[CAUT] using as ETD

[Fred Sturm]

On Apr 18, 2010, at 10:08 AM, Ed Foote wrote:

> Chopin is a huge exception in his choice of keys. However, the case  
> is to be made that the additional tempering is used to good effect  
> in his compositions. Another case can be made that temperament  
> doesn't matter much for Chopin.  We used a reversed form after  
> listening to the same thing in ET and a WT.  They all sounded good,  
> but the ET was not as engaging.  But pointing out the rare exception  
> doesn't address the larger question.
>    Schubert, in the first 12 sonatas I looked up, uses C for 4 of  
> them, Bb for 2, A for 3, D for 2 and Eb for 1.
> He doesn't get near the tempering of ET except for that one piece in  
> Eb.

  I suggest you look beyond the "key of the sonata" and delve a little  
more closely into where he goes in individual movements. Schubert  
moves around A LOT and far. And that you look beyond sonatas to the  
pieces of his that are most played: the dances, the impromptus,  
various short pieces. You'll find that three or more sharps or flats  
are rather prevalent. BTW, his Op 90 #3 impromptu in Gflat Major is  
quite similar to those etudes of Chopin in the same in, in being music  
with a more calm and gentle or positive passion than would be  
predicted by "key characteristic" descriptions.
	I'd also suggest you look at Schumann (whom I mentioned before), and  
Liszt, and Mendelssohn before continuing to assert that Chopin was  
this big exception in using "remote" keys. He was not.

> a WT decreases the amount of overall tempering heard in virtually  
> all the major composers (Chopin excepted).


And Schumann, and Schubert and Liszt and Mendelssohn. Are there any  
other truly prominent early 19th century composers for keyboard? (18th  
century is an entirely different matter).
Regards,
Fred Sturm
fssturm at unm.edu
http://www.cdbaby.com/Artist/FredSturm

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