AW.: Re: AW.: RE: Meantone Uchida

I have a German interview with Uchida, from the FAZ, where she clearly talks
about meantone; what I witnessed her tune in her performances here was also
quite clearly meantone, with the key range shifted from concert to concert
depending on the keys played in the program.

That said, I could well imagine that Uchida using tunings somewhere
in-between a meantone and Werckmeister I or III. The latter temperaments
share a sequence of 1/4-comma fifths with meantone and the remaining fifths
could be tuned with some sensitivity according to the needs of the repertoire
at hand.

I recall an interview with Gustav Leonhardt where he was very coy about his
present tuning practices. It seems that, once having absorbed the process of
tuning meantone and a handfull of well temperaments, the player becomes free
to customize his/her temperament to the repertoire at hand and that
customization will seldom follow any of the prescriptions for named
temperaments exactly.

Is it an unreasonable proposition that such customized tunings are likely to
better represent the historical performance practice?