Standard Pitch 1870 to Present

[Farrell]

I tuned a 1903 Everett upright yesterday. On the plate just  below the "V"
bar at the low tenor was stamped in prominent black letters "International
Pitch 435". This is the first time I have ever seen an indication of the
designed pitch of a piano. I tuned it to 440 from up to a full step flat
(little kid was to be taking lessons).

I have three questions related to this pitch thing:

1) Any sweat tuning a piano designed for 435 to 440 beyond the string
breakage potential? Basically, why not? I am asking about any piano - new or
old - but especially an old one, such as the Everett.

2) What has been the history of Standard International Pitch since about
1870 until present (the era in which most pianos we commonly see fall). I
realize there may not be a good answer to this, as it may be unknown and/or
many standards existing simultaneously. I have read the stuff in the
Journal, but it is very inconclusive in this area. What I am getting at is
are there any GOOD guidelines for the pitch to tune specific piano types?
For instance - should all squares be tuned to 435 - or maybe European pianos
before 1890 should be tuned to bla, bla - or any general guidelines. Or is
there something about the design of the piano that might dictate its optimal
pitch? Or just screw it, and tune 'em where you want them to be?

3) I would like to try the new stainless steel Absolute Sound wire. They
make two strengths - regular strength for "older pianos" and high strength
for "modern pianos". So I have a square I am restringing. I also have a 1900
Bechstein that I will be restringing. Is my Bechstein an older piano? Yes.
Is it modern? Looks modern also to me. (I have talked to Absolute Sound
folks, and I get the feeling their recommendations are just "shooting from
the hip".) Should the selection of the string type depend on a stringing
scale analysis (by a knowledgeable analyst - not me)? Are we getting into
"low tension scales" and "high tension scales" with this? Are these two
general classifications where these two types of strings would be used? What
is a "low" and "high" tensions scale? A low scale on the same piano would
have lower tension and less mass for any given string? In general, why would
a designer choose a low or high tension scale?

Am I asking too many questions? I suspect someone will simply provide me
with a reference. That would be OK. But I suspect some of the above
questions will not be answered in a book. Hoping for both I guess. Thanks to
anyone.

Terry Farrell