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In Reply to: RE: I admit that at this moment I am not as sure as I was then... posted by John Marks on July 21, 2015 at 17:05:41
"There can be no doubt that in 1969, the Cleveland Orchestra tuned to A = 440Hz, so, the real question is, what happened?"
After getting accounts of the Cleveland Orchestra tuning "noticeably flatter" than visiting orchestras by both ushers and patrons at Severance Hall (from direct conversation inside the place), and by listening to recordings released prior to the Severance Hall renovation (can be demonstrated on YouTube clips), I was under the impression that the Cleveland Orchestra tuned closer to A=436Hz..... (The recordings of the Orchestra after the Severance Hall renovation were noticeably sharper, right at A=440.)
This could mean that the Oistrakh recording may have been speeded up yet even more..... (Unless Szell actually did use 440 at the time.)
Follow Ups:
There was, I was told by Norman Pickering (one of the founder of the Audio Engineering Society AES) a button on the podium that allowed Szell to beam a remotely struck and amplified 440 tuning fork directly at the orchestra, no need for the oboe.
I analyzed CD transfers of several non-EMI-Angel same-era Cleveland recordings, and they were all very near 440; by very near I mean less than 1 Hz which means 0.00227 or so. There was one Columbia one that averaged a little over 439.
All that said, I am too busy and tired to try Kickstarting this myself.
JM
No bigger Cleve fan than me, i find that VERY unlikely.
Ushers wouldn't be my main source of Musical Insight.
Although Robert Marcellus was one of the greatest ever on the clarinet, his successor, Franklin Cohen, maybe had the hardest time with intonation of any player on the Orchestra.... (His intonation often made me cringe, only because the rest of the Orchestra was so dead-on. One such passage was in the third movement of Dvorak's "New World" Symphony.) Whether that's related to what you mentioned, hard to say.
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