Lesia’s Grand Piano

Abstract

DOI:  https://doi.org/10.28925/2518-766X201615055

Іn the given article a story of the grand piano, connected with a figure of a prominent Ukrainian woman poet Lesia Ukrainka, is being studied. Its origin in connection with historical facts of piano fabrication in Ukraine, as well as with the links between Kosach family and the Drahomanovs, the Lysenkos and other families of Ukrainian intellectuals and cultural activists are described. The story of the grand piano conservation and renovation is presented. The data about the fabricator — the French piano factory “Pleyel”, and the atmosphere of the French parlour, where the prominent figures like Chopin had communicated, are included.
The second half of the nineteenth century in Ukraine celebrates the formation of the demand for piano and growing number of those wishing to play on them. There are local producers, most immigrants from Germany. Odesa, Vinnytsia, Kyiv, Kharkiv are the main centers of manufacturing pianos in Ukraine at that time. Thanks to its location, Odesa occupied the leading position in the production of pianos. Given the significant advantage — access to trade routes, not only by land but also by sea, Odesa masters also introduced assemblage of instruments brought from abroad details. In the article the archival materials about piano “Karl Haas Odessa” and the first owner of the piano are presented. The materials about Lesia Ukrainka’s attitude to music are used in the article. The circumstances, under which the grand piano became the property of Kosach family, the names of their teachers of music, as well as the musical aspects of Lesia Ukrainka’s biography, are studied. The return of the instrument to “Bilyi Budynochok” (“White House”), its decay and renovation are described. Its future destination is under discussion.