The very instruments chosen by composers themselves form the heart of The Cobbe Collection at Hatchlands.
The instruments owned or played by Purcell, Johann Christian Bach, Mozart, Haydn, Beethoven, Chopin, Mahler and Elgar, to name a few, are the largest group assembled anywhere of these tangible and audible relics connecting with the musical minds of the past.
The collection otherwise comprises a further twenty or so instruments that were chosen to represent instrument-makers who were highly regarded or patronised by composers.
What is especially magical is that the collection is maintained in playing order to allow artists and audiences to experience the sounds that inspired composers.
This comment comes from a letter written in April 12, 1840 written by a student of Nickolas Forkel (who was himself a student of Wilhelm Friedemann Bach the son and student of JS Bach) named Friedrich Griepenkerl (himself famous for being the first person to publish the complete collected organ works of JS Bach. Quoting from this important letter: "Bach himself, his sons, and Forkel played the masterpieces with such a profound declamation that they sounded like polyphonic songs sung by individual great Artist singers. Thereby, all means of good singing were brought into use. No Cercare, No Portamento was missing, even breathing was in all the right places. Bach's music wants to be sung with the maximum of art". Of course we have Bach suggesting in the preface of the inventions that above all to inculcate a "cantabile" style of playing. Imagine if you can how much more beautiful and touching this performance would have been had you both sung your parts like individual great artist singers, both expressing the affects of the individual voices independent of the other? Works for understanding how Chopin played such that those who commented on his playing describe it in very similar terms. This pianist missed the mark.
It is intriguing to hear Chopin's music as he would have heard it. However, developments of the instrument has brought us an instrument with a totally level of sophistication of different sounds and I suspect playing characteristics. Congratulations to Krzysztof for a marvelous concert.
I saw Chopins upright Pleijel in the monastery where he lived with George Sand high on Majorca and wished I could have heard it played. Now I have heard the grand version and wish I could hear his work exclusively on this glorious instrument . I prefer it to the albeit magnificent Steinway and congratulations to this superb pianist.
That Pleyel in Valldemossa ended up being not a lot of use to Chopin because it arrived weeks after they did, was held up in customs and not delivered to him until the second half of January 1839. Until then he had to put up with a poor local instrument. By early March 1839 they were back in Marseille so he probably got about 5-6 weeks use out of it, much of which time he was very ill. It got sold on his departure fo defray expenses it seems. It’s pity the bad piano is not also in display because in some ways that would be just as interesting. As to how the Pleyel sounds now: probably nothing like when it was new. I wonder if he tuned it himself when it did arrive…
Yet another lovely concert. Thank you, Alec and family for sharing your wonderful collection with the world. I did miss Alec's usual informative introduction to the instrument, though. With greetings from Aotearoa.
Kia ora. The detail and authenticity of your presentations shows the depth of your passion for these instruments. Thank you, Mr Cobb, for the resources, time and dedication you put into ensuring that we can enjoy these very special experiences from the other side of the world. And thank you to Alexander for such a wonderful performance. Ngā mihi nui.
To me, the mellow sound of this piano replaces the fire we usually hear from modern instruments with a nuanced grandeur which can never be replicated on a modern piano.
Too many wrong notes, but at least, we can hear the sound of Chopin's piano. Next time you could invite Volodos, Hamelin, or Evgeny Kissin to play. They would be honored by the invitation. 🎉❤❤❤
How beautifully you play Mozart’s lovely music Nathaniel! And what a treat to hear it played on this wonderful instrument. Thank you for this charming (and very tasteful 😅) concert.
Discovered this video today. Couldn’t describe how much my heart and all of cells are thrilled when hearing Chopin’s own piano and his music being brought back to life. A huge thank you to the Cobbe Collection. ❤❤❤
Absolutely fantastic! Chopin's music deserves to be heard on the instrument it was intended to be played on, sure--but, hearing it on Chopin's own instrument is an incredible treat all on its own.
