Le Pianino de la soeur de Napoléon .

     Sur ce Pianino de 1836 , la soeur de Napoléon Bonaparte égrenât quelques notes .

Une éléve de Clara Schumann enregistre Robert en 1930 !

http://www.youtube.com/watch?v=ntCkaMI8prY&list=PL84126B64D884B9F4


After her studies with Clara Schumann ended, (she had previously been a pupil of Carl Reinecke), Fanny Davies (1861-1934) became one of the most celebrated of English pianists. She gave the first performances in England of Brahms Klavierstucke Op 116 and 117. And of course, Davies carried on the style and tradition of the performance of Schumann's piano music that she had learned from the composer's widow, Clara.
At the age of 67, Davies made her first recording in 1928 performing the Schumann Piano Concerto. The following year she recorded Schumann's Davidsbundlertanze Op 6. In December of 1930, Davies made her last released recording of the same composer's Kinderszenen Op. 15. She also recorded that same month Schumann's Fantasiestucke Op 12, Romanze in F sharp Op 28 No. 2 and the Study in canon form Op. 56 No 5.
Unfortunately, none of these have been published and may have been lost.

Pianino 

Pleyel de 1836 en Palissandre ayant appartenu à la Reine de Naples. 

Les Préludes .

Preludes[edit]

Prelude No. 20 in C minor. This prelude, modified slightly, was used as the theme for variations in both Sergei Rachmaninoff's Variations on a Theme of Chopin and inFerruccio Busoni's Variations on a Theme of Chopin.

1. Agitato – C major
2. Lento – A minor
3. Vivace – G major
4. Largo – E minor
5. Molto allegro – D major
6. Lento assai – B minor
7. Andantino – A major
8. Molto agitato – F-sharp minor
9. Largo – E major
10. Molto allegro – C-sharp minor
11. Vivace – B major
12. Presto – G-sharp minor
13. Lento – F-sharp major
14. Allegro – E-flat minor
15. Sostenuto – D-flat major ("Raindrop Prelude")
16. Presto con fuoco – B-flat minor
17. Allegretto – A-flat major
18. Molto allegro – F minor
19. Vivace – E-flat major
20. Largo – C minor
21. Cantabile – B-flat major
22. Molto agitato – G minor
23. Moderato – F major
24. Allegro appassionato – D minor

Description and analysis[edit]

The following personal impressions of the pieces were given by Hans von Bülow.^[5] They are not official, and certainly not named by Chopin, but are cited in various sources as mnemonics. Only No. 15 "Raindrop" is universally used, but No. 20 is often referred to as the "Chord" prelude.

