Revive Verdi's tuning to bring back great music (EIR Feature Article)

8/13/2019 Revive Verdi's tuning to bring back great music (EIR Feature Article)

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Vrdi'sig o b

ak ga musiIn Sptmr, th Itln rlmnt ll lld pn t vt n lltngon th rrt tnn fr ml prmn . h mt nl ll inducd Chrtn Dmrt Sntr Crl B nd tr Mzzp-sa. W pulih hr thll txt fth rport ntrdn th lltn, flld th ll it. Elshr n th pg, y lnd hhlht f th ntr-nationl prs nrvr vr "th r f th tnin fr, nd n ntrvwith Lyndn H Lh, Jr. , h npird th rrh prjt tht ld t th

inititv.

DRAFT LAW

Repor: Sndaon of ebic pih of mus insmnts

oorable Senaos I ece weeks we hav been called upn o d aas soluio o he coinui unceaiy ad vaiabiliy i he basic pich ousical ismes which is vealed as hl ad dangeus n nly o

ers' vices bu also u insmeal paimy and in picul o eique si ad keyboa ismens (violins violas vilncellos no oio oas ad oepiaos consced a i n abve a cce ee 27 ad 5 cycles pe second). The "re o he hih pich" which weave iessed o decades jusied by some wih an eneus iepeaio oe cocep o isic libey" which iself hes such libey deisic expssio ipossible and which has bu us disions such as eaospheric ui some oa houses (Vienna Belin Flnce Desde)hich isks i ipossible ccly ine maseieces such as esphoies o Mo ayd ad Beehven ad culd accodi o he esi-oy o aous oaic peomes ad ochesa coducos cied in his e

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brng us to a stuaton n whch, wthn a few years, t wllnot be possble to stage numerous lyrc operas, due to thelack of voces suted to the reertore.

The cause of ths stuaton, whch s exemely troublngn a country whch s renowned the world over as the cradleof musc and of bel canto, s n the ee uctuaton of e

," whch does not take nto account the physcal, morpho-logcal, and moral laws whch are the foundaton of greatmusc, just as ey are for every other expresson of humanlfe.

Unable to reman nderent to e heartfelt appeal thathas reached us om the entre muscal world, we wll therefore analyze n ths repor the causes of such ucatons ofe , and we wll oer the possble solutons for standardzng the dapason, certan that you wll agree on e necesstyto enact today a decree such as that whch Guseppe Verdcaused to be enacted by the Italan govement n 14, forthe same reasons that we submt today to your attenton. I

order to facltate comprehenson of the argument even toose not famlar wth the subject, we wll dvde our reportnto sx prncpal aguments the hstory of ptch, the damageto voces and to the nstrumental hertage provoked by erasng of the tunng, the alteraton of the muscal languagethat derves from t, the physcal aspects, and nally, annteatonal panorama of the requests for acton comngom the whole musc world.

Te ry f nng pcIn 14 the Mns of War ssued a decree for the nor

EIR ugust 12, 19

A press cferece iRome July preseshe legislai ha illbe debaed by he IaliaParliame Righ le:Se Pie Mezzapesae f he spsrs f hebill; Liliaa Celai f heSchiller Isiue;barie PierCappuccilli e f heiteraioally reed

pera sigers h ' isspearheadig hecampaig fr a sciecuig

malzaton of the tunng ptch to an of 432 vratons,whch had been vocferusly requested by G. Ver an by

all the Italan muscans meetng at a congress n Mlan n1 The decree, preserved at Mlan's G. Verd oserva-tory, afrms among other thngs that

The Mnsy of War has now prescrbed that the or-

chesa nsuments and those of mltay bands all be tuneabove a Bat (ndex 3) of 456 complete vbratons, ervedom a normal (ndex 3) of 432 vbratons. It came to tsdecson tkng the opportunty of the formato of 16 muscalbands of the new nfany regments, for nstruments wouldneed to be provded and certanly a better occason could notprsent tself for obtanng a hgher perfecton and unformtyn e standards, and n order to remedy the confuson whchuntl now regned soveregn n the tunng of the nsments,by takng a decsve step toward a ratonal soluto, supportedby scentc reasons, and artstcally satsfyng.

It would be superuous to repeat here the lengthy story

of the attempts made to reduce the varous tunngs to onlyone, typcal and unversal. nd, as the llusous Verd welsad, t seems ncredble that t has not yet been possble tome everyone understand that t s truly ncongruous that nRome they call what n Pars s called Bat, whle muscs one thng the world over, and musal notes are as etealand mmutable as the physcal laws on whch they depend!

Many masterpeces of yesteryear were evdently wrtteunder the nuence of a very moderate tung fork. ntherefore, wth our too hgh tunng forks they are today nolonger reproducble, or are reproducble only at the cost of

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spoiling their sonoity Pehaps one is not staying fa frmthe uth to state that the old pitches, which eally weejudiciously easued against the natual ange of the humanvoice, diffeed by about a halftone fo the highe pitchesof today And in act, the scentic concet pitch of 432vibations would be alost a haltone away om todayshighest tuning fos The musical Congess n Milan studied

the subject fom a oe complex and moe scientic point ofview, as we will show beow"

In a lette to the musical commission ofthe govement,epoted by e 884 decee, Giuseppe Vedi wote:

Since Fance has adopted a standad pitch, I advised thate example should also be followed by us; and I fomallyequested that the ochestas of vaous cities of taly, amongthem that of the Scala [Milan] , to lowe the tuning fo toconfom to the standad Fench one If the musical commis-sion instituted by ou govement believes, o mathematicalexigencies, that we should duce the 435 vibaons of Fnchtuning fo to 432, the dieence is so small, almost imper-

ceptible to the ea, that I associate myself most willingly withthis

la

Agogic: efes to qualicaton of expesson, in partic-ula, accentuaton and accent, whee this conces va-

iatons of duration athe than dynaicDiapason: a stadad of uscal pitch, o a tuningfor Because the te s less coonly used n Eng-lish for these eanngs, ou tanslaton endes theItalian wod diapason" as standad pitch, tuning pitch,tuning fo, o concet A, " dependin on the contextFortepiano: the woodenfame eyboad insumentivented by Cistofoi n the 17s and used unl und8 when t began to be eplaced by ts mode metal-fame elatve, hee called pianofote" o piano"Glissando: a gliding eect poduced by executing aseries of adjacent notes in apd s uccession

Index: the octave in whch a given note occus, iden-tied by efeence to the pano eyboad In the systemused hee, the lowest C on the piano begins the octaveof index ; Middle C begns the octave of index 3 Tessitura: (Italian fo textue"), a vocal tem usedboth to descibe the aveae ange of notes most fe-quetly sung by a given voice n a gven compostion;and by extenson, to nae that species of voce whichsings in a given tesstua"

2 Featue

It would be a graveextremely grave eo, toadopt, as poposed omRome, a standard pitch of[A ]450! ! ! I also of theopinion with you that thelowering of the ning in no

way tes away the sonori-ty or liveliness of the exe-cution; but gives on thecony, someing morenoble, of greater fullnessand majesty than the shrieksgive

For my p, I would likein the whole musical worldsal: Why en would the noteor Milan have to become a

I have the honor to

edly,Giuseppe Vedi"