Let me quote @mabdub comment and my answer @japiat1520 . @mabdub There is a private, internationally known piano builder by the name of Paul McNulty, who produces near flawless period piano replicas of famous composer's pianos. Info about him is on the Net. I think he now lives in Czechoslovakia with his wife Viviana Sofronitsky, who is a famous Russian Canadian concert pianist. A few years ago he built a replica of Chopin's Pleyel and I heard it demonstrated by Viviana in a few of his videos. To my ear the sound of his replica is remarkably like that of Chopin's Pleyel which is in the Cobbe collection. I was astonished by the similarity of the sounds of the two pianos which are so far apart in actual age. It would appear that the sound of Chopin's Cobbe/ Pleyel is very close to the actual sound which Chopin heard when he chose the piano in 1848. It seems that the sound of a superior piano does not diminish all that significantly over a long period of time if the instrument is treated well and clearly, the one in the Cobbe collection has been well cared for. Also, I used to think that the colouring of the sound of the Cobbe piano was because of the age of the piano but it seems as though that too is not the case. Apparently, the varying timbres of different sections of the keyboard was intentionally created by Pleyel and that's why Chopin liked and preferred Pleyel instruments. It makes one realize just how much character has been lost in the process of refining the evenly balanced sound of modern pianos. The Chopin Society in Warsaw uses a replica made by Paul McNulty for their period piano competitions. @japiat1520 down @mabdub . I am extremely pleased with your comment, which describes what Chopin's Pleyer actually sounded like in the past and today. My thoughts and conclusions that I came to were exactly confirmed by your actual confirmed evidence. And yet I had to take into account many factors, such as the age of the instrument, the soundboard, the strings in the bass, the diameter then probably without a cast steel winding, later with a brass winding, and in the duscant without a braid and their pressure, the bridge, a strong wooden skeleton, the entire body of the instrument, the entire mechanics hammer, felt hammers and silencers. These are very discreet and subtle factors, but they influence the timbre and sound of the sound. In previous comments I argued that all this had no significant impact on the current sound of this instrument. So we can imagine that it is very similar to the piano from Chopin's times. Only the repetition and the escapement of the hammer mechanism have deteriorated, but this affects the technical and performance capabilities of the pianist. To a large extent, this can be remedied by renovation and correction - adjustment of the mechanism, but only 75%, I guess. Our pianist handled it flawlessly in a masterly, even virtuoso, way. bringing us closer to the sound and technical capabilities of this wonderful, beautifully crafted historical favorite of Chopin's piano. Thank you @mabdub very much for your wonderful comment and statements supported by specifics, confirming my belief that I had the right train of thought. Thank you very much once again and greetings, Piotr from Warsaw
To @Pingoping You're not entirely right... The sound of a piano is determined primarily by its resonance elements. Firstly, the soundboard and the frame on which it is mounted, and indirectly the body of the instrument itself and even the repeater mechanism. These elements remain the same, so the sound will be almost identical. The age of the instrument certainly affects its lower technical and dynamic capabilities, i.e. the playing itself. Strings influence the sound, timbre, but above all, the soundboard. The strings are not necessarily replaceable as they are strong and durable. Unless the original tuning was Viennese, a semitone lower, and has now been tuned a semitone higher. The pressure of the strings on the record would be greater, but it would not significantly affect the timbre of the sound. We can assume that we hear sounds - an instrument, just like back then. Currently, there would be a problem with the technical possibilities of the game - because it is an old mechanic - although the proofreaders certainly did a great job. Great recognition is due to the pianist who rose to the challenge and in a virtuoso way demonstrated the technical and sound capabilities of this valued instrument. We could imagine and hear how Chopin himself once played and composed. Thank you Piotr from Poland
..to hear Chopin's music on his favourite piano es simply exquisite Hearing this it is easily to hear why her preferred Pleyel; over Erards. Broadwoods, and other pianos of hte day. Such a very well balanced and rich chorus with a profound yet not overwhelming bass as in modern day instruments. Hid music literally sings here. Thank you for this recording.
This is one of the most magnificent presents we can hear online, we are listening the sound that heard Chopin too when playing his own composition in his own piano! and what a great selection of pieces he chose to play! My sincere gratitude for this, I love it 💜
The most notable quality of the sound of these pianos is the lack of sustain, particularly in the treble, compared to the modern fully evolved piano. The early piano composers like Chopin were hearing the future of the instrument while they were composing in the past. Still quite lovely, a kind of music box sound.
Such an interesting idea as to how music sounded in past days. Nicely done, but I think the sustain and the richness would both have been greater on a new piano back then. Either that or this has not recorded terribly well?
