Restoration work begins on Brontë piano

Sarah Laycock from the Parsonage writes:

After over a hundred years build-up of dust, dirt and strands of Emily’s hair, the Brontë family piano is finally going to be restored to full working order. The only problem we have now is - who’s going to play it?

Up until now, the cabinet piano, presented to the museum in 1916, has been displayed and admired as a piece of authentic Brontë furniture but with the help of private funding, we are now able to restore the inside mechanism so that it can be appreciated by all as a musical instrument.

The piano was mainly used by Emily, although Branwell and Anne would have also used it to a lesser extent. Ellen Nussey once described Emily playing ‘with precision and brilliancy’ and by the time Emily went to Brussels in 1842, her playing was of such a high standard that she was taught by one of the best music professors in Belgium.

The piano was probably made in London between 1810 and 1815. It bears the inscription John Green, music agent of 33 Soho Square, London. It has a fairly short five octave keyboard of ivory keys which will be kept intact, and the broken hammers and strings which are hidden behind a screen of maroon-coloured pleated silk will be replaced so that the piano will play for the first time in over one hundred years.

Piano restorer Ken Forrest (pictured below) has examined the piano and informed us that there are parts missing which will need to be replaced and it will need to be completely restrung. He also said that the ivory keys are going to be kept but are in need of some renovation. He is going to be researching similar pianos in order to gather together more information before restoration can take place. Cabinet pianos were popular in the 1830s and 1840s but today are rather unusual when compared to the more valuable pianos such as the Grand.

Our cabinet piano is one of many items that were auctioned off in the 1861 sale of Brontë objects. It was bought by a Mr Booth of Oxenhope and sold many times before it was donated to the Brontë Parsonage Museum in 1916.

Wuthering Heights this Sunday

If you are in the UK, you might like to note that the Richard Cavanagh - Orla Brady version of Wuthering Heights is to being shown on ITV3 this Sunday 3 February from 15.20 to 17.45.

Orla Brady is now an almost unbelievable 46 years old (see the photo below and the previous post) and is apparently the 'lady in red' in The Singing Butler - the ubiquitous Jack Vettriano watercolour in which two lovers are dancing on a windswept beach.

The self-taught Vettriano used The Illustrator's Figure Reference Manual as a starter, he revealed when the original painting went for three quarters of a million pounds in 2004. The hacks then started digging and found that Orla was one of the models in the guide, and his muse.

Find more in this article from You magazine.
www.mailonsunday.co.uk/pages/you/article.html?in_article_id=509011&in_page_id=1908

Searching for the perfect Catherine

Paul Thompson writes:

Having now watched my fifth version of Wuthering Heights (the 1978 Hutchison/Adshead version), I set to wondering why none of the actresses who played Catherine (the elder) quite worked for me. The answer came to me as I looked at the timeline of the novel and I think it boils down to their ages.

If we look at five of the best-known versions and compare the approximate ages of the 'Catherines' at the time, we get:

Film Actress
1939 Merle Oberon aged 28
1970 Anna Calder-Marshall aged 23
1978 Kay Adshead aged 24
1992 Juliette Binoche aged 28
1998 Orla Brady aged 37


In the book, Catherine is 15 when Heathcliff runs away and just 18 when she dies. Even the youngest of the actresses is five years older and the oldest is 19! (although, admittedly, Orla Brady looked much younger). However, each of the actresses appears clearly adult, not the teenager than Catherine was. We should also remember that an 18 year old was not the adult they are considered today: people did not come of age until 21.

If you think of Catherine as a slightly immature teenager rather than an adult, it brings a whole new aspect to the story. Her spitefulness towards Isabella, the "dashing her head against the arm of the sofa", her attempts to make herself ill: these become more believable if we imagine a younger teenager performing them. There is also a deeper pathos to the scene in chapter 12 where Catherine in her delirium wishes she were back in Wuthering Heights. If we think of her as a child then rather than a spoilt adult, we can have more sympathy for her. We could feel the loneliness and sadness of a child forced into an adult's world.

It would be fascinating to see a version of Wuthering Heights with Catherine played by a teenage actress (or one who could pass as teenage). It would be rather like seeing Juliet of Romeo and Juliet played as the 13 year old she was supposed to be. It would need an actress of great skill and subtlety, of course, able to switch from mature love to childish petulance, but what a role. And what a new interest it would add to the scenes with Heathcliff.

(As an afterthought, looking at those rumours of Angelina Jolie being lined up to play Catherine, her age this year will be 33 - not a good omen.)


The Reader’s Guide to Wuthering Heights


Below, Merle Oberon with Laurence Olivier in the 1939 version

Brontë - the movie

NEWS RELEASE:

Local film maker looks to regional businesses to keep Brontë movie in Yorkshire

One of the largest movies ever to be filmed in Yorkshire is in danger of leaving the region, warns leading Yorkshire movie producer, Film Squared based in Sheffield. The company is offering local businesses the opportunity to help bridge a gap in the financing of its latest project Brontë which is being represented by Mel Gibson’s Icon Entertainment at next month’s Berlin Film Festival and is due to start filming this spring.

The film about the lives of Yorkshire’s most famous writing family and starring a raft of UK and US talent is short of just £350,000 after a backer withdrew because of the current problems with the international money markets.

“As a result of the funding problem, we may be forced to relocate the filming to another more cost-effective location, but we desperately want to keep the film in Yorkshire,” explained Producer Alistair Maclean-Clark.

“This prestigious project will encompass the very best of Yorkshire – its production has been made possible by local investment, including the support of Screen Yorkshire, Business Link and Objective 1 and it will be directed by the Emmy and BAFTA award winning Yorkshire-man Charles Sturridge of Brideshead Revisited fame. We believe Brontë is set to become another great film building on the current successes of the British film industry – it would be tragic for it to be shot anywhere but Yorkshire.”

The £5million movie is a joint project for Film Squared and Pinewood Studios-based AMC Pictures - and unlike many UK films, Brontë has already secured distribution and global representation through Mel Gibson’s Icon Entertainment.

Film Squared’s Nick Wild believes that the Yorkshire business community will rally round, “We have already had great support from some passionate local private investors and financial professionals and are now looking to extend that opportunity. With global cinema and DVD distribution the project offers great possibilities for local brands to be involved with this high profile project and spread their brand around the world. We are working with many of the local agencies and have a whole raft of opportunities to be involved from high-level corporate sponsorship to tax efficient investment regimes for private investors.

