Klarinet Archive - Posting 000310.txt from 2000/08

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: Re: [kl] My memory /Tony Pay`s Weber
Date: Sun, 13 Aug 2000 15:28:24 -0400

Hi Allan,
I don`t have access to the book you mentioned, and I wondered if you could
be a little more precise as to what tuning "joints" are. Are they simply
different length barrels, or are they "rings" inserted into the instru.
either on to the barrel, or below the barrel? Or are they real top joints of
varying lengths? >This last option would seem to be rather cumbersome and
expensive don`t you think - to have 7 top joints. I think we`ll rule that
option out, shall we?
Any flimsy revelation will be welcome. Many thanks for your other info.
Best,
Tony W.
----- Original Message -----
From: Allan Thompson <pleco@-----.za>
Subject: Re: [kl] My memory /Tony Pay`s Weber

> Peter le Huray's excellent book, "Authenticity in Performance", has it
that
> by the end of the 18th century, wind instrument makers provided up to as
> many as seven tuning joints to ensure that any pitch encountered would be
> manageable. The late Baroque was about a semi-tone lower than today, that
is
> about A@-----. By 1820, the London Philharmonic society performed Beethoven
9
> at 433, thirty years later it was played at 453(!). Steinway pianos in the
> late 19th century were tuned at 455, and it was only in 1955 that A=440
was
> adopted as the standard frequency by the International Organisation for
> Standards. (see le Huray 1990:154ff)
>
> Allan Thompson
>
>
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