Beethoven Tempest Sonata No 17, Op 31 No 2, 1802 pianoforte - fortepiano, Meantone Temperament

The meantone experiment - a good friend visited and agreed to make this recording. Composed in 1801/1802 The Tempest would have been played on instruments such as this Stodart grand of 1802, formerly from the Finchcocks Collection and now at Hammerwood Park. Many instruments of this date would have been tuned to meantone http://www.academia.edu/37951978/THE_... so this experiment is interesting to see how far we can go chronologically with Beethoven's work before the use of Meantone becomes impossible and whether it adds to the atmosphere. The other temperament I believe to have authority of authenticity at this time is Kirnberger III using 7 perfect fifths, although the milder Kellner temperament might be more suitable for more universal modern tuning. Because of a change in temperature between tuning and recording, the tuning isn't entirely perfect on account of the different rates of change between the brass and the iron strings.

In terms of technical correctness -
Fortepiano - this is a Viennese instrument, built with a totally different action, soundboard and case, which does not resonate. This design of piano dies out in the second half of the 19th century as it could not create the power and dynamic range of the English pianoforte.

Pianoforte - this is an English instrument (also the design used in France by makes like Pleyel and Erard) and includes the Stodart of 1802. These are built using the action designed by Christofori in the first pianos around 1700. In these instruments the case resonates and the soundboard put in under tension to help the resonate quality of the instrument, which clearly comes through in the Beethoven. Beethoven had an Erard from 1803.

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