Classical Music Metrics
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Works & history

Ten composers' work activity over their lives, changes in symphonic orchestration, tempo markings and instrument use from IMSLP work pages, and the history of the pitch of a′ from Ellis's 19th-century tables. Added in 1.2.

1. Career ribbons2. Work pages by age3. When it was written, how much it is played4. Symphony orchestration5. Tempo markings6. Instrument use7. Pitch of a′

The unit is the IMSLP work page: one work can span several pages and one page can hold several works, so this is not a count of works composed. 4,589 pages for the ten composers (pages re-attributed to, or titled under the name of, another composer are dropped); of the 4,094 with a composition year, 247 that give only a bound ('before', 'after') are left out of year-based counts. Reception uses the NY Phil archive, matched by catalog number.

1. Career ribbons — what was written each year

Work pages per year by genre (a work dated over several years is split evenly across them; revision and later-version dates are not included). The pale band is the lifespan. Hover over a bar to see that year's breakdown. Each composer's panel has its own vertical scale.

OrchestralStageVocalChamberKeyboardOther

Bach 1685–1750 · pages 1246 · dated 877

02550751700 (15)1720 (35)1740 (55)1695 (age 10): 0.2 — Keyboard 0.21696 (age 11): 0.2 — Keyboard 0.21697 (age 12): 0.2 — Keyboard 0.21698 (age 13): 0.2 — Keyboard 0.21699 (age 14): 0.2 — Keyboard 0.21700 (age 15): 3.5 — Keyboard 3.51701 (age 16): 0.3 — Keyboard 0.31702 (age 17): 0.3 — Keyboard 0.31703 (age 18): 8.8 — Orchestral 1.0, Vocal 1.2, Keyboard 6.61704 (age 19): 11.8 — Vocal 2.5, Keyboard 9.31705 (age 20): 21.0 — Orchestral 1.0, Vocal 1.5, Keyboard 18.61706 (age 21): 8.2 — Vocal 1.5, Keyboard 6.81707 (age 22): 17.7 — Vocal 5.0, Keyboard 12.81708 (age 23): 19.6 — Vocal 2.7, Keyboard 16.91709 (age 24): 4.9 — Vocal 0.2, Keyboard 4.61710 (age 25): 16.5 — Vocal 1.2, Keyboard 15.21711 (age 26): 3.6 — Vocal 0.2, Keyboard 3.41712 (age 27): 10.1 — Vocal 0.2, Chamber 0.2, Keyboard 9.71713 (age 28): 22.2 — Orchestral 4.5, Vocal 4.0, Chamber 0.4, Keyboard 12.3, Other 1.01714 (age 29): 31.0 — Orchestral 4.5, Vocal 6.0, Chamber 0.7, Keyboard 19.81715 (age 30): 18.8 — Vocal 7.4, Chamber 0.7, Keyboard 10.81716 (age 31): 24.3 — Vocal 5.9, Chamber 0.7, Keyboard 17.81717 (age 32): 13.7 — Vocal 1.9, Chamber 2.3, Keyboard 9.51718 (age 33): 15.0 — Orchestral 4.3, Vocal 3.7, Chamber 1.9, Keyboard 5.11719 (age 34): 6.0 — Orchestral 1.3, Vocal 1.7, Chamber 1.9, Keyboard 1.11720 (age 35): 33.8 — Orchestral 1.8, Vocal 1.7, Chamber 8.9, Keyboard 21.41721 (age 36): 7.6 — Orchestral 2.5, Vocal 0.7, Chamber 1.9, Keyboard 2.51722 (age 37): 62.1 — Vocal 1.7, Chamber 2.4, Keyboard 58.01723 (age 38): 72.2 — Vocal 32.1, Chamber 2.4, Keyboard 37.71724 (age 39): 52.4 — Vocal 50.4, Chamber 1.0, Keyboard 1.01725 (age 40): 58.3 — Orchestral 1.0, Vocal 43.9, Chamber 1.0, Keyboard 9.5, Other 3.01726 (age 41): 36.4 — Vocal 30.7, Keyboard 5.71727 (age 42): 14.3 — Vocal 9.0, Chamber 0.2, Keyboard 4.1, Other 1.01728 (age 43): 9.8 — Vocal 7.5, Chamber 0.2, Keyboard 2.11729 (age 44): 14.8 — Vocal 13.8, Chamber 0.2, Keyboard 0.91730 (age 45): 22.1 — Orchestral 2.3, Vocal 4.4, Chamber 0.4, Keyboard 15.01731 (age 46): 9.5 — Orchestral 0.3, Vocal 6.9, Chamber 0.4, Keyboard 1.91732 (age 47): 6.8 — Orchestral 0.3, Vocal 5.6, Chamber 0.4, Keyboard 0.51733 (age 48): 7.5 — Orchestral 1.5, Vocal 5.3, Chamber 0.2, Keyboard 0.51734 (age 49): 9.9 — Orchestral 1.5, Vocal 6.7, Chamber 0.2, Keyboard 0.5, Other 1.01735 (age 50): 75.2 — Orchestral 1.0, Vocal 72.7, Keyboard 1.51736 (age 51): 13.0 — Orchestral 2.3, Vocal 6.0, Chamber 4.0, Keyboard 0.5, Other 0.21737 (age 52): 6.4 — Orchestral 0.3, Vocal 3.4, Chamber 1.0, Keyboard 1.5, Other 0.21738 (age 53): 16.5 — Orchestral 8.1, Vocal 6.2, Chamber 0.2, Keyboard 1.7, Other 0.21739 (age 54): 6.0 — Orchestral 1.0, Vocal 2.1, Chamber 0.2, Keyboard 2.5, Other 0.21740 (age 55): 38.2 — Orchestral 0.5, Vocal 0.6, Chamber 0.4, Keyboard 36.6, Other 0.21741 (age 56): 4.4 — Orchestral 0.2, Vocal 0.6, Chamber 1.4, Keyboard 2.1, Other 0.21742 (age 57): 4.8 — Orchestral 0.4, Vocal 2.0, Chamber 0.2, Keyboard 2.31743 (age 58): 1.9 — Orchestral 0.4, Vocal 1.0, Chamber 0.2, Keyboard 0.41744 (age 59): 1.2 — Orchestral 0.4, Vocal 0.3, Chamber 0.2, Keyboard 0.41745 (age 60): 1.4 — Orchestral 0.4, Vocal 0.5, Chamber 0.2, Keyboard 0.41746 (age 61): 1.0 — Orchestral 0.2, Vocal 0.5, Keyboard 0.31747 (age 62): 13.1 — Vocal 0.5, Chamber 1.0, Keyboard 10.6, Other 1.01748 (age 63): 13.8 — Vocal 0.2, Keyboard 13.61749 (age 64): 2.1 — Vocal 0.0, Keyboard 1.1, Other 1.01750 (age 65): 2.1 — Vocal 0.0, Keyboard 1.1, Other 1.0

Haydn 1732–1809 · pages 641 · dated 453

010201740 (8)1760 (28)1780 (48)1800 (68)1749 (age 17): 0.5 — Vocal 0.51750 (age 18): 2.2 — Vocal 1.5, Keyboard 0.71751 (age 19): 0.7 — Keyboard 0.71752 (age 20): 0.7 — Keyboard 0.71753 (age 21): 0.7 — Keyboard 0.71754 (age 22): 1.7 — Chamber 1.0, Keyboard 0.71755 (age 23): 0.7 — Keyboard 0.71756 (age 24): 1.0 — Orchestral 1.01757 (age 25): 3.6 — Orchestral 1.6, Chamber 2.01758 (age 26): 3.6 — Orchestral 1.6, Chamber 2.01759 (age 27): 5.6 — Orchestral 2.6, Chamber 3.01760 (age 28): 10.3 — Orchestral 3.9, Chamber 5.0, Keyboard 1.41761 (age 29): 10.8 — Orchestral 6.4, Chamber 4.0, Keyboard 0.41762 (age 30): 11.1 — Orchestral 7.7, Chamber 3.0, Keyboard 0.41763 (age 31): 8.4 — Orchestral 6.0, Chamber 2.0, Keyboard 0.41764 (age 32): 11.1 — Orchestral 6.7, Vocal 4.0, Keyboard 0.41765 (age 33): 24.8 — Orchestral 7.8, Chamber 13.0, Keyboard 4.11766 (age 34): 13.3 — Orchestral 3.2, Vocal 2.0, Chamber 6.0, Keyboard 2.11767 (age 35): 13.9 — Orchestral 3.2, Vocal 1.0, Chamber 7.5, Keyboard 2.21768 (age 36): 7.5 — Orchestral 4.8, Stage 1.0, Chamber 1.5, Keyboard 0.21769 (age 37): 11.8 — Orchestral 2.5, Chamber 9.0, Keyboard 0.21770 (age 38): 1.1 — Orchestral 0.5, Keyboard 0.61771 (age 39): 13.0 — Orchestral 2.0, Vocal 1.0, Chamber 8.0, Keyboard 2.01772 (age 40): 24.0 — Orchestral 4.5, Vocal 1.0, Chamber 17.5, Keyboard 1.01773 (age 41): 9.3 — Orchestral 1.8, Chamber 0.5, Keyboard 7.01774 (age 42): 9.3 — Orchestral 6.5, Chamber 0.5, Keyboard 2.41775 (age 43): 9.2 — Orchestral 2.5, Vocal 3.1, Chamber 1.5, Keyboard 2.21776 (age 44): 4.7 — Orchestral 2.2, Vocal 0.1, Chamber 0.5, Keyboard 2.01777 (age 45): 3.7 — Orchestral 2.7, Vocal 0.6, Chamber 0.51778 (age 46): 3.2 — Orchestral 1.2, Vocal 0.6, Chamber 0.5, Keyboard 1.01779 (age 47): 2.3 — Orchestral 1.7, Stage 0.0, Vocal 0.1, Chamber 0.51780 (age 48): 1.6 — Orchestral 1.0, Stage 0.0, Vocal 0.1, Chamber 0.51781 (age 49): 22.1 — Orchestral 1.5, Stage 0.0, Vocal 12.1, Chamber 7.5, Other 1.01782 (age 50): 5.6 — Orchestral 3.0, Stage 0.0, Vocal 2.1, Chamber 0.51783 (age 51): 3.6 — Orchestral 1.0, Stage 1.0, Vocal 0.1, Chamber 0.5, Other 1.01784 (age 52): 28.1 — Orchestral 3.0, Stage 0.0, Vocal 12.1, Chamber 10.0, Keyboard 3.01785 (age 53): 9.5 — Orchestral 4.5, Stage 0.0, Chamber 5.01786 (age 54): 4.0 — Orchestral 3.5, Stage 0.0, Chamber 0.51787 (age 55): 9.5 — Orchestral 2.0, Stage 0.0, Vocal 1.0, Chamber 6.51788 (age 56): 12.7 — Orchestral 2.0, Stage 0.0, Vocal 2.7, Chamber 8.01789 (age 57): 8.2 — Orchestral 1.0, Stage 0.0, Vocal 3.7, Chamber 2.0, Keyboard 1.51790 (age 58): 15.7 — Orchestral 1.0, Stage 0.0, Vocal 2.7, Chamber 9.5, Keyboard 2.51791 (age 59): 6.7 — Orchestral 4.0, Stage 1.0, Vocal 1.0, Chamber 0.5, Keyboard 0.21792 (age 60): 18.7 — Orchestral 4.0, Stage 0.0, Vocal 2.0, Chamber 12.5, Keyboard 0.21793 (age 61): 15.5 — Orchestral 1.5, Stage 0.0, Chamber 12.8, Keyboard 1.21794 (age 62): 23.2 — Orchestral 2.5, Stage 0.0, Vocal 11.0, Chamber 7.5, Keyboard 2.21795 (age 63): 11.2 — Orchestral 2.0, Stage 0.0, Vocal 4.0, Chamber 4.0, Keyboard 1.21796 (age 64): 11.1 — Orchestral 1.0, Stage 1.0, Vocal 6.1, Chamber 3.01797 (age 65): 8.1 — Stage 0.0, Vocal 2.1, Chamber 6.01798 (age 66): 2.1 — Stage 0.0, Vocal 2.11799 (age 67): 7.1 — Stage 0.0, Vocal 4.1, Chamber 2.0, Keyboard 1.01800 (age 68): 0.4 — Stage 0.0, Vocal 0.31801 (age 69): 2.4 — Stage 0.0, Vocal 2.31802 (age 70): 1.0 — Stage 0.0, Vocal 1.01803 (age 71): 1.0 — Chamber 1.0