“We are also calling for help from local companies who may be able to reduce production costs by providing support services, anything from hotels to car hire. The project is an important media project for Yorkshire that will boost the local economy and stimulate tourism; it would be fantastic if the local business community played its part in helping us to make this great film happen in the region.”

Maclean-Clark added, “Unfortunately time is not with us. The impending Screen Actors Guild strike in June and the end of the tax year means that we have to move quickly over the next month if we really want to make this happen.”

For more information, please visit the movie's web site (see links) or contact Nick Wild at Film Squared on .

Wuthering Heights, 2009

Classical comics has been in touch with the Parsonage Blog to inform us that their new version of Wuthering Heights will be coming out in 2009. More details nearer the launch, no doubt.

The best version

WUTHERING HEIGHTS 1978: A WINNING CHALLENGE BY THE BBC

Maddalena De Leo from Ascea Marina, Italy, writes:

I’ve just finished watching the 1978 BBC dramatization of Wuthering Heights on two DVDs which I bought last summer in the Parsonage shop and now I really consider it to be the best among the various screen adaptations of Emily Brontë’s novel ever realized.

Of course I knew that BBC dramatizations are always of the finest level (Pride &Prejudice, North and South etc.) but I was amazed in finding this almost unheard of adaptation so adherent to my beloved novel and above all, so careful and attentive to those particulars often ignored by other directors, with only a few differences from the original text. No wonder that the BBC never attempted to adapt Wuthering Heights again.

Thanks to its running time of 255 minutes and its five episodes, the mini-series Wuthering Heights (directed by Peter Hammond and starring Ken Hutchinson and Kay Adshead, originally transmitted in the UK from September to October 1978) boasts many strong points, from the particularly vivid atmosphere of the moors conveyed from the beginning to the very last scene and the authentic use of Emily’s own language and phrases. Cathy and Heathcliff’s affection for each other is rendered through the intensity of their looks and not by words while the recurrent close-ups underline the force of passion in a most effective way.

Also the minor characters are well-drawn, each in his or her own peculiarity, although we find a ‘milder’ Joseph and a pleasantly strong Isabella with a will of her own, which departs from any other known adaptation of the novel. For once we have no narrator of the story and Nelly Dean appears only in her role of a servant, not always or entirely convinced that her master's actions are right. Notably the burning fire in the enormous fireplace at the Heights is put into the limelight just when the main characters’ souls are torn by agony and their inner cold.

On the other hand, there are obviously a few weak points, mainly the missing snow substituted by a frequently driving rain on the moors always announcing fatal events or, in episode two, a too long childhood against a too short teen period for Cathy and Heathcliff. This last character appears as an old man even when he is still young, almost as a hunchback with a displeasing voice, but Ken Hutchinson’s interpretation of him in the last stages of the character’s life is superlative.

The image of dying Heathcliff is not easily to forget. A regrettably missing moment in so attentive an adaptation is the beautiful passage in the book in which while lying in the moor the second Cathy and feeble young Linton speak of what they like more in life.

What else is to be said? All Brontë lovers can only enthusiastically welcome this blessed reproposed offer by the BBC after so many years of oblivion.

Appeal for donations

Parsonage director Alan Bentley writes:

It is now twelve months since the launch of our purchase fund appeal. In that time £50,000 has been spent on acquiring a dozen new items for the collection, with £10,000 of this having been generously donated by members of the Brontë Society. Because we have been able to show this level of support from our membership, we have been able to get grant aid to support these purchases from the National Art collection Fund and the V&A/MLA purchase fund adding up to over £8000.

It is important that we continue to add to the collections and ‘bring home’ Brontë items to Haworth. Eighteen months after the foundation of the Brontë Society, sufficient material had already been collected to merit the opening of the Society’s first museum in 1895, and the collections have continued to grow steadily ever since.

The collections are used as an important resource by scholars from around the world, in our education work and to bring alive the Brontë story for the thousands of visitors who come to the Parsonage each year.

I am now widening the appeal directly to the readers of the Brontë Parsonage Blog, many of whom might not be Brontë Society members. You are invited to send us donations to help us compete in the sale rooms and ensure that we all have the opportunity to create a direct link to the Brontës through their belongings.

All donations are welcome either as one-off donations (in any currency) or regular monthly payments. It is important we receive regular donations to the purchase fund as the items we are interested in acquiring are usually to be sold at auction – and it is not always possible to make appeals for specific objects beforehand.

You are also invited to make donations to the Education and Collections Care funds. Please send a cheque to the Parsonage for my attention, payable to the Brontë Society. We can also deal with credit cards and Direct Debit payments – ring me on +44 1535-642323 to make the arrangements or email info@bronte.org.uk

Thanks!

Alan Bentley
Director, Brontë Parsonage Museum
Haworth
Keighley
BD22 8DR
United Kingdom

Call for papers

From Dr Elise Ouvrard:

The Brontës and the Idea of Influence

In March 2007, Stevie Davies, Patricia Duncker and Michele Roberts gathered around Patsy Stoneman at Haworth in Yorkshire to talk about the influence that the Brontës had had on their evolutions as authors, and more generally, about the source of inspiration that the most famous family of writers in England could represent. Patsy Stoneman had already tackled the topic by publishing a book entitled The Brontë Influence in 2004 with the help of Charmian Knight.

The issue of LISA e-journal « Re-Writing Jane Eyre: Jane Eyre, Past and Present » is further evidence of Charlotte Brontë’s influence on the writers of the following decades or centuries. So far, these studies have been quite limited and this field of research, “the Brontë influence”, offers a wide range of possible developments.

Moreover, if the four authors’ poetry and novels have already been the object of numerous studies, there is much left to write about the influences which were exerted on the Brontës, whether religious, literary, philosophical or cultural. Taking account of the context of a work is often a good way of understanding the issues underlying a text: the path taken by the Brontës, their journeys, their stays abroad, the books they read, etc. could prove to be very enlightening. Besides these external factors, one could also consider the interactions between the three sisters, who wrote in the same room and who read passages from their works aloud.

A final aspect to identify and study could be the influences which are exerted within the Brontës’ works themselves. How can one account for the progress of the heroes and heroines? How is the influence that characters have on one another expressed? What role does nature play in the destiny of characters? Which other elements intervene in the novels?

This dossier devoted to the Brontës intends to analyse the works through the perspective of influence and three different fields of research can thus be considered:
- influences on the Brontës
- the idea of influence in the Brontës’ works
- the Brontë influence on the writers of the 19th, 20th and 21st centuries.


