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Discussion: Mozart: Die Zauberflöte - Kuijken

Posts: 23
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Post by Julien October 7, 2007 (21 of 23)
Beagle said:

A=395 or whatever the tuning is here

Usually A=430 for the classical period. If it wasn't I think I would have noticed. I'll give it another listen.
Also in the baroque period it depended on the country. Germany A=415, France A=392 (which is a G in 440), Italy A=440.
Although I'm not saying that it is like this every time especially on recording.

Post by Orpheus October 8, 2007 (22 of 23)
Julien said:

Usually A=430 for the classical period. If it wasn't I think I would have noticed. I'll give it another listen.
Also in the baroque period it depended on the country. Germany A=415, France A=392 (which is a G in 440), Italy A=440.
Although I'm not saying that it is like this every time especially on recording.

Orchestras in Mozart's day must have been tuned lower than a modern instruments orchestra. Mozart and Ignaz Umlauf wrote very high notes for their sopranos. The Queen of the Night aria goes to high Fs. For his sister-in-law Aloysia Lange (nee Weber), Mozart wrote high Es in K.418 and high Gs in K.316. In the opera Das Irrlight, Ignaz Umlauf wrote for the same Aloysia Lange the inhuman high A.

Post by Julien October 8, 2007 (23 of 23)
Orpheus said:

Orchestras in Mozart's day must have been tuned lower than a modern instruments orchestra.

We know there were many different practises, but the admitted fact from specialists is A=430 in Vienna at that time. Which is about a quarter tone lower than now if you consider that A=442 is the standard these days. Orchestras a few decades ago, Karajan and others, used to be even higher sometimes, to A=445 or even more. Mainly because of the winds. Now most orchestras and pianos basically tune at 442, and unfortunately in many orchestras (and depending of the conditions) the strings tend to lower and at the end of a symphony the winds will be higher with the heat. And guess what? Not everyone has good ears even in decent orchestras, and some are stubborn sometimes when you tell them between movements, or susceptible also so you don't dare to tell the guy next to you that he's higher than everyone.

One of the many reasons why so many musicians will say: "the music coming out of this system sounds a lot better than a concert!"

Yes my friends.

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