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Chopin and Pleyel Metadata, citation and similar papers at core.ac.uk CORE •:• CHOPIN AS EARLY MUSIC * Jean-Jacques Eigeldinger Chopin and Pleyel HOPIN'S first concert in Pans on 26 February music editions but also, and to an even greater C 1832 played a decisive role in his career, estab- extent, in piano manufacturing and sales. Mane lishing his reputation as a composer and performer, Moke, Kalkbrenner's most brilliant pupil, was mar- Provided by RERO DOC Digital Library securing contacts with publishers, opening the doors ried to Camille Pleyel at the time; Chopin's three of the most influential salons, and bringing work as a Nocturnes, op.9, were dedicated to her in 1833. teacher, mainly among the aristocracy. Even so, the Chopin's correspondence confirms his high, almost key name at his debut concert was 'Pleyel'. Two unreserved admiration for Kalkbrenner's playing, indications in the programme, originally intended and from the autumn of 1831 a link was forged for 15 January 1832, stand out immediately: 'Mr between the two musicians. Frederic Chopin, from Warsaw' will give a concert From Chopin's letters we also learn of Kalk- 'in the salons of Messrs Pleyel & Co, Rue Cadet, brenner's attempt to subject the young provincial to number 9' (lllus.i).' Totally unknown in Paris, where his tutelage for three years, but this proposal was he had not yet built a reputation, Chopin faced quickly and deftly declined. Nevertheless, the two major obstacles in trying to attract an audience. The men always maintained a courteous, gentlemanly concert hall where the event took place is still in relationship. In 1833 Chopin shrewdly dedicated his existence today. It consists of three adjacent but not E minor concerto 'a Monsieur Fred. Kalkbrenner', very spacious salons in Louis XV style on the first who had previously shown an interest in this work— floor of a hotel particuher. They were used by the a work which happened to be the piece de resistance piano manufacturer and music publisher Camille in the first part of Chopin's debut concert, and thus Pleyel primarily as an exhibition hall and as a show- was published before the F minor concerto.3 Kalk- room for his firm's merchandise. Soon they became brenner, who assumed the three different functions too small even for chamber concerts, and in 1839 of pianist-composer, teacher (of sorts) and Pleyel's they were replaced by others on the Rue de Roche- associate, kept a tight rein over the second part of chouart (no longer extant) which were used on an the concert. Here are Chopin's words in a long letter ad hoc basis and could seat some 300 people (illus.2). of 12 December 1831 to his friend Tytus Woycie- It is in these premises, known for their elegance, that chowski: Chopin would play in 1841,1842 and 1848.2 I shall also play on two pianos with Kalkbrenner, The 1832 concert in the Rue Cadet was given accompanied by four other pianos, his March followed by under the patronage of the famous Frederic Kalk- a Polonaise It's a crazy thing. One of our two instruments brenner, who lent his help—and his pianos—to the is an enormous pantahon which, of course, Kalkbrenner newcomer. Well established in Parisian high society will have, and the other, which falls to my lot, is a and even at the court of Louis-Philippe, Kalkbrenner monochord piano which is tiny, but its tone carries, like little bells on a giraffe.4 reigned supreme as a pianist and teacher and was Pleyel's associate not only in the publication of The terminology used for these instruments Jean-Jacques Eigeldinger is Emeritus Professor of Musicology at the Umversite de Geneve. His many publications on Chopin include Chopin: pianist and teacher as seen by his pupils (Cambridge, 1986) He is one of three Series Editors of The Complete Chopin—A New Critical Edition. EARLY MUSIC AUGUST 2001 389 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 an the lessons he had received from his 'teacher' idiomatic and rather general term tor a piano in Kalkbrenner (as described by Fetis in his famous 1820s and i8.v>s Poland (Chopin used it only in cor- review)." respondence to Poland)1—in this case, most likely a All this took place in the intimate setting of the concert grand. Second, in 1825 Pleyel had patented a showroom salons of the Rue Cadet. In a sense, square monochord instrument, ot which some Chopin had everything he needed at his disposal: a specimens survive. Finally, the word 'giraffe' (possi- responsive instrument with a bell-like sound, the bly meant as a ioke in the letter) refers to the verti- exclusive salons ot the ancicn regime, and a