Mozart 1756–1791 · pages 732 · dated 666

020401760 (4)1770 (14)1780 (24)1790 (34)1761 (age 5): 5.0 — Keyboard 5.01762 (age 6): 5.5 — Chamber 0.5, Keyboard 5.01763 (age 7): 2.0 — Chamber 1.0, Keyboard 1.01764 (age 8): 10.0 — Orchestral 0.5, Chamber 8.5, Keyboard 1.01765 (age 9): 8.7 — Orchestral 3.5, Vocal 3.0, Chamber 0.2, Keyboard 2.01766 (age 10): 14.3 — Orchestral 1.5, Vocal 5.0, Chamber 5.7, Keyboard 2.11767 (age 11): 12.3 — Orchestral 6.5, Stage 1.0, Vocal 3.0, Chamber 1.7, Keyboard 0.11768 (age 12): 12.4 — Orchestral 3.0, Stage 2.0, Vocal 7.0, Chamber 0.2, Keyboard 0.21769 (age 13): 10.6 — Orchestral 3.2, Vocal 5.0, Chamber 1.2, Keyboard 1.21770 (age 14): 18.2 — Orchestral 7.8, Stage 1.0, Vocal 7.0, Chamber 0.2, Keyboard 1.2, Other 1.01771 (age 15): 18.7 — Orchestral 11.2, Stage 2.0, Vocal 3.0, Chamber 0.2, Keyboard 2.21772 (age 16): 33.2 — Orchestral 11.8, Stage 1.0, Vocal 8.0, Chamber 10.8, Keyboard 1.71773 (age 17): 36.4 — Orchestral 10.0, Vocal 5.0, Chamber 16.8, Keyboard 4.71774 (age 18): 19.0 — Orchestral 7.5, Stage 0.5, Vocal 6.0, Keyboard 5.01775 (age 19): 22.9 — Orchestral 8.8, Stage 1.5, Vocal 6.0, Chamber 3.5, Keyboard 3.01776 (age 20): 31.9 — Orchestral 11.3, Vocal 6.5, Chamber 11.5, Keyboard 2.51777 (age 21): 22.0 — Orchestral 5.2, Vocal 5.2, Chamber 7.0, Keyboard 4.51778 (age 22): 26.1 — Orchestral 7.8, Stage 2.0, Vocal 4.2, Chamber 9.0, Keyboard 3.01779 (age 23): 20.1 — Orchestral 6.3, Stage 1.5, Vocal 7.8, Chamber 3.5, Keyboard 1.01780 (age 24): 13.0 — Orchestral 3.0, Stage 1.0, Vocal 5.8, Chamber 1.5, Keyboard 1.71781 (age 25): 23.0 — Orchestral 2.5, Stage 2.0, Vocal 4.0, Chamber 8.8, Keyboard 4.7, Other 1.01782 (age 26): 43.5 — Orchestral 7.3, Stage 0.5, Vocal 10.5, Chamber 8.0, Keyboard 13.2, Other 4.01783 (age 27): 38.0 — Orchestral 5.3, Stage 2.5, Vocal 15.2, Chamber 6.7, Keyboard 7.8, Other 0.51784 (age 28): 22.1 — Orchestral 9.4, Stage 0.5, Vocal 2.2, Chamber 4.2, Keyboard 5.3, Other 0.51785 (age 29): 27.7 — Orchestral 5.0, Vocal 14.2, Chamber 6.2, Keyboard 1.3, Other 1.01786 (age 30): 27.3 — Orchestral 5.0, Stage 1.0, Vocal 6.2, Chamber 8.9, Keyboard 6.11787 (age 31): 36.2 — Orchestral 3.4, Stage 1.0, Vocal 15.2, Chamber 11.4, Keyboard 5.21788 (age 32): 38.7 — Orchestral 10.4, Vocal 14.2, Chamber 6.9, Keyboard 7.21789 (age 33): 23.3 — Orchestral 4.2, Stage 0.5, Vocal 7.2, Chamber 4.0, Keyboard 7.41790 (age 34): 10.9 — Orchestral 1.2, Stage 0.5, Vocal 2.2, Chamber 4.0, Keyboard 3.01791 (age 35): 32.9 — Orchestral 13.2, Stage 2.0, Vocal 10.2, Chamber 4.0, Keyboard 2.5, Other 1.0

Beethoven 1770–1827 · pages 359 · dated 332

010201770 (0)1780 (10)1790 (20)1800 (30)1810 (40)1820 (50)1782 (age 12): 2.0 — Keyboard 2.01783 (age 13): 5.0 — Vocal 2.0, Keyboard 3.01784 (age 14): 1.0 — Orchestral 1.01785 (age 15): 4.0 — Chamber 3.0, Keyboard 1.01786 (age 16): 1.2 — Orchestral 1.0, Chamber 0.21787 (age 17): 0.5 — Orchestral 0.3, Chamber 0.21788 (age 18): 0.5 — Orchestral 0.3, Chamber 0.21789 (age 19): 1.5 — Orchestral 0.3, Chamber 0.2, Keyboard 1.01790 (age 20): 10.3 — Orchestral 1.3, Vocal 4.9, Chamber 1.7, Keyboard 2.31791 (age 21): 4.1 — Orchestral 1.4, Vocal 0.9, Chamber 1.5, Keyboard 0.31792 (age 22): 9.6 — Orchestral 0.6, Vocal 4.4, Chamber 3.3, Keyboard 1.31793 (age 23): 5.8 — Orchestral 0.2, Vocal 1.1, Chamber 2.1, Keyboard 1.3, Other 1.01794 (age 24): 5.1 — Orchestral 0.2, Vocal 1.4, Chamber 2.1, Keyboard 1.31795 (age 25): 22.5 — Orchestral 3.2, Stage 1.0, Vocal 5.1, Chamber 7.0, Keyboard 4.2, Other 2.01796 (age 26): 20.7 — Orchestral 0.2, Vocal 3.1, Chamber 9.2, Keyboard 8.21797 (age 27): 11.2 — Orchestral 0.2, Vocal 1.2, Chamber 4.0, Keyboard 5.2, Other 0.51798 (age 28): 10.2 — Orchestral 1.4, Vocal 0.2, Chamber 4.7, Keyboard 3.3, Other 0.51799 (age 29): 12.8 — Orchestral 0.9, Vocal 0.2, Chamber 5.7, Keyboard 6.01800 (age 30): 9.2 — Orchestral 2.8, Stage 0.5, Vocal 0.2, Chamber 4.2, Keyboard 1.51801 (age 31): 11.0 — Orchestral 0.9, Stage 0.5, Vocal 1.6, Chamber 4.6, Keyboard 3.51802 (age 32): 10.4 — Orchestral 0.4, Vocal 1.6, Chamber 2.9, Keyboard 5.51803 (age 33): 11.5 — Orchestral 0.5, Vocal 2.6, Chamber 1.5, Keyboard 7.01804 (age 34): 6.6 — Orchestral 1.7, Stage 0.5, Vocal 1.6, Chamber 0.5, Keyboard 2.31805 (age 35): 3.9 — Orchestral 1.7, Stage 0.5, Vocal 1.2, Chamber 0.1, Keyboard 0.31806 (age 36): 10.8 — Orchestral 3.7, Vocal 1.7, Chamber 3.1, Keyboard 2.31807 (age 37): 4.5 — Orchestral 2.2, Vocal 2.2, Chamber 0.11808 (age 38): 7.0 — Orchestral 1.2, Vocal 2.7, Chamber 3.11809 (age 39): 12.3 — Orchestral 0.5, Stage 0.5, Vocal 5.2, Chamber 1.1, Keyboard 4.5, Other 0.51810 (age 40): 8.8 — Orchestral 0.5, Stage 0.5, Vocal 1.6, Chamber 1.1, Keyboard 1.5, Other 3.61811 (age 41): 5.1 — Orchestral 0.5, Stage 1.1, Vocal 2.4, Chamber 1.1, Other 0.11812 (age 42): 6.6 — Orchestral 1.5, Stage 0.1, Vocal 1.9, Chamber 2.1, Other 1.11813 (age 43): 6.5 — Orchestral 1.0, Stage 1.1, Vocal 4.2, Chamber 0.1, Other 0.11814 (age 44): 12.3 — Orchestral 1.0, Stage 1.1, Vocal 8.1, Chamber 0.1, Keyboard 2.0, Other 0.11815 (age 45): 12.2 — Orchestral 1.0, Stage 2.1, Vocal 6.5, Chamber 2.1, Keyboard 0.5, Other 0.11816 (age 46): 9.7 — Stage 0.1, Vocal 7.0, Chamber 1.1, Keyboard 0.5, Other 1.11817 (age 47): 6.8 — Stage 0.1, Vocal 3.2, Chamber 3.0, Keyboard 0.5, Other 0.11818 (age 48): 4.6 — Stage 0.1, Vocal 1.9, Chamber 1.0, Keyboard 1.5, Other 0.11819 (age 49): 5.7 — Orchestral 2.0, Stage 0.1, Vocal 2.4, Chamber 1.0, Keyboard 0.2, Other 0.11820 (age 50): 4.7 — Stage 0.1, Vocal 3.4, Keyboard 1.2, Other 0.11821 (age 51): 4.1 — Stage 0.1, Vocal 1.2, Keyboard 2.7, Other 0.11822 (age 52): 7.6 — Orchestral 2.2, Stage 1.1, Vocal 1.5, Chamber 1.0, Keyboard 1.7, Other 0.11823 (age 53): 4.3 — Orchestral 0.2, Vocal 3.0, Chamber 0.8, Keyboard 0.21824 (age 54): 5.9 — Orchestral 0.2, Vocal 2.8, Chamber 0.8, Keyboard 2.01825 (age 55): 7.1 — Orchestral 0.2, Vocal 2.0, Chamber 1.8, Keyboard 3.01826 (age 56): 4.5 — Chamber 3.5, Keyboard 1.0

