I second and third that! Try some of the temperaments on the far side
of well-temperament, too. Irregular meantone is not used often enough -
it's even more colorful than well-temperaments, and one can still use
I just did a whole lecture on this a few weeks ago, where I played
Froberger's lament for king Ferdinand, Bull's "Ut re mi," and some other
things, in a:b comparisons between irregular meantone and some less
colorful temperaments. Incredible depth revealed in the music.
The music sounds so completely natural and expressive. One wonders why
anyone ever wanted to change it. (Yes, I think some well-temperaments
are too boring! And Equal? Barf.) I'm radical enough to think that
Bach's well-tempered clavier was actually an advanced form of meantone
(complete with a mild wolf), not what we now call well-temperament
(where no fifth is wider than pure). And I also played the Chromatic
Fantasy and Fugue in an irregular meantone. The place where he has a
C#-major chord, and notates it as the slowest arpeggio of the piece -
there's a reason for that! Poignancy!
I played a lot of Beethoven on a piano tuned in Young #2 well-temperament,
and it was magic. The F#-major sonata, WOW! And the D-major section in
the F-major sonata (#6), such an effect!
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