Giuseppe Verdi

too high tuning fo could

single tuning to be adoptedmusical language is unive-

has the name A in Pais

The standard pitch" (A to which Vedi efes ishat peserved at the Museum the National Conseatoryof Paris, while the socalled pitch" to which thedecee efers (A 432 ) and was appoved unanimously at the congress of Italian of 188 is that pposed by the physicists , Savart, and by theIian scientists Montanelli Landi, and calculatedon a Middle C (index 3) of 25 cycles pe second, as willresult om the teatment of physical aspects" of thetuning pitch It is impoant to that the ace to the

high ning began, instead, the unilateal adoption of ahigh A (440 cycles ) by the and Austan militarybands in the time of Wagner, that such a pitch, althoughit lacked any scientic o basis in the laws of thehuman voice was later by a convention in London,in 19 39 , as the standard pitch to which, in any case , noorchesa in the world, or none, adheres

Until the Italian decree of ' 884, the uctuation of thepitch" was that shown in (stipulating that, fom thereference point of A at 4 in ecent years it has movedenormously to the point of 4540 hetz) Consequently, it is amazing to the pitch levels to which

musicians of past centuries accustomedIt is evident that the 1 musicians far away

adition, expeience,aspirations and

. E v were nevertheless close toeach oer under the bann r a reigning coherency, indefending" in practice a pitch which was sensibleand respectful of convention " mean value which comesout of these, 432 9 Hz, is poof this

If we asceain that, o l: todays aveage values,rotating around 445 Hz , and Mozartian 422 Hz , the dif-feence is about a semitone, it easy to undestand how, on

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TABLE 1

Y C P Concer A1751 London Psonal unng pch of Hande l 3 Hz

1 752 ln Opa) aodng o Marpug Hz

1 754 Ul Tunng pch of Fancos 3 Hz

1 780 Vna n paofo fo Moa Hz

1 780 Ddn Tun ng pch of Ksn Hz

1 80 Pada Tnng pc of Colbacchni 3 Hz

1 780 Vona Tunng pch of Cavdn Hz

1 8 Lll Tunng pch of Cohn Hz

1 Dsdn Tunng pch of Kumme Hz

o d oi ad is e aiig o reach ai o o ooer i he ouer esiuras,i o oer oiio e hae ohig odo i oa a i e aua coor" of he kei auor

d 8 au" gi o udergo oi-ao i o a oiaio o euiariies hih

TABLE 2

Coe varous European cites

C C

W H 424 Toulouse

H Bodaux

n H 7 Maselles

n H Ulle

Vn H Pas

Vnn H 9 Pas

disiguishes h rmanic peroi, e i voa, aor isrumenal (Table 2).

Th po f warm of ups ad dos oich in w nnny pdominaes o deoaehe arbiin n nny of he professoas, aosrangd and i infod bu e aric icongri raed by h lc f p f h iches iended ecooser in h wng f composiions (i shoud obe forgon f uermos essiuas, high orlo, wa calb n wy s no o allow deviaio,exce a h f gng and nsres o reaouble).

And conradon bcome ven ore useig ifoe rec pon appal , qu oen faig o deaf earof composr ning pc for h unng ich (Verdi,Pochili, Pd , zzn, oio Faccio, Marhei, Laur Rossi) (Tables 2-3) .

Saring in , hr aeared he r oiaaes o imps a rfernc poi on e chaos ueadi usica rformanc. u nihr he Ieaioa Co-ress of Vnna f 5 (w was linked o he ork of Comission f Par of 5 , for he sandardizaio of icho 45 Hz, which w folowd by h sabishig dere o

9*

ce A Cit Concer A

Hz Pars 3 Hz

Hz Toulouse 37 Hz

Hz Touloue Hz

Hz Lyons Hz

Hz Bordeaux Hz

Hz Ulle Hz

Vnna H 9 Pas (propose by te nference) Hz Marselles 7 Hz

Vnna Hz London Hz Munc Hz

Ps Hz London Hz Wemar z

Ps H Bussels Hz Braunscweg 3 z

Pas H Budaps Hz Karlsrue 3 Hz

Madd Hz Stuga 6 Hz

S. Peesburg Hz Dresden Hz Persburg Hz Wuemberg Hz

Napls Hz Berln Hz

Holland 6 Hz

Prague Hz

Brussels Hz

Budapest 6 Hz

Uege H

Y o mpl Fnch dc whch mposed a sandard pch at A =3 Hz Turn Hz

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Oct. 17 , 15 , the imperial decreee of Feb. 16, 159, andthe decree of enactment of the law of May 31 , 159) , whichin Italy led to the Oct . 3, 7 decree and the decree of theMinis of ublic Instrction of May 3, 1 xing thepitch at 435 Hz nor the recent provisions (decree law of theKingdom of Itay of Dec. 17, 1936= diapason 435 Hz) orinformational initiatives (Inteational Conference Intea-tional Standard Organization" ondon 193/9 + oatingdiapason 442/443 Hz Convocation of the European Council196 Salzburg; 196 Florence; 97 Toledo wi the statusof the pitch between 437 and 45 Hz; Italy 3 June 1 9 7 ,resolution on the standardization of the tuning frequencies44 Hz) have brought peace into the universe of sound.Table gives the puzzling picture of this.

2 The amage viceAt the inteational conference on Verdi and the Scien-

tic Diapason" held at the Cas a Verdi in Milan on April 9 ,1, at the initiative of the Schiler Institute speakers Ren-ata Tebaldi iero Cappuccilli , and rof. Brno B arosi of the

TABL

d dd 187-188

D C C A

1 874-76 odo 454 z

1877 odo 455 z Wagr Ftival

1 877-80 odo 449 z Covt Gard aroiu 1

1 87780 odo 447 z Covt Gard aroiu 2

1877-80 odo 441 z Covt Gard Orga

1 877-80 odo 446 z Covt Gard Orga

187780 odo 450 z Covt Gard Orchtra i

ducatio cour

1880 odo 455 z tuig pitch of Erard

1880 odo 455 z tuig pitch of Stiway i

Eglad

1880 odo 435 z tuig fork ud i Covt

Gard to tu th orchtra

1878 Via 447 z Opra ou, accordig to

la

1876 Brul 432 z propod by Mr for

cocrt

1878 Drd 439 z accordig to Jlich

1880 Boto 448 z accordig to Nichol; tuig

fork i u for a orchtra

ad up alot tirly of

Gra

1880 Ciciati 456 z tuig pitch ud i hoa'

Orchtra

1880 Nw York 457 z tuig pitch of Stiway

1879 aburg 448 z Opra ou

2 Feare

Inteational Institute of Insument Building of Cremona presented exhaustive on the damage caused bythe high tuning to voices and instruments. Their argumentswere conrmed by hundreds singers and instrumentalistsall over the world and by and chorus directors suchas Maesos Gavazzeni Sacchetti Aloo Rigacciand Sanzogno. Baritone iero gave at the CasaVerdi concrete examples of problems provoked by thehigh tuning for the of the works of Verdi bysinging two famous arias the operas Eani" and "1Tvato" accompanied by Baracchi , rst on a pianotuned for the occasion to s A (432 cycles) and immediately aerward on a concert tuned to the high A oftoday . The performance demonstrated to all the 3singers and musicians present with the high tuning notonly the registral passages of voice which e crcial forItalian bel canto school are changed but also thevery color of the voice" taes on tenor qualities (inthe case of the bitone) will of the composer. Ifin te ech of Verdi the was [A 432 vibrations"Cappuccilli said and he his operas for this tuningVerdi was an intelligent who understood voices andwrte for voices . Taking the up to the present leve thestrain on the vocal cords is too This is why manysingers after four ve or six of their caeers encountergreat diculties . Because they straining the vocal cordsin an unnatural way. "