Please send your proposals (one A4 page maximum) to:
Dr. Élise Ouvrard (ouvrard_elise@hotmail.com)

Accepted articles will be published in the thematic dossier “The Brontës and the Idea of Influence” in the “Writers, writings” section of LISA e-journal:
http://www.unicaen.fr/mrsh/lisa/publicationsGb.php?p=2&numId=0&it=dossiers

Charlotte's illness

Patrick Brontë considered that his daughter Charlotte was not strong enough for marriage, and he sems to have been right at the time, before doctors and hospitals were able to cope properly with hyperemesis gravidarum, a kind of extreme version of morning sickness. This was probably what took her away on 31 March 1855. The catch-all 'phthisis' was written on her death certificate.

American member Paul Danigellis draws our attention to the following article in the Guardian newspaper: http://commentisfree.guardian.co.uk/ally_fogg/2008/01/the_bucket_stops_here.html

To quote:

This is morning, afternoon, evening and night-time sickness and it blights somewhere around three in a thousand pregnancies. At its worst, the sufferer is unable to keep down so much as a sip of water, leading to severe dehydration and malnutrition. This is so debilitating that reading, watching TV or facing daylight may become unbearable.

If you've ever been hit by a bad oyster you can possibly sympathise, but imagine such food poisoning lasting not for a day or two but for 8, 16, even 36 weeks. In the days before IV drips, the condition was fatal for the likes of Charlotte Bronte, but now patients are mostly kept alive with regular inpatient stays and the magic of a saline bag.

Written on the Body in Chicago

Brontë Society member Margi Cole wishes all Parsonage Blog readers a Happy New Year, greets everybody she met last June in Haworth, and says she is looking forward to the June weekend in 2008. The following is from a recent press release from TDC:

The Dance COLEctive (TDC), under the direction of award-winning choreographer and teacher Margi Cole, will perform a revised work, a premiere and two revivals for its Second Journeys Winter Concert Series February 21–23, 2008 at The Dance Center of Columbia College Chicago, 1306 S. Michigan Ave.

The program features a reconstruction of Artistic Director Margi Cole’s Written on the Body, plus works by choreographers Colleen Halloran, Jennifer Kayle and Ellie Klopp.

TDC also will participate in The Dance Center’s FamilyDance Matinee Series, presenting an hour-long performance geared toward families preceded by a movement workshop free to ticket holders on Saturday, February 23.

Written on the Body uses the lives of the Brontë sisters as a point of departure in its exploration of gender roles and stereotypes. The hidden identities of authors Charlotte, Emily and Anne Brontë, as well as the hardships they endured throughout their lives in Victorian England, provide the framework. Cole interprets the Brontës’ masculine and feminine personas, using images of power, strength, vulnerability and intimacy, exploring how each attribute can be related through movement.

Music for the piece is by Kevin O’Donnell, costumes are by Atalee Judy and videoscape is by Michael Cole.

“A pseudonym represents a way of disguising one’s identity to remain invisible,” Cole explained. “It is also a way to represent yourself as something other than what you are in order to be accepted. During the 19th century, Charlotte, Emily and Anne Brontë’s pseudonyms—Ellis, Currer and Acton Bell—allowed the three sisters to conceal their identities under a masculine persona. The work is titled Written on the Body because our bodies are where our truest histories are written.”

Chicago choreographer Colleen Halloran is creating a new work, tentatively titled It Is Okay To Leave. Working with five dancers, including guest artist Dardi McGinley Gallivan, the piece takes place in an atmosphere of suspended reality and explores issues of departure, observation and time. Sound design for the work is being created by Susan Aldous.

Also on the program are two revivals. Channel is a commissioned solo for Margi Cole by Ellie Klopp, former associate director of Margaret Jenkins Dance Company, with music by Alvin Curran. Jennifer Kayle’s award-winning at the receding edges is a moving meditation on the human and spiritual connection to the body of the earth and on the dangers of disconnection. Set on four squares of plastic grass, images of community, scarcity and disintegration appear and disappear in this poetic landscape.

American echoes of the Parsonage

Barbara Tanke from Elma, New York writes:

Since I had to move back to Western, NY last fall for my mother's failing health, I have discovered (by accident) an 1810 house near her nursing facility that reminds me of the Brontë Parsonage.

It is at the end of a lane, and when I was waiting for traffic to pass, I thought I was looking at the Brontë house - or one similar in style. Here are photos of the exterior and the inside window.

This is the Hull House, built in 1810, which the community is trying to renovate back to its original state. I see that it was built about 30 years after the Brontë Parsonage and wondered if there was any English inspiration to it. I will have to research further.

I have a nice warm feeling that I am back in Haworth -- if but momentarily -- when I go visit my mother.

Below, the Hull House:

Fourth Brontë Sister?

This painting by Branwell will soon be on display in the Parsonage – a portrait of Mrs Maria Ingham of Stanbury.

“We made a successful bid for it at the recent auction,” Librarian Ann Dinsdale told the blog. “She looks quite handsome, I think.

You could say she looks a little like a fourth Brontë Sister, if you look at the style and put it next to Branwell’s other portraits. Of course we’ve got her brother Robert already.

Now they are reunited! The Parsonage is going to close soon, to reopen in February 2008, and when we do, visitors will be able to see Maria.

They will also be able to see some other new acquisitions: three Victorian envelopes which we bought at a small auction house in Colchester called Reeman Dansie Auctions. One contains a lock of Charlotte’s hair, one a lock of Anne’s hair, and the third contains a ring which belonged to Charlotte.

The envelopes were given by Ellen Nussey to her friend Lady Morrison in the 1880s.”

Rebecca in Haworth

Martin Rippingale writes:

Next Friday brings a chance, I am noting, that if you can get to Haworth in Yorkshire you can watch the 1940 movie version of Daphne du Maurier’s Rebecca.

I would love to attend and to walk around the Brontë Parsonage as a prelude, but I’ll just have to fix myself up with a DVD viewing.

It cleaned up at the awards ceremony at the time, for good reason: Fontaine is at her emotional finest and Olivier is as impressive as always as Maxim de Winter, with those slightly clipped cultivated tones which made him such a wow in the London theatre.

Londoner Alfred Hitchcock made his mark as a director in the States with this movie as well, doubtless taking a bet that a novel published a couple of years previously to great critical applause would bring in the audiences – and it did.

Over in England, there was a war in progress, so I imagine the blitzed-out Brits escaping into a gothic du Maurier world, where the horrors were different. Sunken boats with bodies in them? It happened every day in the Atlantic – or come to think of it, the ocean not too far from Cornwall.

John Harrison and Robert Sherwood wrote the screenplay, and it hits the mark because according to all allegations and reports, the producer David O Selznick had an attack of sensitivity and demanded that it be faithful to the novel.