Schubert 1797–1828 · pages 1019 · dated 948

0501001502001800 (3)1810 (13)1820 (23)1809 (age 12): 1.0 — Vocal 1.01810 (age 13): 6.3 — Vocal 1.0, Chamber 1.0, Keyboard 4.31811 (age 14): 11.3 — Orchestral 1.0, Vocal 4.0, Chamber 4.0, Keyboard 2.31812 (age 15): 32.3 — Orchestral 3.0, Stage 1.0, Vocal 16.0, Chamber 4.0, Keyboard 6.3, Other 2.01813 (age 16): 60.5 — Orchestral 1.0, Stage 0.5, Vocal 38.0, Chamber 8.0, Keyboard 12.0, Other 1.01814 (age 17): 34.0 — Orchestral 2.0, Stage 0.5, Vocal 28.5, Chamber 3.01815 (age 18): 198.1 — Orchestral 1.0, Stage 4.0, Vocal 180.0, Chamber 1.0, Keyboard 12.11816 (age 19): 171.4 — Orchestral 3.3, Stage 1.0, Vocal 144.0, Chamber 11.0, Keyboard 11.1, Other 1.01817 (age 20): 84.7 — Orchestral 4.8, Vocal 66.8, Chamber 2.0, Keyboard 11.11818 (age 21): 37.2 — Orchestral 1.8, Vocal 18.2, Keyboard 17.11819 (age 22): 33.3 — Orchestral 2.0, Stage 0.5, Vocal 27.5, Chamber 1.0, Keyboard 2.31820 (age 23): 28.8 — Orchestral 1.0, Stage 2.0, Vocal 23.5, Chamber 1.0, Keyboard 1.31821 (age 24): 19.0 — Orchestral 1.0, Stage 1.5, Vocal 16.2, Keyboard 0.31822 (age 25): 35.0 — Orchestral 1.0, Stage 1.5, Vocal 30.2, Keyboard 2.31823 (age 26): 28.4 — Stage 2.5, Vocal 20.0, Keyboard 4.9, Other 1.01824 (age 27): 22.8 — Vocal 9.0, Chamber 5.0, Keyboard 8.81825 (age 28): 37.6 — Orchestral 0.2, Vocal 30.0, Keyboard 7.31826 (age 29): 34.7 — Orchestral 0.2, Stage 1.0, Vocal 26.3, Chamber 2.0, Keyboard 5.21827 (age 30): 38.2 — Orchestral 0.2, Stage 1.0, Vocal 28.3, Chamber 1.0, Keyboard 7.71828 (age 31): 33.2 — Orchestral 1.2, Vocal 20.3, Chamber 2.0, Keyboard 9.7

Brahms 1833–1897 · pages 161 · dated 150

02.551840 (7)1860 (27)1880 (47)1850 (age 17): 0.0 — Keyboard 0.01851 (age 18): 1.4 — Vocal 0.3, Keyboard 1.01852 (age 19): 3.0 — Vocal 1.4, Keyboard 1.61853 (age 20): 5.8 — Vocal 2.4, Chamber 0.5, Keyboard 2.91854 (age 21): 4.6 — Orchestral 0.2, Vocal 0.6, Chamber 0.5, Keyboard 3.41855 (age 22): 3.2 — Orchestral 0.2, Vocal 0.6, Chamber 0.0, Keyboard 2.41856 (age 23): 4.4 — Orchestral 0.2, Vocal 1.8, Chamber 0.0, Keyboard 2.41857 (age 24): 5.3 — Orchestral 0.7, Vocal 2.4, Chamber 0.0, Keyboard 2.11858 (age 25): 6.9 — Orchestral 1.3, Vocal 5.4, Chamber 0.0, Keyboard 0.31859 (age 26): 6.2 — Orchestral 0.8, Vocal 4.6, Chamber 0.5, Keyboard 0.31860 (age 27): 6.9 — Orchestral 0.1, Vocal 5.0, Chamber 0.5, Keyboard 1.31861 (age 28): 6.4 — Orchestral 0.1, Vocal 2.0, Chamber 2.0, Keyboard 2.31862 (age 29): 2.9 — Orchestral 0.2, Vocal 1.7, Chamber 0.3, Keyboard 0.81863 (age 30): 2.7 — Orchestral 0.2, Vocal 1.5, Chamber 0.3, Keyboard 0.71864 (age 31): 5.6 — Orchestral 0.2, Vocal 2.4, Chamber 1.8, Keyboard 1.21865 (age 32): 4.3 — Orchestral 0.2, Vocal 1.0, Chamber 1.9, Keyboard 1.21866 (age 33): 1.5 — Orchestral 0.2, Vocal 1.0, Chamber 0.2, Keyboard 0.21867 (age 34): 2.0 — Orchestral 0.2, Vocal 1.5, Chamber 0.2, Keyboard 0.21868 (age 35): 3.3 — Orchestral 0.2, Vocal 2.8, Chamber 0.2, Keyboard 0.21869 (age 36): 3.0 — Orchestral 0.1, Vocal 2.7, Chamber 0.2, Keyboard 0.11870 (age 37): 1.6 — Orchestral 0.1, Vocal 1.3, Chamber 0.2, Keyboard 0.11871 (age 38): 3.8 — Orchestral 0.1, Vocal 3.3, Chamber 0.2, Keyboard 0.21872 (age 39): 2.0 — Orchestral 0.1, Vocal 1.6, Chamber 0.2, Keyboard 0.21873 (age 40): 4.4 — Orchestral 1.1, Vocal 1.9, Chamber 1.2, Keyboard 0.21874 (age 41): 1.9 — Orchestral 0.1, Vocal 1.7, Chamber 0.0, Keyboard 0.11875 (age 42): 2.0 — Orchestral 0.1, Vocal 0.7, Chamber 1.0, Keyboard 0.11876 (age 43): 1.1 — Orchestral 0.1, Vocal 0.9, Keyboard 0.11877 (age 44): 5.0 — Orchestral 1.0, Vocal 3.8, Keyboard 0.11878 (age 45): 3.1 — Orchestral 1.2, Vocal 1.2, Chamber 0.5, Keyboard 0.11879 (age 46): 2.5 — Orchestral 0.2, Vocal 0.7, Chamber 0.5, Keyboard 1.01880 (age 47): 3.5 — Orchestral 2.2, Vocal 0.9, Chamber 0.3, Keyboard 0.01881 (age 48): 2.0 — Orchestral 0.2, Vocal 1.4, Chamber 0.3, Keyboard 0.01882 (age 49): 3.2 — Vocal 1.9, Chamber 1.3, Keyboard 0.01883 (age 50): 3.2 — Orchestral 1.0, Vocal 2.2, Keyboard 0.01884 (age 51): 4.7 — Orchestral 0.5, Vocal 4.2, Keyboard 0.01885 (age 52): 1.8 — Orchestral 0.5, Vocal 1.3, Keyboard 0.01886 (age 53): 4.6 — Vocal 1.3, Chamber 3.3, Keyboard 0.01887 (age 54): 3.1 — Orchestral 1.0, Vocal 1.8, Chamber 0.3, Keyboard 0.01888 (age 55): 2.9 — Vocal 2.5, Chamber 0.3, Keyboard 0.01889 (age 56): 1.8 — Vocal 1.8, Keyboard 0.01890 (age 57): 1.3 — Vocal 0.3, Chamber 1.0, Keyboard 0.01891 (age 58): 2.3 — Vocal 0.3, Chamber 2.0, Keyboard 0.01892 (age 59): 2.0 — Keyboard 2.01893 (age 60): 2.5 — Vocal 0.5, Keyboard 2.01894 (age 61): 2.5 — Vocal 0.5, Chamber 2.01896 (age 63): 2.0 — Vocal 1.0, Keyboard 1.0

Tchaikovsky 1840–1893 · pages 155 · dated 152

02.557.5101840 (0)1850 (10)1860 (20)1870 (30)1880 (40)1890 (50)1850 (age 10): 1.0 — Vocal 1.01860 (age 20): 0.7 — Vocal 0.71861 (age 21): 0.7 — Vocal 0.71862 (age 22): 0.2 — Vocal 0.21863 (age 23): 8.7 — Orchestral 2.0, Vocal 0.7, Chamber 3.5, Keyboard 1.0, Other 1.51864 (age 24): 9.7 — Orchestral 3.0, Vocal 0.7, Chamber 3.5, Keyboard 1.0, Other 1.51865 (age 25): 4.7 — Orchestral 1.5, Vocal 1.2, Chamber 1.0, Keyboard 1.01866 (age 26): 2.3 — Orchestral 1.8, Stage 0.51867 (age 27): 3.3 — Orchestral 0.3, Stage 1.0, Keyboard 2.01868 (age 28): 5.3 — Orchestral 1.3, Stage 0.5, Keyboard 3.51869 (age 29): 4.0 — Orchestral 1.0, Stage 1.0, Vocal 1.5, Keyboard 0.51870 (age 30): 4.8 — Stage 0.3, Vocal 1.5, Keyboard 3.01871 (age 31): 1.8 — Stage 0.3, Chamber 1.0, Keyboard 0.51872 (age 32): 5.3 — Orchestral 2.0, Stage 1.3, Vocal 1.5, Keyboard 0.51873 (age 33): 6.5 — Orchestral 1.0, Stage 1.0, Vocal 2.5, Keyboard 2.01874 (age 34): 3.5 — Orchestral 0.5, Stage 1.0, Vocal 1.0, Chamber 1.01875 (age 35): 8.8 — Orchestral 2.5, Stage 0.3, Vocal 6.01876 (age 36): 6.3 — Orchestral 3.0, Stage 0.3, Vocal 1.0, Chamber 1.0, Keyboard 1.01877 (age 37): 2.3 — Orchestral 1.5, Stage 0.81878 (age 38): 10.2 — Orchestral 2.0, Stage 1.0, Vocal 2.2, Chamber 1.0, Keyboard 4.01879 (age 39): 1.8 — Orchestral 1.0, Stage 0.5, Vocal 0.21880 (age 40): 5.8 — Orchestral 2.5, Vocal 2.2, Other 1.01881 (age 41): 1.9 — Stage 0.3, Vocal 1.1, Chamber 0.51882 (age 42): 2.7 — Stage 0.3, Vocal 0.8, Chamber 0.5, Keyboard 1.01883 (age 43): 3.7 — Orchestral 2.0, Stage 0.3, Vocal 1.31884 (age 44): 5.5 — Orchestral 2.0, Vocal 1.5, Keyboard 1.0, Other 1.01885 (age 45): 4.8 — Orchestral 2.0, Stage 1.3, Vocal 1.51886 (age 46): 3.8 — Stage 1.3, Vocal 1.5, Keyboard 1.01887 (age 47): 5.8 — Orchestral 2.0, Stage 0.3, Vocal 3.51888 (age 48): 3.5 — Orchestral 2.0, Stage 0.5, Vocal 1.01889 (age 49): 4.8 — Orchestral 0.2, Stage 0.5, Vocal 2.0, Keyboard 2.01890 (age 50): 2.8 — Orchestral 0.8, Stage 1.0, Chamber 1.01891 (age 51): 4.8 — Orchestral 0.8, Stage 2.0, Vocal 1.0, Keyboard 1.01892 (age 52): 3.2 — Orchestral 0.2, Stage 2.0, Keyboard 1.01893 (age 53): 7.0 — Orchestral 3.0, Vocal 2.0, Keyboard 2.0