Renata Tebaldi remind-ed the Milan confence thatsingers consuct with greatcare the pror vocal reg-

isters and that when eynd themseves thrown offom the original key inwhich the opera they aresinging was written (whichis respected only by re-specting he pitch at whichthe opera was written) to aninoect key they realize it i diatehthat each note in the vocalmentgivenbybelcantot hn i lIfor that place and annot nd it

ball that did not go into the The obvious conse-quences are: shouty sounds a Qstant saining of the toatbreaks in the voice and in the I run real throat poblemswhich have cut sho careers . I cannotbelieve that Italy which gave the world the most beautifuvoices and has cied our canto and our marvelousItalian language everywhere no longer produce greatdramaticsoprano voices and mezzosopranos with thecolor of mezzosopranos and deep basses " said RenataTebaldi. If we went back to oect tuning I am surethat we could retu the Itaian to its Golden Age . "

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In an interview with the majr German newspaper Dlt tenor an orchestra irector Pacio Domingo, whosent a message of support o the Schier nstitute's confer-ence, ecare in this regar: We sigers toay have to eawith the highest tuning that has existe in the history ofmusic. The concert A' keeps going up. Even though thereare some who say it is not ue, that is the way it is. We mustcombat this tren. Some orchesas are not ony tune high,but eve higher than the others. Once, it was exceptiona forthe singer to be abe to use his hea voice, but toay we ein a situation which no onger aows us to use the chest voice.It is high time to n a soution to this probem."

Like Cappuccii an Tebai, an the other famous sing-ers interviewe on this subect, Domingo, too , i s referring tothe fact that in the be canto schoo there exist three principaregisters, that of the chest, the center of the voice, a thehea register, which are istorte at the point when the key,an the tessitura, is change because of e arbiary whimof an orchestra irector who e facto ansposes the work heis performing a haftone upwar, simpy in orer to obtain a

briiant" soun with his orchestra. It is, above a, in thepassagenotes om one register to the next that sigers reaizethe ifference, an the amage one to the voice, an to theinterpretation. Caro Bergonzi an Luciano Pavarotti con-rm, for exampe, that grave probems arise in the operaL 'Eisir ' amore" by Gaetano Donizetti when the tenor mustattack the aria Una furtiva acrima" o Fnatura, an nshimsef force to perform that ote i the wrong voca registerbecause the tonaity s too high. In a interview grante to Ichvllc Caro Bergozi states that many singers,singing i Viena o Foence, fee that the acute an so-cae briiat sou of those orchestras, is ot natura."

How is it," the teor woers, that there are not as manysingers as once there were? An yet there are voices, anhow! However, when they arrive at the passagezone, withthe piano tune high, they fee there is a physca sain.When one fees the physica strai in the high notes or at thepassage, then that meas that the tuningpitch is not natura. "Accoring to Bergonzi , i f one aopte toay Veri' s tuningof A 32 in ve years, one cou retu to the o ays."

ario e oaco ese, by conact, to sing CeesteAia" with a tuning that was too high, for the same reason:the Fnatura which precees the regisa passage from thecenter to the high register in the tenor' s voice . A the singers

agree that e probem is not so much the high notes, whichbecome higher whe the tuning is e up, but in the pas-sage notes, which are the basis for reaching the high notes.Thus, as Bergozi an Cappuccii report, the aria Ah si,be mio co'essere," which precees Di quea pira" inVeri's Tovatore," is ofte transpose a hafstep ownwar because it reies so uch on the registra passage, anno tenor ca execute this aria an D que a pira, " with itsna high C, without wining up in the hospita at the en ofthe performance, uness he goes back to the origina key (hafa tone owe.

3 Feature

Mirea Freni says, inher interview with I chvllc that a ecreeike Veri's wou be cru-cia not ony for the newgenerations of singers, butaso for toay' s singers . Avoice souns much sweeterif it is not stretche," statese famous sopro. Whenone goes om a very highorchestra to another one Mirella Freiwhich is ower, ike for A'U soe of the American orchesas, an even a few of , one fees right away thatone is maing ess effort, it fees e not singing. "

The same goes for the ow (mezzosopranos , baritones , an basses , as is by basses Ruggero Raimoni an Nikoai Ghiaurov , the mezzosoprano Feora

!;

o

n

s

t

of

c:

the ow notes, which require a ooseness in the vocacors themseves. Ruggero a Feora Barbieriinicate, in the nterviews they to I chvllcanother voca probem, that of voca ientity of the singer,who wi never know if he or is a bass or baritone, amezzosoprano or a soprano, atenor or a yric tenor, unesssinging in the right tuning.

soprao or a yric, a ightor she sings an stuies

I maintain that it is very to retu the tuningpitch to that which Veri " ecare Ruggero Raimoni. If Veri compose a pece of music , he compose it thinking about certain of soun , which o

not correspon to what toay, with this orchesapushe to the maxi mum. This aso be the expanation ofmany careers which o not go ve, six, seven yearseven with very beauti Obviousy because of thiscontinua exasperation of a soun, they o ot succeein ning the right pacement which aows them to singwiout sainig."

Aso Biu Sayao , the Braziian soprano who wasone of the rst to sing at the Mpt(noht" an who signe thepopuar petition of the Schier +" ast ay, states thatbecause of the too high pitch, we o oger haveramatic voices , ie that of ianov . There are no

as the istrumets waru' . Aer one act," Cappuc

VlU , the orchestra tuiggrows even more, an the insuments ten to have aouer soun than the voices. ometies, when the brassesare paying, even if three Titta three Carusos weresinging , you cou not hear voices . By owering the

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tuning pitch the sound of e orchestra would also becomemellower the winds but also the violins and cellos "

3 Damage to the instrumental patrimonyFor the stringed insuments and keyboard instruments

similar problems arise to those observed by the singers andit should not awaken astonishment if one considers that theinstruments were built to imitate the human voice the most

perfect instrument in that it is a living instrument The experiments conducted in the Acoustical hysics Laboratory ofthe Inteatioal Institute of Snged Instrument Building(Istituto Inteazionae di Liuteria) of Cremona which werepresented at the Schiller Institute conference by rf BrunoBarosi of that Institute have had particular inteational resonance and have been taken up in alarmed articles appearingthroughout the inteational press (suce it to mention Cor-riere della Sera, Le Figaro, Le Qutidien de Paris, Nor-drhenische Zeitung of Germany and the Swiss daily LaSuisse.) rofessor Barosi reports that the increase in equency involves for e violin serious and not easily solvable

problems The increase in tension on the strings provoked bya higher tuning involves in fact a increase in the forcesacting on the structure of the case The increase in singlestresses is such as to reduce the average ife of the insumentinsofar as the eect of an overload depends both on its quantity and its tie duration The increase in the componentswhich tend to atte the bottom and curve the top intervenesalso to modify the timbre"

