We present the first movement from Mozart's Piano Concerto 20 in D minor. The solo part is played at the Organ. Tuning system is 12 notes from meantone, generated by a 697-cent fifth and octave period, spanning the chain from Eb to G#. This is different from the historical tuning used by Mozart, probably 1/6-comma meantone, instead. Sound Production: (c) Claudi Meneghin @ Library of Congress, claim SRu 1 345]
This is my Chacony "Lament & Deception" in 55-equal division of the octave (very close to sixth-comma meantone) for two violins and cello. The piece consists in 33 variations on the lament bass, followed by a deceptive cadence. Each section is a diatonic semitone higher than the preceding one, hence we come back to the orginal tonality (C) every 11 steps (since in 55edo 11 diatonic semitones = 1 octave).
at 9:50 PM
A canon at the diatonic semitone on an ancient Lombard theme, for organ. Tuning is 55-equal division of the octave, close to sixth-comma meantone, a tuning possibly used by Mozart.
at 12:22 PM
We present a tuning comparison about the dominant seventh chord, consisting in various sevenths intervals plus a constant major triad, tuned into just intonation. Sevenths spam the (descending) interval between 1050 cents and 946 cents. This includes the just harmonic seventh at 968 cents.
at 9:41 PM
Pachelbel's Canon in D, in three different tunings: Just (with septimal C), Quarter-comma Meantone, and the usual 12-equal, all played at midi organ.
- 1st voice: Montre 8 + Nazard 2 & 2/3
- 2nd voice: Montre 8 + Tierce 1 & 3/5
- 3rd voice: Montre 8 + Larigot 1 & 1/3
- Bass: Principale 16+8
at 10:15 AM
A short Fantasy in form of a Fugue for string quartet on a theme by Giuliani, from the third movement of his Guitar Concerto in A, op.36. Tuning is 31-equal division of the octave, very close to quarter-comma meantone.
at 7:10 PM