English
A New Interpretation of Chopin’s Piano Music Through Performance of the Second Piano Sonata on Pleyel and Erard Fortepianos and on a Modern Piano
Jun Ishimura
Abstract
I explored different approaches to performing Chopin’s Second Piano Sonata using my experience of playing on two period instruments: an original Pleyel 1848 grand fortepiano (known to have been played by Chopin) and an original Erard 1845 grand fortepiano. I considered how my experience of these instruments generated new knowledge which then informed my approach to performing the piece on a modern piano. This article is not intended to encourage pianists to imitate or copy my performance on historical instruments, but to re-discover period instruments in a new context and develop the ideas and perception gained from them to transform approaches to interpretation on modern pianos.
I first examined the differences between the Pleyel and Erard instruments, and how the characteristics of the two fortepianos are affected by their different mechanical features. I explain why these differences occur and how they affect performers, and this is connected to the famous statement by Chopin comparing Pleyel and Erard fortepianos.
Examining the Pleyel and Erard fortepianos and comparing historical and modern instruments from the perspective of being a concert pianist myself, this research revealed how pianists can bring out a singing quality in performance on percussive keyboard instruments. Experimenting with the Pleyel and Erard fortepianos has expanded my view of how to listen to the sound, with consequences for the management of specific dimensions and for my approach to modern pianos.
Keywords:
Chopin, piano, sonata, fortepiano, Pleyel, Erard, period instruments, performance, approach, mechanism, singing, portamento, pedal, phrasing, articulation, listening, touch, sound, practicalDetails
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