Yes, but I did not mean meantone, Montal, then Pleyel, used 3 tempered thirds, . on this basis the remaining of the temperament is generally very even (it is in fact the easy way to get to 5ths of the same size). indeed meantone is very strong and juicy when used, it certainly would not suit romantic music.
I suspect that the higher iH of modern piano is an impeachment for those old tunings.
Hi Latribe, that does not make that effect to me, only sudden discomfort. We could believe that it was the tuning Chopin heard (among many others) but we can also argue that Montal in 1838 used ye 3 thirds ladder to even his first octave, as did Pleyel, and that pianos could have be tuned in a less contrasted temperamnt as well.
What I understand is the pleasure for the pianist to have surprises when he modulates, but many modern tunings are straight and plain, so ....
@Pianotec Hi! This is interesting as of course the Meantone tuning aims for 8 perfect thirds, wonderful for French organs with the Tierce and no doubt a spirit with which Pleyel was familiar. But Meantone is too strong . . . I have heard people trying Werckmeister III for Chopin but I don't like it . . . Kirnbirger is interesting too. But Kellner is mild and certainly provides interest in modulation and sounds very natural when one is used to it. D'Alembert and Vallotti are also candidates
Well there to me the piano is false F#1 D2 sixths is chocking to my ears.
It all depends of the context, problem with unequal temperaments, and we cant change the piano tuning at each concert, for evident (to tuners) stability reasons.
Too bad as I appreciate much other Chopin's pieces. Thats always the same with those unequal temperament, I appreciate the musicality and then : Bing, an interval sticks out that is too far.
@Pianotec Hi! In fact this piece with the F#1 D2 sixths is the piece that proves Chopin's exploitation of unequal temperament. The first chord is solid, the next is disconcerting, and this is part of the effect intended by the Funeral March conveying very mixed emotions. Compared with an instrument in Equal Temperament, the ET version is flat whilst this UT version is so much more alive in the death conveyed in the funeral . . .
:-) If you have enjoyed this, it's also worth hearing Adolfo's two interviews, one about unequal temperament and the other about this piece in particular.
Yes - this piano is over 120 years old so sometimes responsiveness is slightly unpredictable.
Yes, but I did not mean meantone, Montal, then Pleyel, used 3 tempered thirds, . on this basis the remaining of the temperament is generally very even (it is in fact the easy way to get to 5ths of the same size). indeed meantone is very strong and juicy when used, it certainly would not suit romantic music.
I suspect that the higher iH of modern piano is an impeachment for those old tunings.
.
Pianotec 1 year ago
Hi Latribe, that does not make that effect to me, only sudden discomfort. We could believe that it was the tuning Chopin heard (among many others) but we can also argue that Montal in 1838 used ye 3 thirds ladder to even his first octave, as did Pleyel, and that pianos could have be tuned in a less contrasted temperamnt as well.
What I understand is the pleasure for the pianist to have surprises when he modulates, but many modern tunings are straight and plain, so ....
Pianotec 1 year ago
@Pianotec Hi! This is interesting as of course the Meantone tuning aims for 8 perfect thirds, wonderful for French organs with the Tierce and no doubt a spirit with which Pleyel was familiar. But Meantone is too strong . . . I have heard people trying Werckmeister III for Chopin but I don't like it . . . Kirnbirger is interesting too. But Kellner is mild and certainly provides interest in modulation and sounds very natural when one is used to it. D'Alembert and Vallotti are also candidates
latribe 1 year ago
Well there to me the piano is false F#1 D2 sixths is chocking to my ears.
It all depends of the context, problem with unequal temperaments, and we cant change the piano tuning at each concert, for evident (to tuners) stability reasons.
Too bad as I appreciate much other Chopin's pieces. Thats always the same with those unequal temperament, I appreciate the musicality and then : Bing, an interval sticks out that is too far.
Pianotec 1 year ago
@Pianotec Hi! In fact this piece with the F#1 D2 sixths is the piece that proves Chopin's exploitation of unequal temperament. The first chord is solid, the next is disconcerting, and this is part of the effect intended by the Funeral March conveying very mixed emotions. Compared with an instrument in Equal Temperament, the ET version is flat whilst this UT version is so much more alive in the death conveyed in the funeral . . .
latribe 1 year ago
Good control of dynamics, and expressivness
I think the left hand diminuendo trill could have been done better, however, could be down to the responsivness of the piano
lippychoppy 1 year ago
:-) If you have enjoyed this, it's also worth hearing Adolfo's two interviews, one about unequal temperament and the other about this piece in particular.
Yes - this piano is over 120 years old so sometimes responsiveness is slightly unpredictable.
latribe 1 year ago