Temperaments

[A440A at aol.com]

Julia writes:

<< If I use one of the Victorian Wells wont it be too "gentle" for 
Beethoven. << 

      yes, maybe.  However, the departure from ET to the mildest well 
temperament is a BIG step.  For the listener, it isn't usually a distracting change, 
but for many pianists, getting into the full comma well temperament all at 
once is often too much.  That is why I like the most subtle introduction I can 
manage.  There is always time to go farther, later.  Once they realize that 
their fear of departure from ET was unfounded, many pianists will be willing to 
explore.  Do it in increments.  Again, the venue is also a factor. 
 
>>The purpose of my wandering experiment here, is to reproduce what 
Beethoven intended. 

      Then you need a piano like the one he last heard, (maybe 1812?).   Our 
modern piano has a different harmonic structure than his, and it has to 
produce a different effect.  However, if we assign a higher musical value to the 
degree of contrast between keys than to the overall amount of overtones, then, 
often, the modern piano in a Kirnberger can be meaningful to those that 
understand the need for dissonance, and how Beethoven used it to effect.   It is this 
"meaning" that is the intention of the music, and it is a personal thing, 
differing for all of us. I personally think beauty springs from meaning, but 
whereever it comes from, I find more of it in a well-tempered version of the piece. 
 
>>Do you think the Valotti is a good choice for Beethoven piano sonatas? >>

Yes,  as well as the Young.  I can also suggest trying the Lehman version of 
Bach's temperament, Jason should have that on his site, too.  
Regards, 
 
Ed Foote RPT 
http://www.uk-piano.org/edfoote/index.html
www.uk-piano.org/edfoote/well_tempered_piano.html