> "ranapo" ha scritto nel messaggionews:w9WOj.17714$o06.14099@tornado.fastwebnet.it...
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>> Per una breve carrellata storica sulle problematiche relative al diapason.

>

>>http://www.movisol.org/verdi.htm

>

>> Ancora una volta la riflessione riguarda il "tempo di esecuzione"

>

>> L'innalzamento del diapason porta con sé come effetto collaterale, una
>> progressiva "velocizzazione" ( spacciata per "brillantezza"...) dei tempi
>> di esecuzione.

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>> Il riferimento è sempre il nostro ambito di percezione: innalzando il
>> diapason, diminuisce la quantità di fenomeni concorrenti ( percepibili) e
>> quindi c'è meno molteplicità da sintetizzare.

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>> La conseguenza tangibile è che tutto viene suonato ( giustamente) più
>> velocemente di quanto sarebbe giusto con un diapason più basso.
>> La conseguenza è , però, un progressivo "impoverimento" espressivo.

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> una breve lista con descrizione dei diapason (dal più basso al più alto) di
> cui si ha certezza
> Da notare che il più alto in assoluto (la: 570 Hz)  risale al 1619
> Chissà come suonavano veloci.........
>
> a' (A4, la4)
> (in hertz)        Place    Date      Description
>
> 376.3 Lille, France 1700 (anté) Pitch taken by Delezenne from an old
> dilapidated organ of l'Hospice Comtesse
> 378.8 Paris, France 1766 Pitch calculated from data given by Dom Bédos in
> L'Art du Facteur d'Orgues
> 380.0 Heidelberg, Germany 1511 Pitch calculated from data given by Arnold
> Schlick
> 392.2 St. Petersburg, Russia 1739 Euler's clavichord
> 395.8 Versailles, France 1789 Organ of the palace chapel
> 398.0 Berlin, Germany 1775 Pitch estimated from a flute described by Jean
> Henri Lambert in Observations sur les Flûtes, pub. Académie Royal des
> Sciences, Berlin
> 400.0 Paris, France c. 1756 Pitch estimated from a flute made by T Lot, one
> of the five 'maîtres constructeurs' of wind-instruments in Paris, France
> 401.3 Paris, France 1648 Mersenne's Spinet
> 404.0 Paris, France 1699 Paris Opera A
> 405.8 Paris, France 1713 Sauveur's calculation
> 407.9 Hamburg, Germany 1762 Organ of St. Michael's Church, Hamburg
> 409.0 Paris, France 1783 Tuning fork of Pascal Taskin, court tuner
> 415.5 Dresden, Germany 1722 Organ of St. Sophia
> 419.6 Seville, Spain 1785 & 1790 Organ of Seville cathedral
> 421.6 Vienna, Austria 1780 supposed to be Mozart's pitch
> 422.5 London, England 1751 Handel's tuning fork
> 423.5 London, England 1711 an existing tuning fork of John Shore
> 425.5 Paris, France 1829 Pianoforte at the Paris Opera
> 427.6 Paris, France 1823 Opèra Comique
> 430.8 Paris, France 1830 Opera pitch as related by Drouet, the celebrated
> French flautist
> 432.0 Brussels, Belgium 1876 Proposed pitch standard
>  Milan, Italy 1881 at a musical congress in Milan as part of the Musical
> Exposition held in June 1881, it was decided to stabilise pitch in Italy at
> a'=432.
> 432.54 Paris, France c.1700 'Joseph Sauveur's Philosophical Pitch, C-512',
> also called 'scientific pitch', fixed middle C at exactly 256 Hz (arrived at
> by computing the ninth power of 2) and resulted in the A above it (a') being
> tuned to approximately 430.54 Hz. It gained some popularity due to its
> mathematical convenience (the frequencies of all the Cs being a power of
> two) but it never received the same official recognition as diapason normal
> (a'=435 Hz) and was not as widely used. Joseph Sauveur (1653-1716) was a
> French physicist and mathematician
> 435.0 Paris, France 1859 The French 'Diapason Normal', set in a law passed
> on 16 February 1859 by the French government acting with the advice of
> Halvy, Meyerbeer, Auber, Ambroise Thomas and Rossini, although the mean of
> several forks set to this pitch lies slightly higher at a'=435.4 which is
> equivalent to c''=517.8 or c' = 258.9. This pitch was adopted outside
> France. For example, several Italian institutions, including the Istituto
> Musicale di Firenze (Florence) and the Teatro San Carlo in Naples adopted
> the French 'Diapason Normal'.
