Free 1635: Music and Murder by David Carrico Page B

you say . . . alongside . . . "
    "Parallel?"
    "Yes! Thank you for the word. Is there not a parallel issue, one of tuning, of intonation?"
    "Oh, absolutely," Marla said. She pressed a key on the piano, and a tone sounded. "That is an A, the note defined by international agreement to be the tuning standard. And there are machines and tuning forks to exhibit that standard and to measure against. That standard was arrived at almost," she looked confused for a moment, "well, what would have been almost 250 years from now. But between now and then, tuning was a local matter, usually determined by whoever built the organ in the local church or cathedral."
    "Exactly my point!" said the Italian. "In Italy, the tuning is higher, brighter than in Germanies, but even within a province, is not the same from place to place. Until a standard for all of Europe can be devised, we musicians must still adjust tuning as from place to place we go. Music written for Italian churches transcribed to other keys must be to get same sound in northern German churches, and perhaps the same if northern music to Rome or Naples is brought."
    "And that will change not so quickly," his companion said. "Musicians—especially Italians—will not like hearing that wrong are their tunings." There were murmurs of agreement from around the room, and Thomas and Hermann in particular nodded vigorously.
    "Well," Marla said, "at least we all agree that developing a standard tuning is an issue, and that it probably won't be solved soon. But do you all understand why the equal temperament is so important?"
    Heads nodded all around, and "Yes," was heard from every corner.
    Marla looked down at her watch. "Yikes! I didn't realize it was that late! This is Wednesday night, and I've got choir rehearsal at church. Okay, we'll meet again on Friday here in the school choir room. We'll finish the discussion we started last time about modes and the changeover to major and minor keys. See you then!" And in a whirlwind, she grabbed her books and was gone. Elizabeth and her guests also rose, made their farewells, and left.
    The eight young men sat quietly for a moment, as if drained of energy. Finally, Hermann looked up, and said to Franz, "Now I know what you meant. She is indeed worthy of our respect. It would be an insult to say she does not play like a woman, but when I close my eyes, all I hear is a musician of great skill and talent playing with vigor and authority."
    He sighed. "Forced to discard another preconception. Two in one day. At this rate, in another month she will have me cleaned off like a blank slate, a tabula rasa ."
    "Well, I am tempted to ask if that would be such a bad thing." Thomas grinned, obviously restraining himself from crowing over Marla's victory. "But instead I will say that you at least had the advantage of knowing her first, and seeing that she did indeed possess some knowledge and skill before she unleashed the full fury of her arsenal on you. Friedrich and I, we were exposed to the full-bore power of her talent within hours of first meeting her."
    "And do not forget the hangovers," Friedrich interjected.
    " Ach , how could I forget? The memory of the thunder in my skull being matched by the thunder of her piano playing still makes me shudder!" Thomas matched actions to words. "Some time, Hermann, have her play for you the Revolutionary Etude. Then you will see the full scope of her power, and you will truly understand why I sit at her feet."
    "But she is so young!" Josef said. "How can she be so strong, so assured, so . . . so . . . "
    "Authoritative?" Thomas supplied.
    "Yes, how can she be so authoritative? How can she be like a master at her age?"
    Thomas looked to Franz. "How old is she?"
    "She recently passed her twenty-first birthday, which is young but not so young. To us, she's of an age to be a journeyman. To the folk of Grantville, she's her own woman, to do as she pleases. Most of them know she is talented, but I believe that