A-442

[Jerry Anderson]

List,

>>  And then we get into the discussion about tuning to A-442, which,
thankfully, I am not asked to do around here. Except once for the Houston
Symphony.
   Do many of you get asked to do that? I've heard that some orchestras
have gone so much even above 442 that some of the instrumentalists have had
to have special instruments built to be able to tune to it!<<


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stating that their garantee is no longer valid if the instrument is tuned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