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<DIV><FONT face=Arial size=2><EM>"To suggest that the leading =
interpreters of
classical music<BR>of the last century take such pains for authenticity =
while
rejecting the, we<BR>assume, prevailing tuning style of the times forces =
you to
the conclusion<BR>that they either consciously chose to reject it =
because it
wasn't in their<BR>view relevant to the music and authentic =
interpretation, or
that they<BR>are/were ignorant, biased or..."</EM></FONT></DIV>
<DIV><EM><FONT face=Arial size=2></FONT></EM> </DIV>
<DIV><FONT face=Arial>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)?</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>Terry Farrell</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>----- Original Message ----- </FONT>
<DIV><FONT face=Arial size=2>> One thing to consider in all this =
(and I've
probably exhausted my thoughts)<BR>> is what the major =
pianist/scholars are
doing in this respect. Pianists like<BR>> Brendl, Schnabel, =
Perahia,
and most of not virtually all others who pour<BR>> over original =
source
material, biographies, writings, documents in order to<BR>> glean =
that small
little detail that adds to their commitment to a more<BR>> authentic
interpretation of the music as conceived by the composer. Of =
all<BR>>
these people it seems (and I say this with the caveat that I have =
not<BR>>
actually done the research) that most if not all of them, when choosing
to<BR>> record/perform, opt for ET. While there may be a few =
who, to
their credit,<BR>> are exploring these pieces in the temperaments of =
the
times, they are a<BR>> stark minority. To suggest that the =
leading
interpreters of classical music<BR>> of the last century take such =
pains for
authenticity while rejecting the, we<BR>> assume, prevailing tuning =
style of
the times forces you to the conclusion<BR>> that they either =
consciously
chose to reject it because it wasn't in their<BR>> view relevant to =
the music
and authentic interpretation, or that they<BR>> are/were ignorant, =
biased or,
as Bremmer suggests, did it for some strange<BR>> business =
reason.
Considering the extent to which they research these issues<BR>> and =
their
apparent commitment to the original intent of the composers =
leads<BR>> me to
the conclusion that the tuning style was rejected consciously and =
that<BR>>
it was not relevant, in their view, to an authentic and musical<BR>>
interpretation. Who am I to argue? If there is real evidence =
to
the<BR>> contrary, I'm open to hearing it. <BR>> =
<BR>> David Love<BR>> </FONT><A
href="mailto:davidlovepianos@comcast.net"><FONT face=Arial
size=2>davidlovepianos@comcast.net</FONT></A><FONT face=Arial =
size=2>
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