This is the video-channel of the Amsterdam Erard Ensemble. Chamber music from the Romantic era.
The sound of the 19th century was in many ways different from our own: the music sounded lighter, with a diverse and lyrical character adding to the liveliness of music making. This lost sound can be recaptured when we play and listen to an original instrument from the 19th century. For about 20 years the Amsterdam Erard Ensemble has been exploring a wide ranging repertoire from the 19th century with the expressive sound of our Erard Grand Piano from 1851. We invite you to enjoy this experience with us!
Thank you very much! We are a Dutch ensemble based in Amsterdam, and named after the famous 19th century French piano maker Sébastien Erard. In this video Edward Janning is playing one of his beautiful instruments.
By whom is this arrangement? Mendelssohn made the 4-hands version, but this must have been composed by someone else. I wonder who. One other thing: why are your recordings so rare? It's difficult to find any mentioning of those anywhere online...
Hi! Thank you for your interest. The arrangement is by Carl Burchard, who made quite a few arrangements of symphonic repertoire in the 19th century. Regarding our visibility here: we focus on giving concerts, not so much online.
@@klaas020 Thank you for the kind reply. I was referring to the Schumann/Mahler/Karl Krill CD. One cannot find it anywhere, which I find quite unfortunate.
The Schumann, Mahler Krill cd is unfortunately not available anymore. We do have audio files that we can send you. If you email to info@erard-ensemble.nl I will send them to you.
The American Palette is so bereft of quality music. We have sold our soul to the 'Makers of Noise and Mediocrity'. That's my way of saying I like this !
Very nice playing!I have found the two measures that start 4 measures prior to rehearsal number 8 in the fourth movement to have a curiosity. Perhaps you are aware of this. When Dvorak prepared his autograph score, there was a mistake made in the part preparation by Simrock. The viola part showed the viola to play 8th note, 8th rest, 8th note, 8th rest while the other three players play 8th note, 8th rest, 8th rest, 8th note. This is not what Dvorak intended. Dvorak wanted all four instruments to play the same rhythm, 8th note, 8th rest, 8th rest, 8th note. The score was corrected but there are many parts still published today that contain the "mistake" in the viola part. Having listen to over 90 renditions of this work as heard on RU-vid I would estimate that about 30 percent play from the altered, "mistaken" viola part and about 70 percent play from the corrected viola part. All the full scores that I have seen in print have the correct part. If you listen to the Emerson Quartet, the Crimson Quartet, the Fry Street (string) quartet, the Budapest Quartet (1941 recording), the Julliard Quartet (1971 recording) you will hear the viola play the mistaken rhythm. If you listen to the Orion Quartet, the American Quartet, the Amadeus Quartet, The Prague Quartet, The Cleveland Quartet you will hear the correct rhythm. Even a 1928 rendition by the Czech Quartet play the part "correctly." A modern day Quartet, the Dolezal Quartet (Dolezalovo Kwarteto) play with the altered viola part and are aware of it, but play it because in their opinion, it sounds better. Your ensemble here plays from the "incorrect" part. Listen to the measures from 2:21 to 2:23.. Your Violist plays 8th note, 8th rest, 8th note, 8th rest as the part states. But the part is wrong with the "mistake" in part preparation being made right at the beginning. Kalmus is a publisher that publishes the parts with the mistake. Look at the score and see how it should be played. Listen to the Orion String Quartet on RU-vid to hear how Dvorak intended the passage to be played.
Your music is beautiful ! and I found your explanations about the influence of parallel or crossed strings on the quality of the sound very interesting ! What is the year of your Erard ??
Sorry but sounds like u are playing it not like a quartet but 4 versions of it all together. Sometimes it looks like some of you are trying to get attention (playing it too loud) when it is supposed to let the cello, for example, outstand the others.