It is not a hundred percent faithful though. In the novel, Rebecca is slain by a slug from Maxim’s gun. Not so in the movie of course. The burning down of Manderly at the movie’s finale was not in the novel either, so perhaps the guy who called the shots – Selznick – was more influenced by Jane Eyre than Daphne du Maurier.
Richard Wilcocks adds:

The film will be shown at the West Lane Baptist Chapel at 7.30pm. Contact Andrew McCarthy on 01535 640194 to make sure of your seat. Entrance £6.00

Milan meeting

The will be a meeting of the Italian section on Saturday 1 December. Scaffale Inglese means English Shelf. The meeting will cover the lives and works of twenty poets - including Emily Brontë of course.

Brontë Mass by Philip Wilby

On Saturday 24 November 2007 at 7:30pm in Leeds Town Hall, the World Premiere of Brontë Mass by Philip Wilby, will be performed along with works by Vaughan Williams.The performers are the Royal Liverpool Philharmonic Orchestra and Leeds Philharmonic Chorus, with soloist Leigh Melrose (baritone), conducted by David Hill.


Commissioned by the Leeds Philharmonic Society, Brontë Mass is divided into two halves; the first is a Memorial, comprising three sections. Charlotte Brontë’s poem The Autumn Day sets a reflective tone at the outset, which is quickly dispelled by a stormy and bell-laden setting of the Sanctus


Anne Brontë’s A Prayer, with its linked themes of faith and doubt ends this part of the composition, here set for a cappella choir and solo trumpet. The second half is celebratory in tone, opening with Emily Brontë's No Coward Soul and concluding with the Gloria.


Professor Philip Wilby is the Director of Composition Studies in the School of Music at the University of Leeds. He has worked as a professional violinist, and joined the staff at Leeds in 1972. He has received commissions from California State University-Fresno, St Paul's, Norwich and Liverpool Anglican Cathedrals, the BBC and English Northern Philharmonia.


He is well-known for his connection with brass band and church music, and has described Baroque and Classical composers as very influential - he has played in Christopher Hogwood's Academy of Ancient Music on a large number of recordings on authentic instruments.


As part of his work in the School of Music, he has reconstructed performing editions of a number of unfinished scores by Mozart, including a new edition of his Mass in C Minor K427.


Much of his work is informed by his Anglican faith: his wife is a priest and he has lived in vicarages for many years.


See what's on in Leeds International Concert Season.


Below, Philip Wilby

People's Poet Laureate in Haworth

An Evening with Wendy Cope

Wendy Cope was Radio 4’s Poetry Please listeners' first choice for Poet Laureate following the death of Ted Hughes in 1998. She is one of the UK’s most popular poets and will be visiting Haworth and reading from, and discussing, a selection of her hilariously wry, ironic poetry for one night only - at 7.30pm on Saturday 10 November at the West Lane Baptist Centre.

"Wendy Cope has achieved both critical and popular acclaim through her poetry and it’s wonderful that she will be performing here in Haworth.

She reads in a wonderful, entertaining way and I’m sure that we’re in for a real treat. Her poetry is very different to that of the Brontës, but this is part of our intention to establish Haworth not just as a heritage centre but as vibrant creative centre too" (Andrew McCarthy, Deputy Director, Brontë Parsonage Museum)

Wendy Cope’s poetry collections include Making Cocoa for Kingsley Amis (1986), Serious Concerns (1992) and If I Don't Know (2001), which was shortlisted for the Whitbread Poetry Award. She received a Cholmondeley Award in 1987 and was awarded the Michael Braude Award for Light Verse (American Academy of Arts and Letters) in 1995. She has also edited a number of poetry anthologies including The Orchard Book of Funny Poems (1993), Is that the New Moon? (1989), The Funny Side: 101 Humorous Poems (1998), The Faber Book of Bedtime Stories (1999) and Heaven on Earth: 101 Happy Poems (2001).

Tickets are £7.50/ £5 (under 16s) and should be booked in advance.

For further details and bookings please ring the Brontë Parsonage Museum, 01535 640194 or email andrew.mccarthy@bronte.org.uk


Below, Wendy Cope photographed by Caroline Forbes

Graphic Jane Eyre

Jo Wheeler from Classical Comics has sent us this page of artwork from Jane Eyre. The artist is John M Burns. For more, go to the Jane Eyre Artwork link on the right hand side.

Brontë Soul Website

Randall Grimsley writes:

Marie Vaughn Manis, US Region 7 member, has recently created the Brontë Soul website. The link for this is here: thebrontesoul.wetpaint.com

It presents the Brontës' prose and poetry in addition to information about their schooling, life in Brussels, artwork, devoirs, links to novels, film adaptations, daily lives and loves, pets, and life in the Parsonage. Brontë bibliography and links to related web sites can also be found there.

Marie continually updates her site. She is currently posting Emily's poems on it, along with several letters written by Charlotte.

Brontë Soul now has a page that offers an update on the Brontë movie due to be released next year.

Brussels “in the grip of Brontë frenzy”

Helen MacEwan reports:

The first talk organised by the Brussels branch, on 18 October, attracted an audience of over 50 people. At present the group members are predominantly expatriate so we were pleased to see Belgians there as well, including a well-known writer and students from a Brussels university.

Derek Blyth, who is a journalist, took a fresh and personal approach to the subject of the Heger letters, sharing with us his fascination in them and musing on some unanswered questions, from the exact nature of Charlotte's feelings to points of practical detail (why the torn-up letters were repaired as they were). He had taken the trip to the British Library to see them for himself, and had heard from Sally Brown, keeper of rare manuscripts at the Library, a Charlotte Brontë ghost story well known in Brontë circles but less familiar to our Brussels audience. Derek confided that when exploring Brussels he is often aware of Charlotte's presence, if not her ghost.

We hope to attract more Belgian members to our group, so were delighted by the amount of media interest in the talk. A national newspaper was interested enough to do an interview. The reporter was fascinated by the whole concept of literary societies, almost unknown here: "People meeting to discuss the works of the Brontë sisters: this is the latest craze blown across the Channel from Britain to Brussels"! A Brussels "What's On" also forecast a Brontë craze and advised bruxellois to be "one step ahead of the pack" by going to the talk: "Close your eyes and let yourself be swept along by this torrent of passion".

A radio station decided to get in on the act by broadcasting an interview with Derek Blyth. The interviewer, albeit good-humouredly, grilled him about Charlotte's comments on Belgians. Derek, while cheerfully admitting that had she been writing today she might possibly have been sued, tried to make amends by dwelling on her affection for Brussels.