A s rofessor Righini states in his book Il diapason, eincrease of 5 herz is the equivalent of a proportional increasein the tension to which it coesponds for the A sing alonean increase in pressre of about 9 grams And since there

are four strings on the violin al of diering thicknesses anddensity the oveall increase in pressure can be estimated at4 kilograms or a bit more" It tus out moreover that theoldest Cremona insuments were constructed for a tuning nohigher than midde C of 256 cycles (corresponding to theVerdi A) which is indicated by many as the scientic diapaso" The cited text of Righini states in this connectionciting the experiment carried out by the French physicist andtaken up again by the FronticelliBaldelli stringed instrumentmakers: The volume of air contained in the best Cremonaviolins (Stradivari ad Gueri) always had a equency of256 hertz (for C index 3, or Middle C) Savarts experiment

was recent repeated o the famous Sadivari violin '1 Cremonese of 5 kept at the City Hall in Cremona and itfully conrms the hypothesis that this was the ideal ningfor singed instruments: If one sigs a series of notes inglissando into the vioins case the greatest resonance isattained precisely at a middle C of 256 vibrations"

Additionaly the pianoforte repors rofessor Righinisbook suers serous harm with the increase in tuning pitch:Let us agan consider an increase of 5 hertz above the normalning" writes Righini The increase in pressure owing tothis increase is enormous in the order of tens of kilograms

E August 2 9

These wonl o instruments were built to approximate thequlities of the human voice Above is a Guaeri violin, builtat Cremna in 1 708 Below is a sopano lute of the 16thcentu.

What the consequences of this are can be said by pianobuilders We cite in this connection the opinion of Europiano the association of almost all the European builders: It is

absolutely negative since relatively recently the technicians of one of the biggest factories in the world expressedtheir disappointment about the ill effect which three concergrand pianos received as a consequence of the demands of avery well known orchesa director to have them tune toA 5 Hz" Needless to say that the fortepianos which donot even have the metal amework of a pianofore are notonly damaged but they cannot suppor a tuning higher than432 cycles as repoed by fortepiano exrts at the DeutscheMuseum in Munich in Bavaria in which many antique insuments are kept among em Italian ones

Also many antique organs according to the testimony of

numerous organists and organ restorers do not hold up toarbiary increases in tuning insofar as many antique organsparticularly in Italy were built for a tuning no higher thanA 435. Thus rof Egidio Circelli organ instructor at eontical Institute of Sacred Music complains of graveproblems in the performance of works for organ and orchesa when the ochestra is tuned too high The old organcannot cut its pipes to adapt

The only instruments which do not apar to suer immediate harm are the winds Many wind insuments underwent changes at the end of the 1 century when the race

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2) Leaders of ageces ad suos3) Msry of Tours ad erae (does o

efrce he prosos coaed he Dec . 1 7 , 1936 law ,o. 2440, ar. 3: ery auhorao ad eery subsdygrated by he Sae o a publc corporao for aageeof opera ad cocer perforaces, ad for he foraoof choral, bad, ad orchesral groups s codoed alsoby the obserao of he precedg reguaos, a ugfork of 435 H a he eperaure of 15 egrade)

4) Mser of ublc Isruco (oobserace of heOc. 30, 1887 law, o. 5095, ug pch of 435 H a aemperature of 20 egrade).

I he book Tulli Sern: il pariarca del meldramma(Tulli Seran The Pariarch /Opera) he grea orchesradicor takes up he hee of he ug pch, declarigamog oher hgs: or ay years he ug of Ialaorchestras has bee for e a source of axey. I asceraed, fac, ha here was a edecy o keep he pch hgh,ad ha a fasho ha bee esablshed aog he arous

orchesras, a real race o he heghs. My axey deredo he awareess of he daage ha would be doe oe oces. I do o refer o sgle hgh oes, solao,whch a good sger s always able o lauch I refer o hecouy of cera sehgh ad hgh essuras, whchuder codos of a hgh ug ph pu he perforer dculy, wh grae daage o hs ocal apparaus. Iwas old ha wh he hgh pch, he orchesra souds morebrlla. I reply ha he brlla sou s esrable, as logas we do' exaggerae, oherwse becoes shrll ad akeso deesable coloraos . . . . I 1885, he cocer A wasesablshed a 435 braos bu I would lke o red

everyoe ha acordg o Verd's opo should haee lowered o 432 braos.

Today, Maesro Gaadrea Gaae s of hesame opo he saes hahe hgh ug of odaymaes the coec erpretao of he ere reperory of he 18s, wriefor a uch lower ug,mpossble, ad causes seous daage o jus o so

loss' oces, bu also oe eire choral fraework.

5 Physical aspects

Giaadrea Gavazzei

I has bee sad seeral es hs repor ha by scec sadard pch, s ea a sadard pch correspodg o a Mddle of 256 cycles per seod (a equaleo a A bewee 430 ad 432 ycles, depedg o wheheroe uses he Keplera or he yhagorea scale o calculaethe correspodece bewee Mddle ad A, dex 3). The

E Augus 12, 1988

Iala sess who proposed hs scec tug pcho he ogress of Muscas held Mla 1 88 1 , adleadg o he decree of 1884, jused her choce hsway, as he Acs of he ogress of Mla kep a he GVerd oseraory docume:

The greaes physcss always proposed s adopoad o 1700 o, Saueur proposed he of 256 braosas he uable oral ype of oaly uscal souds .hlad hs Treaise n Acusics ad roy hs Ele-mena Insrucin n he Mde /Calculaing he MusicalInervals, approe hose heores. Rudolph Koeg, celebraed bulder of physcal apparaus, ws all hose whowsh o hoor h wth her orders, ha he has ake as hspo of depure, he costruco of he acouscal strues brough ogeher hs caalogue, he sadardpch of 256 vbraos, rs proposed by hlad, asproducg for eery , ubers whch are powers of 2,whch akes ery coee o use.

Accordg o Meeres, reported he sces Ar

chede Moaell o the 1881 cogess, he oly scecug fork s he oe ha sars o he sples uericalrao of 2, 4, 8, 16, up o 256 ( dex 3) [Mddle q auber whch, accordg o hs reckog: 27/16 x 256,ges he A (dex 3) [cocer A o he aboeced 432braos r secod.

To he physcal obseraos of he Iala, rech, adBelga scess who ocally prosed 256 braosas he scec ug pch, oday are added he ew asrooca dscoeres carried ou by sudyg Kepler by heAerca sces Joaha Teebau, who preseedhem as follows o he Schller Isue coferece:

256 has a uquely deed asroocal alue, as aKepleria eral he solar syse. The perod of oecycle of 256 (1/256 of a secod) ca be cosruced asfollows . Take he rod of oe roao of he arh. Ddehs perod by 24 2 x 3 4) o ge oe hour. Dde hsby 60 ( 3 x 4 5) o ge a ue ad aga by o obaoe secod. Now dde ha secod by 256( 2 2 x 2 x 2 x 2 x 2 x 2 x 2. These dsos are all Kepleria dsos dered by crcular aco aloe. I s easyo er, by followg hrough he dcaed series of dvsos, ha he roao of he arh s a G,' 24 ocaves lowerha 256! Slarly, 256 has a deeriae alue

ers of he complee syse of plaeary oos.The coherece bewee he plaetary order ad he cor

rec ug for he hua oce s dcaed he rs placeby he fac ha he hua oce s a l g process . Leoardo da Vc ad Luca acol deosraed ha all lvgprocesses are characered by a ery specc eal geoery, whose os drec sble afesao s ge byhe orphologcal proporto of the Golde Seco, whchs also reeced he fudaeal erals of he wellepered scale.

or hs reaso, ad o hs he scess ad the us

eaure 33


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Iw: L H. Luh J

On cienc unin eea o fuic cf oioBelw are excerpts m an interview published in the July1988 issue f the Italian cultural review Machiaveico. lwas cnducted by Liliana Celani.

