This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment "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 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/b1/88/a5/90/attachment.htm ---------------------- multipart/alternative attachment--
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