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Date: | Sat, 3 Dec 2016 19:57:14 -0500 |
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Bruce, I agree wholeheartedly. Froberger is wonderful in 1/4 comma
meantone. As to re-tuning for flats/sharps in mid-performance, I have
had only one experience. No, I wasn't playing. A gifted harpsichordist
was using one of my Italian harpsichords for a recital of Italian
harpsichord works, all of which sounded well in meantone. Without
thinking about the issues, she had stuck Pasquini's /Toccata con lo
Scherzo del Cucco/ in the middle of her program. When I pointed out that
all of the pieces except the Pasquini needed Eb and the Pasquini needed
D#, we solved the problem by moving the Pasquini to the end of the
program. While she spent a little time speaking to the audience about
enharmonic considerations I re-tuned all the Eb's to D#'s and she
finished the program with the Pasquini to great acclaim. My wife, who
was in the audience later told me that she had overheard a grand dame
near her seat saying, " Why is he re-tuning? It sounded perfectly fine
before.".
Depending upon the musical literacy of your audience, having to do a
little re-tuning in a performance is a perfect opportunity to teach
folks a little about meantone and sharps not being the same as flats.
When I get the chance, I like to tell them that in equal temperament,
everything, EVERYTHING except octaves is out of tune - particularly
major thirds. One could even do a little demonstrating. A B major triad
really sucks if the half step below E is an Eb. However, it's probably a
good idea to separate your works in a program so that a re-tuning need
only be done once. Wouldn't want to spend more time tuning than playing.
Too much like the old lutenist joke...
Rob
--
ROBERT BROOKE HARPSICHORDS
4214 18th Ave W
Bradenton, FL 34205
www.robertbrookeharpsichords.com
941-746-6725
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