I Machiavellico: Mr . LaRouche, I woud ike to put to you,

as the initiator of the project to ower tuning inteationayto C256, a question I was asked by many singers during the

Mian conference: How did you get such a bright idea?

LaRouche: My origina conibutions to Leibniz's science

of physica economy were rst deveoped during te interva

1948-52, as a study of the possibiity of measuing the causa

reationship between fundamenta scientic prog ress and the

increase of the potentia productive powers of abor of farm

ers and indusia operatives. The soution of this probem

demanded that I be abe to how, that the creative menta

processes responsibe for vaid fundamenta discoveries in

physica science were susceptibe of inteigibe representa

tion from the vantage-point of such as Behard Riemann.As a necessary compement to this, I was obiged to

suppy a crucia demonstration that the form of creativity so

found in physica science empoyed the same individua cre

ative potentiaities responsibe for the composition of cassi

ca forms of poyphony.

For reasons which I think obvious, I argued that the

cassica song-form is a distied expression of the awfu

deveopment of poyphony out of cassica poey, to suh

effect tat the eveopment of poypony from .S. Bachthrough Beethoven , provided a basis for eating the cassica

song-form, esciay the Itai and Gean cassica forms,

a s what I described back i n 1 952 as the "Rosetta Stone forcomprehension of the common anguage of cassica poetry

and poyphony. In this setting, I showed in a preiminary

way, that the creative-menta processes deveoped by the

eading cassica comsers we e same presses by which

great, vaid fundamenta discoveries in physica science are

accompished.By comparing the fase assertions of mode "informa

on eory (e .g . , Wiener and von Neuman) wi e

faacies respecting creativity by Immanue Kant, I was abe

to show that the creative processes of the individua mind are

EIR August 2, 1988

a inteigibe process which has the same spacetime cur

vature as we meet in a Gauss-Riemann correction of Keper's

physics, and as Pacioi and Leonardo da Vinci, as we as

Keper, show to be the characteristic curvative of iving pro

cesses , and of cassica aesthetica constructions. So , in cas

sica poyphony, the essentia thing is not a pairwise, mechanistic reationship between discrete tones, but movement

through those harmonic intervas wich are caracteristic of

he creative-menta processes' natura movements trough

the musica domain.

The "Rosetta Stone argument was premised upon the

obsevation that if a spoken anguage is uneashed from

gunting, growing, and shouting in the throat, it has a natura

music.

This is what is empoyed by cassica prosody, and what

is painy empoyed by the composer in buiding a cassica

song-composition around a piece of poetry. It is obvious

enough that the eementary strcture of cassica poyphoniccomposition is prosodic througout, and tat instrmenta

compositions are instrumenta absactions from the princi

pes of voca poyphony: I .e . , the we-tempered voca po

yphony, so situated, is the essence of music .

It was my correated view, that the destruction of the

pincipes of cassica poey, incuding the modeist decadence in the utterance of spoken anguage, away from the

cassica, has impaired the abiity of many performers and

audiences to grasp the interpretation of cassica poetry an

music aike.

This is demonsated most readiy by comparing the way

cassica song is oen sung, with the reading of the anguageshown very ceary by such cassica composers as Mozart,

Beethoven , and Schubert. If the habitua prosody of utterance

emhasizes the nouns, rather than the verbs, there is a shift

of emphasis in ironic meaning of the spoken ine, and the

utterance of cassica poey . The cassica composer' s song

reads the poey with emphasis upon the verb, rather than the

noun . Emphasizing the noun suggests an erotic interpretation

of the poetry or music, rather than the emotions of "agap/

catas , which are the natura emotions of the creative mood

of concenation.

Feature 35


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The os singular exrience which u e on his ackin usic occud a he end of he war, while I was in India,awaiing he voyage back o he Unied Saes and deobiizaon Sarved for usic, I found an HMV rcording ofWilhel Furwngler conducing a Tchaikovsky syhony;for he rs ie, I heard Tchaikovsky erfored as if i werusic! I was y rs encouner wih Fuwngler; i was

elecfyng. I becae obsessed wih he dese o discoveran inelligible exlanaion for he dience I had he, in aore general way. The view of he classical song as eosea Sone" of usic sulied ha inelligible exlanaion

The naure of he roble can no be dened rigousyunless we h of insen cosio e sandoin of classical vocal lyhony. Fro ha sndpoin, he eleenary rinciles involved becoe ce. I iseleeny o hear he dirnces in he ical ading ofclasscal song, when he song is foed wih an elevaedich, raer ha eloyed by Bach, Mozar, Beeo

ven, and so forhThe execuion of song and val olyhony deands a

voce so well ained, a he effec is a he ser is onlysinging nay, " and he oeic values see o be naralycomunicaed in his way

y hesis on s subjec was ore or less coleed aquercenury laer By 1979, I was exloding wi dissascaion over y iends' usical invesigaions, and insised ha we us shi ehasis away sudy of eaer in an insuenal conex, and ground all invesigaons in he rinciles of he h voice. I cae incasngly obvious o e, hrugh sh invesigaions of e i

lcaions of a beloved old iend of y youh, Moa's K.475, ha he rinciles of a C = 256 (cica A = 0 welered uning, wer used in he songs of Mozar and Beehoven as a chacerisc voicergiser assing , for a icpuose. The sae rincile is eviden in heir insenalcoosiions . Unless we lower e uning o he level awhich he sorano naurally asses on his value, we colhe singers o sinerre e works (as o in heir voicesby shouing, and achieving siil sors of undesird effecs

The addiional facors were wo. Firs, on any ouns,I know ha her was never a Roanic eriod" universal

o usical coosiion. Choin is classical, no Roanic,and classical cosers such as Brahs d Vedi wee ather high oins while he Roanics were. Modeis hbegun o suersede ichard Wagner e al. a a ie Braswas coosing his las classical coosiions. The ao divde usic ino Hegelian sors of riods," is a foly.Throughou he hisory of usic, e 15h cenry he prsen, varous oosing facions exised as coneorares , as he iced conoversy beween Bach and Raeauprgues e conoversies beween e facion of Wagnerand ha of Brahs and Verdi during he course of e 19

36 Feaure

ce. I is e se in hyscl science, whe e consucivegeoeic heriage ofusa , Leonardo da Vinci, andKeler, coninues ough Leiniz, Gauss , and Rie ,agains he oosing rducionis facion of Desces , Newn, lace, and Hehol, dwn o he rsen day

Finally, since clssical Aens, hrugh e haonicrinciles of S. Augsine, e olden Renaissance, and e

cassic riod in Euran , and usic, he cein ineliible rincies of haonics which, cona o anue Kan nd he Ronics, for exale, deneriously e rinciles of aeseical beauy

Jus s in e sie exale of he way in which civilizedcuisine is he faiy and cires of iends ou of he saeof eain ike igs a a ugh, o i is indisensable for he eoen of uains, a as uch as ossibleo heir exerience of life be sauraed wih ue beauy.Nohing is or cenal o dai exrience of ng andsng in language. Le lanages be rnderd beauifuly easis un e usica nciles of a lierae anguage

wi cassicl rosody. L us sing, and be joyl.e ed syse se such ha e sorano

voice 's asoy narl israssage coincids wi eeoeic en, cnos cisey o a GaussRieinaion of e wed inals Le childrne is he eies age, nd nd e joy of lyhonyy e es of ve o six Le he ave a single erfec ich, s a aur ceen eir voices, and auilsii i e na e e rsu will b a naiss in e caci or cosing d rforing usic, in e hein o i. he l wil b o beauy, ands or uiin of he ouaions. . .

