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What is lost in terms of orchestral colors is gained in clarity of texture, chamber-music like dialogue and perhaps more importantly an occasion to showcase aspects of string playing (articulation, portamento) as described by the likes of Louis Spohr, who closely worked with Beethoven. It is also the perfect medium to accompany the wonderful instruments generously put at our disposal by Robert A. Brown. Often discussed and a subject of many controversies when tackling the Baroque repertoire, the debate regarding temperament is often cut short in Classical and Early Romantic performance. We do know of Beethoven's preference for Kirnberger III, which we have used for the Fourth Concerto, whilst Young proved a better fit for the tonal discrepancies in the Third Concerto.