small, cal or 'giraffe' piano—as it was known in Warsaw — select audience including the most distinguished which sometimes had a register of bells. As for musicians ot the capital and some renowned mem- Kalkbrenner's Grande Polonaise, op.92, this existed bers of the Polish aristocracy. at the time in a printed version for piano and string Flis Variations on 'La ci darem la mano', op.2, had quintet," and Chopin could have performed this been earmarked for the end of the programme on 15 himself with Maillot's quintet, which had played January, but were not mentioned by Fetis as having in the first part of the concert. But Kalkbrenner been performed in February-. Felis siinph refers to 'a preferred to show off by using not only every selection of his [Chopin's I early pieces' in the second available type of piano, but also, on this occasion, edition ot his Biographie imivcrscllc," and in the event Chopin too. "[he concert was in fact an exhibition Chopin possibly ended with a number of 'mazurkas of Plevel & < o s merchandise at the expense ot the and nin.liirnes', a% dc-^ribed b\ Ferdinand Miller in "heneficiarv'. It tell to Chopin to demonstrate the his later but nonetheless precise recollections.- In excellence ot the monochnrd piano and to advertise other words, he played the verv tvpe of work that 39' I- A K I > Ml Mi U 2O01 would immediately brand him as a quintessential salon composer. This topos was confirmed as early as December 1833 in Berlioz's famous article: In order to appreciate him fully, I believe he has to be heard from close by, in the salons rather than the concert hall, with all preconceived notions put aside as these would be inap- plicable to both him and his music ... There are unbelievable details in his Mazurkas; and he has found how to render them doubly interesting by playing them with the utmost * 2001 ' degree of softness, piano to the extreme, the hammers merely brushing the strings, so much so that one is tempted to go close to the instrument and put one's ear to it as if to a The London concert of sylphs or elves. Chopin is the Trilby of pianists.10 From the time of the debut concert, a more or less International Exhibition exclusive verbal contract was drawn up between Pleyel and Chopin:" the former would lend his of Qarly Music instruments and salons to the latter, who would pro- mote them to his pupils because of their distinctive 200 1 qualities and his own strong preferences. It is there- fore surprising that, after the concert, Pleyel seems Royal College of Music, Prince Comort Road, London SW7 not to have made any effort to bring out Chopin's Friday 26th October 11 am - 6 pm first publications, unlike Farrenc, who had Saturday 27th October 10 am - 6 pm attempted to add Chopin to his (smaller) list of J3unday 28th October 10 am - 5.30 pm composers before eventually being supplanted by the powerful Schlesinger. Preoccupied with the Around 100 exhibitors over 3 days including inscumenc makers, music publishers, recording companies, shops, inheritance of his father, Ignace, Camille Pleyel was societies and materials suppliers. probably considering abandoning music publishing altogether from 1832. He finally stopped in 1834 after Admission £5 (£4 concessions) producing Chopin's Rondo, op.i6, and Mazurkas, 2 day ticket - £9.00, 3 day ticket - £13.00, op.17, which he sold to Schlesinger that same year. Family ticket (2 adults & 2 children) £16.00 12 (Concession.: Under 14s, Students, OAPs, UB40 holders) 'firard-Pleyel! - Liszt-Chopin!' These two oppo- Children under 5 years old free. sitions, in circulation in Paris from the mid-i83os, Concerts and Diary of Events firmly place the notions of concert and salon at two Paul Kama, Les Ami!* du Baroque Friday 26 - 12 noon extremes, along with their different sociomusical Mediva Friday 26 • 330pm Peter Holtslag, Rainer Zipperling connotations in terms of instruments, concert halls, &. Ketil Haugsand - Trio NONAME Friday 26 •- 6.30pm musical genres and audiences. Some instructive Evelyn NaHen &. David Gordon Saturday 27 • 1.00pm comments on these polarities can be found in the Sirena Recorder Quartet Saturday 27 • 3.30pm short-lived periodical Lepianiste: Robert EhHich Saturday 17 6.30pm Moeclt/SRP Solo Recorder Give Liszt, Herz, Bertini and Schunke an £rard; but to Kalk- Competition Finals Sunday 28 • 12 noon to 6.00pm brenner, Chopin and Hiller give a Pleyel; a Pleyel is needed Adjudicators Robtm Ehrlich, Evelyn NaJIen & Mark us ZahntuuKn to sing a Field romance, to caress a Chopin mazourk [sic], to Tickcu for exhibition and concern available on the door only.
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