By The Fryderyk Chopin Institute
Paweł Bień (Chopin Institute)
Upright piano Pleyel, 1843The Fryderyk Chopin Institute
The musican and the manufacturer
At that time, there were few virtuosos as valued as Chopin and instrument makers as honored as the Pleyel company. No wonder, then, that fate connected the outstanding musician with the exceptional piano manufacturer.
Grand piano Pleyel, c. 1854The Fryderyk Chopin Institute
Non plus ultra
Pleyel pianos are non plus ultra, i.e. there are no others better than them, judged the twenty-one-year-old Chopin. A year later, at the Salle Pleyel, a concert space owned by the company, Fryderyk gave a great concert that opened the door to the Parisians' hearts and salons.
Pleyel was also to become the publisher of the composer's works.
Fryderyk Chopin at the age of 30 View 2The Fryderyk Chopin Institute
The face of the brand
Chopin became "the face of the brand", recommending instruments made under the Pleyel label to his wealthy students. He would add a signature in pencil on selected pieces, which was a confirmation of the quality of the instruments. In return, he would receive pianos for himself.
List do Juliana Fontany, Moje kochanie. Jestem w Palmie, między palmami…The Fryderyk Chopin Institute
Palma
Even during his stay in the distant Palma, Fryderyk wanted to have an instrument of his favorite brand with him.
Go to Pleyel; the piano has not yet come, he asked his friend Julian Fontana in a letter, inquiring also: what route was it sent? You will soon receive some Preludes.Tell P[leyel] that he will soon get a manuscript.
Prelude in E flat major, Op. 28 no. 19, from 'Frédéric Chopin, Les 24 Préludes' (1912) by Robert SpiesThe Fryderyk Chopin Institute
Valdemossa
During his trip to Valdemossa, Chopin entrusted Fontana with duties including the supervision of publication of his works: I send you the Preludes. Copy them, you and Wolff; I think there are no errors. [...] Give the copy to Probst, and the manuscript to Pleyel. [...]
Visiting card of Camille Pleyel with a note written by Fryderyk Chopin to Stanisław Egbert Koźmian (1837-07) by Fryderyk ChopinThe Fryderyk Chopin Institute
Take Probst's money [...] at once to Leo; I have no time to write him a letter of thanks; and from the money that Pleyel will give you, that is: fifteen hundred francs, you can pay the rent: 425 fr. to the New Year, and politely give up the lodging.
Ballada f-moll op. 52 Ballada f-moll op. 52 (1842-1843) by Fryderyk ChopinThe Fryderyk Chopin Institute
Negotiations
Julian was getting along, although negotiating with publishers of the works was not always easy. If Pleyel makes even the smallest difficulties, Chopin recommended to Fontana, go to Schlesinger and tell him that I will give him the Ballade for France and England for 800...
(he won't give a thousand), and the Polonaises for Germany, England, and France for 1500 (and if he won't give that, then for 1400, or 1300, or even 1200).
Scherzo h-moll op. 20 Scherzo h-moll op. 20 (1834) by Fryderyk ChopinThe Fryderyk Chopin Institute
Breitkopf & Härtel
Chopin also collaborated with the Leipzig publishing house Breitkopf &Härtel. In 1841, he wrote: I am sending you 4 of my manuscripts: Allegro de Concert–op. 46, Ballade–Op. 47, 2 Nocturnes–op. 48, Fantaisie–Op. 49. Please respond once you receive them.
Mazurek f-moll [op. 68 nr 4] (c. 1846 - 1849) by Fryderyk ChopinThe Fryderyk Chopin Institute
They shall eat the devil
Bargaining with publishers would often drag on. Chopin tried to negotiate the highest rates possible, which did not make the publishers happy. I have now, counting yours, 6 manuscripts –Fryderyk reported to his friend– they shall eat the devil before they get them for nothing.
Polonez-Fantazja As-dur op. 61 (1845 - 1846) by Fryderyk ChopinThe Fryderyk Chopin Institute
Although contacts with publishers were not always easy, Chopin's works and name were becoming more and more popular in and beyond Europe. What matters most is that Fryderyk's works would always finally make their way to publication, thanks to which we know them today.
