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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 that concept? -- 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 > startling. > > Cheers, > > Richard > > > > 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. >> https://www.youtube.com/watch?v=UnhlQUBsd6g >> >> And here is a similar compilation of a short section from Stravinsky's >> Rite of Spring from 1921-2010 >> https://www.youtube.com/watch?v=S2TGRtUu8xw >> >> 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>. >> >> Cheers, >> >> Richard > -- > Richard L. Hess email: [log in to unmask] > Aurora, Ontario, Canada 647 479 2800 > http://www.richardhess.com/tape/contact.htm > Quality tape transfers -- even from hard-to-play tapes. > >