Macac: In your auoiograhy, and on any occions, you ehasie he ol cassical usic had o akin yo a craive oiician, as oose o wha we forcedo ach in e olii anoraa How did your iners forcassic usic sar, and how id i inuence your coishensLaRc: My inens craive work of e 19852 riodws a cons sge aains ose inuences which ended o y abiliies o susin inense concenaionsansover on is of ny successive days or or. I cognid a saions of is s wee caused iedialy

by induced inea eoional aes; I also rcognized haby iersing yself for sever hours in cerain choices ofusic, I was urge of unwand eoional saes, d ins i e se of ind n which rlonged craiveconceion cae easiy

eia, is esaished e basis for y usicological judgen on coosiins and eir erforances.Soe uliies of cosiio and erfoces foserde esi eec; oers had a onary effec, or erely aniniern one

I exine yself, o he uose of rcogniing or

Aus 12, 1988


15/21

of gBow ae some othe msicians who have sined the chill- nstitte's proposed ill to tndize the tnin pitch

=432 cles pe second. (liations or identcatinoses ony .)

Renaa Tebldi, sopro; Piro Cppuccilli, brito; Mirll Fri,o; Ruggero Raimondi, bass; Giusp di Stefo, tor; Nicolnuci, tnor; Fiorz Cossoo, mzzosopro; Mri Chir,ano; Ml de Osm, sopro; Giadr Gvzzi, coduc; Lco Chily, coductor; Bo igcci, coductor; Gi M.gno, conduc; GL chs mr, Ta dell'Or Re; Osaio d Cdico, sgr nd tcher of sgig t Goonatoy; Edgdo Egadi, chos mster, Tao gio, P;o Bderi, master of Symphoic Chors, Mil Ettorogaliani, teacher of singig, Mtu; Luis Gorii Mget,aer of singing, Mil Costory; Vittori Msopolo, tchr

ngng, Mia Cosetory; C Villt, sopro, chr of

distinction beteen ose eotional states hichor xtndd creative concenationspan, and ose o aco o indient eect So , I ecognized that the eo-o oaiv o creative concenation is a undaentaloion" conary in nature to the erotic eotions of lust,xi , hads, and rages This undaental eo-ion" is sa identied b the original Greek Ne Tes-an as agap, e eotion associated i love of God,

o o ankind, love of tth, and love o beauty as classicalsic principles dne beauty"n is disinction had been ade, I as able to use

rogniion o pecise dened eotional states in y-s o guide e in isoaing ose aspects of usical co-sos hich coincided ith te songest esonance os otion states Fo exape, I can not he e tooning sctions o Mozt's Requie" ell peoedio xiencing tes o jo I cae us to undestand spk o creative genius in a great cose, asi o asey o usic as a language is the copos-r's aid condence in such agapic eotions

It is possibe by aid of the prope undestanding o f thsnicgeoetrical pinciples undeling a Rieann Su- o sho exact ho Mozat and Beethoven, fo ex-p exhibit such inalible genius in choosing te featureo dvopn o a coposition hich es it a uniedi xrince in the sae sense as a valid fundaentalsovry in phsical science Yet, neithe Bach, Mozt,nor Boven ee asters of such features of physicalsinc ho did ey ok through the pocess of coposi-o such rekable esults , seeingly so guided by noth-i but inallible instinct escting the potentialities of

gust 12 188

sigig t N Pii Cost, oa; Oll Bzzi, tear, Mil Csvtory; Wlm Cll, tcher f siig, Pa Constory; Crl rucci, istic irctr, Ar di Vro; BirgtNilss, sr; Cist w, r; Ptr Schrier,or; Prof H M, f tchr f sii t Cologe Consrvto; mily Hstis, zosr, Dussldorf; Josf Hochm, rst ioli, Philhmoi Huric orchs. Krs Meye,

mzzospro, hdmisss, Stockholm Music Acdmy for Ora;A-Chlott Bjrli, sopr; hor Lidhj, bitone,tchr, Osl o Opr; o Koppl, sr, Opr Thtr of Conh; Hs , s s, p tr f Cph; Grdr Cors ,tor, dirctor, Or htr kjvi, Icld; Syrbj Linddl, dirctor, Gothu Or ter; Biu So, soprano,Mopolit Or, Nw Yrk; Gld Crz-omo, sopro, Meolit Opr; Jsch Silrsti, st cello, Mopolit OraOrchs; Di Ksli, s, Mtplit Or; Norm Shtlr, iist; Alt Msill, ssistt coductor, Mlit Opr orchstr; Athoy Amt, coductor, dirctor, AmatoOr thtr; Ell pp, tchr f sii, Mropolita Operand Mh School f Music; Nico Cstl, tchr of diction,Molit Or; Ptr Vlp, ss, Nw Jrs St Ora; Jodski-Mihov, foud, uo Or, Nw rsy; Ndd Csei, mez

zosopro, Mopolit Or

tei nativ languag of music?Slly, dison ong oces of

copositions , in which non f th be o ose intepres e asts of Rimannin physs, do soe perorrsconstantly ipv thi pfoancs ith advancing atuit, and ots fail ntiy t cptu hat usicians ao asily cogniz th t ic of a Bach' s, Moza' so Beethovn's singing? O, how doe a pefoer's bad

ood" ipai pfonc ltiv to his o he usuastandd of msical conscinc?It bca obvious to m that agap is not el

eotional stt ," as motion" i usually dned The eotion e associat ith agap is fo of intlligence, and isindeed, an intgal, inspabl spect of t qualit o Rason It guids us along th wad aths of discove andeated dcisions, and o aps to h copose or ror habituatd to its joy s mo or lss infalible usicainstinct "

Th faculty so xhibitd in spo copositions andpeoancs, i cily tht associatd i e ionica

featus of th cmoitin nd snttion of classical poOnc I had discd this, I s contnt The ress

uncetaintis nishd All tht aind as the pleasure odiscoving nw thing in fmili copositions, b ansof this vipoint

achavellco: ht wld yo do as sident o enitd Stats in 19 to low tuning and defend singing andusic o gnally?aRouche: nfountly accustoed to think o

Fear 37


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17/21

o o usicis ho are oral versus or usicis has gu. " Wih hese ords, Laurao, oror o h prieie usic hour o o rio, ra dlla usica," ioduced a leg- i ih M. ruro Sacchei, he orchesa ados ror, d dico o he classical usic prograso c Raio, ho as aog e paricipas i e

Sr s prl 9 Mila corece o uig. Heos apls o usical pieces, per-o i high diapaso usd oday, comparig a o oris o e sae orks perfored ihor uig.

r ire operas hich siply canno be pe-or i high uig," said Sacchei. Sacchei alsoc or rlv govee miises o ake up heusio uaee ha i he coservaories and in heuc proaces e appropriae diapason be used.

l Nol do, July 1 1 . Lyo LRouch itrviw

quoed Lu Pdellao, orator of th "Ora llaus" mus hou.

