{"id":4125,"date":"2025-01-03T08:58:28","date_gmt":"2025-01-03T07:58:28","guid":{"rendered":"https:\/\/www.fondazionemusicale.it\/portfolio-items\/pleyel-1875\/"},"modified":"2025-01-14T12:22:58","modified_gmt":"2025-01-14T11:22:58","slug":"pleyel-1875","status":"publish","type":"avada_portfolio","link":"https:\/\/www.fondazionemusicale.it\/en\/portfolio-items\/pleyel-1875\/","title":{"rendered":"Pleyel 1875"},"content":{"rendered":"

Pleyel<\/strong><\/span><\/h2>\n

Paris 1875<\/p>\n<\/div>

<\/span><\/div>

The Pleyel and Erard pianos were undoubtedly the most appreciated by pianists of the nineteenth century. While Liszt preferred the Erard, which better met the needs of his transcendental technique, Chopin considered the Pleyel “the non plus ultra” among pianos, probably because its mechanics offered a more direct and sensitive sensation to the nuances of touch and a less incisive and sweeter sound. The mechanics of this model are English, with a simple escapement, but equipped with a patented system that allows the hammer to return, when the key is lifted, to the most suitable position to allow a subsequent rapid repetition.<\/p>\n

style<\/em>: grand<\/strong>
\nlength<\/em>.: cm. 185<\/strong>
\nwidth<\/em>: cm. 138 <\/strong>
\nheigth (floor to Keyboard)<\/em>: \u00a0cm. 73 <\/strong>
\ncompass<\/em>: AAA-a””<\/strong>
\noctave size<\/em>: cm. \u00a0\u00a016,4 \/ <\/strong>
\nwrest pins<\/em>: square <\/strong>
\nstrings<\/em>: AAA-CC# 1 winding \/ DD-C 2 winding \/ C#-F# 3 winding \/ G-a”” 3 iron <\/strong>
\naction<\/em>: Pleyel<\/strong>
\nbridge: <\/em>divided F#-G <\/strong>
\nagraffes<\/em>: AAA-c”’<\/strong>
\ncapotasto: <\/em>c#”’-a”” <\/strong>
\nstructure<\/em>: 5<\/strong> metal bars<\/strong>
\npedals: <\/em>shift, dampers<\/strong> \/<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":3339,"menu_order":7,"comment_status":"open","ping_status":"closed","template":"","format":"standard","meta":{"footnotes":""},"portfolio_category":[57,51],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-4125","avada_portfolio","type-avada_portfolio","status-publish","format-standard","has-post-thumbnail","hentry","portfolio_category-france","portfolio_category-pianos"],"_links":{"self":[{"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/avada_portfolio\/4125","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/comments?post=4125"}],"version-history":[{"count":2,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/avada_portfolio\/4125\/revisions"}],"predecessor-version":[{"id":4127,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/avada_portfolio\/4125\/revisions\/4127"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/media\/3339"}],"wp:attachment":[{"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/media?parent=4125"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/portfolio_category?post=4125"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/portfolio_skills?post=4125"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"https:\/\/www.fondazionemusicale.it\/en\/wp-json\/wp\/v2\/portfolio_tags?post=4125"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}