The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1898-12-03
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Euterpe.--Cun you give a good rca-
son for the prohibition of outward
demonstration of approval ana apprc-
citation at YOUR organ rcCitals at the
Elm Park church? II seems queer
thing to me that even though one
very finger ends may ungle with
sense of qualification and pleasure.
ON" must sit lilt, mummy, ap~
parcntly ins,nsiblc to the Buod things
offered.
Among many church people there IS
strong sentiment against any out
ward demonstration Of applause in
church. or that part of it dedicated to
public Worship. 1t is in Difference to
this feeling that the audiences at tha
Elm Park organ rccitals have been re-
Guestcd not to applaud. In a public
han irstrurIentalists and Vocalists
| should receive hearty applause If they
are worthy or applause: the lack of it
seems to indicate that either the audi
| ence cannot appreciate their efforts or
! tha, it finds them lacking in ability;
! Mt al events the Jack of hearty ap-
plaus,. acts as n damper, and what
| might have been ine performance
! becomes spiritless and tame. | am
speaking now Of those who have real
!
| for q public appearance.
when. however. performers under
| stand that no applause is expected, as
! in the ease Of a church concert. they
are not disconnected at the lack of il.
! Aside from the feeling that there
| should be no applause in a church,
there is in my opinion another excel
| lent reason Why applause may he omit
| ted at a church organ recital, In the
| first Mace the surroundings of q sacred
| edifice are in themselves restful and
| ,his restfu feeling is intensified by
| the rich noble tones of Z I'M" organ.
! In this busy helter-Skolter Work-a-
| day world the occasions when tired
| mOrtalS may spend an hour or so under
such soothing influences are compare
lively few. Applause would in such
cases do much towards disturbing this
| quiet, ContcmplatiVc state of mind
which Tho music and the Surroundings
have evoked. SINE" receiving your
question this very subject WAS touched
upon by gentleman prominent in
business and church "irCleS who of his
own accord broachcd the subject. In
his conversation with me he said sub
Stantially as follows: II wish to tell
YOU how thoroughly | enjoy tho organ
recitals. There is "a rcstfuncss about
them that I find no whore else. No
matter how tired | am when | go to
the church ] go away feeling rested
and refreshed"
; l am by no means inscnsiblc to the
graceful compliment which your ques-
ton contains for which please accept
thanks in behalf of myself and
those who have so kindly assisted in
the concerts.
} NJ L.-Will yuu please explain what
: is meant by the term concert pitch?'
Is there any other pitch. and If so,
what is the difference between the
| two?
Answer--SinCe the tim" of Beethoven
and w to the last decade the pitch t.
which instruments were tuned was
known as Concert pitch" The pitch
now in general use, known as the I'm
tcrnational pitch" is almost identical
: with the classical pitch" which was
= in use during the time of Bach, Han.
| del, Mozart and Beethoven. In thi,
pitch treble G, third space, had abou
512 vibrations a second. The growtl
2 of the orchestra and the constant de
sire for louder and more exciting eff
fects produced a change in pitch
4 Makers and users of wind instruments
which are the standard of pitch in tn
4 orchestra. perceived that such effect
| might be enhanced by raising slight.
i the pitch Of sounds. Consequently
I gradual rise Crept in which stringet
instruments and voices We're obliged T.
follow. The makers of pianoforte saw
u too, that by raising the pitch inferio
u | nil Ia,
: this. in the estimation of the unthink
u ing public, was a desirable effect. Thi
i continued until the pitch, now know
as Concert pitch third space C, "a
y vibrations had risen semitone abov
: the classical pitch"
II Such a change was attended wit
= many evils. 1t altered the character c
:, the best compositions; it tended to spo
II the performance and ruin the voice
l. of the best singers Several effort
We're made either to restore the elias
u steal pitch or stop its further rise. Th
}. French government resolved in 1859 t
. recommend a fixed standard, treble {
SIT vibrations. This was confirmed b
u a legal decree, and was known a
W French pitch. In the last decade Othe
countries desired to unite with Franc
~ in establishing a settled pitch and til
y result was the adoption of what
= known as international PITCH" whic
II is, if / mistake not, almost identici
with the classical pitch"
The old concert pitch" has bee
practically abandoned by all exceI
q makers of cheap pianos. All orche!
tras Of any importance whatever lon
: ago adopted the international pitch
In short, this pitch is practically un
" versal and, for reasons already give
n purchasers of instruments should il
q sist upon it,
o The International pitch" corr