Werckmeister Harmonies Page #2

of the clothing shop.

The stoker saw that

with his own eyes.

If I go that way,

I'll take a look.

Goodbye.

I have to make it clear

that not even for a moment

is there a doubt that

it is not a technical

but a philosophical question.

So that the tonal system in question,

through research,

has led us inevitably

to a test of faith,

in which we ask:

On what do we base our belief

that this harmony,

the core of every masterpiece,

referring to its own irrevocability,

actually exists or not?

From this it follows

that we should speak of,

not research into music,

but a unique realisation

of non-music

which for centuries

has been covered up

and a dreadful scandal

which we should disclose.

Hence the shameful situation

that all the intervals

in the masterpieces of many centuries

are false.

Which means

that music

and its harmony and echo,

its unsurpassable enchantment

is entirely based

on a false foundation.

Yes, we have to speak

of an indisputable deception,

even if those who are less sure,

a little moderate,

babble on about compromise.

But what kind of compromise,

when for the majority

pure musical tonality

is simply illusion,

and truly pure

musical intervals do not exist?

Here we have to acknowledge

the fact

that there were ages more

fortunate than ours,

those of Pythagoras

and Aristoxenes,

when our forefathers

were satisfied with the fact

that their purely tuned

instruments

were played in only some tones,

because they were not troubled

by doubts,

for they knew that heavenly harmonies

were the province of the gods.

Later, all this was not enough.

Unhinged arrogance

wished to take possession

of all the harmonies

of the gods.

And it was done in its own way.

Technicians were charged

with the solution,

a Praetorius, a Salinas,

and finally an Andreas Werckmeister,

who resolved the difficulty

by dividing the octave of the harmony

of the gods, the twelve half-tones,

into twelve equal parts.

Of two semi-tones, he falsified one.

Instead of ten black keys,

five were used

and that sealed the position.

We have to turn our backs on this

development of tuning instruments,

the so-called constant-tempered

and its sad history

and bring back

the naturally tuned instrument.

Carefully, we have to correct

Werckmeister's mistakes.

We have to concern ourselves

with these seven notes of the scale

but not as of the octave,

but

seven

distinct and independent qualities

like seven fraternal stars

in the heavens.

What we have to do then,

if we are aware,

is that this natural tuning

has its limits,

and it is a somewhat worrisome limit

that definitely excludes

the use of certain

higher signatures.

Rate this script:0.0 / 0 votes