I guess one of the problems with enjoying every minute of ADHD is that one thing generally leads to another...
In the Electronic Organs board are links to a performance by a young talented organist and an intriguing performance of one of the (in my humble opinion) most "overperformed" piece of music in the Organ repetoire... Which for the purposes of evaluating "all things Organ" is a really GOOD thing... A Yardstick against which things can be compared directly or indirectly as it were.
So how many "copies" of Toccata and Fugue in D minor does one need in the music library to make
objective observations? I certainly have no idea...
But in listening to a couple including the "Maxwell Hammerwood Beast in Meantone" leads me to get a few more just to make sure my initial observations have some basis in "reality"...
Especially as to how it relates to the title of the subject of this post...
A contributor to the Contrebombarde Concert Hall website posted a short piece of music performed in Equal and Unequal temperament, for which I have included a link in the Questions of Temperament board under "A Hauptwerk Temperament Experiment"... In addition to the obvious
differences in the "emotion" ("Affekt") I concluded also that there was a significant change in pitch between the two performances. After reading around a bit on the Hauptwerk forum I discover that the software
changes the pitch
changes in Temperament
The reason this is done is to overcome a technical situation involving "reclocking" the individual samples to obtain the required interval in the "shifted" temperament from the "sampled" temperament. Older versions of Hauptwerk were written for computers that obviously don't have the processing power of "state-of-the-art" (as of right this second anyway) and dedicating resources to compensate the entire compass during a temperament shift sufficiently to place everything "on pitch" would compromise the operation of the rest of the software so the pitch shift that accompanies a temperament shift would necessarily be "ignored" at least for the time being.
Later versions plan on addressing the situation sometime in the future......................
I am guessing that similar technology employed in processing equipment designed specifically for the purpose of "being an organ" also is limited, probably more so, and thus similar compromises
have been made?
I have run across some rather exhaustive documents on the WWW which describe mathematically
various temperaments and list the "middle A" audio frequencies (pitch) of a number of pipe organs
and tuning forks used by various orchestras and bands in Europe over a two century period...
I can understand why one of the FIRST standards developed by the International Standards Organization (ISO) was "Concert Pitch"... (ISO 13) or A=440......................................
Not surprisingly there are "artistic" arguments "out there" for changing concert pitch
May it then be argued that the Human Brain may be a sufficiently well-developed information processor that "we" can actually "perceive" these differences in Pitch vs Temperament?
To conclude (for a moment, I may change my alleged mind later
I am making the argument that
"absolute pitch" may in fact need to "shift" according to the temperament employed upon the instrument in question-- That in fact the "key color" imposed by temperament can be altered by
shifting pitch... That what we actually heard on David's Youtube post in Meantone temperament may NOT have been the Toccata and Fugue in D minor but C minor! (Or C#minor, or Db minor