![mozart pianoteq 5 mozart pianoteq 5](https://i.ytimg.com/vi/YbXpjDQ0QhA/maxresdefault.jpg)
![mozart pianoteq 5 mozart pianoteq 5](https://integraudio.com/wp-content/uploads/2021/07/rhshhs.jpg)
ET had already essential become the recommended temperament from about 1750 onwards, although undoubtedly some continued to prefer slight differences in key color. The historical literature leaves no room for doubt that equal temperament was universally prescribed in 19th century German literature on piano and organ tuning, music theory, composition, and acoustics. (And don't cop out and tell me Equal Temperament.)įred Sturm is absolutely right. ĭoes anyone have any knowledge of what temperament use for Brahms' pianos? I am familiar with several pre-1800 temperaments, but do not know much about the later taste in tuning. This message has been cross posted to the following Discussions: Piano History and Fine Aural Tuning. University of New true sign of intelligence is not knowledge, but imagination." - Einstein Not a cop out, an informed historical opinion: equal temperament. (On that recording I'd much appreciate comments on which microphone /.recorder gives the most natural rendition. This particular recording of the Beethoven Sonata for piano and cello in G minor is an example of an instrumentalist adapting to a piano not tuned to equal temperament. On the bottom two strings aren't the harmonic overtones beautiful? It's when overtones such as this line up within a piano tuning that great beauty shines through and adds selectively in keys tuned with an unequal temperament, very often with near pure thirds singing beating slowly against the Tierce overtone of a lower harmonic note. Incidentally at the very beginning of you can hear the cellist tuning. but many audience were most moved by this piece in particular and were raving about it. This was on an organ of 1856 with pipework bearing signs of being ancient. The reason specifically for opening up this thread again, however, is that we had a rather surprising performance - of Brahms in Meantone.
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Whilst searching videos this evening I found which is a great example of the colour that an unequal temperament demonstrates in Beethoven.