AW.: Re: Re: Werckmeister

In einer Nachricht vom 1/7/00 11:08:50 PM (MEZ) Mitteleurop�ische Zeit
schreibt Afmmjr@aol.com:

<< There has been so much rumor that if we could pin down any specific place
where Werckmeister is clearly in favor of ET then this is the time to
discover it, with a brand new year 2000. >>

From the Brockhaus Riemann Musik Lexikon: "Seine (Werckmeisters) Erfahrungen
und Kenntnisse al Orgelpr�fer legte er in der _Orgel-Probe_ (Ffm. u. Lpz.
1681, erw. Quendlinburg 1698) nieder. In _musikalische Temperatur_ (Ffm. u.
Lpz. 1686/87) beschreibt er f�nf Temperierungen, die durch Verteilung des
pythagoreischen Kommas entstehen; ein gleichschwebende Temperierung ist
zuerst in den _Hypomnemata musica oder musicalisches Memorial_ (Quedlinburg
1697) erw�hnt."

Elsewhere, one reads that

"...schwankte er, ob die gleichschwebende oder die mittelt�nige Temperatur
den Vorzug verdiene."

So, Werckmeister's apparent lack of clarity on the subject is well-known.
But this is only because the 2nd edition of the _Orgel-Probe_ postdates the
_Hypomnemata_ by a year, giving one the impression that Werckmeister's
opinion has shifted against the ET he had advocated the previous year.
However, as his later publications support the position of the _Hypomenata_
in favor of ET, it is probable that the _Orgel-Probe_ republication was
simply not revised on this point.

I agree, Daniel that there is a lack of clarity, but it may be do to
something other than Werckmeister's views. People see different things in
the very same materials. I guess that blows the hopes I had in Husserlian
intersubjectivity.

Now, the Orgel Probe would indicate "organ" instructions for tuning. I have
read that J.S. Bach did avoid the extreme keys when writing specifically for
organ. There may be a different set of concerns here.

In this same vein, Armin Schoof, organist of the Lubeck St. Jacobi Church
with Buxtehude's very same Grosse and Kleine organs, often makes these kinds
of choices. Both of these organs (the same Bach walked to hear) are from the
Middle Ages, but the larger is in 12TET. The smaller, on the side of the
resonant church, has apparently always been in Werckmeister III. When
recording Bach and Buxtehude in keys that are close to 12TET, he plays them
on the Grosse (surely impressed also by the bigger sound). When Mr. Schoof
plays on the smaller organ it is for exquisite charm and pungent tone. (You
miss the power of the pedals of the larger organ).

As Werckmeister wrote Orgel Probe earlier, he may have felt that the rigidity
of the organ and its societal role allowed for the relative conformity of
12TET. However, his ideas appear to be expansive enough to suggest a
different model for his ideal temperament. Considering that Werckmeister is
holding a candle in the darkness about unequal circular tuning, I think any
support he had for 12TET as all-inclusive was under duress. Certainly, he
used those particular keys of "our tuning" that mirror 12TET. One simply
doesn't go from variety to plain in the last 6 years of live...unless he
became ill.

Johnny Reinhard
AFMM