The specificity of Camille. Pleyel pianos in F. Chopin’s period in Paris

– Introduction: Intimate relationship between the Pleyel pianos and Chopin
– Main content  

1. The characteristics of the sound with references to historical sources
– Evidence from Chopin’s letters
– Commentaries by musicians and critics of the time 

2. What factors contribute to the creation of such sound
– An evolution from the pianino (the first ones were produced at the same year of Ignace Pleyel’s death) to grand piano 
– Research on the Pleyel pianos that have kept the original material and structure (e.g. 3 pianos of 1844: Rossini’s Pleyel in Bologna, Italy etc.)
– the mechanics
– the felt (the material used, the density and size) with demonstration

3. Historical context of music making at the time
– performances mainly took place in salons for a relatively small audience (still very much influenced by the tradition from the 18th century)
– the design of the Pleyel pianos was ideal for such settings
– Chopin always prefers to play in salons for a small circle of friends (eg. Eugene Delacroix etc.)

Olivier Fadini

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