Piano World Home Page Forums Our Most Popular Forums Piano Tuner-Technicians Forum So, you want to be a piano tuner? What do you hear?

Hi guys,
Spot-on analysis of tuning slips in that Richter performance. Even with all those wobbles, it is still a great performance. His touch, pacing and timing are brilliant.

@Isaac,
Yeah I couldn't believe all the coughing in the hall. It must have been a cold winter! Even with all that distraction, he seems to keep his focus and dedicate himself to the piece.

@Marty,
Yes, he must have really pounded the piano right before this piece/encore. I wonder what was on the program.

With this kind of live recording, there are some things that I can forgive, but the original OP's recording is baffling because it is in a controlled recording environment is it not?

Thanks, erichlof, for posting the Richter. Yes, a sterling performance - those little "wobbles" notwithstanding.

Yes. The Brahms was recorded in as controlled of an environment as one could achieve in an orchestral hall minus audience. Recorded over a three day period on May 9, 10, and 12, 1961 at Chicago. Victor/Reiner/Cliburn. Released LP in 1961 in both mono and stereo, and remastered in ca.1993 for CD. One, perhaps two, unisons worsen as the first movement progresses. By the end it's intolerable. The problem is gone in the second through fourth movements. Could have been any number of reasons for it. My best guess is a string broke either before or during rehearsals. Tech replaced and stretched as best he could for the recording of movement 1. Tech returned and pulled it up for the balance of the recording sessions.

Why was this released as is? Perhaps the pianist or conductor only heard the mono version on playback and didn't detect it. More than likely, Reiner was in failing health and they just went with it.

Thanks for posting this challenge! I am very gratified, as a part-timer still learning, I heard it right away! Although I'm still not as cool as those who knew exactly which note it was!

John

You're welcome. Sounds like you've got the right stuff! (I'm not that cool either, John.)

Maybe. Maybe not. From childhood I listened to this record - both mono and stereo - on good sound systems as well as mediocre. Wore the things out. Until I learned how to tune (i.e. listen for beats and waves) I thought the LP sounded just fine.

Points well taken. Thanks!

You have a better ear than mine. Thanks Gary

My view too, Isaac. Thanks.

Since when is an orchestra tuned higher than the piano? The orchestra tuners come in an hour early to tune the various instruments? To the best of my knowledge, Ray Still took the 'A' from the piano.

But, Ya never know!

(Actually, I do.)

I don't know either, Marty. Giving him the benefit of the doubt. Had to look up Ray Still. (Was expecting to see first violinist or concertmaster.) Principal oboe. Quite the distinguished career.
Really enjoyed the Reiner/Cliburn recordings. Wish there had been more. But, such is life.

Hi Bob,

Just as an aside, during that time period the CSO tuned to A=440 and now tunes to A=442. The BSO is even higher at A=444.

(I know, there are many members here who will grumble.)

These orchestras, then, would be following the European model? Wonder what might be driving this change. Have always believed that the piano sounds best when tuned sharp - even A445 is not too high. Beyond this, I worry about how well the bridges and strings can handle the added tension.

I don't think it is a European model any longer. It is quite widespread across American orchestras, and may be due to the direct contact with orchestras touring abroad. The trend has been growing across the last 10-15 years. Great Britain seems to be the most rooted in the A=440 tradition.

If it can please some of you, in Paris Boulez "Orchestre Intercontemporain" use yet 440 Hz.

Anyway did so a few years ago

Principal Oboe taking an A is one thing. The whole orchestra taking that same A, and sticking to it for more than two bars, is, unfortunately, another.