Richard, I agree. Even in the tape era (where we can assume some level of competence vis-a-vis
speed/pitch on recording and playback -- but not always), there is a wide range of pitching. I don't
understand why the German and Austrian orchestras sometimes tuned sharp. Why? What is the basis of
-- Tom Fine
----- Original Message -----
From: "Richard L. Hess" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, May 05, 2015 10:05 AM
Subject: Re: [ARSCLIST] A-440, was speaking of pitch
>I agree, Steve, and so noted that in the original message, but my assumption (which could be
>incorrect) was that the compilers of the video might have used restored recordings which,
>hopefully, had been properly pitched by the restorer...I know we've been discussing that is not
>always the case.
> Even if we throw out the pre-1950 recordings to eliminate the "78" ambiguity, it is still quite
> On 2015-05-05 9:43 AM, Steve Smolian wrote:
>> Many 78s were recorded at speeds above and, more often, below 78.26.
>> This wild card makes such comparisons questionable.
>> Steve Smolian
>> -----Original Message----- From: Richard L. Hess Sent: Tuesday, May 05,
>> 2015 9:18 AM To: [log in to unmask] Subject: Re: [ARSCLIST]
>> A-440, was speaking of pitch
>> Getting back on topic, my son Robert, the music student, passed on this
>> link to me--I don't think that I had mentioned this thread but we had
>> been talking about variations in recordings (specifically in regards to
>> Dvorak's New World Symphony (9th now after renumbering)).
>> So here are the opening chords of Beethoven's Eroica (3rd) Symphony,
>> recorded between 1924 and 2011.
>> And here is a similar compilation of a short section from Stravinsky's
>> Rite of Spring from 1921-2010
>> Yes, I know that the recording technology influences the pitch as much
>> as the actual playing, but, overall, I think these two are very
>> informative peeks into the degree of variation considered "normal."
>> The first Toscanini performance of the Beethoven really shows off the
>> dry acoustic of what I assume to be Studio 8H at 30 Rock...and perhaps
>> why, in 20/20 hindsight, it wasn't such a good idea, though it seemed
>> to make sense at the time.
>> As an aside, my friend the late Dr. Gerre Hancock, after bringing the
>> choir of Men and Boys from St. Thomas Church to ABC TV-2 studio on W
>> 66th Street in NYC for a holiday season appearance on "Good Morning
>> America" asked me why I built studios that sounded like "pillow factories."
>> Get out your tuners or pitch pipes and enjoy! If you have perfect pitch
>> and are offended easily, please don't listen <smile>.
> Richard L. Hess email: [log in to unmask]
> Aurora, Ontario, Canada 647 479 2800
> Quality tape transfers -- even from hard-to-play tapes.