. . . L' s h rs o all ha Lyndon LaRouche, . .sii cdidae ad iiiaor of he gh o loe uningiaioaly, has o say o his issue. He as iervieedor hello by Liliaa Celani, hm we ill have as our gus, ad a asked abou Ialy. He anses, uoig lierally, I eep for Ialy, bu I d see w as ou o his siuaio or he Ialian naion One s bel o adiio epressed by Giuseppe Vedi, and heohr o is he scieic dion of Leonado da Vinci,i, d lai. roud hese o focal poins, he l

o school ad he heriage o Leonardo da Vnci , Ialy can akd d couraged o rebuild iself. "

Coir dlla Sera, July 15 , "ro Italy, to th Rst ofuope, A Cusde to Ruc Viratios i th Tuig orh C Gos Up Viva Vri. '

. . . ia odel, he ieaional music ldis og or sae cause. I he ne fe days, pessos o held i Gerany, Seden, Frace, and Uid Saes o ifor public opii, and ve he laso as, pooers of he iiiaive me ih he pesi Ro ad Mila. The legislaive bill emeged fom a

coc o uig orgaized by he Schille" Insiue inMi i pril, hich gave brh o a peiion Paliamen,o o = 432 vibraios . . . .

usp erdi, i ac, as e rs spokesman in he o uig ork. He coduced a bale pesonally,g o all e opera houses ad o he Ialian gvemeno ush o adop, by decree , a unig based on A 432.Mo cly, Giacoo Lauri Volpi and Mai el Monac .

io uilders, o e oher hand, joined he cause"o lr. Srgio Rzi, preside of he Ineaional Insi

EI uus 12, 1988

e f nge Inmn Blding of Cemoa, says mde unin has alady ceaed irversible daag ovolns. I wll be am msble y o reedy his.Geae bllanc an w hav been bained a he epense f mb, whch s n lnger disinguishale i isnuances . . . .

N and Su AmeicaS. Louis Psspach, arly July, "Lyo Louch

a ollowrs Sig Music Rfor Accorig to Natulaw y Jas irzici, usic critic.

[LaRuche] cncluns ae ffeched, ad, I hik,more han a lile scy. Bu sme of he heoreical aercied by LaRuche n hs lenghy foreord o e SchilrIsue [music] manual, alhugh i seems beside e poi,is rooed in mahemaical fac.

F examl , h h abu he Glden Mea" playia signcan l n achiecue fom he Classical Greperiod and n muc fm he called Classcal era. . . .

Yu can ee lanly n he esign of he Pheo Ahens f, f xaml, y cmpare he disace bepillas h hgh f h ame pllas, o in ladscappainings by h 6hcn ane Raphael if you cophe lcan f h a he widh of he eircanvas. Psn wh can mae me while hey lise cahear i in he lacn f clmaxes in he opeig ovmens f m ymhne and naas fm he secod half he h cn. Th Glen Mean can also b foud inaue, n ha f cean s and leaves o i ceraiseashell.

aRch ecn a n hen he claims ha evi

dence f h Gldn Mean cnues abslue, scieicp ha an c cn is consise ih qualy f beay." ll, h Glen Mean does es, admusicians ha nwn ab f a lng, long ime . . . .

Pa, ofCli, Cloi, July 14 "or ra Po-poss a Rtu to Clsicl Asthtics.

Aecan an a Hameman as o a visio Cal dic h Rnaanc . . . . [We asked,] Is ipsibl aly he ame baes f he Renaissace, he ae ln n an a f chnlgcal and sociachang" . . . Rnaanc incple . . . e based o h

cnce f cenc bwn he uivesal las o he aual wld f hysc . . . and he inciples a govman s cea c . " The wk n unng ad usicalrfmance ha be ne, an in Ialy i has begu. prasinges such a Renaa Tbal , Per Cappuccilli, . . . Placid min, and can Pava have joied o ask Ialian lamn ay anin he vice. The highuning uin c. A sn, he imacy of he sigivc ha be l, a h man ha is ipoa.Many chea c wan a bllan sund ad do ocare hw hi affecs nge."

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Frnc nd SpainQuotidien de Paris, July 19, hapage aticle, "PlacidoDomingo and Othes: Halt to the Too High A '

The wa of the A" hs been declad, in Itly. Under teimpets of a lage nmbe of inteational srs in te musiclworld who joined in nison to denounce th md rce towrd

igh pich, wo Ialian senators have jst decided to inoducea bill aimed at ghting against is tendency to increse tepitch, which is a thrat o old instrments nd te voices ofopea singes

Monde, July 27 "An Italian Bill About th High Tuning:Fo a e Hetz Less, by Anne

The greatest wos m Bch to Vedi we rttenfo a diapason with a 256 hertz C, wic is prxiteyequivalent o A at 40.5 hertz To ply tose works t iertning, sometimes raching 448450 hertz in certn operhoses, fo eample Florence and Vienn, is tntount to a

conspiracy o kill e voice , which is unle to resist n effora goes against the laws of ntur, of te insents, ofmusic itself," wites Lilian Celni, auor of rpo onGiseppe Vedi and the Scientic Diapason," whic hs not

gone nnoticed, at leas, not in Itly . Grt nes of belcanto, fom Placido Domingo to Renata Tebaldi, incudinBrson, Cappccilli, Pavarott, have endorsed the prposSome, b no all, violinmakers have followed suit Coner-ences and debaes have taken place, whose concusions amply pored in the Ialian prss .

E Pas July 15, "Vrdi Lives!

Aldo Kas, Placido Domingo, Montset Cabland Pieo Cappccilli have endorsed a bill sentedWednesday in he Italian Parliamen, whose am is to set thepitch a A 42. An A above 42 vibrtions is souteyinhman," says Cappccilli The prsen nd in te largeorhesas is o p he A p to 456 vibrations This quen-cy demolishes he voice in less than e years," sys p-puccilli Placido Domingo has caled un l singers totake up e iniiative fo the Italian bill in favor ofA 42 even if tha means going on sike "

nmk

Det Fi Akel , July 18 "In High Tones A Danish opea singe is interiewed, nd sttes, Te

ofcial concet pich is A at 440 heztt is 4 cycles rsecond Bt sometimes, this is raised e way up to 445herz Alone in the last hundrd years, since, for expe,Verdi' s ime, it has isen by 10 erz Even mor since Moz- And all is shold be seen in the ight of te fct tt rse of js a copl er hs a singer, when e s to tke,fo eample, the high C"

Danish National Television, July 22; Danish oyal Opea

Feature

teo Stig Foghdeson inteiewed by Pete andPiaBog-wadt o "Open House in Aaus Andersen: One sys tt a mter is so ad so long That isdecided One does te sme w te conce pitc. One syst ter so nd so many cyces r second for the noe."Borgwardt: And tis has ched.

