Re: [tuning] Digest Number 3629

Which takes us back to the example of Rudolph Kolisch, the violinist most closely associated both with Sch�nberg and with Viennese traditional performance practice. In recognition of the exceptional intonational demands of 12-tone music, before playing Sch�nberg's Fantasie for violin and piano, op. 47, Kolisch would tune his fiddle onstage to the piano, all four strings in turn to insure that the fifths were tempered with some accuracy. I believe the Kolisch Quartet did the same for their performances of the Sch�nberg String Quartets (their recording is clearly tempered) but not for tonal repertoire.

DJW

> From: "Gene Ward Smith" <gwsmith@svpal.org>
> Subject: Re: Well tempered
> > --- In tuning@yahoogroups.com, "Carl Lumma" <clumma@y...> wrote:
> > >>Ok, but it breaks authenticity. It's still a great project
>>as far as hearing these works in a more consonant tuning.
>>Bach would probably have approved.
> > > Authenticity is what I was thinking about with my question about
> chamber music. It's pretty hard to argue, before Schoenberg, that to
> be authentic a string quartet has to be in 12 equal.
>