New Strings for 1844 Pleyel -- Nuove Corde per il Pleyel dell'1844

Removing the original gray rabbit-felt from an 1844 Pleyel hammer

In this video, I remove the original Pleyel/Pape felt from hammer 41 (middle E)

First thing to notice is the softness and weakness of the felt.

Second thing is that the felt is glued all around the hammer, including the tip.  This is in direct opposition to the usual method of glueing hammer-coverings.  The reason for this can only be because, since the felt does not hold tension, it was necessary to glue it under the strike-point in order to ensure good contact with the underlayers.

This is the same kind of felt that Chopin had on his Pleyel Grand Pianos.


In questo video tolgo il feltro originale da un martello Pleyel.  Come potete vedere il feltro è morbido e non resiste molto bene alla tensione.

Il feltro è incollato tutto in torno al martello, probabilmente perche, visto che il feltro non regge la tensione, è obbligatorio incollarlo anche sotto la punta per assicurarsi un buon contatto con i strati sottostanti.

 Questo è lo stesso tipo di feltro che Chopin aveva su i suoi pianoforti a coda Pleyel.

The Salons Pleyel Concert Hall from the 1830's -- La Sala da Concerto Pleyel degli anni 1830

Here is the Concert Hall where Chopin made his first Paris Concert and where Liszt first saw him and praised his playing.  Many composers and famous pianists had concerts here during the 1830's.  Not much bigger than a modern living-room and proof that at the time loud concert-pianos were not a necessity.  When Pleyel moved to a bigger Concert Hall in the 1840's he had to build bigger pianos to match!