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In the Forum: Playback Listening
In the Thread: The centuries old struggle to play in tune
Post Subject: The subject is not what you or I said or know, it is the effect that tonality has on usPosted by rowuk on: 6/9/2014
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 steverino wrote:
"many tuning geeks today still find that [equal] temperament loathsome."

Of course tuning geeks don't like equal temperament. And of course a capella musicians will settle into just intonation if they can get away with it. What thought is in the article that wasn't said more succinctly by me?

Steverino,perhaps if we take the "average" paid classical musician, what you posted could be true. This is not what is happening in the Informed Historical Practice venues, and even to a certain extent with the bigger orchestras when they get conductors like Hengelbrock, Harnoncourt and others that are trying to accomplish other things. There is an excellent book on tuning written by Chris Leuba who used to be solo horn with the Chicago Symphony. Many of the examples in the book are characteristic of when the "gut-level" feeling for intonation is completely wrong. Starting with 12 tone music, even the finest wind players have to get used to being able to release themselves from just tuning. Their success will mean different things to those listening to The Rakes Progress or Firebird as well as a Bach Cantata or Monteverdis "Orpheo".


Even vocal ensembles have dedicated energy to tuning systems. The Hilliard Ensembles Ockeghem recordings are excellent examples.


Bach knew a lot more than most superficial listeners even absorb. Paying attention to the tuning system could bring out further messages, just like changing the loading on a tube amp can also change color/presentation.


The article was offered here not to discuss your or my depth of knowledge, rather as explanations for many of the experiments that are available as recordings. Casals Bach Cello partitas for instance have NOTHING to do with just intonation and can be a revelation for many compared to a modern rendition by Ophélie Galliard.


This is kind of where I hoped that this thread would go. Vienna still plays at A=465 and most of the modern german orchestras at A=443. Historic recordings can be A=438, 415, or even 380. The message changes a bit with each hertz.

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