<html> <body> Thanks, Fred. At 01:52 PM 12/7/2005, you wrote: <blockquote type=cite class=cite cite="">Hi Avery,     I'd say Valotti is a bit pungent for Beethoven, and would  recommend something on the lines of John Preston, Peter Prelleur,  Early 18th Century, Representative 18th Century, or Broadwood Best  (Ellis tuner #4) instead. That would give more contrast from the  Haydn's tuning. </blockquote> I really don't want to use Broadwood Best for this. It's just way too mild for what I'd like to try & do. I'm not familiar with the others but will play with them some & see. Someone else suggested (in addition to the Valotti) "or the Young, (which only moves the consonance center to C instead of F, a very minor change)." <blockquote type=cite class=cite cite="">I might use Valotti for t= he Haydn, but a Werckmeister would be fine. </blockquote> Kirnberger has also been suggested and another person said: "My only suggestion would be to use some kind of Meantone on the fortepiano (Haydn) rather than Werckmeister, which is kind of blah. I have been experimenting with 1/6-comma and 1/7 comma meantones lately, and found them to be quite lively and interesting. <blockquote type=cite class=cite cite="">I see no reason to assume= ET for Berg - you could use  a Victorian temperament and be well within historic principles.  "Moore" would be a good choice. But as a practical matter I would  probably do ET so I didn't have to change the D from where it is.</blockquote> One of the reasons I'll probably go with ET here is also to give people a chance to compare. <blockquote type=cite class=cite cite="">(BTW, the Berg Sonata is a gr= eat piece, one of my favorites. A real  transitional, late romantic powerhouse, filled with angst and  ethereal beauty). It would be nice for contrast sake if the  harpsichord piece would work with a meantone.</blockquote> That's a possibility, assuming it's not the WTC! This is exactly why I posted this so early. I knew there'd be several different suggestions, so I wanted to have time to try them all & decide by listening (me & the pianist) which one seems to suit the music best. <blockquote type=cite class=cite cite="">Who's the prof doing this recital? Or is it a joint effort? </blockquote> His name is Timothy Hester. Teaches private lessons, does a LOT of accompanying (& teaches it), is into the more contemporary music a lot (i.e. "Song of the Whale" (I can't think of the composer's name right now) among others a little more extreme. Because of this, he's used to hearing weird sounds, so several different HT's should be no problem! :-D An excellent pianist. He also played the Brahms #1 in d minor this semester with our orchestra. <blockquote type=cite class=cite cite="">Very interesting project.</blockquote> I agree. In spite of the extra work, I'm looking forward to it. <blockquote type=cite class=cite cite="">Regards, Fred Sturm University of New Mexico fssturm@unm.edu On Dec 7, 2005, at 8:26 AM, Avery Todd wrote: <blockquote type=cite class=cite cite="">List, I have a faculty piano recital coming up in April where he's going  to use 5 different instruments with pieces representative of the time period  in which those instruments were in use. A harpsichord, Fortepiano, 1840  Bösendorfer (just donated to us), a modern 'D' & a toy piano. At least I won't  have to tune the toy piano! Each one of the others will have a different  tuning on it. A bunch of extra work but should be interesting. These are the pieces he's planning on right now: <blockquote type=cite class=cite cite="">Maene Fortepiano: Haydn Andan= te and Variations in F minor Bösendorfer: Hammerklavier (Beethoven Sonata #29, Opus 106 in B  flat major)    (the slow movement is in F sharp minor) Modern Steinway 'D': Berg Sonata (based in B minor)             &nbs= p;        Scriabin 5th Sonata (is in F sharp) </blockquote> I haven't had time to experiment any yet but so far, what I'm  considering is: Werckmeister for the Haydn Vallotti for the Beethoven ET (I assume) :-) for the Berg & Scriabin He hasn't decided about the harpsichord yet, though. I'd like to use appropriate temperaments but with enough difference  between them to be fairly obvious. Especially to a good musician. Any ideas/comments/suggestions to try? I want to give him plenty of  time to get used to them & the effect they might have on his interpretation  compared to what might be done in ET. Thanks. Avery _______________________ Avery Todd, RPT Moores School of Music University of Houston Houston, TX 77204-4017</blockquote></blockquote></body> </html>