Your interpretation of the 2nd Movement in G Major in Meantone tuning at the end of the video was simply wonderful.
@RadfordPiano
Жыл бұрын
Thank you. It's simplicity and purity are a joy to play.
@jreinhuber
3 жыл бұрын
Thank you very much! I always wondered why Mozart avoided A-flat major- my hunch was that it indeed had something to do with tuning, but then Haydn wrote two magnificent Sonatas! Also, it is Chopin’s favorite key, and Schubert uses it abundantly. Maybe because it was a “fresh”, pretty much unused key? Anyway, thanks again for this!!! (And now equal temperament just sounds out of tune....)
@RadfordPiano
3 жыл бұрын
Shubert, Chopin, and Haydn in his later works, would have used Ab, because they used a Classical Well Temperament, which didn't have the wolf tone, and not the earlier Meantone tuning, which does have the wolf tone. (See Was Mozart Mean, Part 2 kzitem.info/news/bejne/upt_lneHcqabrag)
@Examantel
3 жыл бұрын
The meantone experiment was very interesting for the A major sonata. The higher A-flat and D-flat caused the soprano line to sound more in line with Pythagorean tuning, closer to what a string player would play (sharpening the 3rd, 6th, and 7th degrees), and therefore more melody-centric. In fact, for an untrained ear, it is hard to tell that the D-flat in the melody is tuned too high. Meanwhile, the lower G-sharp and C-sharp give the piece more focus on the harmonies, since the thirds are more pure and the half steps in the melody become quite wide, disrupting the contour. This latter scenario works very well because the melodic and harmonic rhythms are pretty similar - often unison, and always contrapuntally simple. If there are passages in which Mozart selectively uses "wrong" notes in a purely melodic context, e.g. a written D-sharp sounding like an E-flat, I think that would provide some evidence for him using a meantone tuning.
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