> 437.0 Paris and Toulouse, France 1836 & 1859 The earlier was the pitch of
> the Italian Opera in Paris, the later that of the Conservatoire in Toulouse
> 440.0 Paris, France 1829 Orchestral pitch of the Paris Opera
> 440.0 Stuttgart, Germany 1838 Proposed pitch standard, Stuttgart congress
> (actually a'=440.2 when corrected to table temperature); also Scheibler's
> standard.
> 441.0 Rome, Italy 1725 (anté) Pitch calculated from a flute made by Biglioni
> and possibly brought from Rome by J. J. Quantz when he left Rome in 1725
> 444.0 London, England 1860 Standard intended for the Society of Arts -
> (however a fork set to this standard by J.H. Griesbach has a measured pitch
> of a'=445.7, equivalent to c''=530.1 or c'=265.05)
> 444.5 Madrid, Spain 1858 Theatre Royale, Madrid
> 444.5 London, England c. 1810 Pitch of a flute made by Henry Potter
> 444.6 London, England 1877 Organ in St. Paul's Cathedral
> 444.8 Turin, Weimer, Würtemberg 1859 Measurements made for the French
> Commission
> 445.7 London, England 1860 see comment for a'=444.0 (above)
> 446.0 Paris, France; Dresden and Pesth, Germany, 1859 Pleyel's Piano taken
> by Delezenne and the pitches at the Opera houses of Dresden and Pesth
> 447.11 London, England 1845 Pitch calculated from a fork said to be at the
> pitch of the Royal Philharmonic Society
> 448.0 Hamburg, Germany 1839 & 1840 Opera
> 448.0 Paris, France 1854 Opéra Comique
> 448.0 Paris, France 1858 Grand Opèra
> 448.0 Liège, Belgium 1859 Conservatoire
> 450.0 London, England 1850 to 1885 An average of the pitches of London
> orchestras during this period
>  mid-nineteenth century Rome, Italy Accademia di Santa Cecilia in Rome
> adopted as its own pitch a'=450. Other musical institutions adopted the
> French 'Diapason Normal' while others used a'=432
> 450.5 Lille, France 1848 & 1854 Lille Opera, measured during performance
> 451.0 Brussels, Belgium 1879 Pitch standard proposed for the Belgian Army
> 451.5 St. Petersburg, Russia 1858 Opera
> 451.7 Milan, Italy 1867 La Scala Opera
> 451.8 Berlin, Germany 1859 Opera
> 451.9 London, England 1878 British Army Regulations
> 452.0 Lille, France 1859 Conservatoire
> 452.0 London, England 1889 Official Pitch at the 'Inventions' Exhibition in
> 1885 - the highest pitch used intentionally by English orchestras up to 1890
> 452.5 London, England 1846 to 1854 Mean pitch of the Philharmonic Band under
> Sir Michael Costa. His Majesty's Rules and Regulations required Army Bands
> to play at the Philharmonic pitch, and a fork tuned to a'=452.5 in 1890 is
> preserved as the standard for the Military Training School at Kneller Hall
> 453.3 London, England 1837 (anté) Pitch calculated from a flute made by
> Rudall and Rose possibly as early as 1827
> 454.08 London, England 1874 Old Philharmonic Pitch, instigated by Sir
> Charles Hall
> 454.7 London, England 1874 Fork representing the highest pitch adopted for
> Philharmonic concerts
> 454.7 London, England 1879 Steinway's English pitch; also Messrs. Bryceson's
> pitch
> 455.3 London, England 1879 Messrs. Erard's pitch
> 455.5 Brussels, Belgium 1859 Band of the Guides
> 456.1 London, England 1857 Fork set to the French Society of Pianoforte
> Makers
> 457.2 New York, USA 1879 Pitch used by Messrs. Steinway in America
> 456.0 Vienna, Austria 1859 Viennese 'high pitch'
> 457.6 Vienna, Austria c. 1640 Great Franciscan organ
> 460.0 Vienna, Austria 1880 Old Austrian Military Pitch
> 461.0 London, England 1838 (anté) Actual pitch of a flute said to be tuned
> to a'=453.3
> 474.1 Durham, England 1683 Cathedral Organ by Bernhardt Smith
> 474.1 London, England 1708 Organ of the Chapel Royal by Bernhardt Smith
> 480.8 Hamburg, Germany 1543 & 1879 Organ at the church of St. Catherine
> 484.1 Lübeck, Germany 1878 Cathedral, small organ
> 489.2 Hamburg, Germany 1688 & 1693 Organ at the church of St. Jacob
> 505.6 Paris, France 1636 Mersenne's church pitch
> 506.9 Halberstadt, Germany 1361 Cathedral Organ
> 567.6 Paris, France 1636 Mersenne's chamber pitch
> 570.7 Germany 1619 Pitch called Kammerton (chamber pitch) by Praetorius;
> also called North German church pitch- Hide quoted text -
>
> - Show quoted text -