I've discussed with a number of people about the apparent difficulty of getting back in tune afterwards.
my understanding is that it has to do with how long the instrument has been "sitting" in the scordatura. the instrument will adjust to whatever you give it (to an extent) and for this reason, some works always need to be played on an alternate instrument.
the main problem i have come across is the performer trying to explain that they can't play piece X on their instrument because of the changes in tuning to the instrument the piece requires to the person or institution/department they are trying to borrow an instrument from to play the piece in a concert programme also requiring a "normally-tuned" instrument.
i have checked on this thoroughly with a performer who consulted several luthiers for a piece which requires removal of two strings and scordatura of the remaining strings by an octave and confirmed that the worst thing that can happen is the tuning is so loose that the bridge shifts and has to be reset by a luthier. the solution? visit a luthier beforehand and have the bridge placement measured extremely precisely in case of shifting. there is no damage to the instrument if done properly, but the instrument (viola in this case) will take about a week to be able to "hold" the CDGA tuning again.
i have also had many discussions with piano tuners about prepared piano; one of the most knowledgeable ones i consulted said if the preparation is done and removed properly (professionally) and the composer has a minimal amount of respect for the instrument, you should without problem be able to play chopin immediately following a prepared piano piece (removing of course the preparation if you so desire).
if the piano "preparation" is made to perform a certain geoge brecht piece involving sledgehammers and saws, this last point may not apply 100%...
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