Frédéric Chopin - Wolfgang Amadeus Mozart (E)

The musical collaboration of Frédéric Chopin

Ignace Pleyel was born on June 18, 1757 in Austria. Was he also a composer? Did he also play the piano? Both questions can be answered yes. The blond-haired boy played the piano at an early age. But he did not reach the level of Chopin or Mozart, although he made it far in the music world. If you take charge of the Prince of Rohan Music School in Strasbourg at the age of 23, and 6 years later become master of the orchestra of the Strasbourg Cathedral, you have a lot to offer in that area. This move caused him to move from Austria to France. There he settled permanently. It was Ignace Pleyel who wrote 'the Hymme to Freedom' in 1791 and 'The Revolution' in 1793. With this he showed that he felt like a real Frenchman. It would remain that way for the rest of his life!

He gave a series of concerts with Mozart, but also with Joseph Hayden. In England, London, but also in other world cities. When Mozart spoke about him he called Pleyel 'a joy for music'. You would say, a greater compliment is almost impossible. Yet it was not exactly the music that made him world famous, but the instrument, the piano. Yes, because in 1797 he opened a small music publishing house in Paris. He put his musical performance schedule on the back burner, and expanded sales activities to include harps, guitars and pianos. Was there a revenue model behind that? Did the trade yield more financially? Was he tired of traveling? It is known that giving concerts worldwide is physically demanding on the musician! To be successful for a lifetime you must have a strong mind and body.

Anyway, it wasn't until 1807 that he made the final step towards becoming a celebrity. The first Pleyel pianos saw the light of day. Full of enthusiasm, he started up the production process, setting the bar at the highest level. After all, he knew better than anyone else how a piano should sound, what the noble instrument should meet. Tenaciously and doggedly, he created. Naturally, he used his international musical connections for sales and growth. Made grateful use of their input. However, being a grandmaster in music does not mean that you are or can be a business leader. Even with financial help from then-famous names in the musical field, Kalkbrenner, Rossini and Mehul he did not make it. Even those individuals demonstrated more spontaneous helping a colleague than business acumen. His long, high-blond curly hair turned to grey, the pointed nose stuck out pale.

Fortunately, he had a son, Camille Pleyel, born in 1788 in Austria. In the broad face, watchful blue-grey eyes stood out. Black straight hair lay around the broad face with narrow lips. Automatically he rolled into musical life, proving himself a class act. He amazed Chopin with his musical achievements. With him, Chopin became friends. About him, Chopin said at one point, "Today there is only one man who can play Mozart and that is Camille Pleyel. With him I would like to play a four-handed sonata'. An incredible compliment which indicated Camille's class.

Son Camilla was 35 years old, 1824, when he plunged into the adventure of producing pianos. And lo and behold, unlike his father, he did have business acumen. During his many travels around the world, he had looked into the kitchens of the leading piano manufacturers. As a piano virtuoso, he was eagerly given insights and tours. What he saw and noted inspired him to tackle things thoroughly at home. He reorganised the dormant, effectively unprofitable business. Immediately became co-owner. Since 1825, his researches, innovations indeed brought the company to great prosperity. A major asset in this was his connections and friendly ties with virtually every major musician in the world. Chopin, Cramer but also others promoted the Pleyel piano. Of course, it was also an outstanding instrument, constantly making improvements. Relatively quickly, the brand acquired international fame. Cleverly and adroitly, Pleyel Company associated well-known artists with the instrument's innovations. 

In 1827, they presented Pleyel pianos at the National Exhibition in Paris. There, they captured a gold medal, no less. That proved to be a definitive breakthrough. They became piano manufacturers for Louis Philippe, Duke of Orleans. He was the future king of France. And so more high-ranking clientele followed. Many more even.

Even Chopin continued to preferentially play the Pleyel piano until his death. Examples like these created unprecedented spontaneous growth.

In 1831, aged 74, the founder of Pleyel pianos Ignace Pleyel died. As early as 1829, he was struggling with his health, and steps were taken to arrange father-son succession. This was achieved by mutual agreement, to the father's satisfaction. The famous pianist German Friedrich Kalkbrenner, 1784, was financially involved in the company until his death in 1849. Evidently, things clicked between Camille and Friedrich. Friedrich will have benefited financially, but he also worked hard on musical developments. Yes, stood there as a top musician together with Camille.

Since 1 January 1830, they gave public concerts on the Pleyel piano, which naturally generated wide, free PR. After all, both Camille and Friedrich performed there. Both delivered top performances, musically and professionally. That kind of performance was held in large halls. At that time, there were no real concert halls. Pleyel Company started doing just that. With great success! Halls with 500 to 1000 seats. They were packed and sold out when Chopin, Pleyel, Hadyn, Kalkbrenner and other lesser-known musicians performed. Pleyel Company's approach brought about a real revolution. This cut both ways; they received incredible publicity worldwide. Because Chopin always preferred to play the Pleyel piano, the name of that brand was boosted. Rightly so, in fact. As a virtuoso like Chopin says, 'a Pleyel piano has a perfect touch. When I feel good enough and strong enough to make my own sound, I need a Pleyel piano', it works extremely well. Statements like that were widely reported in music magazines worldwide but also in newspapers. You couldn't get better advertising! Consequently, Chopin gave all his concerts in Pleyel salons as well as in Parisian concert halls on a Pleyel grand piano.

Meanwhile, Camille continued with developments. As the first piano builder, he dared to use a metal frame, and installed iron soundboard supports, achieving great volume. Also very important, the touch of the keyboard. It must be good and evenly distributed over the entire keyboard. New things were constantly tested and applied. Upgrading took place again and again.

In 1838, the Pleyel Company put a baby grand piano on sale. They succeeded in making the timbre comparable to the larger, and therefore more expensive, models. The wish was to have everyone, even with a modest budget, play the piano. Today, Pleyel still has a baby grand piano in its collection, the P170. In 1839 the company introduced a square study piano, with two sets of strings and six octaves. Solidly built and affordable. An unprecedented success. Pleyel Company continuously applied for patents. The company also acted safe on that side. 

In 1855, Pleyel Company employed 350 people, produced 1,400 pianos a year. The workshops were modern, the staff committed. Pleyel Company grew into a multinational company.

The press reported; 'The reputation of Mr Pleyel's pianos is now made worldwide and among artists. In terms of sound quality, these instruments leave nothing to be desired and even seem to outweigh English pianos. Mr Pleyel has once again found ways to improve their products by changing the keyboard and making sure they are light'.

The efforts are amply rewarded. Pleyel pianos not only find their way across Europe, but are also exported to America, Colombia, Chile, Peru, Brazil, India and even Australia.

In 1834, Camille was elevated to Knight of the Legion of Honor, the highest national honor in France. He also received several gold medals at the National Exhibition in Paris. He posthumously received a medal of honor at the world exhibition in Paris in 1855. He died on May 4 of that year. Others continue the business.