Dvorak 1841–1904 · pages 145 · dated 144

02.557.5101860 (19)1880 (39)1900 (59)1859 (age 18): 1.0 — Keyboard 1.01860 (age 19): 1.0 — Keyboard 1.01861 (age 20): 1.0 — Chamber 1.01862 (age 21): 1.0 — Chamber 1.01865 (age 24): 4.0 — Orchestral 3.0, Vocal 1.01869 (age 28): 1.5 — Chamber 1.51870 (age 29): 2.8 — Stage 1.0, Chamber 1.5, Keyboard 0.31871 (age 30): 1.3 — Vocal 1.0, Keyboard 0.31872 (age 31): 4.3 — Vocal 3.0, Chamber 1.0, Keyboard 0.31873 (age 32): 3.0 — Orchestral 2.0, Chamber 1.01874 (age 33): 4.0 — Orchestral 2.0, Stage 1.0, Chamber 1.01875 (age 34): 7.5 — Orchestral 1.0, Stage 1.0, Vocal 0.5, Chamber 3.0, Other 2.01876 (age 35): 8.3 — Orchestral 1.0, Vocal 3.0, Chamber 2.0, Keyboard 2.31877 (age 36): 9.8 — Orchestral 1.0, Stage 1.0, Vocal 5.5, Chamber 1.0, Keyboard 1.31878 (age 37): 9.8 — Orchestral 2.0, Vocal 2.0, Chamber 4.5, Keyboard 1.31879 (age 38): 9.1 — Orchestral 7.0, Vocal 0.1, Chamber 1.5, Keyboard 0.51880 (age 39): 9.6 — Orchestral 2.0, Vocal 2.1, Chamber 1.0, Keyboard 4.51881 (age 40): 5.1 — Orchestral 1.0, Stage 1.0, Vocal 1.1, Chamber 1.0, Keyboard 1.01882 (age 41): 4.1 — Orchestral 1.0, Stage 1.0, Vocal 1.1, Keyboard 1.01883 (age 42): 5.6 — Orchestral 2.0, Vocal 1.1, Chamber 1.0, Keyboard 1.51884 (age 43): 5.1 — Orchestral 0.5, Vocal 1.1, Chamber 1.0, Keyboard 2.51885 (age 44): 2.1 — Orchestral 0.5, Vocal 1.61886 (age 45): 2.6 — Orchestral 1.0, Vocal 1.61887 (age 46): 6.8 — Stage 0.5, Vocal 1.3, Chamber 4.0, Keyboard 1.01888 (age 47): 3.7 — Stage 0.5, Vocal 2.2, Keyboard 1.01889 (age 48): 3.7 — Orchestral 1.0, Vocal 0.7, Chamber 1.0, Keyboard 1.01890 (age 49): 1.2 — Vocal 0.7, Chamber 0.51891 (age 50): 3.5 — Orchestral 2.5, Vocal 0.2, Chamber 0.81892 (age 51): 2.5 — Orchestral 0.5, Vocal 1.7, Chamber 0.31893 (age 52): 4.8 — Orchestral 1.0, Vocal 0.5, Chamber 3.31894 (age 53): 4.0 — Orchestral 1.0, Vocal 1.0, Chamber 1.0, Keyboard 1.01895 (age 54): 3.0 — Orchestral 1.0, Chamber 2.01896 (age 55): 4.0 — Orchestral 4.01897 (age 56): 1.0 — Orchestral 1.01898 (age 57): 0.5 — Stage 0.51899 (age 58): 0.5 — Stage 0.51900 (age 59): 1.0 — Stage 1.0

Mahler 1860–1911 · pages 22 · dated 20

00.511.51860 (0)1870 (10)1880 (20)1890 (30)1900 (40)1910 (50)1876 (age 16): 1.0 — Chamber 1.01878 (age 18): 0.3 — Vocal 0.31879 (age 19): 0.3 — Vocal 0.31880 (age 20): 1.4 — Vocal 1.41881 (age 21): 0.1 — Vocal 0.11882 (age 22): 0.1 — Vocal 0.11883 (age 23): 0.4 — Vocal 0.41884 (age 24): 0.6 — Orchestral 0.2, Vocal 0.41885 (age 25): 0.6 — Orchestral 0.2, Vocal 0.41886 (age 26): 0.3 — Orchestral 0.2, Vocal 0.11887 (age 27): 0.3 — Orchestral 0.2, Vocal 0.11888 (age 28): 0.4 — Orchestral 0.2, Vocal 0.21889 (age 29): 0.2 — Vocal 0.21890 (age 30): 0.1 — Vocal 0.11891 (age 31): 0.1 — Vocal 0.11892 (age 32): 0.3 — Vocal 0.31893 (age 33): 0.3 — Vocal 0.31894 (age 34): 0.3 — Vocal 0.31895 (age 35): 0.2 — Vocal 0.21896 (age 36): 1.2 — Vocal 1.21897 (age 37): 0.1 — Orchestral 0.11898 (age 38): 0.1 — Orchestral 0.11899 (age 39): 0.1 — Orchestral 0.11900 (age 40): 0.6 — Orchestral 0.1, Vocal 0.51901 (age 41): 1.3 — Orchestral 0.1, Vocal 1.21902 (age 42): 1.2 — Orchestral 0.4, Vocal 0.81903 (age 43): 1.2 — Orchestral 0.9, Vocal 0.21904 (age 44): 1.5 — Orchestral 1.3, Vocal 0.21905 (age 45): 0.4 — Orchestral 0.41906 (age 46): 0.9 — Orchestral 0.4, Vocal 0.51907 (age 47): 0.6 — Orchestral 0.1, Vocal 0.51908 (age 48): 0.5 — Vocal 0.51909 (age 49): 1.0 — Orchestral 0.5, Vocal 0.51910 (age 50): 1.5 — Orchestral 1.5

Stravinsky 1882–1971 · pages 109 · dated 105

0241900 (18)1920 (38)1940 (58)1960 (78)1903 (age 21): 0.5 — Keyboard 0.51904 (age 22): 0.5 — Keyboard 0.51905 (age 23): 0.3 — Orchestral 0.31906 (age 24): 0.8 — Orchestral 0.3, Vocal 0.51907 (age 25): 2.8 — Orchestral 0.8, Vocal 2.01908 (age 26): 3.6 — Orchestral 2.0, Stage 0.1, Vocal 0.5, Keyboard 1.01909 (age 27): 0.6 — Orchestral 0.5, Stage 0.11910 (age 28): 2.9 — Stage 1.9, Vocal 1.01911 (age 29): 2.5 — Orchestral 0.1, Stage 0.9, Vocal 1.51912 (age 30): 1.0 — Orchestral 0.1, Stage 0.4, Vocal 0.51913 (age 31): 2.5 — Orchestral 0.1, Stage 0.4, Vocal 2.01914 (age 32): 2.6 — Orchestral 0.1, Stage 0.3, Vocal 1.2, Chamber 1.01915 (age 33): 2.8 — Orchestral 0.1, Stage 0.6, Vocal 1.1, Keyboard 1.01916 (age 34): 2.8 — Orchestral 0.1, Stage 0.6, Vocal 1.1, Keyboard 1.01917 (age 35): 4.9 — Orchestral 1.2, Stage 0.1, Vocal 0.6, Chamber 1.0, Keyboard 1.0, Other 1.01918 (age 36): 3.3 — Orchestral 0.2, Stage 0.1, Chamber 3.01919 (age 37): 2.3 — Orchestral 0.2, Stage 0.1, Vocal 1.0, Keyboard 1.01920 (age 38): 3.2 — Orchestral 1.1, Stage 0.1, Chamber 1.0, Other 1.01921 (age 39): 2.7 — Orchestral 1.1, Stage 0.6, Keyboard 1.01922 (age 40): 1.2 — Orchestral 0.1, Stage 0.6, Vocal 0.51923 (age 41): 1.1 — Orchestral 0.6, Vocal 0.51924 (age 42): 1.6 — Orchestral 0.6, Keyboard 1.01925 (age 43): 1.1 — Orchestral 0.1, Keyboard 1.01926 (age 44): 1.5 — Stage 0.5, Vocal 1.01927 (age 45): 1.5 — Stage 1.51928 (age 46): 1.5 — Orchestral 0.5, Stage 1.01929 (age 47): 0.5 — Orchestral 0.51930 (age 48): 1.0 — Vocal 1.01931 (age 49): 1.5 — Orchestral 1.0, Chamber 0.51932 (age 50): 1.8 — Orchestral 0.2, Vocal 1.0, Chamber 0.51933 (age 51): 0.8 — Orchestral 0.2, Stage 0.51934 (age 52): 0.8 — Orchestral 0.2, Stage 0.51935 (age 53): 0.2 — Orchestral 0.21936 (age 54): 0.6 — Stage 0.5, Chamber 0.11937 (age 55): 1.1 — Orchestral 0.5, Stage 0.5, Chamber 0.11938 (age 56): 0.9 — Orchestral 0.8, Chamber 0.11939 (age 57): 0.4 — Orchestral 0.3, Chamber 0.11940 (age 58): 1.7 — Orchestral 0.7, Chamber 0.1, Keyboard 1.01941 (age 59): 0.4 — Orchestral 0.3, Chamber 0.11942 (age 60): 2.6 — Orchestral 1.6, Chamber 0.1, Keyboard 1.01943 (age 61): 2.3 — Orchestral 1.8, Chamber 0.1, Keyboard 0.51944 (age 62): 4.5 — Orchestral 0.8, Stage 1.0, Vocal 1.2, Chamber 1.1, Keyboard 0.51945 (age 63): 1.5 — Orchestral 1.2, Vocal 0.2, Chamber 0.11946 (age 64): 1.8 — Orchestral 1.0, Stage 0.5, Vocal 0.2, Chamber 0.11947 (age 65): 1.0 — Stage 0.7, Vocal 0.2, Chamber 0.11948 (age 66): 0.5 — Stage 0.2, Vocal 0.2, Chamber 0.11949 (age 67): 0.3 — Stage 0.2, Chamber 0.11950 (age 68): 0.3 — Stage 0.2, Chamber 0.11951 (age 69): 0.8 — Stage 0.2, Vocal 0.5, Chamber 0.11952 (age 70): 1.1 — Vocal 0.5, Chamber 0.61953 (age 71): 2.1 — Vocal 1.5, Chamber 0.61954 (age 72): 1.8 — Stage 0.2, Vocal 1.51955 (age 73): 3.2 — Orchestral 1.0, Stage 0.2, Vocal 2.01956 (age 74): 0.2 — Stage 0.21957 (age 75): 0.8 — Stage 0.2, Vocal 0.51958 (age 76): 1.0 — Orchestral 0.5, Vocal 0.51959 (age 77): 2.5 — Orchestral 0.5, Chamber 2.01960 (age 78): 1.5 — Orchestral 1.0, Vocal 0.51961 (age 79): 1.0 — Vocal 1.01962 (age 80): 3.0 — Vocal 2.0, Chamber 1.01963 (age 81): 1.0 — Orchestral 0.5, Vocal 0.51964 (age 82): 2.5 — Orchestral 0.5, Vocal 1.0, Other 1.01965 (age 83): 2.5 — Orchestral 1.0, Vocal 1.51966 (age 84): 1.5 — Vocal 1.5
Show table (10)
ComposerOrchestralStageVocalChamberKeyboardOther
Bach4905714257014
Haydn1405103322692
Mozart1862419618013214
Beethoven41111049010112
Schubert2617759491635
Brahms1408925330
Tchaikovsky43214314295
Dvorak3993537232
Mahler7014100
Stravinsky28173513133

