TUNING digest 1256

The vast majority of historical keyboard recordings made in the past 20
years are, as a matter of course, in historical temperaments. Mark
Lindley's articles in _Early Music_ in the mid 70's were probably the
turning point - after that, basically no self-respecting early keyboardis=
t
would be caught dead tuning in ET. Not only baroque but classical
repertoire can be found played in arguably appropriate temperaments. Most=

harpsichordists can tune themselves, setting their own mean- and
well-temperaments, and the vast majority of new tracker organs are built =
in
historical tunings, often with split keys (the composer Douglas Leedy has=

made a specialty of being commissioned to write new pieces inaugurating n=
ew
instruments in old temperaments). =


In fact, if I really wanted to find an 12TET recording of the 48, I would=

probably have to go to piano recordings (of which Gould's are so
satisfyingly articulated that you - almost - forget the tuning) or to now=

historical harpsichord performances from the Landowska-Kirkpatrick era. =


We have been through this discussion so thoroughly before that I figure
that I have gone full circle with the tuning list. So, I'll sign off for =
a
while with a suggestion that new subscribers should spend some time with
the list archives. =


Daniel Wolf


DR DANIEL WOLF / MATERIAL PRESS / FRANKFURT-AM-MAIN
http://ourworld.compuserve.com/homepages/DJWOLF_MATERIAL/mphome.htm =


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