The "Romantic" Sound in Four Pianos of Chopin's Era

Abstract

piano tone. Pianists may seek it or avoid it, and critics may savor it or decry it, but they generally agree that Romantic piano tone is big, rich, and lush: it comes in clouds. For the past few years I have been studying, collecting, restoring, and copying pianos of the nineteenth century, and I have become certain that the big sound was neither what the composers of Chopin's generation expected, nor even what they wanted. The most decisive limit to piano tone is the instrument itself, and pianos of that period simply do not produce the kinds of noises we have come to associate with Romantic piano music. Among my pianos are four typical grands of the period 1820-60. A description and analysis of their characteristics may be of some value to those interested in the repertoire of Chopin's era. The four instruments are a Viennese grand of the 1820s by Hasska, an English grand of ca. 1830 by Stodart, a French grand by Pleyel of ca. 1845, and a London Erard of 1856. This selection represents all three of the most important piano-making centers in Europe at that time, a d wo of the most important makers, Pleyel and Erard. The tone of a piano depends on the acoustically significant factors in its construction. Much of the available literature is filled with