Evelyne Brancart traveled to the UK (specifically. Tunbridge Wells— an hour south of London) to visit and play on pianos from the Richard Burnett Heritage Collection. Her specific interest in the collection stems from a research project she is undertaking: Discovering Chopin’s Piano Performance Practice Through His Etudes. The primary focus of it is to shed light on, through written explanation and her performance (on video), of embedded pianistic choreography in the etudes—works clearly central to understanding the physiology of piano artistry. Experience with instruments similar with those that Chopin actually performed with is obviously a key element for the project, and it is this that prompted the visit.

Evelyne approached the visit with significant curiosity and anticipation. She was led the Collection by Director of Projects, Gary Branch and Collection Curator, Cesar Hernandez. Among other fascinating instruments, Evelyne was introduced to the two outstanding Clementi pianos, and the 1823 Broadwood and 1826 Graf, which related to Chopin’s performance on these pianos in his travels to Vienna in 1829. It was with delight that she also heard Gary play on the Johann Fritz piano, with its mechanism of three bells punctuating the chorus-type material in Mozart’s Rondo Alla Turka. Moreover, it was a revelation for her to play and hear the true ethereal voice—that begins the last movement of Beethoven’s Waldstein Sonata— emerge from the Graf piano.

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After a complete morning tour of the Collection, Evelyne sat down in the afternoon for a video-recorded session playing excerpts from the etudes on a Pleyel Piano of 1842—a model that Chopin owned.

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Evelyne’s revelations here were that the instrument is not easy (or forgiving) to play; but does respond consistently to technical approaches illuminated by Chopin’s approach in the etudes. Additionally, the sound is quite rich, with excellent clarity in the lower end, and transparency in the upper registers. The instrument and its action clearly require strength to play, which support a quote of Chopin that he preferred the Erard piano when he was more fatigued. It belies the perspective that Chopin’s penchant for softer intimate playing meant that he preferred an instrument more effortless to play. What emerges is that when feeling strong, his technical approach could manage the Pleyel; and he valued its singing tone, clarity and definition in different registers, and rich quality.

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Visiting the Richard Burnett Heritage Collection was thus important and essential for Evelyne’s project, and a truly amazing and illuminating experience!

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She is extremely thankful to Katrina and Richard Burnett for their hospitality, and to Gary and Cesar for providing so much information and insight

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