This site introduces unknown Emanuel Bach (C. P. E. Bach).
ChatGPT4o was asked: "What kind of tuning did Mozart and Beethoven use?"
During the time of Mozart and Beethoven, the modern 12-tone equal temperament was not yet fully established. They used tuning systems known as **unequal temperaments (well-tempered tuning)**. These tunings were designed to highlight the unique tone colors and characters of each key, differing from the uniformity of modern equal temperament. Mozart and Beethoven composed and performed using various tuning systems that were common in their era.
In Mozartʼs time (1756–1791), tuning systems like the Kirnberger temperament and the Werckmeister temperament were widely used. These "well-tempered" tunings increased tension in distant keys and assigned unique characteristics to each key. Mozart likely composed with an awareness of these tonal differences, integrating them into his music.
References: Daniel Adam Maltz, Mathematics | University of Waterloo.
By Beethovenʼs time (1770–1827), tuning practices had begun to evolve. Like Mozart, Beethoven used the Kirnberger and Werckmeister temperaments. However, by the time of Beethovenʼs later works, the 12-tone equal temperament was gradually becoming more common. Beethoven frequently composed works that modulated to distant keys (e.g., symphonies and piano sonatas), where the more uniform sound of equal temperament was advantageous.
In unequal temperaments, each key had a distinct color and emotional character, greatly influencing the music. For example, C major would sound bright and pure, while F-sharp minor would feel unstable and tense. Mozart and Beethoven utilized these characteristics to express varied emotions and dramatic effects in their compositions.
Mozart and Beethoven primarily used **Kirnberger** and **Werckmeister** temperaments, but by Beethoven’s later years, the **12-tone equal temperament** began to take hold. These tunings allowed each key to retain its individuality, enriching their music with expressive depth.
References: Daniel Adam Maltz, Mathematics | University of Waterloo, The Ethan Hein Blog.
ChatGPT4o was asked: "Were there any compositions from the Baroque or Classical periods that specified which tuning to use?"
During the Baroque and Classical periods, it was rare for composers to explicitly specify a tuning system. The choice of tuning was generally left to the performer or the instrument tuner. However, certain tunings were widely used depending on the time and region.
Baroque composers often employed **unequal temperaments (well-tempered tuning)**. Some prominent systems include:
Kirnberger Temperament: Promoted by Johann Philipp Kirnberger, a student of J.S. Bach, this tuning was frequently used for Bachʼs works. It is believed that Bach’s *"The Well-Tempered Clavier"* was composed with Kirnberger or Werckmeister tunings in mind.
References: Daniel Adam Maltz, The Ethan Hein Blog.
Werckmeister Temperament: Developed by Andreas Werckmeister, this system was favored by Bach and other Baroque composers. Bach’s works were often performed using this tuning, highlighting each keyʼs distinct characteristics.
During the Classical era (Mozart, Haydn, Beethoven), both **unequal temperaments** and **12-tone equal temperament** were in use. While 12-tone equal temperament gradually became more prevalent, early works by Mozart and Haydn still reflect the influence of unequal tuning systems.
Mozart: Although Mozart did not explicitly specify tunings, Kirnberger and Werckmeister systems were common in his time.
Beethoven: In Beethovenʼs later works, 12-tone equal temperament became more standard, especially in pieces with frequent modulations to distant keys.
Today, performers often choose historical tuning systems when playing Baroque or Classical music. For **Baroque music**, Kirnberger or Werckmeister tunings are common, while for **Classical music**, performers might use equal temperament or transitional tuning systems.
References: Mathematics | University of Waterloo.
ChatGPT4o was asked: "What tuning was used for organs?"
Organ tuning varied by era and region. Organs, fixed-pitch instruments in churches or concert halls, required careful tuning that significantly influenced musical expression.
During this time, **meantone temperament** was prevalent, especially for organs. Meantone tuning aimed for pure major thirds, producing a beautiful sound in diatonic keys but causing dissonance in distant keys.
By the late Baroque era, **well-tempered tunings** gained popularity. J.S. Bach used these for organ and clavier works, notably in *"The Well-Tempered Clavier"*.
**Werckmeister temperament**, developed by Andreas Werckmeister, and **Kirnberger temperament** were widely used for organ tuning, fitting Bachʼs organ works well.
By the Classical period, organ tuning gradually shifted to **12-tone equal temperament**, providing balanced intervals suitable for all keys.
Organ tuning transitioned from **meantone** to **well-tempered** systems in the Baroque era and gradually adopted **equal temperament** during the Classical period. Bach’s organ music was primarily performed using **Werckmeister** or **Kirnberger** tuning.