> Chris wrote: Maybe Froberger did what I do: retune to sharp or flat where
necessary. 

Dear Chris,

With due respect, "Maybe" we should not try to guess when the answer is
already known.

1) On Meantone Sharps and Flats, scholars agree about the very strong
evidence that in the 17th century the meantone wolf became very well
established at G#-Eb. There is hardly any evidence of "retuning" to a
different distribution of flats and sharps. On organs, besides, it was an
impossibility.

2) As for Froberger's temperament, I am surprising that we keep discussing a
matter that has been fully researched, and on which scholars are in full
agreement. A few basics of their findings:

- Froberger lived in Vienna, with a few years in Rome and Paris.

- In the Froberger Vienna entourage the occasional use of Equal Temperament
on keyboards is well documented.

- In Italy he studied under Frescobaldi precisely at the time the latter was
advocating Equal Temperament.

- However, the prevailing practice in Italy was meantone, often with the
well-known enharmonic 14-keys-per-octave (D#-Eb, G#-Ab). This fits virtually
all of Frescobaldi's and Froberger's works.

Conclusion: for Froberger's pieces that fall outside the usual meantone
range, the "authentic" temperament is not to retune flats to sharps for
different pieces, but instead either use Equal Temperament or even better to
have a 14-key keyboard tuned in standard 1/4 comma meantone.

Best

CDV
http://temper.braybaroque.ie


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