In his review of RCA’s complete Monteux recordings, Jed Distler pointed out that some of the earliest recordings of the music of d’Indy used the original transfers from the previous Monteux box, and therefore were pitched about half a step flat. This was later corrected in the individual releases from the earlier set–specifically, Volume 9 of the old Monteux Edition, containing the splendid and historically noteworthy performances of the Symphony on a French Mountain Air, Symphony No. 2, and the Prelude to Fervaal–where the transfers were managed by the always impeccable Ward Marston. Needless to say, in compiling the new box, the older transfers were used rather than Marston’s corrected versions. Stupid, for sure, but there it is.

Fortunately, for those who are persnickety about such things, the old Volume 9 usually isn’t all the difficult to find, whether used or new. ArkivMusic.com offers it “on demand” as well. The real question is: Does it matter? There’s no question that RCA should have offered the transfers at proper pitch; it was a mistake to do otherwise, plain and simple. On the other hand, the reason such things happen in the first place is because, gross errors excepted, it’s often not that important. Of course, lower pitch equals a slower tempo, marginally, in this case something around a second for each minute of music. Direct comparison will always favor the higher pitch for anyone who prefers speed, but then we don’t listen to the same performance in real time at different speeds.

The fact is that pitch always has been relative. Period performance groups select an “A” that’s often a whole step (or more) flatter than our normal, A=440. Modern orchestras may tune higher or lower than this for various reasons–if, for example, a pipe organ has to be added into the mix. In this particular case, we are dealing with recordings from the early 1940s that were captured over phone lines to Los Angeles while the musicians actually played in San Francisco. Under those circumstances, pitch is the least of the listener’s problems. I am not making excuses: proper pitch is proper pitch, but what I am saying is that collectors should not get overly excited by the carryings-on of historical transfer cultists or absolute pitch fanatics (and they exist, especially on the internet). If you’re really bothered, get the corrected transfers. If not, just sit back and enjoy. A half-step isn’t going to gum up the works appreciably.

-- ClassicsToday.com