The following came from Kyle H.
[We usually redact names for anonymity’s sake.]
EAR JEFF OSTROWSKI: In a recent article, you gave the Hook and Hastings Pipe Organ (1875) at the Cathedral of the Holy Cross in Boston as an example of a pipe organ intentionally tuned higher than A-440. You said one reason this was done to save money, since shorter pipes—when we are talking about thousands of pipes—are less expensive than longer pipes. I seriously doubt that being only slightly higher in pitch would have resulted in significantly lower building costs. If they had really wanted to save money, they could have reduced the stoplist! The 1897 Hutchings at Our Lady of Perpetual Help Basilica is actually lower than A-440. It’s a beautiful instrument. You also said: “In Europe 100+ years ago, they tuned pipe organ at a higher key because it saved money.” This is a false assertion: one I’ve never heard, read about, or heard organ builders discuss. I seriously doubt that in Europe, going back 100+ years or back to the Baroque period or earlier, organs were pitched higher to save money. I would argue that pipe organs back then were built to serve the musical needs of churches (and courts) for the glory and praise of God. Jeff, you write well and your articles are interesting but your assertions about pitch and organ building are false and misleading. I’m sure you have a strong following of people reading your articles, but they deserve accurate information about pipe organs.
The following is Jeff Ostrowski’s response:
[This response was posted on 3 February 2025.]
DID SAY THAT about the pipe organ in Boston. This surprising information came from a cathedral organist whose credentials are beyond reproach. The idea of tuning organs higher (in the olden days) to save money was confirmed by two reputable pipe organ builders. Because of the stellar credentials of those providing this information, I felt it was okay to share it with readers. (Our audience knows I’m not a pipe organ expert.) Thank you for providing your perspective on this issue.
I would like to say something about “absolute pitch.” Strictly speaking, no one has “absolute” pitch. But some people have very good relative pitch. Nobody has “absolute” pitch, because even the greatest among us needs the tuning fork to certify A-440. Certain people believe they have “absolute” pitch—but they don’t. Vladimir Horowitz was a truly awesome pianist with a great ear. Franz Mohr (chief STEINWAY tuner from 1968 to 1992) has funny stories about tuning for Horowitz. For instance, one day Horowitz threw a fit, complaining to Mohr that the piano was low. To calm him down, Mohr said: “You’re right Mæstro; I will fix raise the pitch immediately.” That evening, when Horowitz came back to play the concert, he tested the piano and thanked Mohr for raising the pitch. But Franz Mohr hadn’t done anything to the piano! The impeccable ear of Horowitz had failed. According to Franz Mohr, various physiological factors can mess with one’s internal pitch. If it’s rainy outside, if it’s unusually humid, if one travels to a different altitude … many things can send one’s internal pitch into disarray. And that’s why at the end of the day even the greatest among us can only confirm A-440 with a tuning fork. Throughout his career, Franz Mohr served as personal tuner for legendary artists such as: Emil Gilels, Van Cliburn, Vladimir Horowitz, Maurizio Pollini, Sviatoslav Richter, Artur Rubinstein, Rudolf Serkin, and Glenn Gould.
Addendum • Josef Lhevinne—who possessed some of the world’s greatest ears—said having extremely good relative pitch was a detriment because to transpose a piece one must “double transpose” in one’s mind. For the record, when Vladimir Horowitz began his career, pianos in Europe were still (often) tuned higher than A-440.
