Non-ETs

[Jason Kanter]

Another silly argument. Mozart was acutely aware of "color" differences
between different keys, and used these contrasts consciously. It is the key
color that Mozart worked with as part of his palette, which we cannot
discern in ET and which can emerge in a WT. The period instruments, halls
etc are incidental and rather trivial; the quality of the harmony is the
essential. It's not "experience what Mozart did" -- it's "experience the key
color that Mozart did".
----- Original Message ----- 
From: "Phillip Ford" <fordpiano@earthlink.net>
To: <pianotech@ptg.org>
Sent: Monday, April 05, 2004 9:48 AM
Subject: RE: Non-ETs


> > > --- big snip ---
> > >
> > > Engineers (who are not always the most artistic lot) tend to
> > > think that if a temperament can be constructed with a rational
> > > number it must be right.  However, if one wants to hear what
> > > Mozart was hearing you can't use ET.  Of course hearing what
> > > Mozart heard might not be important to you, but if it
is................
> > >
> >
> >
> >...then one must play it only on the same instruments (or their exact
> >replicas) Mozart played on. Anything else would just not be the same.
> >
> >Del
>
> And one should probably play said instrument in a rather smallish hall or
> room having lots of wood and plaster.  Also, one might be advised to play
> by candlelight and wear a frock coat and a powdered wig.
>
> There are reasons for non-ET temperaments.  But to say that you're going
to
> put an historical temperament on a Steinway D that's going to be played in
> Carnegie Hall so that you can experience what Mozart did is a bit like
> saying that you're going to put sails on the Queen Mary so that you can
> experience what Columbus did when he crossed the Atlantic.
>
> Phil Ford
>
>
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