on the dynamic that existed between the harpist Nicolas-Charles Bochsa (1789-1856) and the makers of the double action Erard harp, demonstrating how that relationship had an impact on harp music and music-making in the period under review. The study pursues three intersecting lines of investigation. The first details Sébastien Erard’s ground-breaking development of his double action harp, and the social status it enjoyed in Europe, which was subsequently transplanted to Australia. The second area of investigation outlines Bochsa’s role in raising the profile of the Erard harp. This in turn leads to the third and most pivotal line of enquiry that of the distribution of Erard instruments in Australia, Bochsa’s visit to Sydney, and the role of his disciples in sustaining Bochsa’s legacy in Australia. The performance culture that coalesced around Bochsa and his disciples – incorporating as it did harp pedagogy, performance practice, repertoire, and commercial considerations – is shown to be a significant component of the social and cultural life of colonial Australia.