Although equal temperament became the standard temperament in the 18th century, unequal temperaments continued to exist until the early 19th century. Since subtle nuances were certainly known and taken into account in the tuning practice, a sensitive interpretation of such instructions seems to be advisable.Taking Beethoven's Op. 34 as an example, Mark Lindley explains his method of interpretation. The article by Klaus-Jürgen Sachs provides a historico-analytical introduction while Conny Restle comments on Beethoven's pianofortes.

Preface - Klaus-Jürgen Sachs: Beethoven's Variations for Piano, Opus 34 - Their place among his works - On the 'new Manier' in Opus 34 - The overall concept - On the forms of the indidual settings - Klaus-Jürgen Sachs: About Key Characteristics - An outline of the problem - Interpretation of the evidence for Beethoven's position - Key characteristics in Beethoven's Opus 34? - Conny Restle: Beethoven and the Hammerklavier - Beehoven's pianofortes - The two pianofortes by Joseph Brodmann - Mark Lindley: Nuances of Intonation: Technical and Historical Background - Mark Lindley: Nuances of Intonation: Musical Effects - Appendix I: Mark Lindley: Extracts from Anton Schindler's Biographie von Ludwig van Beethoven - Appendix II: Mark Lindley: Advice for Tuning - Appendix IIIa: Klaus-Jürgen Sachs: Synoptic Reproduction of the Musical Score and Sketches - Appendix IIIb: Klaus-Jürgen Sachs: Facsimile of the Pges from the Wiehlorsky Sketchbook with Diplomatic Transcriptions - References - Index of Names - CD Tracks