You're not entirely right... The sound of a piano is determined primarily by its resonance elements. Firstly, the soundboard and the frame on which it is mounted, and indirectly the body of the instrument itself and even the repeater mechanism. These elements remain the same, so the sound will be almost identical. The age of the instrument certainly affects its lower technical and dynamic capabilities, i.e. the playing itself. Strings influence the sound, timbre, but above all, the soundboard. The strings are not necessarily replaceable as they are strong and durable. Unless the original tuning was Viennese, a semitone lower, and has now been tuned a semitone higher. The pressure of the strings on the record would be greater, but it would not significantly affect the timbre of the sound. We can assume that we hear sounds - an instrument, just like back then. Currently, there would be a problem with the technical possibilities of the game - because it is an old mechanic - although the proofreaders certainly did a great job. Great recognition is due to the pianist who rose to the challenge and in a virtuoso way demonstrated the technical and sound capabilities of this valued instrument. We could imagine and hear how Chopin himself once played and composed. Thank you Piotr from Poland
@@japiat1520 - I do agree with much of what you are saying, but the soundboard on a new piano back then would have allowed for greater resonance and a naturally longer sustain, I think. I have just needed to restring an 1870's piano due to the strings having suffered metal fatigue over those many decades. New strings (custom made to replicate the originals) have more 'spring' and vibrate as they should with a longer-lasting sound. Happily, the soundboard and pin blocks/bridges were in remarkable (excellent) condition due to the way the piano had been located over the past 140 years. There are so many things to take into account when trying to reproduce the sounds of earlier instruments, but it's fascinating to see people get as close as they can.
apparently yes, but not necessarily. The soundboard in this grand piano when it was new influenced the timbre and dynamics of the sound. Over time, longitudinal cracks appear in the plate, which significantly deteriorates the sound. But I'm amazed that yours is in perfect condition after so many years. This is more important. The bridges and pins in them are generally not damaged. Made of oak and chrome-plated brass. Cracks in the board can be repaired by gluing a similar piece of soundboard wood into the crack. Even giving it a more convex shape and therefore greater elasticity. Sometimes this may enrich the sound. It can be assumed that the disc in Chopin's Pleyel did not significantly affect the sound or timbre. It remained pleasant, mysteriously deep. If the strings have been replaced, it has an impact, but not enough to change the tone and sound. The biggest problem lies in the hammer mechanism. It is very old and largely worn out. I think it is in good condition, so it had to be thoroughly renovated and the mechanism adjusted. Nevertheless, it can be felt by the pianist. Especially if this old piano had a single and not double repetition like modern pianos, enabling virtuoso playing technique. You replaced the strings with new ones, but not so much that they got tired. A string is still a string until it breaks. It is a good idea to replace old strings with new ones. They are made of a different steel alloy and are more durable. The pitch of the sound is determined by the length of the string and its thickness. Low sounds in the bass are achieved by a double winding of copper wire, and in the midrange by a single winding of copper wire. What the string length and thickness should be is specified in the " menzur theory". The new strings must be properly fitted, the old ones are replaced. The new ones provide greater pressure on the soundboard, transfer vibrations better and enrich the sound and dynamics. Pleyel Chopin's piano is beautifully made and sounds beautiful for its age. With what nostalgia and delight we are glad that we could hear it, especially since it is Chopin's favorite piano. Thank you for your comment and best regards, Piotr from Warsaw
@@japiat1520 - Older piano strings were not cooper bound. The steel strings literally deteriorate over time (lose elasticity and therefor the sustained reverberation is LOST on very old strings) People often say that old strings sound the same until they break. This is simply not true. Thing is.... to replace older strings with new ones of the same quality. It's hard to do (or to find manufactures for that) but it's worth it. What we hear here is not Chopin's favorite piano, but a close resemblance to that (with less depth). It's a good thing, but Chopin would have heard something more...
All I know from experience is that I took a piano (1870) and replaced the strings (because everything else had held up remarkably well) and WHAM! From a rather dead tone to... a beautiful tone. (????)It's just what happened. Strings suffer from age fatigue - let alone pin blocks and bridges and the change of tension in an old piano frame.
Anybody with eyes and artistic ears can tell that 19th century pianos were much better than they are now. Why is the diktat of steinway with their ugly black and over tension strung pianos continuing ? And then look at the wood on this piano, gosh how splendid and do not tell me there is no wood available i see tons of hundred + years old hardwood left to rot often after being cut by men in north carolina forests. There just is no sawmill to make timber anymore. It's the system, the corruption of the "free market" that has destroyed the beautiful way things were done in the past. One thing in particular the printing of fiat money is responsible for societies putting priorities on destructive projects and companies instead of money being limited and backed by real ressources and real work, farmer's produce, artisan's work should be the most valuable things in society, not biotech false drugs and false vaccines.
Such an old audience. Also this new trend of the pianist having to present the piece with words is preposterous. This is about music, not music history.