2. Work pages by age — when did they write most?

Share of dated work pages by five-year bands of composition year minus birth year (not exact age). Length and scale are not controlled, so this is not a comparison of workload. All panels share one axis (age 0–90).

Bach peak 35–39 25%

0%20%40%02040608010: 0%15: 6%20: 7%25: 9%30: 9%35: 25%40: 15%45: 7%50: 13%55: 5%60: 3%65: 0%

Haydn peak 60–64 19%

0%20%40%02040608015: 1%20: 0%25: 9%30: 14%35: 11%40: 14%45: 7%50: 10%55: 11%60: 19%65: 3%70: 0%

Mozart peak 25–29 23%

0%20%40%0204060805: 5%10: 11%15: 20%20: 17%25: 23%30: 20%35: 5%

Beethoven peak 25–29 22%

0%20%40%02040608010: 2%15: 2%20: 13%25: 22%30: 15%35: 11%40: 12%45: 11%50: 8%55: 3%

Schubert peak 15–19 53%

0%20%40%02040608010: 2%15: 53%20: 21%25: 17%30: 7%

Brahms peak 25–29 21%

0%20%40%02040608015: 6%20: 17%25: 21%30: 9%35: 7%40: 9%45: 8%50: 13%55: 5%60: 5%

Tchaikovsky peak 35–39 20%

0%20%40%02040608010: 1%20: 13%25: 13%30: 14%35: 20%40: 12%45: 15%50: 11%

Dvorak peak 35–39 33%

0%20%40%02040608015: 1%20: 4%25: 3%30: 14%35: 33%40: 15%45: 12%50: 12%55: 5%

Mahler peak 40–44 30%

0%20%40%02040608015: 10%20: 20%25: 5%30: 5%35: 10%40: 30%45: 15%50: 5%

Stravinsky peak 35–39 14%

0%20%40%02040608020: 3%25: 13%30: 11%35: 14%40: 6%45: 6%50: 5%55: 4%60: 12%65: 2%70: 8%75: 7%80: 10%

3. When it was written, how much it is played

Gray bars: share of work pages composed in each five-year period. Blue dots: of the NY Phil work performances (U1) matched to a dated page, the share that falls on works from that period. The horizontal axis is the composition period, not the performance date; both are plotted on the same % axis. A dot above its bar means works from that period are played more than their share. One orchestra's record.

Share of work pagesShare of NY Phil performances

Bach matched and dated 72%

0%10%20%1695–1699: work pages 0%1700–1704: work pages 6%1705–1709: work pages 7%1710–1714: work pages 9%1715–1719: work pages 9%1720–1724: work pages 25%1725–1729: work pages 15%1730–1734: work pages 7%1735–1739: work pages 13%1740–1744: work pages 5%1745–1749: work pages 3%1750–1754: work pages 0%1700–1704: NY Phil performances 0%1705–1709: NY Phil performances 10%1710–1714: NY Phil performances 4%1715–1719: NY Phil performances 23%1720–1724: NY Phil performances 25%1725–1729: NY Phil performances 1%1730–1734: NY Phil performances 19%1735–1739: NY Phil performances 14%1740–1744: NY Phil performances 1%1745–1749: NY Phil performances 3%1750–1754: NY Phil performances 0%170017201740

Haydn matched and dated 90%

0%10%20%30%40%1745–1749: work pages 0%1750–1754: work pages 1%1755–1759: work pages 5%1760–1764: work pages 10%1765–1769: work pages 15%1770–1774: work pages 16%1775–1779: work pages 4%1780–1784: work pages 13%1785–1789: work pages 9%1790–1794: work pages 17%1795–1799: work pages 8%1800–1804: work pages 1%1760–1764: NY Phil performances 6%1765–1769: NY Phil performances 7%1770–1774: NY Phil performances 5%1775–1779: NY Phil performances 1%1780–1784: NY Phil performances 5%1785–1789: NY Phil performances 23%1790–1794: NY Phil performances 36%1795–1799: NY Phil performances 16%1800–1804: NY Phil performances 0%176017801800

Mozart matched and dated 95%

0%20%40%1760–1764: work pages 3%1765–1769: work pages 9%1770–1774: work pages 19%1775–1779: work pages 18%1780–1784: work pages 21%1785–1789: work pages 23%1790–1794: work pages 6%1760–1764: NY Phil performances 0%1765–1769: NY Phil performances 0%1770–1774: NY Phil performances 8%1775–1779: NY Phil performances 16%1780–1784: NY Phil performances 20%1785–1789: NY Phil performances 45%1790–1794: NY Phil performances 9%1760177017801790

Beethoven matched and dated 99%

0%10%20%30%40%1780–1784: work pages 2%1785–1789: work pages 2%1790–1794: work pages 13%1795–1799: work pages 22%1800–1804: work pages 15%1805–1809: work pages 11%1810–1814: work pages 12%1815–1819: work pages 11%1820–1824: work pages 8%1825–1829: work pages 3%1780–1784: NY Phil performances 0%1785–1789: NY Phil performances 1%1790–1794: NY Phil performances 0%1795–1799: NY Phil performances 9%1800–1804: NY Phil performances 30%1805–1809: NY Phil performances 38%1810–1814: NY Phil performances 15%1815–1819: NY Phil performances 1%1820–1824: NY Phil performances 4%1825–1829: NY Phil performances 0%17801790180018101820

Schubert matched and dated 95%

0%20%40%60%1805–1809: work pages 0%1810–1814: work pages 15%1815–1819: work pages 56%1820–1824: work pages 14%1825–1829: work pages 15%1810–1814: NY Phil performances 7%1815–1819: NY Phil performances 27%1820–1824: NY Phil performances 41%1825–1829: NY Phil performances 25%18101820

Brahms matched and dated 91%

0%10%20%30%1850–1854: work pages 14%1855–1859: work pages 21%1860–1864: work pages 14%1865–1869: work pages 7%1870–1874: work pages 7%1875–1879: work pages 9%1880–1884: work pages 10%1885–1889: work pages 9%1890–1894: work pages 7%1895–1899: work pages 1%1850–1854: NY Phil performances 5%1855–1859: NY Phil performances 4%1860–1864: NY Phil performances 17%1865–1869: NY Phil performances 4%1870–1874: NY Phil performances 6%1875–1879: NY Phil performances 30%1880–1884: NY Phil performances 30%1885–1889: NY Phil performances 3%1890–1894: NY Phil performances 1%1895–1899: NY Phil performances 0%18501860187018801890

Tchaikovsky matched and dated 83%

0%10%20%30%40%1850–1854: work pages 1%1855–1859: work pages 0%1860–1864: work pages 13%1865–1869: work pages 13%1870–1874: work pages 14%1875–1879: work pages 20%1880–1884: work pages 12%1885–1889: work pages 15%1890–1894: work pages 11%1865–1869: NY Phil performances 1%1870–1874: NY Phil performances 11%1875–1879: NY Phil performances 37%1880–1884: NY Phil performances 14%1885–1889: NY Phil performances 18%1890–1894: NY Phil performances 18%18501860187018801890

Dvorak matched and dated 96%

0%20%40%1855–1859: work pages 1%1860–1864: work pages 2%1865–1869: work pages 4%1870–1874: work pages 10%1875–1879: work pages 32%1880–1884: work pages 20%1885–1889: work pages 13%1890–1894: work pages 11%1895–1899: work pages 6%1900–1904: work pages 1%1870–1874: NY Phil performances 1%1875–1879: NY Phil performances 16%1880–1884: NY Phil performances 17%1885–1889: NY Phil performances 17%1890–1894: NY Phil performances 47%1895–1899: NY Phil performances 2%1900–1904: NY Phil performances 0%18601870188018901900

Mahler matched and dated 84%

0%20%40%1875–1879: work pages 10%1880–1884: work pages 20%1885–1889: work pages 5%1890–1894: work pages 5%1895–1899: work pages 10%1900–1904: work pages 30%1905–1909: work pages 15%1910–1914: work pages 5%1880–1884: NY Phil performances 24%1885–1889: NY Phil performances 9%1895–1899: NY Phil performances 6%1900–1904: NY Phil performances 45%1905–1909: NY Phil performances 11%1910–1914: NY Phil performances 5%1880189019001910

Stravinsky is left out: his works carry no catalog numbers to match.

Show table (10)
ComposerNY Phil work perf.MatchedDated
Bach212977%72%
Beethoven647199%99%
Brahms367491%91%
Dvorak183896%96%
Haydn141693%90%
Mahler108284%84%
Mozart441597%95%
Schubert171596%95%
Stravinsky16720%0%
Tchaikovsky433185%83%

4. Symphony orchestration — wind, brass, percussion and keyboard parts

The 207 symphonies by these ten composers whose IMSLP page has instrumentation details (choral symphonies included). One dot per symphony; the black line is the median per decade. Non-string parts as listed (strings not counted; an instrument without a number counts once; bracketed instruments included; percussion counted by named instrument when listed). This need not equal the number of players or of parts in the score.