Andersen: Tis s cned nd is stil cnging, so ttte concert pitc toug te century s in fact risen ndrisen I ve n old encyclopeia from 950 which says te concert pitc is 45 erz. he norm pitc tody is 4hez Borgwardt: But te oppositi is gainst brining te con-cert pitc don to e e era composers tout of it,

becuse of te oe ores nd e orcestrl sound.Andersen: Yes t soe in te orces, nd soeconductors, not One also nds violinists, for expe,wo nxious out their ol Cemona violins, Sdiv-ius, etc., becuse ust 0 cycls per second in te rne e

tkng about incrses te prssur on the violins to suc gt extent tat ter is, in fact, a dner of weter te

vioin cn de ts for on But ny ohesas want aie snger, itte mo aggrsive, insistent, glossy sound,d ve set te concert pitch iger and higherBorgwardt: To conclude, we ould wish good luck to thisinititive t is being taken by opera singers acoss the woldin order to ower te concert tch And en maybe e odinsments cn so be prtecdAndersen: One cn sy tht As omingo sad, tht we couldconsider saying t eiter we sing it te way the composrrote it, or e don't sing it at l

Borgwart: It is not only od insments we shoudpotect but the tenors shoud lso be prtecd

JyndsPosten, July 26 inteview with Liliana Celani bylisabeth Saugmann, "Domino and Co : Give Us the Con-cet Pitch

JyllandsPosten has been the leding newspr in teneton debte arund far too ig pitc which isdesoying singers l over th or," says Lilian Celnm te Sciler Institute in Re

Lst eek, at our prss cnfernces in Rome and NeYork, e cited te JyllandsPsten interiew wit tenor Pl-

cido Domino. And now, te all Seet Joul, as ell aste rge TV sttions in New York, hve brut te cseup Our min puose is , f course, to inuence te rstof e world becuse, behind e ystericl eve of 446447cyces per second, ter are a oe set of tngs tt ron ' "

. . Lii Celn wi be usy in her oce in Roe Ifte Scier Institute cn get Veri's on concert pitc"adopted by aw in e Italin liment in Septeber, tsw m evn Vei ut, en e wedt et e syste oogeneou oer Eupe

E uust 2 988


19/21

west GanyKner Rundschau, July 7 "Through La to Good

Toe"n, a good sound is lacking. This old knowlg wa

concious to the Itaians in one ske, ar a ew lawhs en nduced into the Roman Senate. Two angry n-s now want a state prscription about the xact value of

e tnng tch, is prcondition for tuning of th ins-ents and coct intertation xactly 432 should be thration of e A.

Carlo Boggio and Pieo Mezzapesa thus follow a historicntae ten b Giusep Verd in 884 . . . . The music-ng prentates now want to re to the beginnings;case, accoring to Senator Boggio, 432 Hz is "scienti-ca, na, nd hstoricay the measur of all being.

Anthing exceeding this is putting too much sss onoca cords and insments. Mockers already foresee policcas ih absolute pitch listening backstag, to watchedence to he law. However, the politicians want to avoid

sch a soundpolice: The musicians themselves must see tot t te law is espected. W wonder what ha been whis-d into e senatos' sentive es?

Sdnensa Dagaet, here "tango pert C.G.

hn suk h sours note n he oerage th hs absurd "pera Sars Hae been osed o a Coup .

hese sctae ists have acted in good fai andr god cus. heer the im is aso good can, however, ed n qeston and on good grounds, as one take thets o te oranation at organized e confernce un

r cnsderton By any judgment, we e deaing with a n sheeps coting and an most genial coup. Musi-cs d sngers hae an unbeatable capabity for closing ees to ceran litica connections But were ey o hat he fores at ar pushing the quesn orhesa tunng?

cnernce was organied in Mian by the socalledcer Instute, which is led by Helga ZeppLaRouche.e s the wfe of e American founder of the Europar Py, AP, he computer millionaire [sic] Lyndon H.ce, Jr . .

Caristc of ese publications is not any interest in

dng cutrefor that, their knowledg is too ag-ented an superstitiousbut in cooking up care imagesd psentg hae objects. The EAP is intersted i music,t not an music. he ght against jazz, rock, and folksc s aced on an eual footing wi th ght againsts e Bach, Mozar, Beethoven, and now cently rd eeated not only aristic models, but also to cut gurs . . . . [L]isteners should hav become su-cs dng te conerence. Hee a dument by Verdi 188 s conjud up, genuine or not genuine, whichds that mddle C should be 256 . . . . Another collab

g 98

orator of e EAP ied to develop the prof that the gistershi, which usually lies at Fsharp or G, coesponds to eastoid blt btw Mar a upiter. If th planetary sym w "woly n, it would xplod i pieces, thspseudocintist art h claied that 256 Hz for middeC, cospondig to 432 for A, brings the human voice intoharmony with h law of astrophysics . . . .

Last yar, th EA xprinc a forceful rebuff, whente fedral polic tart to gt inteestd in the afairs ofLyndo LRouch Th EA ms to hav prfed keepa low prol for om tim a improve its bad image. Inthis rspective the confernce in Milan is an ingeniousmove. High orhestral tunin i an inteational poblem,and it i easy to rcit naiv but rsected supporters forsuch a semingly urgnt cus. ut ho can guarante that avote for th Schillr Instit manifesto will not at he sametim bcom vot for th EA? What happens wth enames on maifto, what fate is awiting the signasas thy ener the comptr ba of th EAP?

GoteborgPosten, July "A n Mlan Beomes Bat nome Maarten Casten/ors.

Wh Luciano Pavaroti , on of e world' s most belovedtnors, oon comes to Gonburg and ScandinaumHall to spllbind an operaloving adience with his divnevoice, one ought to call attetion t the bitter dk side obing singr

Ochesa ning i too high! he singer is simply foredup in high "hybri toneA = 440which seriouslyatns to cut th lif xpcancy of their voices. To cur bad conditon, a confernc ged by the Schiller

Intiute ws hld in e opera city ilan. The rsult of thismeeting was at a call was unanimously ndorsed to lowerochesal tuning by a halfp.

Th thoght in itslf is not w. ven in 884, GiusepVerdi got Italian war ministry to issu a decre statingat "th ofcial cintic uning in taly as A = 432 Accordingly, "a nobl and majestic sound was aimed at, andnot "the scraming of too high tuning (A = 440), whch iscoo toay. Fuhrmor, i ltr, Vrdi prciselunderline th absurd situatio that e tone which in Pis Milan i called A, should be a Bat in Rome. . .

Frm a Swdih persctiv, w hop that the Italian

minisie for cultural uestions wil te the rsponsibiityto accpt th prpo bll. And w, tgether wi 3 nationally and inttionally famous singers, musicians, andconductors, furermor hopin that A = 432 becmesthe norm for orchsa tuning i all opera houses and mscinstitutions of th world.

Because, if the vices of our beautilly singing iendsa silenced, a whol par of our culture is traned Or,with Schillr' words om his poe "The Arists: "Manknd' digity has bee givn into your hand Prtct t! Itsis with you! Wi you it hall ris up!

eatur 41


20/21

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