No.	Nickname	Description
1	Reunion	marked agitato, is short and uniform with its triplet-semi-quaver figuration
2	Presentiment of Death	an immediate contrast, with a slow melody over a fixed accompaniment of four-note chords played two eighth notes at a time
3	Thou Art So Like a Flower	marked vivace and has a running semiquaver bass part throughout
4	Suffocation	was played at his funeral. It consists of a slow melody in the right hand, that masterfully prolongs tonic resolution, and repeated block chords in the left hand, that descend chromatically. It is incorporated in conductor Benjamin Zander's TED Talk on music and passion.[9]
5	Uncertainty	contains exuberant ostinati
6	Tolling Bells	(also played at Chopin's funeral) features its melancholy melody primarily in the left hand
7	The Polish Dancer	is written in the style of a mazurka, in 3/4 time. It is the basis of Federico Mompou's Variations on a Theme of Chopin
8	Desperation	molto agitato, is considered one of the most difficult in the set, featuring continuous thirty-second note figuration in the right hand, with semiquaver triplets (alternating with quavers) in the left hand. The entire piece employs a ceaseless figuration of polyrhythms.
9	Vision	a harmonically dense piece with a low "plodding" bass line; with 12 bars, it is the shortest in the collection
10	The Night Moth	molto allegro, is short and light, with alternating triplet and non-triplet semiquavers in the right hand, over arpeggiato chords in the left
11	The Dragonfly	is in 6/8 time and is similarly brisk, with continuous quavers
12	The Duel	presents a technical challenge with its rapid hold-and-release of quavers against crotchets in the right hand, involving much chromatic movement
13	Loss	lento, is one of the longest preludes and features an A B A structure with continuous single-note quaver movement in the left hand and chords and melody in the right
14	Fear	recalls Prelude No. 1 in its shortness and textural uniformity
15	Raindrop	is the longest of the twenty-four. The main melody is repeated three times; the melody in the middle, however, is much more dark and dramatic. The key signature switches between D-flat major and C-sharp minor.
16	Hades	starts with six heavily accented chords before progressing to an impromptu-like passage in the right hand. The left hand mainly supports the right hand and repeats the same melody repeatedly. This piece is considered by many to be the most difficult of the set.
17	A Scene on the Place de Notre-Dame de Paris	is one of the longest and the favourite of some musicians including Clara Schumann. Mendelssohn wrote of it, "I love it! I cannot tell you how much or why; except perhaps that it is something which I could never at all have written."[10]
18	Suicide	is suggestive of a mortal struggle. The technical challenges lie chiefly in the irregular timing of the three runs, each faster than its predecessor, played simultaneously by each hand one octave apart. A fortissimo five-octave arpeggio echoes downward into the depths of the bass registers, where the final struggle takes place and culminates with the double-fortissimo chord finale.
19	Heartfelt Happiness	vivace, consists of widely spaced continuous triplet-quaver movement in both hands, which some pianists consider to rival the difficulty of No. 8 and No. 16.
20	Funeral March	is short, with slow majestic crotchet chords in the right hand predominating, against crotchet octaves in the left. It is often called the "Chord" prelude. It was originally written in two sections of four measures, although Chopin later added a repeat of the last four measures at a softer level, with an expressive swell before the final cadence. It has been used as a theme for variations by Ferruccio Busoni, and later (without the repeated bars) by Sergei Rachmaninoff in his Variations on a Theme of Chopin, a set of 22 variations in a wide range of keys, tempos and lengths.
21	Sunday	is marked cantabile, and features an easy melody in the right hand; the left has continuous doubled quavers characterized by chromatic movement, including chromatic nonharmonic tones,[11] taken up by the right hand also in the latter half of the piece
22	Impatience	molto agitato, is in 6/8 time; it begins with a characteristic dotted rhythm (quaver, dotted quaver, semiquaver) that Scriabin was later to make his own, in his early preludes that are perhaps the most important to emulate this genre of Chopin's
23	A Pleasure Boat	is spacious and melodic in the left hand, with running semiquavers throughout in the right
		opens with a thundering five-note pattern in the left hand. Throughout the piece, the left hand continues this pattern as the right hand plays a powerful melody punctuated by trills, scales (including a rapid descending chromatic scale in thirds), and arpeggios. The piece closes with three booming unaccompanied notes – the lowest D on the piano. 24 The storm

La Comtesse Marie Jaubert et le Pleyel 5469.

Voici le portrait de la Comtesse Marie Jaubert née Mlle Boigues en 1837  peint par Winterhalter à Paris en 1837,  l' année de l'achat de son Pianoforte  à queue Pleyel en Acajou pommelé

à frises et filets portant le numéro 5470 acquis pour 3000 francs en Janvier . Voici  l 'image du Pianoforte Pleyel à queue  5469 à un numero du sien en acajou Ronceux.

Clara et Robert Schumann au Pianino .

Il est vraiment émouvant de voir ces deux artistes poser autour d'un Pianino vraisemblablement de Pleyel . Les Pianinos Pleyel eurent un succès non négligeables dès les années 1830  et presque tout les compositeurs en possédaient un . Ici il s'agirait d'un modèle des années 1836/38. On reconnaît les  " griffes de lion" au bas des pieds ainsi que le cylindre au dessus du clavier . Le célèbre cartouche de Pleyel rectangulaire semble bien celui là . Tout laisse à penser à un Pleyel  ! Le daguerréotype original vers 1850 se trouve dans les collections du Musée d'Orsay à Paris .

Camille Pleyel : " clous " O Fadini 2013

Benjamin GODARD 1849 .1895

http://www.musicologie.org/Biographies/g/godard_benjamin.html

      Monsieur Benjamin Godard est assis devant un pianino Camille  Pleyel identique à celui de la Princesse Czartoryska .

concerto pour piano sur instruments d'époque, pianoforte Camille Pleyel 1843.

François Auguste BIARD .

Très belle représentation d'un concert de salon avec un piano carré aux pieds en x . Il faut noter le couvercle fermé ( avec en plus la fausse table dessous) pour une plus belle qualité sonore. Ce tableau est en vente actuellement sur les quais de Seine à Paris.

Trés bel acajou ronceux pour ce piano carré Pleyel ?

   

Les Archives Pleyel ,Erard ,Gaveau .

 Voilà les fonds d'archives contenant les précieuses informations sont en ligne grâce à La Cité De La Musique et à la généreuse donation de celles -ci .



                                         http://archivesmusee.citedelamusique.fr/archives.html

   

                                         Palissandre de Rio pour un Pianino de 1836.

Le feutre de Henri PAPE , heureuse invention .

 Marteau du Piano Pleyel 10966 de G. Rossini de 1844 conservé à Bologne .

Marteaux de H Pape .  Ici sont visibles les deux couches dont parle Pape dans son brevet de 1826.