01020304050601775180018251850187519001925wind, brass, percussion and keyboard partsBeethoven Symphony No.1 in C major (1799): 13Beethoven Symphony No.2 (1800): 13Beethoven Symphony No.3 (1803): 14Beethoven Symphony No.4 (1806): 12Beethoven Symphony No.5 (1804): 18Beethoven Symphony No.6 (1808): 16Beethoven Symphony No.7 (1811): 13Beethoven Symphony No.8 (1812): 13Beethoven Symphony No.9 (1822): 23Brahms Symphony No.1 (1862): 19Brahms Symphony No.2 (1877): 19Brahms Symphony No.3 (1883): 19Brahms Symphony No.4 (1884): 21Dvorak Symphony No.1 (1865): 20Dvorak Symphony No.2 (1865): 19Dvorak Symphony No.3 (1873): 23Dvorak Symphony No.4 (1874): 23Dvorak Symphony No.5 (1875): 22Dvorak Symphony No.6 (1880): 20Dvorak Symphony No.7 (1884): 19Dvorak Symphony No.8 (1889): 21Dvorak Symphony No.9 (1893): 23Haydn Symphony No.10 in D major (1760): 6Haydn Symphony No.11 in E-flat major (1761): 6Haydn Symphony No.12 in E major (1763): 6Haydn Symphony No.13 in D major (1763): 10Haydn Symphony No.14 in A major (1764): 6Haydn Symphony No.15 in D major (1764): 6Haydn Symphony No.16 in B-flat major (1763): 6Haydn Symphony No.1 in D major (1759): 6Haydn Symphony No.2 (1760): 6Haydn Symphony No.3 in G major (1762): 6Haydn Symphony No.4 in D major (1762): 6Haydn Symphony No.5 in A major (1762): 6Haydn Symphony No.6 in D major (1761): 7Haydn Symphony No.7 in C major (1761): 8Haydn Symphony No.8 in G major (1761): 7Haydn Symphony No.9 in C major (1762): 8Haydn Symphony No.17 in F major (1760): 6Haydn Symphony No.18 in G major (1757): 6Haydn Symphony No.19 in D major (1759): 6Haydn Symphony No.20 in C major (1757): 9Haydn Symphony No.21 in A major (1764): 6Haydn Symphony No.22 in E-flat major (1764): 6Haydn Symphony No.23 in G major (1764): 6Haydn Symphony No.24 in D major (1764): 7Haydn Symphony No.25 in C major (1760): 6Haydn Symphony No.26 in D minor (1768): 6Haydn Symphony No.27 in G major (1757): 6Haydn Symphony No.28 in A major (1765): 6Haydn Symphony No.29 in E major (1765): 6Haydn Symphony No.30 in C major (1765): 7Haydn Symphony No.31 in D major (1765): 9Haydn Symphony No.32 in C major (1757): 9Haydn Symphony No.33 in C major (1761): 9Haydn Symphony No.34 in D minor (1765): 6Haydn Symphony No.35 in B-flat major (1767): 6Haydn Symphony No.36 in E-flat major (1761): 6Haydn Symphony No.37 in C major (1757): 9Haydn Symphony No.38 in C major (1767): 9Haydn Symphony No.39 in G minor (1765): 8Haydn Symphony No.40 in F major (1763): 6Haydn Symphony No.41 in C major (1768): 9Haydn Symphony No.42 in D major (1771): 5Haydn Symphony No.43 in E-flat major (1770): 5Haydn Symphony No.44 in E minor (1772): 5Haydn Symphony No.45 in F-sharp minor (1772): 5Haydn Symphony No.46 in B major (1772): 5Haydn Symphony No.47 in G major (1772): 5Haydn Symphony No.48 in C major (1768): 8Haydn Symphony No.49 in F minor (1768): 5Haydn Symphony No.50 in C major (1773): 8Haydn Symphony No.51 in B-flat major (1773): 5Haydn Symphony No.52 in C minor (1771): 5Haydn Symphony No.53 in D major (1777): 9Haydn Symphony No.54 in G major (1774): 11Haydn Symphony No.55 in E-flat major (1774): 5Haydn Symphony No.56 in C major (1774): 8Haydn Symphony No.57 in D major (1774): 6Haydn Symphony No.58 in F major (1767): 6Haydn Symphony No.59 in A major (1768): 6Haydn Symphony No.60 in C major (1774): 8Haydn Symphony No.61 in D major (1776): 10Haydn Symphony No.63 in C major (1777): 16Haydn Symphony No.64 in A major (1773): 5Haydn Symphony No.65 in A major (1769): 5Haydn Symphony No.66 in B-flat major (1774): 6Haydn Concertante in B-flat major (1792): 10Haydn Symphony No.100 in G major (1793): 16Haydn Symphony No.101 in D major (1794): 13Haydn Symphony No.102 in B-flat major (1794): 11Haydn Symphony No.103 in E-flat major (1795): 13Haydn Symphony No. 104 in D major (1795): 13Haydn Symphony No.67 in F major (1774): 6Haydn Symphony No.68 in B-flat major (1774): 8Haydn Symphony No.69 in C major (1775): 9Haydn Symphony No.70 in D major (1778): 9Haydn Symphony No.71 in B-flat major (1779): 6Haydn Symphony No.72 in D major (1763): 13Haydn Symphony No.73 in D major (1781): 10Haydn Symphony No.74 in E-flat major (1780): 6Haydn Symphony No.76 in E-flat major (1781): 6Haydn Symphony No.77 in B-flat major (1782): 6Haydn Symphony No.78 in C minor (1782): 6Haydn Symphony No.79 in F major (1784): 7Haydn Symphony No.80 in D minor (1784): 7Haydn Symphony No.81 in G major (1784): 7Haydn Symphony No.82 in C major (1786): 10Haydn Symphony No.83 in G minor (1785): 7Haydn Symphony No.84 in E-flat major (1786): 7Haydn Symphony No.85 in B-flat major (1785): 7Haydn Symphony No.86 in D major (1786): 10Haydn Symphony No.87 in A major (1785): 7Haydn Symphony No.88 in G major (1787): 10Haydn Symphony No.89 in F major (1787): 7Haydn Symphony No.90 in C major (1788): 10Haydn Symphony No.91 in E-flat major (1788): 7Haydn Symphony No.92 in G major (1789): 10Haydn Symphony No.93 in D major (1791): 11Haydn Symphony No.94 in G major (1791): 11Haydn Symphony No.95 in C minor (1791): 10Haydn Symphony No.96 in D major (1791): 11Haydn Symphony No.97 in C major (1792): 11Haydn Symphony No.98 in B-flat major (1792): 11Haydn Symphony No.99 in E-flat major (1793): 13Mahler Das Lied von der Erde (1908): 41Mahler Symphony No.1 (1884): 41Mahler Symphony No.10 (1910): 34Mahler Symphony No.2 (1888): 64Mahler Symphony No.3 (1896): 54Mahler Symphony No.4 (1900): 32Mahler Symphony No.5 (1902): 42Mahler Symphony No.6 (1903): 55Mahler Symphony No.7 (1904): 46Mahler Symphony No.8 (1906): 59Mahler Symphony No.9 (1909): 41Mozart Sinfonia concertante (1779): 4Mozart Sinfonia concertante (1779): 4Mozart Symphony No.10 (1770): 4Mozart Symphony No.11 (1770): 5Mozart Symphony No.12 (1771): 8Mozart Symphony No.13 (1771): 5Mozart Symphony No.14 (1771): 6Mozart Symphony No.15 (1772): 5Mozart Symphony No.1 (1764): 4Mozart Symphony No.4 (1765): 4Mozart Symphony No.5 (1765): 4Mozart Symphony No.6 (1767): 7Mozart Symphony No.7 (1768): 9Mozart Symphony No.8 (1768): 7Mozart Symphony No.9 (1769): 9Mozart Symphony in G major (1766): 4Mozart Symphony No.16 (1772): 4Mozart Symphony No.17 (1772): 4Mozart Symphony No.18 (1772): 6Mozart Symphony No.19 (1772): 6Mozart Symphony No.20 (1772): 7Mozart Symphony No.21 (1772): 5Mozart Symphony No.22 (1773): 6Mozart Symphony No.23 (1773): 6Mozart Symphony No.24 (1773): 6Mozart Symphony No.25 (1773): 8Mozart Symphony No.26 (1773): 10Mozart Symphony No.27 (1773): 4Mozart Symphony No.28 (1774): 6Mozart Symphony No.29 (1774): 4Mozart Symphony No.30 (1774): 6Mozart Symphony No.31 (1778): 13Mozart Symphony No.32 (1779): 13Mozart Symphony No.33 (1779): 6Mozart Symphony No.34 (1780): 11Mozart Symphony No.35 (1782): 13Mozart Symphony No.36 (1783): 9Mozart Symphony No.37 (Mozart) (1783): 5Mozart Symphony No.38 (1786): 11Mozart Symphony No.39 (1788): 10Mozart Symphony No.40 (1788): 9Mozart Symphony No.41 (1788): 10Mozart Symphony No.42 (1771): 4Mozart Symphony No.44 (1770): 5Mozart Symphony No.45 (1770): 7Mozart Symphony No.46 (1771): 8Mozart Symphony No.47 (1770): 8Mozart Symphony No.48 (1771): 9Mozart Symphony No.50 (1771): 9Mozart Symphony No.51 in D major (1774): 4Mozart Symphony No.52 (1775): 6Schubert Symphony No.1 (1813): 12Schubert Symphony No.2 (1814): 13Schubert Symphony No.3 (1815): 13Schubert Symphony No.4 (1816): 15Schubert Symphony No.5 (1816): 7Schubert Symphony No.6 (1817): 13Schubert Symphony No.8 (1822): 16Schubert Symphony No.9 (1825): 16Stravinsky Symphony in Three Movements (1942): 27Stravinsky Symphony in C major (1938): 21Stravinsky Symphony in E-flat major (1905): 25Stravinsky Symphony of Psalms (1930): 33Tchaikovsky Manfred (1885): 35Tchaikovsky Symphony No.1 (1866): 22Tchaikovsky Symphony No.2 (1872): 23Tchaikovsky Symphony No.3 (1875): 20Tchaikovsky Symphony No.4 (1877): 23Tchaikovsky Symphony No.5 (1888): 21Tchaikovsky Symphony No.6 (1893): 24Tchaikovsky Symphony in E-flat major (1889): 25
Show table (207)
ComposerWorkYearPartsDuration (min)
HaydnSymphony No.27 in G major1757614
HaydnSymphony No.32 in C major1757920
HaydnSymphony No.20 in C major1757918
HaydnSymphony No.37 in C major1757918
HaydnSymphony No.18 in G major1757615
HaydnSymphony No.1 in D major1759613
HaydnSymphony No.19 in D major1759614
HaydnSymphony No.10 in D major1760615
HaydnSymphony No.17 in F major1760620
HaydnSymphony No.25 in C major1760614
HaydnSymphony No.2176069
HaydnSymphony No.11 in E-flat major1761622
HaydnSymphony No.36 in E-flat major1761621
HaydnSymphony No.7 in C major1761826
HaydnSymphony No.8 in G major1761726
HaydnSymphony No.33 in C major1761922
HaydnSymphony No.6 in D major1761724
HaydnSymphony No.4 in D major1762615
HaydnSymphony No.9 in C major1762813
HaydnSymphony No.5 in A major1762618
HaydnSymphony No.3 in G major1762618
HaydnSymphony No.13 in D major17631023
HaydnSymphony No.12 in E major1763621
HaydnSymphony No.16 in B-flat major1763614
HaydnSymphony No.40 in F major1763618
HaydnSymphony No.72 in D major17631326
HaydnSymphony No.21 in A major1764617
HaydnSymphony No.14 in A major1764616
HaydnSymphony No.22 in E-flat major1764621
HaydnSymphony No.23 in G major1764620
HaydnSymphony No.24 in D major1764719
HaydnSymphony No.15 in D major1764619
MozartSymphony No.11764411
HaydnSymphony No.29 in E major1765623
HaydnSymphony No.39 in G minor1765821
HaydnSymphony No.31 in D major1765932
HaydnSymphony No.30 in C major1765715
HaydnSymphony No.34 in D minor1765624
MozartSymphony No.4176548
HaydnSymphony No.28 in A major1765623
MozartSymphony No.5176548
MozartSymphony in G major1766412
HaydnSymphony No.35 in B-flat major1767625
MozartSymphony No.61767713
HaydnSymphony No.58 in F major1767622
HaydnSymphony No.38 in C major1767920
HaydnSymphony No.41 in C major1768926
HaydnSymphony No.48 in C major1768830
HaydnSymphony No.49 in F minor1768525
MozartSymphony No.81768714
MozartSymphony No.71768910
HaydnSymphony No.59 in A major1768624
HaydnSymphony No.26 in D minor1768617
MozartSymphony No.91769912
HaydnSymphony No.65 in A major1769524
MozartSymphony No.101770410
MozartSymphony No.451770712
MozartSymphony No.471770811
MozartSymphony No.111770512
MozartSymphony No.441770510
HaydnSymphony No.43 in E-flat major1770525
HaydnSymphony No.52 in C minor1771523
MozartSymphony No.141771614
HaydnSymphony No.42 in D major1771530
MozartSymphony No.131771517
MozartSymphony No.121771813
MozartSymphony No.461771815
MozartSymphony No.4217714
MozartSymphony No.4817719
MozartSymphony No.5017719
HaydnSymphony No.44 in E minor1772524
HaydnSymphony No.47 in G major1772524
MozartSymphony No.161772414
MozartSymphony No.171772412
MozartSymphony No.151772514
MozartSymphony No.201772716
HaydnSymphony No.45 in F-sharp minor1772527
MozartSymphony No.191772616
MozartSymphony No.2117725
MozartSymphony No.181772613
HaydnSymphony No.46 in B major1772520
MozartSymphony No.26177310
MozartSymphony No.2317736
MozartSymphony No.2217736
MozartSymphony No.2417736
MozartSymphony No.2517738
HaydnSymphony No.64 in A major1773523
HaydnSymphony No.51 in B-flat major1773524
HaydnSymphony No.50 in C major1773818
MozartSymphony No.2717734
HaydnSymphony No.68 in B-flat major1774825
HaydnSymphony No.56 in C major1774836
MozartSymphony No.51 in D major17744
MozartSymphony No.2817746
MozartSymphony No.2917744
MozartSymphony No.3017746
HaydnSymphony No.54 in G major17741130
HaydnSymphony No.55 in E-flat major1774525
HaydnSymphony No.57 in D major1774632
HaydnSymphony No.67 in F major1774628
HaydnSymphony No.60 in C major1774830
HaydnSymphony No.66 in B-flat major1774620
MozartSymphony No.5217756
HaydnSymphony No.69 in C major1775925
HaydnSymphony No.61 in D major17761025
HaydnSymphony No.53 in D major1777925
HaydnSymphony No.63 in C major17771622
MozartSymphony No.31177813
HaydnSymphony No.70 in D major1778920
MozartSymphony No.32177913
HaydnSymphony No.71 in B-flat major1779633
MozartSinfonia concertante1779430
MozartSinfonia concertante17794
MozartSymphony No.3317796
MozartSymphony No.34178011
HaydnSymphony No.74 in E-flat major1780625
HaydnSymphony No.76 in E-flat major1781620
HaydnSymphony No.73 in D major17811024
HaydnSymphony No.77 in B-flat major1782620
MozartSymphony No.35178213
HaydnSymphony No.78 in C minor1782620
MozartSymphony No.3617839
MozartSymphony No.37 (Mozart)17835
HaydnSymphony No.81 in G major1784725
HaydnSymphony No.79 in F major1784725
HaydnSymphony No.80 in D minor1784720
HaydnSymphony No.85 in B-flat major1785722
HaydnSymphony No.87 in A major1785722
HaydnSymphony No.83 in G minor1785721
HaydnSymphony No.86 in D major17861027
HaydnSymphony No.82 in C major17861025
HaydnSymphony No.84 in E-flat major1786722
MozartSymphony No.3817861125
HaydnSymphony No.88 in G major17871022
HaydnSymphony No.89 in F major1787722
MozartSymphony No.3917881028
HaydnSymphony No.90 in C major17881025
MozartSymphony No.4017889
MozartSymphony No.41178810
HaydnSymphony No.91 in E-flat major1788725
HaydnSymphony No.92 in G major17891027
HaydnSymphony No.95 in C minor17911022
HaydnSymphony No.96 in D major17911120
HaydnSymphony No.93 in D major17911125
HaydnSymphony No.94 in G major17911124
HaydnSymphony No.97 in C major17921127
HaydnConcertante in B-flat major17921023
HaydnSymphony No.98 in B-flat major17921128
HaydnSymphony No.100 in G major17931625
HaydnSymphony No.99 in E-flat major17931330
HaydnSymphony No.101 in D major17941330
HaydnSymphony No.102 in B-flat major17941125
HaydnSymphony No.103 in E-flat major17951330
HaydnSymphony No. 104 in D major17951327
BeethovenSymphony No.1 in C major17991325
BeethovenSymphony No.218001330
BeethovenSymphony No.318031445
BeethovenSymphony No.518041830
BeethovenSymphony No.418061230
BeethovenSymphony No.618081640
BeethovenSymphony No.718111338
BeethovenSymphony No.818121325
SchubertSymphony No.118131230
SchubertSymphony No.218141335
SchubertSymphony No.318151320
SchubertSymphony No.418161531
SchubertSymphony No.51816730
SchubertSymphony No.618171332
BeethovenSymphony No.918222365
SchubertSymphony No.818221625
SchubertSymphony No.918251660
BrahmsSymphony No.118621945
DvorakSymphony No.218651950
DvorakSymphony No.118652050
TchaikovskySymphony No.118662245
TchaikovskySymphony No.218722340
DvorakSymphony No.318732335
DvorakSymphony No.418742340
DvorakSymphony No.518752240
TchaikovskySymphony No.318752045
TchaikovskySymphony No.418772342
BrahmsSymphony No.218771945
DvorakSymphony No.618802043
BrahmsSymphony No.318831935
DvorakSymphony No.718841937
BrahmsSymphony No.418842140
MahlerSymphony No.118844155
TchaikovskyManfred18853554
TchaikovskySymphony No.518882146
MahlerSymphony No.218886490
TchaikovskySymphony in E-flat major18892537
DvorakSymphony No.818892136
DvorakSymphony No.918932340
TchaikovskySymphony No.618932446
MahlerSymphony No.3189654100
MahlerSymphony No.4190032
MahlerSymphony No.5190242
MahlerSymphony No.619035580
MahlerSymphony No.719044680
StravinskySymphony in E-flat major19052540
MahlerSymphony No.819065985
MahlerDas Lied von der Erde190841
MahlerSymphony No.919094185
MahlerSymphony No.1019103475
StravinskySymphony of Psalms19303322
StravinskySymphony in C major19382130
StravinskySymphony in Three Movements194227

