chopin and pleyel

: CHOPIN AS EARLY MUSIC *

Jean-Jacques Eigeldinger

Chopin and Pleyel

C HOPIN'S first concert in Pans on 26 February1832 played a decisive role in his career, estab-lishing his reputation as a composer and performer,securing contacts with publishers, opening the doorsof the most influential salons, and bringing work as ateacher, mainly among the aristocracy. Even so, thekey name at his debut concert was 'Pleyel'. Twoindications in the programme, originally intendedfor 15 January 1832, stand out immediately: 'MrFrederic Chopin, from Warsaw' will give a concert'in the salons of Messrs Pleyel & Co, Rue Cadet,number 9' (lllus.i).' Totally unknown in Paris, wherehe had not yet built a reputation, Chopin facedmajor obstacles in trying to attract an audience. Theconcert hall where the event took place is still inexistence today. It consists of three adjacent but notvery spacious salons in Louis XV style on the firstfloor of a hotel particuher. They were used by thepiano manufacturer and music publisher CamillePleyel primarily as an exhibition hall and as a show-room for his firm's merchandise. Soon they becametoo small even for chamber concerts, and in 1839they were replaced by others on the Rue de Roche-chouart (no longer extant) which were used on anad hoc basis and could seat some 300 people (illus.2).It is in these premises, known for their elegance, thatChopin would play in 1841,1842 and 1848.2

The 1832 concert in the Rue Cadet was givenunder the patronage of the famous Frederic Kalk-brenner, who lent his helpand his pianosto thenewcomer. Well established in Parisian high societyand even at the court of Louis-Philippe, Kalkbrennerreigned supreme as a pianist and teacher and wasPleyel's associate not only in the publication of

music editions but also, and to an even greaterextent, in piano manufacturing and sales. ManeMoke, Kalkbrenner's most brilliant pupil, was mar-ried to Camille Pleyel at the time; Chopin's threeNocturnes, op.9, were dedicated to her in 1833.Chopin's correspondence confirms his high, almostunreserved admiration for Kalkbrenner's playing,and from the autumn of 1831 a link was forgedbetween the two musicians.

From Chopin's letters we also learn of Kalk-brenner's attempt to subject the young provincial tohis tutelage for three years, but this proposal wasquickly and deftly declined. Nevertheless, the twomen always maintained a courteous, gentlemanlyrelationship. In 1833 Chopin shrewdly dedicated hisE minor concerto 'a Monsieur Fred. Kalkbrenner',who had previously shown an interest in this worka work which happened to be the piece de resistancein the first part of Chopin's debut concert, and thuswas published before the F minor concerto.3 Kalk-brenner, who assumed the three different functionsof pianist-composer, teacher (of sorts) and Pleyel'sassociate, kept a tight rein over the second part ofthe concert. Here are Chopin's words in a long letterof 12 December 1831 to his friend Tytus Woycie-chowski:

I shall also play on two pianos with Kalkbrenner,accompanied by four other pianos, his March followed bya Polonaise It's a crazy thing. One of our two instrumentsis an enormous pantahon which, of course, Kalkbrennerwill have, and the other, which falls to my lot, is amonochord piano which is tiny, but its tone carries, likelittle bells on a giraffe.4

The terminology used for these instruments

Jean-Jacques Eigeldinger is Emeritus Professor of Musicology at the Umversite de Geneve. His manypublications on Chopin include Chopin: pianist and teacher as seen by his pupils (Cambridge,1986) He is one of three Series Editors of The Complete ChopinA New Critical Edition.

EARLY MUSIC AUGUST 2001 389

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2 Salons 1'leyel, Rue de Rochechouart, opened in 1839 and in use until 1927: lithograph by Edouard Renard in{.'illustration-, 9 June 1X55, p.365

needs some explanation. First, paiitalion was anidiomatic and rather general term tor a piano in1820s and i8.v>s Poland (Chopin used it only in cor-respondence to Poland)1in this case, most likely aconcert grand. Second, in 1825 Pleyel had patented asquare monochord instrument, ot which somespecimens survive. Finally, the word 'giraffe' (possi-bly meant as a ioke in the letter) refers to the verti-cal or 'giraffe' pianoas it was known in Warsaw which sometimes had a register of bells. As forKalkbrenner's Grande Polonaise, op.92, this existedat the time in a printed version for piano and stringquintet," and Chopin could have performed thishimself with Maillot's quintet, which had playedin the first part of the concert. But Kalkbrennerpreferred to show off by using not only everyavailable type of piano, but also, on this occasion,Chopin too. "[he concert was in fact an exhibitionof Plevel & < o s merchandise at the expense ot the"heneficiarv'. It tell to Chopin to demonstrate theexcellence ot the monochnrd piano and to advertise

the lessons he had received from his 'teacher'Kalkbrenner (as described by Fetis in his famousreview)."

All this took place in the intimate setting of theshowroom salons of the Rue Cadet. In a sense,Chopin had everything he needed at his disposal: aresponsive instrument with a bell-like sound, theexclusive salons ot the ancicn regime, and a small,select audience including the most distinguishedmusicians ot the capital and some renowned mem-bers of the Polish aristocracy.

Flis Variations on 'La ci darem la mano', op.2, hadbeen earmarked for the end of the programme on 15January, but were not mentioned by Fetis as havingbeen performed in February-. Felis siinph refers to 'aselection of his [Chopin's I early pieces' in the secondedition ot his Biographie imivcrscllc," and in the eventChopin possibly ended with a number of 'mazurkasand nin.liirnes', a% dc-^ribed b\ Ferdinand Miller inhis later but nonetheless precise recollections.- Inother words, he played the verv tvpe of work that

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would immediately brand him as a quintessentialsalon composer. This topos was confirmed as early asDecember 1833 in Berlioz's famous article:In order to appreciate him fully, I believe he has to be heardfrom close by, in the salons rather than the concert hall, withall preconceived notions put aside as these would be inap-plicable to both him and his music ... There are unbelievabledetails in his Mazurkas; and he has found how to renderthem doubly interesting by playing them with the utmostdegree of softness, piano to the extreme, the hammers merelybrushing the strings, so much so that one is tempted to goclose to the instrument and put one's ear to it as if to aconcert of sylphs or elves. Chopin is the Trilby of pianists.10

From the time of the debut concert, a more or lessexclusive verbal contract was drawn up betweenPleyel and Chopin:" the former would lend hisinstruments and salons to the latter, who would pro-mote them to his pupils because of their distinctivequalities and his own strong preferences. It is there-fore surprising that, after the concert, Pleyel seemsnot to have made any effort to bring out Chopin'sfirst publications, unlike Farrenc, who hadattempted to add Chopin to his (smaller) list ofcomposers before eventually being supplanted bythe powerful Schlesinger. Preoccupied with theinheritance of his father, Ignace, Camille Pleyel wasprobably considering abandoning music publishingaltogether from 1832. He finally stopped in 1834 afterproducing Chopin's Rondo, op.i6, and Mazurkas,op.17, which he sold to Schlesinger that same year.

'firard-Pleyel! - Liszt-Chopin!'12 These two oppo-sitions, in circulation in Paris from the mid-i83os,firmly place the notions of concert and salon at twoextremes, along with their different sociomusicalconnotations in terms of instruments, concert halls,musical genres and audiences. Some instructivecomments on these polarities can be found in theshort-lived periodical Lepianiste:Give Liszt, Herz, Bertini and Schunke an rard; but to Kalk-brenner, Chopin and Hiller give a Pleyel; a Pleyel is neededto sing a Field romance, to caress a Chopin mazourk [sic], tosigh a Kessler Nocturne; for the big concert an rard is nec-essary. The bright tone of the latter carries no further, but ina clearer, more incisive and distinct fashion than the mellowtone of the Pleyel, which rounds itself and loses a little of itsintensity in the corners of a large hall.'3

Thus, at one extreme, were the lions of the stage ledby Liszt, the future inventor of the recital, while at

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the other were the intimate setting of the salonand the figures of Kalkbrenner, Hiller and, finally,Chopin, all with a classical connotation. As for themusical genres mentioned in relation to specifictypes ot instruments, we find the very ones playedby Chopin on his arrival in Paris: nocturne,romance and mazurka, at which he particularlyexcelled.

Before his withdrawal from the concert platformin 1835 Chopin was already singled out in theParisian press as the representative par excellence ofthe salon in its most noble sense. That does not ofcourse mean that the composer of the Etudes,op.10, and the Concerto, op.11, was content withthis restrictive label to the point of suffering as aresult, as Liszt purported. This was the very Lisztwho, in his notorious review of Chopin's concert in1841, omitted any reference to the virtuoso pieces(Cf minor Scherzo, op.39) or epic works (A majorPolonaise, op.40 no.i) played by Chopin in favourof the 'miniatures' on the programme, namely pre-ludes and mazurkas. By these omissions, Liszt 'gra-ciously' assigned to Chopin the rule of an aristo-cratic salon pianist, though claiming, after hisdeath, that this role did him ill justice. Nevertheless,after 1835 Chopin removed himself from the pianis-tic arena; except for his appearances at Pleyel'ssalons on the Rue de Rochechouart in 1841,1842 and1848 he was out of action well before the 1840s,when his triumphs as a teacher were being celeb-rated throughout Europe.

DURING lessons at the Square d'OrleansChopin's pupils invariably played a grand pianowhile the master taught or accompanied them on asmall upright ('cottage piano')both instrumentshaving been made by Pleyel (illus.3, 4). Lenz main-tained that at one time Chopin 'would never give alesson on any other instrument; one had to have aPleyell'14 A young Latvian pianist, Emilie vonCretsch, who had initially been trained according toHenselt's technical regimen, relates the following ofher studies in Paris:

Until now I have worked more on heavy keyboards than onlight ones: this has greatly strengthened my ringers. However,on this type of piano it is impossible to obtain the subtlestnuances with movements of the wrist and torearm, as well a.sof each individual finger. These nuancesI've experiencedthem at Chopin's on his beautitul piano, with its touch soclose to that of the Viennese instruments. He himself calls it'a perfidious traitor' \un tnutre perfide\. Things that tameout perfectly on my solid and robust F.rard became abruptand ugly on Chopin's piano. He found it dangerous to workmuch on an instrument with a beautiful ready-made soundlike the Hrard. He said these instruments spoil one's touch:'You can thump it and bash it, it makes no difference: thesound is always beautitul and the ear doesn't ask tor anythingmore since it hears a full, resonant tone.'1'

Would an Erard piano have represented forChopin something like a counterpart of our modernSteinway? The context in which F.milie's reminis-cences are quoted is one of learning to play cantabileat the piano, namely in the nocturnes. Chopinsuggested as a model for musical declamation theleading practitioners of bel canto, and taught that a

1 Plevcl grand piano no.7267 11X^ 9 >, plaved bv ("hopin until 1841 (Paris. Musee de la Musique 1

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'vocal' respiration could be achieved mainly by thearticulation of the wrist. This was the keystone of hisplaying and his teaching. Therefore, the Jacilement,facilement' with which he punctuated his lessonsseems to have found its full expression in the mech-anism of a Pleyel, at once both precise and respon-sive. It is this responsiveness, this capacity to modu-late the sonority, that the following remark,attributed to Chopin, refers to: 'When I feel out ofsorts, I play on an rard piano where I easily find aready-made tone [un son tout fait]. But when I feelin good form and strong enough to find my ownindividual sound \mon propre son a moil, then I needa Pleyel piano.'16

Finally, a fundamental element of Chopin's soundaesthetic finds its perfect realization on a Pleyel:namely, the precise mechanism of the pedals and thetimbre of the una corda, which Chopin constantlyexploited but which never appears in his printedmusic. Marmontel comments thatChopin used the pedals with marvellous discretion. He oftencoupled them to obtain a soft and veiled sonority, but moreoften still he would use them separately for brilliant passages,for sustained harmonies, for deep bass notes, and for loudringing chords. Or he would use the soft pedal alone forthose light murmurings which seem to create a transparentvapour round the arabesque that embellished the melodyand envelop it like a fine lace. The timbre produced by thepedals on Pleyel pianos has a perfect sonority, and thedampers work with a precision very useful for chromatic andmodulating passages; this quality is precious and absolutelyindispensable.17

Kleczyriski also notes that Chopin achieved 'per-fection' in combining the two pedals, particularlywhen playing ornamental figuration, adding that he'frequently passed, and without transition, from theopen to the soft pedal, especially in enharmonicmodulation. These passages had an altogether par-ticular charm, especially when played on Pleyelpianofortes.''8 Of course, it is hard to know whetherthe timbre of a Pleyel piano from 1840, no matterhow well preserved or well restored, gives even theslightest hint of Chopin's sound-world.

AT the beginning of the 1970s Pleyel's archivesx~Y were scattered and some important items soldat auction, not least a number of Chopin's auto-graph manuscripts. I have nevertheless been able to

consult the almost complete set of registers with theproduction numbers of Pleyel's pianos. These docu-ments give details of the type of instrument (grand,square, small upright etc.), the date and cost of man-ufacture, the buyer's name, and the sale price anddate. The following information is taken mainlyfrom these registers.'9

Among the 150 people who studied with Chopin,20more than 50 are mentioned in the registersoftenmore than once. Most had titles of some sort, and 24were dedicatees of one of Chopin's published works.Among the professional pupils we find the names ofThomas Tellefsen and Georges Mathias; PaulineViardot also belongs to this category to an extent.Although prevented by rank from becoming profes-sionals, Princess Marcelina Czartoryska and Count-ess Delfina Potocka are extensively mentioned in theregisters. So too was Jane Stirling, as were CamilleO'Meara and Vera de Kologrivoff, both importantinheritors of the master's teaching. The names ofmany well-known families appear, as do the pianist'scolleagues Zimmermann, Chaulieu and Halle, whilethe Pleyel firm is represented by Kalkbrenner,Osborne and Stamaty. String players appear fre-quently, among them Franchomme. Chopinexpressly asked an expert technician from Pleyel to

4 Pleyel small upright piano (1830s), designed on the basisof Broadwood's 'cottage piano'. Chopin frequently usedthis type of instrument.




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choose a small upright for Franchomme, which atleast until recently was owned by his descendants.From the world of music publishers we find the all-powerful Schlesinger, Troupenas and his associateMasset, Escudier of La France musicale, Catelin,Probst and, finally, Kistner in Leipzig.

In his letters we read that Chopin personallyselected a grand piano for the Thuns and theWodziriskis. Camille Pleyel, himself an excellentpianist, was asked by the composer to do likewise forMademoiselle de Kolognvoff. In a note Chopinwrote: 'Would his majesty agree to provide a grandpiano for Mme Potocka [Delfina's aunt] for tomor-row evening?No one except myself will play it.'(See illus.5.) The registers also reveal the hithertounknown fact that Chopin received a 10 per centcommission from the sale of six pianos (four grands,two small uprights) which were bought by peoplehe knew, among them Countess Potocka and JaneStirling. In both cases the sale price was increasedto secure the commission without diminishingthe piano maker's profits. Tellefsen and CamilleO'Meara benefited from the same privilege, as stu-dents of Chopin. Julian Fontana's name also featuresin Pleyel's registers, as he sold some of the latter'sinstruments in New York between 1848 and 1850.Even the priest Aleksander Jelowicki makes anappearance; the last confessor of Chopin, he wasoften in need of pianos for his church. Rossini tooacquired a grand piano. In February 1834 Bellinibought a small upright, as did Delacroix in October1839. Mme Viardot purchased an upright on behalfof George Sand at Nohant, who longed for music inthe spring of 1849; and, finally, Madame de Balzacbought one a few weeks after the death of her hus-band. Thus the study of Pleyel's registers, withChopin as the main thread, reveals a sort of back-

ground chronicle of the different Scenes de la viemusicale under Louis-Philippe and beyond.

IN 1845 Delphine de Girardin proposed a'Heptameron' of fashionable pianists with thefollowing characterizations:

At the piano,Thalberg is a king,Liszt is a prophet,Chopin is a poet,Herz is a lawyer,Kalkbrenner is a minstrel,Madam Pleyel is a sibyl,Dohler is a pianist21

Thus, the lions of the stage end up on the side ofErard, whereas 'the poet of the piano', the agedminstrel and the sibyl have Pleyel as their medium.22This 'Heptameron' shows that the Erard and Pleyeltypologies remained in force throughout the reignof Louis-Philippe, dating from as early as 1834,when Chopin the pianist was regarded as a 'sylph'who intoned 'seraphic' strains on a Pleyel instru-ment.

Soon after his arrival in Paris, Chopin declared:'Pleyel's pianos are the last word in perfection [nonplus ultra],'2i having just shown great enthusiasmin Vienna for the instruments of Graf. During hisstay in London, in Dover Street, at the beginning ofthe summer of 1848, he wrote: 'I have three pianos.In addition to my. Pleyel, I have a Broadwood andan firard, but I have so far only been able to play onmy own',24 and he commented several months laterthat 'Broadwood ... is a real London Pleyel'.25With its distinctive mechanical and timbral qual-ities, the Pleyel instrument seems to have been themedium par excellence for Chopin pianist, teacherand composer, from his earliest days in Paris untilhis death in 1849.

/ should like to express my gratitude toJohn Rtnkfor his help with the transla-tion of my article1 Other copies of the programme arereproduced in L. Binental, Chopin(Warsaw, 1930), pi 36 (from Binental'sformer collection); R Bory, La vie deFrederic Chopin par I'image (Geneva,1951), p.8o (from the archives of theMaison Pleyel, Pans); and E Burger,

Frederic Chopin eine Lebenschrontk inBildern und Dokumenten (Munich,1990), p.82, pi.1622 On 11 February 1848 he wrote to hismother and the Barcinskis in Warsaw'Pleyel always pokes fun at my silliness,and to encourage me to give a concerthe will have the staircase decoratedwith flowers I shall feel quite at homeand my eyes will alight on practically

none but familiar faces I already havehere the piano on which I shall play.'Selected correspondence of FryderykChopin, trans A. Hedley (London,1962), p 305.3 For discussion, see ch.9, 'Les pre-miers concerts publics de Chopin aPans (1832-1838)', in J -J Eigeldinger,L'umvers musical de Chopin (Pans,2000), pp 191-227, esp pp 193-201.

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5 Autograph note (undated, but post-1839) from Chopin to Camille Pleyel, asking him to send a grand piano for a soireeat the home of Countess Potocka (Delfina's aunt). A later addition in the margin indicates that no.6819 was provided.(Warsaw, Museum of the Towarzystwo imienia Frydervka Chopina)4 Selected correspondence, p.99.1 haverestored the Polish pantalion to thistranslation, versus Hedley's pantaleon;see n.6 below regarding the French titleof Kalkbrenner's polonaise.5 See B. Vogel, Fortepian pohki (War-saw, 1995), pp.117-75, esp. pp.121-8. Ishould like to express my gratitude toBeniamin Vogel (University of Lund)for his helpful advice on this point.6 Grande Polonaise, pre'cedee duneIntroduction et d'une marche, op.92,published by Ignace Pleyel in Parisin 1827 (pi. no.1979).7 'Concert de M. Chopin, deVarsovie', Revue muskalc, 3 Mar 1832,pp.38-9.8 Francois-Joseph Fetis, Biographicuntverselle des musiciens, 8 vols.(Paris, 2/1861), ii, p.284.

9 Quoted in F. Hiller, Felix Mendels-sohn Bariholdy: Briefe und Erinner-ungen (Cologne, 1874), p.22.10 Hector Berlioz, 'Revue musicale:concerts', Le re'novateur, 15 Dec 1833;translation from J.-|. Eigeldinger,Chopin: pianist and teacher as seenby his pupils, trans. N. Shohet withK. Osostowicz and R. Howat,ed. R. Howat (Cambridge, 1986), p.71.11 No formal document has ever beenfound.12 See Lepiamste, viii (June 1834),p.127; see also Wilhelm von Lenz, 'Diegrossen Pianoforte-Virtuosen unsererZeit aus personlicher Bekanntschaft.LisztChopinTausig', Neue BerlinerMusikzcitung, xxii/38 (16 Sep 1868),p.300.13 L. D., 'I.es pianos', Le piamste, ix

(Jul 1834), p.130; translation fromEigeldinger, Chopin, p.92 n.9.14 Wilhelm von Lenz, The great pianovirtuosos of our time from personalacquaintance, trans. M. R. Baker(New York, 1899; R/1973), p.59.15 Quoted from Eigeldinger, Chopin,p.26.16 Henri Blaze de Bury, Musicienscontemporains (Paris, 1856), p.118;translation from Eigeldinger, Chopin,p.26 (emphases as in the original).17 Quoted from Eigeldinger, Chopin,p.58.18 Quoted from Eigeldinger, Chopin,p.58.19 For further discussion, see J.-J.Eigeldinger, Chopin el Pleyel (forth-coming).

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20 Some students had only a fewlessons, while others studied withChopin fora few months or, morerarely, several years.21 Letter of 5 May 1X45, in Mme Lniilede (iirardin (Sophie day). At' \'ia>mtctie Liiuuay: Lettres parisienncs, 4 veils.I I'aris, 1X571, iv, p.190; my translation.II Wilhelm von I.en/, who played an1-rard in Paris, provocatively wrote that'Pleyel pianos are today what I ischnerpianos were formerly in St Petersburg:instruments for ladies' IKcethovi'it: cineKunststudie, 2 vols (Kassel, 1X55), ii,p.237; my translation 1. On more thanone occasion, Len/ also suggested thatthere were feminine aspects toChopin's style of playing.

23 Letter of 12 December 1K31 to TytusWoyciechowski in Poturzyn; Selectedcorrespondence, p. 101.24 Letter of 13 May 1848 to Woiciech(irzymala in Paris; Selected correspon-dence, p.317 (emphases as in the Polishoriginal).25 Letter of 10-iy August 1848 to hisfamily in Warsaw; Selected correspon-dence, p.335-

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Tel/Fax 217-398-5050 US




Dow

nloaded from

chopin and pleyel

Documents

chopins debut concert

chopins correspondence

chopins words

chopins letters

ofthe concert

rue cadet

mrfrederic chopin

salons of messrs pleyel