M's Compositions thats what i was thinking

@@johannsebastianbach7920 haha same

Well spotted!

That's Tom Beghin from McGill University - I had a Beethoven seminar with him! - Very weird pianist..

@@MrStojkovicj Still a world-class performer.

Yeah, classic pianos are elite

Yes, it was a montage of different stages from the carpentry, to applying the dark stain to the wood, adding the strings, and then seeing a close up of someone applying glue to the hammers and then carefully aligning the strip of felt around the tip. With everything nearly done, you see someone playing a bit of a sonata to test it out and then it fades away. I wish we could get a full performance though!

@@RobBrogan kzfaq.info/sun/OLAK5uy_l-7AVBMGgr52skGj548wPvub7U7k2SGF0&si=f8zQzMyXWdi5Pich These were all recorded on the same piano that was featured here.

Wonderful craftsmanship, and great historical research, but i just don't like the sound. I don't hear why ppl rave about these instruments. I'll bet Beethoven would take the 9' Steinway concert grand over his own tinny sounding piano any day.

True.

Hello! Could you clarify one doubt I have? In page 653 of the 2th volume of Taruskin's The Oxford History of Western Music, there's a photo of the 1803 Erard presented to Beethoven, but in the photo the piano has 4 pedals. But I see that in other videos the mechanism of this piano was still played with the knees. Would you please have explanatory comments about that?

Henrique Rabelo Thank you so much for the note. Yes In the harpsichord era, transitioning to modern piano, the knee-action pedals were eventually phased out. But since we weren’t pumping air with our legs as in an organ, the manufacturer thought we’d have an extra leg available. Thank you again for the note

Probably talc

@@ritschardt I don’t understand why.

@@davidmann8254 it is used as solid lubricant so you can tune without excessive friction

Schiff does it, on some Steinways. I think he used his own at Wigmore Hall. If seeing is believing watch Annique Göttler: dZi-6lxmmQg at 22:29

Paul McNulty fortepiano dot eu

People who build replicas of pianos such as this generally build their own actions

As far as the keyboard itself, You can send the designs to a lot of different dedicated keyboard makers out there. That aspect actually has not changed much since then. You just need to give them the right dimensions. But they only come partially done. the action you will have to build from scratch for a replica instrument like this which is a lot of hand labor. I know of a few rebuilding shops that specialize in Chickering concert grands with the edmon brown action which if broken requires them to literally either recondition, or flat out remake. Do note that it is difficult to make good money doing this kind of work given the amount of labor it takes. I mean you will see the prices of these replica pianos and see that they cost similar to that of a brand new concert grand, but remember that the margins are generally lower for these instraments. This and old style pneumatic player piano restoration are generally labors of love. Building a piano from scratch is no small feat and given the lack of available off the shelf parts.

@@zackeryhardy9504 thanx, I guessed it was labor of love; music generally is except for pop, show. Also a bit love in factory pianos like ... Fazioli? Estonia?

@@dibaldgyfm9933 High end pianos from truely good makers are generally labors of love aswell. I mean you could go for maximum profit like steinway, and they sadly still sell better despite being objectively worse in many ways including poor soundboard design, a lack of understanding in plate variance resulting in terrible feeling actions in the majority of their instraments, and poor finish quality out of the factory. Compare that to Fazioli or Mason and Hamlin and you will find that they do a terrific Job. I actually Work for Mason and Hamlin and given the sales price to time it takes to do things well, it is something that is driven by the desire to make a good instrument. If you want profit, you generally want to make affordable instraments for the masses. Make them cheap and sell them for decent margins. But if you really want to see how good a piano is, just look at the number of hours it takes to build a piano. If the factory is competent then the number of hours is highly correlated with how much attention to detail is taken. Fazioli's, Estonias and Masons take a long time to manufacture. Objectivley speaking they all have the dynamics. Your choice beyond that is generally about subjective enjoyment of the sound as each manufactuer has chosen the general sound they are going for through scaling techniques, hammer voicing, and some other aspects that are much too detailed to really discuss.

kzfaq.info/sun/OLAK5uy_l-7AVBMGgr52skGj548wPvub7U7k2SGF0&si=TSnYwNLdDnariVw9

I thought the same; they build a replica using modern tools, that is OK, but the glue? Also I wondered what the purpose is. The demo in the end sounds awfully because a new piano gets out of tune the moment you left it after tuning. But when tuned a dozen times it begins to sound better.

French but emigrated to London later, after the Revolution.

@@19Edurne worked in both countries.

Erard was a Parisian piano manufacturer, the firm always maintained a facility in Paris, France from 1777-1959. Erard moved to London, England during the French Revolution and remained in England until about the mid-late 19th century. Between the Paris and London Erard pianos, the best ones are made in Paris. Although there are some really fine London Erard pianos that I am aware of.