On Jan 25, 2006, at 9:26 PM, Horace Greeley wrote: > > Hi, Ron, > > There has been quite a thread on this fairly lately on the list. > You might check the archives. Also, I understand that there will > be a column on this in the Journal soon. > > There is another alternative, of course, and that is to have a > second D...don't laugh, it's been done more than once. > > More later, perhaps. > > Best. > > Horace > > > > > At 07:52 PM 1/25/2006, you wrote: >> Hi Friends >> >> I have the privilege of tuning a Hamburg Steinway "D" 9 foot for a >> local large church which is also the home of our local Vero Beach >> Symphonic Association and other concerts. >> >> For the the church ,the piano is kept at A440 to match a fine pipe >> organ. The problem is that we have many concerts that feature >> European orchestra's and artists that in their contracts have >> asked and/or demanded A442. It is my understanding that they >> think this makes the treble brighter.This would not be a problem >> with the exception that every time we have to tune the piano 442 >> it requires being tuned again to 440 after the concerts. The piano >> is then rather unstable for a while >> >> I have suggested that there isn't an ear in the world that can >> hear the difference between 440 and 442 and that the Symphonic >> Association should just send back the contract with the 442 >> crossed out and 440 put in it;s place. We have done that this year >> with no problem, however, several of our very fine local artist >> and customers which are involved with the association are >> concerned that it will come back to bite us. I have had times in >> my past when a stage manager or other representative of the >> artists/orchestra would check the pitch to make sure it was 442. >> >> To back up my argument, Last year we had the Prague Symphony with >> an outstanding artist. Along with the usual symphonic program they >> performed a Beethoven Concerto.I went up, as usual, prior to the >> concert to check on the piano which I had tuned to A442 as >> requested. I asked the conductor, "why the 442" to which I got all >> kinds of broken english replies and concerns about the piano >> having to be at 442 because of the woodwinds and stringed >> instruments, etc.,etc.,etc.. Then the 1st violinist came rushing >> up all concerned about my question and in a huff demanding that >> the piano had to be 442. I calmed them down and told them that >> they could rest easy because the piano was at 442. I was just >> curious as to why. >> >> After a few numbers, It came time for the concert artist to come >> forth for the piano concerto. The 1st violinist walked over to >> the piano. She struck an A major chord, walked away from the piano >> and probably 5-10 seconds later strummed what she thought was , I >> suppose, A442. The artist came forth, the concerto began and I >> sat there with shiivers going up and down my spine as I listened >> to a piano at A442 and a orchestra closer to 430 if that. >> >> Do any of you other concert tuners have similar >> problems,experiences or suggestions? So far we have had no problem >> with the season at 440 but as I mentioned before, there are those >> local excellent artists that are concerned. >> >> I know that A442 is popular in other parts of the world. Steinway, >> Hamburg stipulates 442 in their specifications. I also understand >> that some instruments such as clairnets, etc are manufactured at >> 442. Is it time to change this standard and tune our pianos to 442? >> >> Thank you for your thoughts and input. >> >> Ron May, RPT >> Vero Beach, FL >> >> >> _______________________________________________ >> Pianotech list info: https://www.moypiano.com/resources/#archives > > _______________________________________________ > Pianotech list info: https://www.moypiano.com/resources/#archives >
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