HT Reaction

[Vanderhoofven]

At 11:07 AM 6/20/98 EDT, you wrote:
>>   The second question is informing people about it.  
>     I wouldn't say a word about it for the first time,  to make a big deal
>about the difference is to place a variable in the orchestras mind, and
unless
>they are perfect to begin with, all blame for intonation will land on the
>technician that brought this "change" into the venue.  Let them perform with
>it a few times before it becomes a "thing" that the audience is given. 

>>>The other alternative is for the conductor, me, or whoever to say something
>very short about HT's, either at the beginning of the concert or right
>before the piece is played.<<
>   If the performers are not comfortable, they will not play well.  To toss
>them a new parameter will cause them to search for the differences, thus
>losing the true value of musical sense.  Let them get acquainted with the
HT's
>musically before you try to get them to grasp it intellectually!  
> From the foggy side of San Francisco, 
>Regards to all 
>Ed Foote


I just want to clarify what you wrote here, not to make a big deal about it.

Avery Todd is going to be tuning a HT for a recital, and the pianist knows
about it and is comfortable with the tuning he is going to use.  Now, Ed,
are you recommending that Avery not tell the Orchestra about the tuning?
Or rather are you recommending that the audience not be told about it the
first few times?  This is confusing to me.  Are you suggesting that the
orchestra should have a few rehearsals practicing with the piano tuned this
way a few times before letting them know about the difference in the tuning?

Very interested in HT's and wanting to learn more,
David Vanderhoofven