Brussels offers unique advantages for organising literary events. It has a huge English-speaking community and most of the multinational staff at the EU and other international organisations speak English, as do many Belgians. There is a plethora of English-speaking events such as theatre and talks. But, until now, no literary societies.

To exploit some of this Brontë enthusiasm, we have started a reading group. Brussels abounds in these, but ours is the only one to specialise in 19th century literature. Eighteen people have already signed up - too many for the room Waterstone's has kindly placed at our disposal. Fifty percent of the members are British, the others are Swedish, Belgian, Finnish, Bulgarian, Slovenian, German and Thai! A multinational group of expats in Brussels, just as Charlotte was, coming together in the city where she spent two homesick but intense and fruitful years.


Below, stitched letter, stitched envelope:

Held in thrall

Amy Corzine writes about her work for Classical Comics:

What was it like writing the comic adaptation for Jane Eyre?

Wonderful. I was paid to wallow in an ocean of romance! The characters, language, plot and descriptive passages held me in thrall so that writing this adaptation was a joy. It was also great fun to suggest imagery, keeping to Charlotte Brontë’s vision while utilising my own imagination, and to plot the story, panel by panel, much as scriptwriters and playwrights plan their scenes.

Writing the graphic adaptation of Jane Eyre for Classical Comics gave me a fantastic excuse and tremendous opportunity to immerse myself in its author’s mind. It quickly became obvious that Brontë was propounding the belief, perhaps gleaned from her Irish forebears, that real spirituality arises from a natural goodness in human beings that is inextricable from Nature.

A potent mixture of Christianity and British folklore established a powerful psychological background for the love affair between Jane Eyre and Mr. Rochester. Symbolism made the novel sparkle. Jane’s show of strength was linked with the moon rising. Mr. Rochester was described as a bird of prey. He often called Jane a tiny bird of one sort or the other, or a fairy sprite.

Why is it such a great novel? Acute observations of the social and relationship constellations of the people of Bronte's time play a part. But the clever chemistry and verbal dances between the lovers are perhaps what most strike the heart. Often it seemed as if Brontë were simply recounting real conversations – perhaps ones she had really had with a schoolmaster with whom she fell in love while working as a governess in France.

The book was so well-plotted, its language so moving, and its descriptions so colourful, that putting it into visual form was one of the easiest and most enjoyable writing jobs I have ever had. My most difficult task was choosing which passages to leave out.

Its images remain indelibly imprinted upon my psyche. I became the unloved orphan rejected by wealthy relations who read a picture book while hiding on a heavily veiled window seat for solace. I grew indignant with childish rage against Jane’s early tormentors. I shivered with hunger in the cold of Lowood Hall. I fell in love with Mr. Rochester right alongside Jane, felt her fear and desperation upon discovering the mad Mrs. Rochester, and her despair as if it were my own, upon discovering the only man she had ever loved was deceitful and married. I contemplated the star above me as if I were Jane Eyre lying on the moor, penniless and alone.
The passions of another age, another time and place, filled me while I adapted this book. Now I understand the people of Brontë’s time, whom she described so movingly.

Jane Eyre showed me that the repressed Englishman has always been a myth. The emotions of the people on these islands rage as furiously, and deeply, as the seas around them.
I hope the comic book will inspire adults as well as young people to read the original work. The novel will draw them into the England of two centuries ago, and inspire them to contemplate ideas such as the nature of love and religion, and whether our spiritual consciousnesses are inextricable from Nature and each other. Nothing stimulates debate so well as a good story.

Two Hats on tour

Jane Thornton's adaptation of Wuthering Heights has been gathering popularity ever since it was first performed a few years ago by Hull Truck. It was on recently at the Theatre Royal in York, and now the Two Hats Company is touring it. Here is the official press release from Darren Scott:

Whatever our souls are made of, his and mine are the same

A mysterious orphan who sets two families at odds. A conflict passed down across generations. And a love that lasts beyond death. Cathy and Heathcliff grow up on the remote Yorkshire moors, soulmates and fellow victims of Cathy's brother. But when a chance mistake sends Heathcliff away, Cathy marries the wrong man...

TWO FAMILIES. TWO SOULS. ONE LOVE TO DIE FOR.

Blanche McIntyre directs a cast featuring Two Hats regulars Chris Dobson, Emma Cooper and Nick Marshall and newcomers Matt Dudley and Krisha Harman to present an intimate evening of story-telling suitable for all ages.

Composer Darren Scott provides an evocative original score for this production, with costumes designed by Helen Brady.

Tour information:

Nov 19th & 20th Criterion Theatre, Coventry £8 (£7 members)
Nov 21st & 22nd Waterside Theatre, Stratford upon Avon £10
Nov 23rd & 24th Old Joint Stock Theatre, Birmingham £10 (£9 concessions)
Nov 26th Napton Village Hall Tickets on door £7 (£6 concessions)
Nov 28th The Gap, Warwick £4
Nov 29th Greig Hall, Alcester £7 (£6 concessions)
Nov 30th The Herbert, Coventry £6
Dec 1st Malt House, Alveston Tickets on door £7 (£6 concessions)

About Two Hats Theatre Company

Formed in 1999, and based in Warwickshire, Two Hats is an outward-looking company, connecting the best of the region's professional actors with the wider community.

The Company is distinctive by combining broad audience appeal and accessibility with an uncompromising approach to both 'classics' and newer work. We use modern multimedia technology fused with traditional theatre practice to stage original and exciting productions.

A tightly-knit team, Two Hats is dedicated to the highest standards of preparation and production.

Kring zoekt spoor van Brontë-zussen

It means 'Group searches for traces of the Brontë sisters' and it comes from the Nieuwsblad, one of Belgium's leading Flemish-speaking newspapers. Helen MacEwan tells us that it was published because of a talk to be held by the Brussels group tomorrow, Thursday. She has also sent a translation, and comments that the original article contains "a number of oddities and inaccuracies" (see for yourself if you know Dutch or Flemish at http://www.nieuwsblad.be/Article/Detail.aspx?ArticleID=AI1IMK4O) but that it is generally good publicity.

Translation of the article:

Group searches for traces of the Brontë sisters
First Belgian branch of the Brontë Society

BRUSSELS – People who meet to discuss the works of the Brontë sisters: this is the latest craze blown across the Channel from Britain to Brussels. Helen MacEwan is leading the first Belgian branch of the Brontë society.

