Opinion: Are regional differences in orchestral tuning really necessary?

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It’s 1987. The London Philharmonic Orchestra is on tour in Germany and about to start a three-hour rehearsal. Before beginning the piano concerto, the soloist plays the A to the principal oboe, who in turn gives it to the orchestra. The woodwind section emits a collective groan: they’re wondering how they will cope with the much higher pitch of 444Hz – back in London, the orchestra is used to a lower pitch of 440Hz. Some of the older members make comments about how the pitch is much higher ‘on the continent’. Luckily the string sections, especially the violins, seem to take the so-called sharpness in their stride. Fortunately, half an hour later, everyone has accustomed themselves to the new pitch.

A few months later the orchestra is in a freezing church. It’s the height of CD mania, and everyone is recording another Symphonie fantastique. Unfortunately, the heating has broken down. The oboe’s A emerges witheringly flat, and 30 violins are forced to screw their pegs the wrong way, as they tune to what must be surely no more than 437Hz.