AW.: Schubert as five-limit (??)

Since Schubert's sense of tonality is so rich with parallel and relative
keys, it is indeed tempting to hear him as a five-limiter. The keyboard
works were, however, definitely composed for a temperament of some sort, but
he also has wonderful music composed for ensembles of instruments with
flexible intonation and without keyboard and it would interesting to
investigate in some detail whether his harmonic practice took this into
consideration or not.

Regarding his disavowal of the piano as a composing tool, if you are able to
imagine sounds well enough to compose directly to score, then having an
instrument around is often just an invitation to try everything out, which
slows one done considerably. In University, I had some teachers who swore,
often invoking Stravinsky, that not a note should be written down until
played or sung, while others believed that music had to be internalized, and
still others thought that writing was an exercise in necessary abstraction.
Schubert was by all accounts fabulously fast at getting things down on paper.
He had, after all, only 28 years to do it.

Neither Rossini not Wagner played piano with any virtuosity and Berlioz did
not play piano at all -- in fact, he played guitar, flageolet, and flute.
Shall we soon expect N-tet guitar arrangements of _Les Troyens_, the
_Symphonie Fantastique_, _Harald in Italy_, and the _Requiem_?