Brussels is once again displaying her international character with the formation of this branch of the Brontë Society. "In Britain, the fascination for the Brontë sisters is a national sport," says Helen MacEwan. "People are constantly doing research about the tragic lives of the Brontë family. And there is a continuous stream of TV and film adaptations of one or other of the Brontë novels."

MacEwan has founded the first Belgian branch of the Brontë Society in Brussels, where she works as a translator. It is hardly a coincidence that a branch has been set up in Brussels. Charlotte Brontë lived there in 1842 and 1843. She came here to study French and fell in love with her teacher. Her novel Villette tells the story.

During its first event, the Brussels Brontë Group organized a walk visiting several sites which were portrayed in Charlotte’s book, guided by British-born Derek Blyth.

Derek Blyth explains the worldwide fascination for the seven novels by the three Brontë sisters. "They are very personal works, with a psychological depth which somehow manages to reach every age group. My 16-year-old daughter is currently reading Jane Eyre. There aren’t that many 160-year-old books that teenagers of today still read."

No exam

The Brussels Brontë Group isn’t a collection of purists. You don’t have to pass an exam to join. Knowing the names of the three sisters is enough. And you should enjoy reading of course. With the expansion of the Group, it has set up a Reading Group, focusing particularly on romantic authors such as Austen.

Charlotte Brontë stayed in the Pensionnat Heger in Brussels in and fell in love with her teacher Constantin Heger, who taught her French. When she returned to England, she remained obsessed with her professor and wrote him a series of letters.

But the professor did not answer her letters. In fact Monsieur Heger tore them up. But his wife rescued them from the wastepaper basket and sewed them back together. Paul Heger, Constantin’s son, donated four of these letters to the British Museum in 1913.

On Thursday 18 October, at 19.30, in the Le Cercle des Voyageurs / Travel Arts Café, Rue des Grands Carmes 18, 1000 Brussels, Derek Blyth will talk about these letters.

www.thebrusselsbrontegroup.org

Paul Demeyer

Below, Derek Blyth and Helen MacEwan

Exhibition in Baltimore

Thanks, Randall Grimsley, for the reminder that this exhibition is still running. So if you're in Baltimore.......

The exhibition first appeared at the University of Virginia in 2006 and featured materials from the teaching collections of Rare Book School. Founded in 1983, the school moved to its present home in 1992. It is an independent non-profit educational institute for the study of the history of books, printing and related subjects. More info from www.rarebookschool.org

Tamar Yellin in Haworth

Deputy Director Andrew McCarthy writes:

Tamar Yellin, author of Kafka in Brontëland and other stories, will be reading from and discussing her work and the influence of the Brontës at the West Lane Baptist Centre in Haworth on Wednesday 17 October at 2.00pm. This event takes place as part of the Brontë Parsonage Museum’s contemporary arts programme.

Kafka in Brontëland and other stories was longlisted for the Frank O'Connor International Short Story Award and received the Reform Judaism Prize 2006. Born in Leeds to Jewish parents, Tamar Yellin moved to Brontë country at the age of 21 and has lived there ever since. Her novel, The Genizah at the House of Shepher, based on her Jerusalemite ancestry, has received several awards including the international Sami Rohr Prize for emerging Jewish writers which carries a $ prize.

The museum’s arts programme has featured lots of well known writers but it’s wonderful to have an opportunity to highlight the work of a writer living and working so close to the home of the Brontës. It shows that Haworth still has an inspirational attraction not only for readers of the Brontës' books but also contemporary writers and artists.


Admission is £2.75 on the door. Advance booking is not required. Free to day ticket holders to the Brontë Parsonage Museum. For further details and bookings please contact the Brontë Parsonage Museum, / andrew.mccarthy@bronte.org.uk

Below, Tamar Yellin:

Fund-raising and filming

Director Alan Bentley writes:

Along with a number of other historic houses and museums, we are participating in a fund- raising effort on eBay.

Top Lots is a partnership between heritage organisations and EBay to auction “experiences” to raise money. We are auctioning Ann Dinsdale, or to be more exact we are offering the following –

An evening for a group of up to 15 people with exclusive access to the Parsonage and Garden, an introductory talk and tour followed by a unique behind-the-scenes look at items from the collection with Ann Dinsdale, Brontë Society Collections Manager and author. Wine and nibbles and entertainment with a chance to meet Branwell Brontë.

Find out more at http://www.toplots.co.uk/lots.php?id=37

On the topic of the forthcoming new film Brontë, director Charles Sturridge and his team have visited the Parsonage recently, mainly to take mouldings of stonework (and photographs) of the exterior, because it will soon be reconstructed at a location near Sheffield in South Yorkshire. Other locations will include Brodsworth Hall, near Doncaster, and Cannon Hall, near Barnsley. Haworth village will feature too – but at the moment it is not known how much.

The cast list has been changing recently, which has given rise to plenty of speculation. The latest names for the Sisters, as conveyed to me, are as follows:

Rebecca Hall (seen recently on TV as Antoinette in Wild Sargasso Sea) as Emily Brontë.

Natalie Press (seen recently on TV in Bleak House) as Charlotte Brontë.

Evan Rachel Wood (well-known from the film Running with Scissors) as Anne Brontë.

In addition, John Hurt replaces Brian Cox as Patrick Brontë, Geraldine Chaplin plays Aunt Branwell, Joan Plowright plays Tabby and Kristin Scott-Thomas plays Lady Robinson.

Brussels scenes will not be filmed in Brussels – but in Luxemberg.

Richard Wilcocks adds:

Rebecca Hall, I suspect, will be an excellent Emily, judging from her remarkable performance on BBC Four’s Wild Sargasso Sea recently. In this she is the perfect Antoinette, who can only assert herself occasionally. Her yearning for love from the cold, authoritarian Rochester is painful to watch, her vulnerability and indecisiveness beautifully conveyed. She is a creature of nature, at home in a hallucinatory landscape, who will do something mad if she is unnaturally confined, and we see that in her well before the end.


Below, Rebecca Hall

This Saturday

A reminder : poet Amanda Dalton will be resident at the Parsonage on Saturday 6 October to mark National Poetry Day - which is officially tomorrow, 4 October. See the post for 9 September below.

Brontë Circles

Robert Barnard - pictured here with Director of the Parsonage Museum Alan Bentley - gave a talk entitled People the Brontës Knew in Haworth yesterday, to a large and appreciative audience. It was to mark the recent publication of A Brontë Encyclopedia: the indefinite article signifying academic modesty is officially favoured, but this major (definitive?)work should soon be up there with the likes of Juliet Barker's The Brontës. Up there with Clement Shorter too.

