(careful, it is about temperaments)

[Farrell]

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"To suggest that the leading interpreters of classical music
of the last century take such pains for authenticity while rejecting =
the, we
assume, prevailing tuning style of the times forces you to the =
conclusion
that they either consciously chose to reject it because it wasn't in =
their
view relevant to the music and authentic interpretation, or that they
are/were ignorant, biased or..."

Or is it that equal temperament is what they trained on and pretty much =
all they know? Could it be that they feel that the tuning temperament =
was perfected 100 years ago, much like most piano builders/rebuilders - =
and prefer to not look forward (or back)?

Terry Farrell

----- Original Message -----=20
> One thing to consider in all this (and I've probably exhausted my =
thoughts)
> is what the major pianist/scholars are doing in this respect.  =
Pianists like
> Brendl, Schnabel, Perahia, and most of not virtually all others who =
pour
> over original source material, biographies, writings, documents in =
order to
> glean that small little detail that adds to their commitment to a more
> authentic interpretation of the music as conceived by the composer.  =
Of all
> these people it seems (and I say this with the caveat that I have not
> actually done the research) that most if not all of them, when =
choosing to
> record/perform, opt for ET.  While there may be a few who, to their =
credit,
> are exploring these pieces in the temperaments of the times, they are =
a
> stark minority.  To suggest that the leading interpreters of classical =
music
> of the last century take such pains for authenticity while rejecting =
the, we
> assume, prevailing tuning style of the times forces you to the =
conclusion
> that they either consciously chose to reject it because it wasn't in =
their
> view relevant to the music and authentic interpretation, or that they
> are/were ignorant, biased or, as Bremmer suggests, did it for some =
strange
> business reason.  Considering the extent to which they research these =
issues
> and their apparent commitment to the original intent of the composers =
leads
> me to the conclusion that the tuning style was rejected consciously =
and that
> it was not relevant, in their view, to an authentic and musical
> interpretation.  Who am I to argue?  If there is real evidence to the
> contrary, I'm open to hearing it.   =20
>=20
> David Love
> davidlovepianos@comcast.net 
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