5. Tempo markings — which tempo words the movement lists carry

From the movement lists of the IMSLP Symphonies category (organ symphonies, multi-symphony pages and list pages excluded), the first tempo word on each line that is in the site's dictionary (Adagio, Allegro, Vivo …, German and French words included), grouped into six classes. This is the make-up of written markings, not performed speed (bpm). A movement with a slow introduction is classed by the introduction; pages listing two versions contribute both. 25-year bins with at least 20 recognized lines and a recognition rate (lines with a tempo word / listed lines) of at least 60%.

SlowModerately slowModerateModerately fastFastVery fast
0%25%50%75%100%1750–1774 · slow: 12% (405)1750–1774 · moderately slow: 22% (405)1750–1774 · moderate: 0% (405)1750–1774 · moderately fast: 4% (405)1750–1774 · fast: 43% (405)1750–1774 · very fast: 18% (405)17501775–1799 · slow: 23% (367)1775–1799 · moderately slow: 19% (367)1775–1799 · moderate: 1% (367)1775–1799 · moderately fast: 8% (367)1775–1799 · fast: 39% (367)1775–1799 · very fast: 10% (367)17751800–1824 · slow: 23% (161)1800–1824 · moderately slow: 17% (161)1800–1824 · moderate: 1% (161)1800–1824 · moderately fast: 6% (161)1800–1824 · fast: 45% (161)1800–1824 · very fast: 8% (161)18001825–1849 · slow: 25% (120)1825–1849 · moderately slow: 21% (120)1825–1849 · moderate: 4% (120)1825–1849 · moderately fast: 4% (120)1825–1849 · fast: 41% (120)1825–1849 · very fast: 5% (120)18251850–1874 · slow: 19% (266)1850–1874 · moderately slow: 18% (266)1850–1874 · moderate: 3% (266)1850–1874 · moderately fast: 6% (266)1850–1874 · fast: 47% (266)1850–1874 · very fast: 7% (266)18501875–1899 · slow: 19% (400)1875–1899 · moderately slow: 20% (400)1875–1899 · moderate: 4% (400)1875–1899 · moderately fast: 5% (400)1875–1899 · fast: 48% (400)1875–1899 · very fast: 4% (400)18751900–1924 · slow: 28% (432)1900–1924 · moderately slow: 15% (432)1900–1924 · moderate: 6% (432)1900–1924 · moderately fast: 4% (432)1900–1924 · fast: 41% (432)1900–1924 · very fast: 5% (432)19001925–1949 · slow: 26% (324)1925–1949 · moderately slow: 16% (324)1925–1949 · moderate: 11% (324)1925–1949 · moderately fast: 5% (324)1925–1949 · fast: 38% (324)1925–1949 · very fast: 3% (324)19251950–1974 · slow: 23% (193)1950–1974 · moderately slow: 21% (193)1950–1974 · moderate: 10% (193)1950–1974 · moderately fast: 7% (193)1950–1974 · fast: 34% (193)1950–1974 · very fast: 5% (193)1950

Share of non-Italian tempo words

Tempo words in the vernacular (Langsam, Lebhaft, Modéré, Slowly …) as a share of lines with a recognized tempo word.