Magazine editor Shorter produced Charlotte Brontë and her Circle in the 1890s, and it was his title which provided Dr Barnard with the talk's structure. "Some might think that she didn't have a circle....but everyone has one....although you would be hard-pressed to find one for Emily.

"I am going to talk about two or three circles. The first is the one which Patrick and Maria gathered around themselves at Thornton."

Thornton was described as a place where the gentry (which included the clergy) was "not really impressive" but where it was more numerous than in Haworth. Thanks to Miss Elizabeth Firth of Kipping House, who welcomed the Brontës there in 1815, we know about most of the social engagements of the time. Less than three months after Maria's death, "Patrick contacted Elizabeth, then aged about twenty-one, and must have proposed marriage, because she records that she wrote back to him telling him that it was her last letter to him."

She probably considered him to be of too lowly an origin. And he was Irish, too: "Attitudes to the Irish were perhaps a little similar to some present-day attitudes to immigrant groups like West Indians or the Poles.....It was not usual for people of a humble Irish origin to espouse English conservatism."

Quoting from Dudley Green's The Letters of the Reverend Patrick Brontë, Dr Barnard showed how Patrick, "although he cringed to the gentry he met at Thornton", and although he wrote that "a warmer or truer friend to Church and State" could not be found, nevertheless found himself bound to "advocate the cause of temperate reform".

The end of Patrick's association with "extreme conservatism" and the Thornton Circle was marked by his letter to Dr Outhwaite of 20 September 1844:

Sir,
I thank You for your Laconic Letter - I will try to abide by your - prescription for in good sooth, I have much need of patience, especially, when under affliction, such as may arise from Old Age, and Old Friends. - But that God to whom you refer, will judge You and [me], on the day of Doom, when we shall be more on a Level than we are now are - You have in times past done me [and mine]good for which I shall ever be thankful, whatever you now do, or may do, in time to come -

I remain, Sir
Your most obedient Servant, P. Brontë


The second group of people which Dr Barnard selected was the clergy - part of Charlotte's circle. "We can guess her opinions from reading the opening chapter of Shirley in which clergymen are ridiculed." Clergymen were the only ones who could be regarded as matrimonial prospects, and Charlotte did not think much of most of them - for example the one who absconded with charity money (Smith), the one with profligate habits (Collins) who was physically cruel to his wife and children, infecting her with syphilis, and her father's close friend William Morgan, referred to as a boring "fat Welshman", and whose visits she detested.

"For Charlotte, the majority of clergymen were stupid and mediocre, with few prospects. All they did was to pass the time between meals quarreling. They lacked any zest for life.

"So what an eruption of vigour it must have been when William Weightman arrived! He was exceptionally lively and outgoing, with a wonderful warmth emanating from him......such a contrast with her brother Branwell, always looking in on himself.....Weightman had a sense of love, of humanity.....all the Brontës were in love with him.....he sent them all Valentines, including Ellen Nussey."

The third circle selected was Charlotte's society of her equals. "This was the sort of society which she had been aiming for all her life. The evidence is in the Juvenilia, which is full of literary controversies."

Most of the members of this circle were connected with London, a place of "venomous literary quarrels" which Charlotte had long been aware of before her visits. She knew about disputes surrounding MacPherson (alleged Ossian translator) and Byron, and the vicious denigration of John Keats and Leigh Hunt in Blackwoods magazine ("the Cockney School of English Poets"), so she was well-primed when she met a collection of in-the-flesh critics at a dinner organised by George Smith. She found, unsurprisingly, that critics were more presumptuous and domineering than the actual writers.

In London, she met people she would never have been allowed to see previously, and her attitudes and opinions were suitably amended. Thackeray "fell off his plinth" after her earlier infatuation with him. She became disillusioned with him "and his duchesses". She also stayed in Ambleside with Harriet Martineau - an atheist. "Of course she was lucky to have such friends and guides as George Smith and W S Williams."

"I cut down on the Juvenilia in the Encyclopedia. Some characters are referred to only fleetingly, and they are all covered by Christine Alexander."

Copies of the book (read the review by M. on Brontë Blog at http://bronteblog.blogspot.com/2007/09/bront-encylopedia-review.html) sold well after the talk.

Here are the details if you (or your library) want a copy. Order it from the Parsonage Shop:


Europe / Rest of World £55.00
Australia / New Zealand A$198.00
ISBN13: 9781405151191
ISBN10: 1405151196

Publication Dates

USA: Aug 2007
Rest of World: Jul 2007
Australia: Sep 2007

Format : 246 x 171 mm , 6.75 x 9.75 in

Details : 416 pages, 50 illustrations.

Robert and Louise Barnard's A Brontë Encyclopedia is an A- Z encyclopedia of the most notable literary family of the 19th century highlighting original literary insights and the significant people and places that influenced the Brontes' lives.
• Comprises approximately 2,000 alphabetically arranged entries
• Defines and describes the Brontes' fictional characters and settings
• Incorporates original literary judgements and analyses of characters and motives
• Includes coverage of Charlotte's unfinished novels and her and Branwell's juvenile writings
• Features over 60 illustrations

Remarkable Children

Mary Haigh writes:

To all who have waited for the arrival of my children's book -

The Brontës Remarkable Children of the Moors in Their Everyday World

I am honored to have received the gift of inspiration to write and illustrate this book. At last, it is listed on www.xlibris.com

The book is self-published by XLIBRIS, and they have produced a truly beautiful book - a joy to look at, capturing the watercolors just as I painted them. The text is full of subtle biographical occurrences that were important in the development of the Brontë children's lives. It is all very exciting making use of this unseen technology available at the touch of a keyboard. All the details are available on:

http://www2.xlibris.com/bookstore/bookdisplay.asp?bookid=37513

Barnards in Haworth

Bob and Louise Barnard will both be in Haworth today (Wednesday) at 2pm for a talk entitled People the Brontës Knew. This will be upstairs at the Baptist Chapel in West Lane.

The talk relates to the recent (July) publication of a major work - The Brontë Encyclopedia. The definite article needs a strong emphasis, I think. More later.

*Go to Bob's obituary page here

Listen to Agnes Grey again

It's currently the turn of Agnes Grey to be on BB7. Blog readers outside the UK are reminded that the BBC's Listen Again facility is well worth investigating:

www.bbc.co.uk/bbc7

Wuthering Heights on the Radio

Thanks, James, for reminding us about what is coming up on the radio - BBC7 to be precise. Wuthering Heights begins next Monday 17 September with an hour-long episode beginning at 11am, which will be repeated on Tuesday morning at 5am. Stand by your DAB!

