Paderewski was extremely popular as a concert pianist and often toured Europe and
America. He was particularly noted for his playing of Chopin’s compositions. He
recorded on disc and roll and those recordings show that his piano playing contained a
large amount of nineteenth century piano mannerisms, especially arpeggiata. The
playing of his pupil Ernest Schelling contained possibly a larger amount if we can go by
Schelling’s reproducing roll recordings. Paderewski’s last pupil was Witold Malcu(y'ski.
Paderewski composed a large amount of piano music most of which has not withstood
the ravages of time although his Minuet used to be very popular.
He was named as a co-editor of the Polish Complete Edition of Chopin’s piano works but
he died before the the project was properly underway.
PAPE
Jean-Henri Pape (1789-1875) (born Johann Heinrich Papen) was one of the German
expatriates, such as Pleyel, Shudi and Zumpe, who played such an important rôle in the
development of the French and English piano industry. Pape was born in 1789 in
Sarstedt and in 1819 he was listed in the Almanach de Commerce of Paris as a piano
maker in the Palais-Royale area. It is possible that he had arrived in Paris in 1811 and
worked for Pleyel, after having spent some time in England. The first pianos made by
Pape were almost certainly square pianos of a conventional design. He needed to
establish his reputation and finances by designing reliable and straightforward
instruments before launching into anything more adventurous.
In 1826 Pape registered the first of a series of patents including felting hammers, the
down striking action and the fallboard. Pape presented a square piano with down striking
action at the 1827 Paris Exposition. Fétis wrote: ‘Although there is nothing specific in
the design of Pape’s pianos, and they are generally simple imitations of the instruments
of MM Petzold and Pfeiffer, the quality of their sound is pleasant if a little heavy.’ Fétis
was basing his opinion on the instruments made by Pape up to this time and several
extant early instruments confirm his impression. The design is typical of the instruments
of the time but the construction quality is very high.
The Pape firm did extremely well. In 1827, with a turnover of 280,000 francs and 75
workers, Pape was well ahead of Pleyel (who started before Pape) with 180,000 francs
and 30 workers, but well below Erard with 1,169,000 francs and 150 workers. Pape
progressed although Pleyel had overtaken him by 1834.
The pianos built by Pape were in every way extraordinary. Technological innovation was
permanent, the casework was different and every detail was of superb quality. The 1826
patents were implemented and were followed by many others. Pape registered 102
patents, of which 73 related directly to the piano although not all were of equal
importance.