AcousticSamples Old Black Grand Piano Pleyel KONTAKT/

The Concert Grand is the ultimate and finest of any piano manufacturer’s products. They are meant to be used at the great concert halls, symphonic stages, and opera houses of the world. They are often “too much piano” for an ordinary house, and can be overpowering in a small room kind of like having a tiger for a pet. But in an auditorium, where their sound is allowed to properly unfold and resonate, they are the most magnificent products of the piano craftsmen’s art.
old black grand piano pleyel

Old Black Grand Piano Sounds for Yamaha Motif XS/XF/MOXF/MONTAGE

Chopin playing in the living room of Prince Radziwill The artists, the best promotion for the brand In this first half of the 19th century, Parisian musical life was in full swing. On January 1st , Camille Pleyel organised the first public concert played on a Pleyel piano, ushering in what would become a custom: This ability to surround itself with artists, discovering talents and having them play its instruments is one of the characteristics of the Pleyel Company. Camille regarded musical events where the public could appreciate and judge the sound qualities of the instruments he sold as complementary to his industry.

The first concert halls in the world In , there were not any concert halls in the strict sense of the word, but more premises scraped together for this purpose. Quickly, these halls took on the appellation of “salons” borrowing from the literary salons of the Age of Enlightenment. It is in this context that Camille inaugurated his famous salons, located at 9 Rue Cadet, on January 1st They were to become a centre of Parisian musical life, where many virtuosos would be heard for the first time.

Camille opened his doors to foreign artists visiting Paris: The salons of Rue Cadet prefigured what was to later become the fist auditorium in the world dedicated to music.

Located at 22 Rue Rochechouart and financed through the sale of the musical publications business, it boasted seats. This temple of classical music and jazz has hosted the greatest artists in the world for many years. A turning point in the life of Camille The year marked a turning point in the life of Camille. On November 17th, Ignace Pleyel passed away, leaving behind the work of a major composer. He was buried in Pere Lachaise cemetery in Paris. Shortly before the death of his father, Camille married Marie Mock, who had previously been engaged to Berlioz.

This concert pianist, accomplished virtuoso and famous throughout Europe, opened the doors of romantic salons to him. Following these changes, a new era began. Particularly attentive to artistic undercurrents, the young man loved to surprise and stand out from the classicism of his competitors. Before an audience of great Parisian pianists and music journalists, his success was immediate.

He packed the house until his very last performance, a few months before his death in Pianino George Sand Model – Continuous improvement of pianos Camille intended to offer musicians a concert hall worthy of the name, but he continued in parallel to pay great attention to improving the instruments he produced.

He was the first to dare to use a metal frame for his pianos. He gradually transformed the piano to meet the new demands of composers. For powerful and rich sound, essential for some romantic works, he chose to place iron soundboard braces in grand pianos, which by their better resistance offered greater volume. He also gave the keyboard perfect equality. Camille never ceased to file patents. He introduced the upright piano in France and perfected its production by inventing the “extended” sound.

Pianos for all In , he put on sale a baby grand piano of which the sound and timbre were comparable to larger models. Anxious to allow everyone to work on a Pleyel piano, he proposed, as of , a square study piano with two sets of strings and six octaves of excellent quality, very solidly built and at a very affordable price. Aware of entering a decisive period for his company in severe competition with Erard, Camille launched his small upright pianos, the famous pianinos.

In , the workshops employed workers and produced 1, pianos a year. Conquering the world From , Camille was looking to expand his piano manufacturing. To do so, he aimed to win over new customers by trying the international market, so far dominated by the English. Seeing a possible outlet for his business, he was particularly attentie to the manufacture of instruments for foreign countries, adapting and modifying their construction according to the climatic conditions to which they could be subject.

Very quickly, his efforts paid off. Recognition of his peers Some thoughts recorded in in the musical Gazette testified to the progress of research and discoveries from the Pleyel Company at that time: In regard to sound quality, these instruments leave nothing to be desired and even seem to outweigh English pianos, which have long been the manufacturing model. Mr Pleyel yet again found ways to improve their products by changing the keyboard system and ensuring their lightness.

In this period, the Pleyel Company received multiple awards including gold medals at the National Exhibition in Paris. Camille was raised to the status of Knight of the Legion of Honour in He received his latest award posthumously: Like the Pleyels, he was also from a family of musicians.

Born in Paris in , Wolff,a talented composer and an excellent musician, was awarded fist prize in piano at the Paris Music Conservatory in He had active entrepreneurial skills that allowed him to extend the work of Pleyel. He became an exceptional piano maker and contributed greatly to the development of the company, especially by the ingenuity and the quality of his innovations.

