Re: [tuning] Re: Bach and tuning and Bob cont.

Dear Bob,

You might be able to find the Ton Koopman performances of the Brandenburgs
with the Amsterdam Chamber Orchestra in Werckmeister. Also, Igor Kipnis
playing the Chromatic Fantasy and Fugue in D Minor in Werckmeister. I do a
Christmas radio show in New York where I gather material for a 4-hour show
and certainly plan to air the upcoming Brandenburg #4 on Sept 29 in Greenwich
Village.

One great thing about it is how it enhances my listening of Bach. You know
how they say there are many levels to Mozart, for the many different people
that there are? Well Bach has different dimensions that can be revealed
through tuning. The tuning pushes the lines apart from each other so that
each has its own terrain (further supporting the no crossing voices
prohibition). Certain chromatics are really chromatic - as in colorful. The
flat C# at 90 cents turns melodies towards romantic expression due to its
inherent contrariness to resolving.

I think that it is possible to imagine differently in order to understand
performance practice as it pertains to culture, but hearing it is definitely
a good first step. Playing it is a good second.

Best, Johnny Reinhard

Thank you so much, Johnny! I will search for these.

Gratefully,

Bob

--- In tuning@y..., Afmmjr@a... wrote:
> Dear Bob,
>
> You might be able to find the Ton Koopman performances of the
Brandenburgs
> with the Amsterdam Chamber Orchestra in Werckmeister. Also, Igor
Kipnis
> playing the Chromatic Fantasy and Fugue in D Minor in
Werckmeister. I do a
> Christmas radio show in New York where I gather material for a 4-
hour show
> and certainly plan to air the upcoming Brandenburg #4 on Sept 29 in
Greenwich
> Village.
>
> One great thing about it is how it enhances my listening of Bach.
You know
> how they say there are many levels to Mozart, for the many
different people
> that there are? Well Bach has different dimensions that can be
revealed
> through tuning. The tuning pushes the lines apart from each other
so that
> each has its own terrain (further supporting the no crossing voices
> prohibition). Certain chromatics are really chromatic - as in
colorful. The
> flat C# at 90 cents turns melodies towards romantic expression due
to its
> inherent contrariness to resolving.
>
> I think that it is possible to imagine differently in order to
understand
> performance practice as it pertains to culture, but hearing it is
definitely
> a good first step. Playing it is a good second.
>
> Best, Johnny Reinhard

--- In tuning@y..., Afmmjr@a... wrote:
> Dear Bob,
>
> You might be able to find the Ton Koopman performances of the
Brandenburgs
> with the Amsterdam Chamber Orchestra in Werckmeister.

I asked this before but no one answered -- anyone know what tuning
Koopman used for the WTC? The key of F major sounds quite just, while
the key of D major sounds very strange to me -- perhaps the strangest
of all.