I don't know about youall, but I' m hoping that someday , somebody will make A-440 "Standard Pitch" !!! Gerry Hubka St. Charles, Il. In a message dated 96-09-06 14:27:18 EDT, you write: << Well, I guess we've opened a can of worms. International A-440 is a lot less international than many seem to believe. Here in France, as well as in Germany and in Japan, the standard concert pitch is A-442. The final voicing at Hamburg Steinway is done at this pitch, and this is what we generally adhere to in our concert service. The exceptions are endless, and can cause considerable havoc before concerts. In Paris, American and English orchestras often specify A-440, and Viennese groups have developed a predilection for A-444. Claudio Abbado is adamant about this higher pitch level. Pierre Boulez's Ensemble Intercontemporain insists on A-440, but this isn't usually a problem because they own their own instruments. Some concert producers have taken to asking artists at what pitch they would like to play, which often creates a problem where none need exist, as most artists (especially in small ensembles) care less about these small pitch level differences than stability. I have in my possession a position paper from Steinway, Hamburg stating that their garantee is no longer valid if the instrument is tuned above A-445. I've had wind players tell me there is no way they can play any higher than A-440, and others say that A-442 is their lower limit. Once one famous French clarinet player who always insists on A-443, showed up too late to arrange a pitch change, so he simply got out his second clarinet and played at A-442. It was sure faster than re-tuning the piano. I think North Americans are right to be obstinate about A-440. The situation I am describing is what you want to avoid. If anyone wants anything other than standard pitch, make them explain why. At times these requests are legitimate, but often it can be for reasons of artists egos as much as for esthetic reasons. Bill accordingly. Jerry Anderson >>
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