The five-part adaptation runs throughout the week. John Duttine, Amanda Root and Sharon Duce are the principals. Mary Barton is coming as well...

Find out more by going to http://www.bbc.co.uk/bbc7/drama/7drama.shtml

If you are somewhere which can't receive BBC7 (North America for example) please note that the whole lot is available as an audiobook (four CDs) which can be purchased for fifty dollars - BBC Radio Collection ISBN-13: 978-0-7927-3987-6

John Duttine (best known perhaps for his role in The Day of the Triffids) is pictured below:

Amanda Dalton: Poet in Residence

SATURDAY 6 OCTOBER

To mark National Poetry Day, poet Amanda Dalton will be resident in the Parsonage for one day. She will be working in the Parsonage, exploring its collections and engaging with museum visitors to produce material which will be developed into a series of audio installations in the rooms of the house.

Visitors will have the chance to contribute material which will feature as part of the installations. These will be in-situ from Saturday 17 November to Friday 14 December.

Amanda Dalton’s first full length collection of poetry, How to Disappear, was published by Bloodaxe Books and was shortlisted for the Forward Prize for Best First Collection. She has worked extensively in theatre and radio drama and is currently working on her second poetry collection for publication in 2008.

Amanda has also worked in education, as Centre Director for the Arvon Foundation at Lumb Bank, and is Associate Director (Education) at the Royal Exchange Theatre in Manchester.

Free on admission to the Parsonage.

The Letters to Brussels

Deep in the heart of the British Library are four letters written by Charlotte Brontë to her Belgian teacher Constantin Heger. It is nothing short of a miracle that the letters have survived at all. They were torn into small pieces, repaired with needle and thread and then left forgotten in a drawer until 1913.


The importance of these letters can hardly be underestimated. They are essential reading for anyone who wants to understand the true nature of Charlotte Brontë’s feelings for Monsieur Heger when she wrote to him from Haworth:


I would rather suffer the greatest physical agony than always have my heart lacerated by painful regrets. If my master withdraws his friendship from me entirely I shall be altogether without hope; if he gives me a little – just a little – I shall be satisfied – happy; I shall have a reason for living; for working.


It takes a certain dogged persistence to gain access to the letters, but Derek Blyth of the Brussels Brontë Group recently saw them for himself. With the letters on the table in front of him, he was able to obtain a better insight into Charlotte’s mind when she sat down to write to Heger. Study of the originals also helps to pinpoint the moment they were torn up, and to identify the person who saved these outstanding literary documents for posterity. Derek Blyth, a Brussels-based writer who has written guide books on Belgium, will be talking about the letters at the Cercle des Voyageurs Café in Brussels on Thursday 18 October.


More information on the talk at: http://www.thebrusselsbrontegroup.org/index.html


Or contact helen.macewan@ec.europa.eu


Brussels tourist information: www.brusselsinternational.be


The Museum of Fine Arts in Ghent is currently organising a major exhibition titled British Vision that highlights some 200 years of British painting. The earliest works date from the Victorian period when Charlotte Brontë and her sisters were writing their novels and so provides some interesting insights into the artistic mind of the time. Held in Ghent’s recently restored neoclassical museum, this is a unique opportunity to discover the British imagination in all its richness.


More information on British Visions at www.mskgent.be




Images below:


Derek Blyth, drawings from Charlotte Brontë's tale High Life in Verdopolis, the story that she presented to Heger and that turned up mysteriously in a Brussels secondhand bookshop in the early 1890s - now in the British Library. "Portrait of a Young Woman" c. and "King of Angria, Duke of Zamorna" c. 1834.

The Gondal Trio

Paolo Mencarelli writes:

My great passion for the Brontë sisters originated by chance from a desire to deepen my knowledge of female literature. English literature, from this point of view, is full of extraordinary examples: Jane Austen, Mary Shelley, Virginia Woolf to mention only a few, and the Brontë sisters, of whom until 2006 I had never read anything.

I started with Jane Eyre, a novel that impressed me deeply for the extraordinary character of the protagonist and her moral strength. After this, I continued with another enchanting Charlotte Brontë novel - Villette, then The Professor, Shirley and (with growing interest and passion) The Tenant of Wildfell Hall by Anne - and finally Emily’s poems.

These, in particular, struck me so much that I decided to postpone my reading of Wuthering Heights until August 11, 2007, at Haworth, after coming back from a wonderful walk on the moors.

This interior path urged me to involve my literary experiences also in my daily life. I am a cellist and together with my wife, Maddalena, a violinist, I am a permanent member of the orchestra of the theatre La Fenice in Venice. Our life-long interest in music prompted us to develop other experiences besides that in the orchestra and so, many years ago, we founded a piano trio. Recently we had to find another pianist for our group, and so, while looking for the name of our new trio, it was natural for me to suggest 'Gondal'.

The idea was accepted with great enthusiasm, since our new pianist, whose name is also Maddalena, is very fond of English Literature: she has prepared a dissertation on Britten’s Midsummer Night’s Dream and a doctoral dissertation on the vocal chamber music of Ralph Vaughan Williams and Gerald Finzi.

The repertoire of our Gondal trio is mainly Romantic, centred on the trios of Brahms and Mendelssohn (our favourite) and for the next year we have many projects including the performance of the entire chamber music production of Beethoven next spring and the trios of Dvorak and Villa-Lobos.

I would like to spend a few words on my recent visit to Haworth in August with my wife. We arrived Friday 10 and we stayed in a nice B&B near Main Street.

The following day we went to St Michael's and All Angels. I was a bit excited when I crossed the threshold of the church. Inside there were only two people: a woman polishing the brass and the organist. The atmosphere, in that absolute silence interrupted only by the wonderful playing of the organ and the view of the beautiful stained glass windows was really breathtaking. At 10.30 am we started our walk to Top Withins and the Brontë Waterfalls. The pathway on the moors was enchanting: the heather was blooming and the wind modified in a few seconds the colours of a bright blue sky covered by dark and white clouds.

On Sunday 12 August we went to the Parsonage Museum. It’s difficult to forget the emotion of the visit. To look at the dining room with the black sofa, Emily’s piano, the small dress and Charlotte’s shoes, Branwell’s paintings, the wonderful embroideries of the sisters, the brooches, the pins and all those photographs was something really interesting and touching.

Two memorable days, but too, too short! Many things still remain to be seen and discovered ..... we will surely come back!

Below, pictures of us, of La Fenice, Top Withins in the distance and a patch of wild Rosebay Willow Herb: