Chopin: Hubert Rutkowski on Pleyel
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- Опубликовано: 17 июл 2024
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Composer: Frédéric Chopin
Artist: Hubert Rutkowski (piano)
In a letter to a friend Chopin described Pleyel pianos as ‘the last word in perfection’. What he identified as their ‘slightly veiled sonority’ suited his style. One observer remembered the composer saying that if he was not feeling on top form, he preferred to play on an Erard, for its bright and ready-made tone. ‘But if I feel alert, ready to make my fingers work without fatigue, then I prefer a Pleyel… My fingers feel in more immediate contact with the hammers, which then translate precisely and faithfully the feeling I want to produce, the effect I want to obtain.’
The Chopin-era Pleyel was notable for its graded timbre, topped by the silvery, ethereal quality of its treble register. Chopin’s appreciation for the Pleyel sonority of pianos is written into the very fabric of his music. When he travelled to Majorca with George Sand in the winter of 1838, a Pleyel piano had to travel with them, and the composer continued to have a Pleyel grand delivered every summer, which remained until November. This was at some expense to the company, but then the relationship was mutually beneficial: while the composer was inspired by the Pleyel sound, the company did well from his patronage and his personal recommendations, and indeed Chopin and Camille Pleyel were firm friends for many years.
For this mixed recital, Hubert Rutkowski plays a Pleyel instrument from 1847, during Camille’s stewardship of the firm. The most substantial works are the G minor Ballade and the B minor Scherzo, which makes so much of that glistening upper register. There is also the C sharp minor Fantaisie-Impromptu, the B flat minor Polonaise and a selection of mazurkas, nocturnes, etude and waltz. The pianist has contributed his own valuable essay to the booklet in which he outlines the special relationship between Chopin and the firm of Pleyel and its significance for his music: he is a President of the Chopin Society in Hamburg, and has also played and recorded under the theme of Chopin’s pupils: he is among the most distinguished Chopin pianists of our day.
00:00:00 Ballade No. 1 in G Minor, Op. 23
00:09:06 Mazurka No. 2 in C Major, Op. 24
00:11:56 Étude No. 5 in G-Flat Major, Op. 10
00:13:49 Nocturne No. 2 in F-Sharp Minor, Op. 48
00:21:22 Fantaisie-Impromptu in C-Sharp Minor, Op. 66
00:26:55 Mazurka No. 4 in B-Flat Minor, Op. 24
00:31:58 Scherzo in B Minor, Op. 20
00:42:39 Mazurka No. 1 in B-Flat Major, Op. 7
00:45:10 Nocturne No. 1 in D-Flat Major, Op. 27
00:51:08 Polonaise in B-Flat Major, Op. 71
00:58:24 Mazurka No. 2 in A Minor, Op. 68
01:01:50 Waltz No. 1 in D-Flat Major, Op. 64 
Видеоклипы
Thank you for playing Chopin on this Pleyel Piano 1847 so beautifully!
I'm in love with this man. How come I didn't know he existed. I've missed a lot 😮❤
that's some really extraordinary chopin playing
Wonderful selection of works, wonderful instrument. I can't handle a complete contemporaneous orchestra, yet this was new and fresh to my ears. Thank you.
So sounded it during his lifetime!
amazing !
아름다운 피아노 연주곡 잘 들었습니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤
Really great disc and playing on a wonderful sounding Pleyel fortepiano. Definitely prefer modern grand pianos for this stuff though.
Molto interessante interpretazione. Molti significati profondi.
ショパンが愛したプレイエルのピアノによる名曲集！！！
Pleyel's sound is slender and
sensitive compared to fat and glamourous modern piano's sound.
I'd like to listen
to all the
Chopin's works performed by Rutkowski with Pleyel.
Was the piano tuned in unequal temperament?
Excellent question and of great interest
Certainly not. Equal can be heard.
I can rembember that this kind of tuning is more popular in France and more common on Pleyel pianos
Chopin preferrend a specific tuning although concertizing it is most likely he played a number of different pianos which were taken care of domestically, from what I have been reading. However, he also had his Pleyel piano shipped for longer stays. In England and Scotland his technician was Alex Hipkins from piano maker Broadwood. Hipkins was instructed to tune equal temperament (ET) by John Broadwood, already being preferred by Hipkins. Hipkins also was a fine musician and musicologist, performing Chopin's music at a time when it was not well-liked in England.
Chopin insisted on perfect 3rd and each note was tuned specifically by his technicians. I.e., he had developed his own unique temperament derived from both ET and WT.
From factory, from my understanding, Pleyel's at the time were tuned sharp at A4=446 (not to French standard 435), creating a clear joyful sound but also warm and a tad mellow due the entire string setup and piano construction. Chopin has always considered himself a Pole, and his background initially was lively Polka and Mazurka. Pleyel very much was at the forefront of sound development, always known for being sharp up to their very end. From my own experiments, I have noticed perfect pitch on the 3rd at A4=446 as well (clear without any beating).
However, Broadwood (which he was using in Britain) was tuned at C5=505.7 (ET and 17.551 Hz lower than the modern C5).
Nonetheless, Chopin insisted on finetuning per note.
But Chopin's tuning appears not to be documented. He trusted on his Pleyel but sold that one later to avoid customs bureaucracy. From England he brought back a Broadwood.
For now, based on what we understand from Pleyel's and Broadwood's at the time and my experiments I would say that Chopin's setup was very unique and varied on what was given avaibale to him. He himself sat somehere unique in between WT and ET.
Having studied the tone quality of the Pleyel restored on which Chopin had his last performance, I would say that 446 and unique fine tuning, based on ET, on that one seems to match indeed. However, of course not tuned by his preferred tuner, lol.
The Broadwood, similarly uniquely tuned based on ET, but much low, close to A=425.
But then again, Chopin, also took inspiration from Bach's Well Tempered (WT) Clavier.
@@lindaoffenbach Dziękuję z polski za ten wpis. Nie miałem pojęcia o sprawach o których piszesz.
What an odd idea to produce a recording and then put the whole thinng on RUclips!? I might have bought it on the strength of an enthusiastic review in International Piano, but having heard some of it here for free, I've decided against it. Yes, the playing is good, but I'm not really hearing the benefit of the period Pleyel as opposed to a modern instrument (sensitively played).
@Egg MCMUFFIN It is also a much more transparent sound than a modern piano can achieve.
@@morphixnm Transparent is adequate, also evaporative comes to my mind.
The whole experience is marvelous, for a number of reasons.....