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This record is a collection of Emily Brontë poems, turned into songs by Yorkshire-born Unthanks pianist and composer Adrian McNally. It was performed and arranged with Rachel and Becky Unthank and commissioned by the Brontë Society to mark her 200th Birthday. The songs were written and recorded on Emily's own piano in the Parsonage in Haworth where she lived and worked. Emily's piano was lovingly and expertly restored by Ken Forrest. It's a rare example of a 5 octave cabinet piano probably made in London between 1810 and 1815. It must be played very gently, and has many creeks and idiosyncrasies, many of which are present on these recordings
This record is a collection of Emily Brontë poems, turned into songs by Yorkshire-born Unthanks pianist and composer Adrian McNally. It was performed and arranged with Rachel and Becky Unthank and commissioned by the Brontë Society to mark her 200th Birthday. The songs were written and recorded on Emily's own piano in the Parsonage in Haworth where she lived and worked. Emily's piano was lovingly and expertly restored by Ken Forrest. It's a rare example of a 5 octave cabinet piano probably made in London between 1810 and 1815. It must be played very gently, and has many creeks and idiosyncrasies, many of which are present on these recordings
844493092896

Details

Format: CD
Label: CDZM
Rel. Date: 03/08/2019
UPC: 844493092896

Lines Part Three: Emily Bronte
Artist: The Unthanks
Format: CD
New: Call 919.821.7766 or Email us to purchase or check availability

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This record is a collection of Emily Brontë poems, turned into songs by Yorkshire-born Unthanks pianist and composer Adrian McNally. It was performed and arranged with Rachel and Becky Unthank and commissioned by the Brontë Society to mark her 200th Birthday. The songs were written and recorded on Emily's own piano in the Parsonage in Haworth where she lived and worked. Emily's piano was lovingly and expertly restored by Ken Forrest. It's a rare example of a 5 octave cabinet piano probably made in London between 1810 and 1815. It must be played very gently, and has many creeks and idiosyncrasies, many of which are present on these recordings
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