A large factory in Saint-Denis In , to support the resounding commercial development of the company, the Pleyel manufacturing workshops were transferred to Saint-Denis. A large factory was erected on the 55, square meter site. It included workshops equipped with steam engines, large areas for storing equipment from around the world and offices for management.

Advances in industrial technology with the development of steam and dynamo-electric engines allowed the production of a number of units that had never been achieved before, with a peak in , the year during which 3, pianos left the factory. From piano manufacturer to industrialist Auguste Wolff knew how to harness the great industrial development and adapted the mechanisation of his tools: Wolff showed rigour, but also proved to be a humanist and a visionary.

Recognising the difficulty of managing a major payroll for the period up to people worked on this site , Wolff was also interested in new working conditions inherent to technical progress and was able to put in place innovative social measures.

A gigantic research lab In this modern factory, larger warehouses and research laboratories also contributed to the quality of instruments leaving the workshops. Wood, metal, felt and varnish were tested within the factory. Wolff ensured that the metals used on his pianos were shaped and tested on site. The careful selection of raw materials was a prerequisite for good manufacturing of the series.

The various innovations were guided by the final quality, reliability and especially the piano sound that emanated. The innovations of the mid 19th century included: Particular attention was paid to the keyboard for accuracy, sensitivity and speed on each attack The use of parallel and crossed strings, attention to tensions and a careful selection of materials gave more strength and lightness to the wooden structures.

Wolff replaced the wooden frame with a cast iron frame in order to give a fine and distinguished sound to the pianos. Crowning all these innovations, the Pleyel Company received a medal at the London World Exhibition in Born in , Lyon was an alumnus of the Ecole Polytechnique and held a engineering degree from the Ecole de Mines. Also an accomplished musician, he used his scientific knowledge to improve the quality of pianos and deepen the acoustic secrets. One of his fist innovations was to make a stainless steel metal frame for pianos – the famous “Pleyel steel”, a specificless carburised metal cast in one piece and not assembled.

His inventions earned him an honorary award at the Paris Universal Exhibition when the Pleyel Company produced its ,th piano. An exceptional title of glory since Pleyel was the fist piano manufacturer in the world to reach this figure. At the turn of the new century, the Pleyel brand had its fans. It was indeed Lyon that led pianists to adopt the famous Pleyel sound, embodying “the French sound” with its romantic colouristic characteristics.

Pleyel pianos had lightness, roundness, a powerful bass and an amazing sparkling treble, which gave them a real harmony. The sound of Pleyel pianos seduced the whole young generation composed mainly of Russian composers. Rimsky-Korsakov, Rachmaninov and Wanda Landowska.

P and F models The climax of the Pleyel Company was in the years when prestigious models were created. Lyon is in fact the inventor of the famous upright piano called “model P” that the specialist Jean-Jacques Trinques called “the king of uprights”, and the mythical “model F”, a baby grand piano based on the model “3a” mentioned above.

The Salle Pleyel In addition to manufacturing pianos, Gustave Lyon was fascinated by the acoustics of concert halls. At this time the sound was more a matter of art than a science. Lyon became an acoustics specialist of auditoriums and his recommendations were regularly followed by architects.

This imposing auditorium of music in Paris presented at its opening a capacity of 2, seats. At that time, the Salle Pleyel was one of the three most prestigious auditoriums in the world, next to the Concertgebouw in Amsterdam and Carnegie Hall in New York. The Salle Pleyel in Henri Matisse – The music lesson Look on a prestigious past In more than two centuries, Pleyel has demonstrated its constant desire to innovate and reinvent itself, from a technical and aesthetic point of view, in order to meet the demands of the most demanding musicians.

Whether grand pianos or upright, squares or tables pianos, the Pleyel brand has established itself worldwide with always the same success.

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For the OP: As you can see from my signature I have quite a few virtual pianos. I would rate the Vintage D as 1 for my needs, but I don’t play much classical music I play a lot of Elton John, Billy Joel, and 40’s, 50’s, 60’s, 70’s standards. The Vintage D is extremely playable and the most versatile virtual piano I have found because I believe it is harmonically richer than others and can be voiced over a wider dynamic timbre range mellow vs sweet vs cutting vs bright and still sound authentic. It is sampled from an incredible acoustic piano that appears to have been impeccably prepped prior to recording probably the most important, and sometimes poorly executed step, in producing a virtual piano.

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