(careful, it is about temperaments)

[Avery]

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David,

At 09:32 AM 1/12/2006, you wrote:

>The artists who still perform and record in ET in spite of their 
>diligence in performance practice might just prefer it like 
>me.  Non-ET just sounds "wrong" in a certain sense.  Intellectually 
>I know it's not wrong, but so far emotionally it sounds wrong.  For 
>us it's probably the amount of time and effort that went into 
>perfecting our ET that we don't want to throw that effort away.

Sounds like the Houston Symphony who did a Baroque Festival at the 
university a few years ago. Still tuned to A-442 and wouldn't even 
consider an HT! :-(

>dp
>
>David M. Porritt
><mailto:dporritt@smu.edu>dporritt@smu.edu
>
>----------
>From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] 
>On Behalf Of David Love
>Sent: Thursday, January 12, 2006 7:49 AM
>To: 'An open list for piano technicians'
>Subject: RE: (careful, it is about temperaments)
>
>One other comment.  The problem with these types of explanations is 
>that they ignore the data.  In reaching a conclusion you first have 
>to look at the data and what that tells you.  After that you look at 
>factors which might mitigate against your conclusion.  The data 
>suggest that people who are presumed savvy about issues such as 
>temperament are not choosing them.  The factors that mitigate 
>against that conclusion are such as those mentioned below but even 
>so, it represents only one tuners attitude on the subject and 
>there's nothing to suggest that artists are asking for HT's and not 
>getting them.  When you stick to your conclusion (really your 
>opening premise) in spite of the data then it suggests a 
>bias.  You're really starting with a conclusion and then looking for 
>reasons to support it rather than collecting the data and reaching a 
>conclusion based on what you find.
>
>
>David Love
>davidlovepianos@comcast.net
>-----Original Message-----
>From: Porritt, David [mailto:pianotech-bounces@ptg.org] On Behalf Of 
>Porritt, David
>Sent: Wednesday, January 11, 2006 2:26 PM
>To: An open list for piano technicians
>Subject: RE: (careful, it is about temperaments)
>
>Or they thought that when they took their show on the road they 
>couldn't get the temperament of their choice executed by the 
>technicians in the field.  >From my observations that's probably 
>true.  I listened to Franz Mohr tell a class that if an artist asks 
>for a non-ET temperament to just tune ET and don't go there.  Now 
>that was a few years ago but his view of the subject indicated that 
>this idea was probably not subject to change.
>
>dp
>
>__________________________
>David M. Porritt, RPT
>Meadows School of the Arts
>Southern Methodist University
>Dallas, TX 75275
><mailto:dporritt@smu.edu>dporritt@smu.edu
>
>
>----------
>From: pianotech-bounces@ptg.org on behalf of David Love
>Sent: Wed 1/11/2006 2:49 PM
>To: 'An open list for piano technicians'
>Subject: RE: (careful, it is about temperaments)
>
>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.
>
>David Love
>davidlovepianos@comcast.net
>
>-----Original Message-----
>From: pianotech-bounces@ptg.org 
>[<mailto:pianotech-bounces@ptg.org>mailto:pianotech-bounces@ptg.org] On Behalf
>Of Ric Brekne
>Sent: Wednesday, January 11, 2006 10:48 AM
>To: pianotech
>Subject: (careful, it is about temperaments)
>
>As to the matter of conclusive.... we of course agree.  I dont anyone
>can claim conclusive proof one way or the other either... not by a long
>shot.  That said, I /believe/ that composers were affected by the sounds
>around them... perfect pitch aware or not. I try to imagine my self in
>that same enviroment... could I not be influenced ? Could it not be a
>significant part of why I choose any particular key ?  Well... we will
>never know perhaps... I'm not sure it really matters much.  Certainly
>much in that world is there to be explored... if not re-explored.
>
>Cheers
>RicB
>
>While I think the exploration of WT has it's own interest in terms of what
>the composers of that day may have been hearing when they actually played
>their works on the piano or related instrument, I think it is far from
>conclusive that those who often conceived of and composed things away from
>the instrument, with a keen sense of absolute pitch and the unique
>characteristics of each key apart from the piano, with orchestration ever in
>their minds would have been driven by tuning style that was evolving even
>during their own lifetimes.
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>
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