0%5%10%15%176018001840188019201750: 0%1775: 0%1800: 0%1825: 3%1850: 7%1875: 8%1900: 14%1925: 4%1950: 10%
Show table (12)
25-year binSymphoniesListed linesRecognized linesRecognitionNon-Italian
175013349040583%0.2%
177511243836784%0.0%
18004718116189%0.0%
18252914412083%3.3%
18506429826689%7.1%
187511146740086%7.8%
190012855743278%14.4%
19259739532482%4.0%
19506124919378%9.8%
197511572849%0.0%
20003731811336%8.8%
20258562239%13.6%

6. Instrument use — instruments named in symphony instrumentation

Of the 3,140 pages in the IMSLP Symphonies category, the 700 single orchestral symphonies with both a composition year and instrumentation details (bins with at least 20 only). More than 70% of pages have no detail, so this is not a probability sample of all symphonies. Each cell is the share (%) of that bin's symphonies whose instrumentation names the instrument — optional and doubling instruments count as named; it does not show actual use or first introduction. Rows are roughly ordered by the first bin in which the share exceeds one half.

1750177518001825185018751900192519502000harpsichord / continuoharpsichord / continuo · 1750–1774: 48% (n=115)48harpsichord / continuo · 1775–1799: 2% (n=83)harpsichord / continuo · 1800–1824: 0% (n=27)harpsichord / continuo · 1825–1849: 0% (n=30)harpsichord / continuo · 1850–1874: 0% (n=54)harpsichord / continuo · 1875–1899: 0% (n=93)harpsichord / continuo · 1900–1924: 0% (n=108)harpsichord / continuo · 1925–1949: 0% (n=83)harpsichord / continuo · 1950–1974: 0% (n=43)harpsichord / continuo · 2000–2024: 2% (n=64)oboeoboe · 1750–1774: 96% (n=115)96oboe · 1775–1799: 92% (n=83)92oboe · 1800–1824: 100% (n=27)100oboe · 1825–1849: 100% (n=30)100oboe · 1850–1874: 100% (n=54)100oboe · 1875–1899: 99% (n=93)99oboe · 1900–1924: 99% (n=108)99oboe · 1925–1949: 98% (n=83)98oboe · 1950–1974: 100% (n=43)100oboe · 2000–2024: 98% (n=64)98hornhorn · 1750–1774: 98% (n=115)98horn · 1775–1799: 100% (n=83)100horn · 1800–1824: 100% (n=27)100horn · 1825–1849: 100% (n=30)100horn · 1850–1874: 100% (n=54)100horn · 1875–1899: 100% (n=93)100horn · 1900–1924: 100% (n=108)100horn · 1925–1949: 100% (n=83)100horn · 1950–1974: 95% (n=43)95horn · 2000–2024: 97% (n=64)97bassoonbassoon · 1750–1774: 70% (n=115)70bassoon · 1775–1799: 78% (n=83)78bassoon · 1800–1824: 100% (n=27)100bassoon · 1825–1849: 100% (n=30)100bassoon · 1850–1874: 100% (n=54)100bassoon · 1875–1899: 98% (n=93)98bassoon · 1900–1924: 100% (n=108)100bassoon · 1925–1949: 99% (n=83)99bassoon · 1950–1974: 100% (n=43)100bassoon · 2000–2024: 95% (n=64)95fluteflute · 1750–1774: 23% (n=115)23flute · 1775–1799: 71% (n=83)71flute · 1800–1824: 100% (n=27)100flute · 1825–1849: 100% (n=30)100flute · 1850–1874: 100% (n=54)100flute · 1875–1899: 99% (n=93)99flute · 1900–1924: 100% (n=108)100flute · 1925–1949: 99% (n=83)99flute · 1950–1974: 100% (n=43)100flute · 2000–2024: 100% (n=64)100trumpettrumpet · 1750–1774: 25% (n=115)25trumpet · 1775–1799: 52% (n=83)52trumpet · 1800–1824: 93% (n=27)93trumpet · 1825–1849: 93% (n=30)93trumpet · 1850–1874: 100% (n=54)100trumpet · 1875–1899: 99% (n=93)99trumpet · 1900–1924: 98% (n=108)98trumpet · 1925–1949: 98% (n=83)98trumpet · 1950–1974: 98% (n=43)98trumpet · 2000–2024: 92% (n=64)92timpanitimpani · 1750–1774: 20% (n=115)20timpani · 1775–1799: 49% (n=83)49timpani · 1800–1824: 89% (n=27)89timpani · 1825–1849: 100% (n=30)100timpani · 1850–1874: 100% (n=54)100timpani · 1875–1899: 99% (n=93)99timpani · 1900–1924: 93% (n=108)93timpani · 1925–1949: 93% (n=83)93timpani · 1950–1974: 86% (n=43)86timpani · 2000–2024: 78% (n=64)78clarinetclarinet · 1750–1774: 2% (n=115)clarinet · 1775–1799: 17% (n=83)17clarinet · 1800–1824: 85% (n=27)85clarinet · 1825–1849: 100% (n=30)100clarinet · 1850–1874: 100% (n=54)100clarinet · 1875–1899: 99% (n=93)99clarinet · 1900–1924: 100% (n=108)100clarinet · 1925–1949: 99% (n=83)99clarinet · 1950–1974: 100% (n=43)100clarinet · 2000–2024: 94% (n=64)94piccolopiccolo · 1750–1774: 0% (n=115)piccolo · 1775–1799: 5% (n=83)piccolo · 1800–1824: 11% (n=27)11piccolo · 1825–1849: 23% (n=30)23piccolo · 1850–1874: 48% (n=54)48piccolo · 1875–1899: 57% (n=93)57piccolo · 1900–1924: 81% (n=108)81piccolo · 1925–1949: 81% (n=83)81piccolo · 1950–1974: 88% (n=43)88piccolo · 2000–2024: 55% (n=64)55trombonetrombone · 1750–1774: 0% (n=115)trombone · 1775–1799: 2% (n=83)trombone · 1800–1824: 26% (n=27)26trombone · 1825–1849: 80% (n=30)80trombone · 1850–1874: 83% (n=54)83trombone · 1875–1899: 99% (n=93)99trombone · 1900–1924: 95% (n=108)95trombone · 1925–1949: 93% (n=83)93trombone · 1950–1974: 95% (n=43)95trombone · 2000–2024: 81% (n=64)81contrabassooncontrabassoon · 1750–1774: 0% (n=115)contrabassoon · 1775–1799: 0% (n=83)contrabassoon · 1800–1824: 7% (n=27)7contrabassoon · 1825–1849: 13% (n=30)13contrabassoon · 1850–1874: 2% (n=54)contrabassoon · 1875–1899: 14% (n=93)14contrabassoon · 1900–1924: 56% (n=108)56contrabassoon · 1925–1949: 60% (n=83)60contrabassoon · 1950–1974: 60% (n=43)60contrabassoon · 2000–2024: 34% (n=64)34English hornEnglish horn · 1750–1774: 1% (n=115)English horn · 1775–1799: 0% (n=83)English horn · 1800–1824: 0% (n=27)English horn · 1825–1849: 10% (n=30)10English horn · 1850–1874: 19% (n=54)19English horn · 1875–1899: 28% (n=93)28English horn · 1900–1924: 67% (n=108)67English horn · 1925–1949: 64% (n=83)64English horn · 1950–1974: 72% (n=43)72English horn · 2000–2024: 36% (n=64)36other percussionother percussion · 1750–1774: 0% (n=115)other percussion · 1775–1799: 2% (n=83)other percussion · 1800–1824: 7% (n=27)7other percussion · 1825–1849: 20% (n=30)20other percussion · 1850–1874: 33% (n=54)33other percussion · 1875–1899: 54% (n=93)54other percussion · 1900–1924: 79% (n=108)79other percussion · 1925–1949: 83% (n=83)83other percussion · 1950–1974: 91% (n=43)91other percussion · 2000–2024: 64% (n=64)64harpharp · 1750–1774: 0% (n=115)harp · 1775–1799: 0% (n=83)harp · 1800–1824: 0% (n=27)harp · 1825–1849: 13% (n=30)13harp · 1850–1874: 22% (n=54)22harp · 1875–1899: 28% (n=93)28harp · 1900–1924: 62% (n=108)62harp · 1925–1949: 59% (n=83)59harp · 1950–1974: 63% (n=43)63harp · 2000–2024: 41% (n=64)41tubatuba · 1750–1774: 0% (n=115)tuba · 1775–1799: 0% (n=83)tuba · 1800–1824: 0% (n=27)tuba · 1825–1849: 7% (n=30)7tuba · 1850–1874: 26% (n=54)26tuba · 1875–1899: 62% (n=93)62tuba · 1900–1924: 81% (n=108)81tuba · 1925–1949: 86% (n=83)86tuba · 1950–1974: 91% (n=43)91tuba · 2000–2024: 61% (n=64)61bass clarinetbass clarinet · 1750–1774: 0% (n=115)bass clarinet · 1775–1799: 0% (n=83)bass clarinet · 1800–1824: 0% (n=27)bass clarinet · 1825–1849: 3% (n=30)bass clarinet · 1850–1874: 4% (n=54)bass clarinet · 1875–1899: 16% (n=93)16bass clarinet · 1900–1924: 65% (n=108)65bass clarinet · 1925–1949: 53% (n=83)53bass clarinet · 1950–1974: 65% (n=43)65bass clarinet · 2000–2024: 33% (n=64)33celestacelesta · 1750–1774: 0% (n=115)celesta · 1775–1799: 0% (n=83)celesta · 1800–1824: 0% (n=27)celesta · 1825–1849: 0% (n=30)celesta · 1850–1874: 0% (n=54)celesta · 1875–1899: 0% (n=93)celesta · 1900–1924: 32% (n=108)32celesta · 1925–1949: 24% (n=83)24celesta · 1950–1974: 33% (n=43)33celesta · 2000–2024: 16% (n=64)16pianopiano · 1750–1774: 0% (n=115)piano · 1775–1799: 0% (n=83)piano · 1800–1824: 0% (n=27)piano · 1825–1849: 3% (n=30)piano · 1850–1874: 2% (n=54)piano · 1875–1899: 1% (n=93)piano · 1900–1924: 13% (n=108)13piano · 1925–1949: 25% (n=83)25piano · 1950–1974: 16% (n=43)16piano · 2000–2024: 14% (n=64)14organorgan · 1750–1774: 0% (n=115)organ · 1775–1799: 0% (n=83)organ · 1800–1824: 0% (n=27)organ · 1825–1849: 3% (n=30)organ · 1850–1874: 2% (n=54)organ · 1875–1899: 3% (n=93)organ · 1900–1924: 14% (n=108)14organ · 1925–1949: 6% (n=83)6organ · 1950–1974: 5% (n=43)organ · 2000–2024: 6% (n=64)6saxophonesaxophone · 1750–1774: 0% (n=115)saxophone · 1775–1799: 0% (n=83)saxophone · 1800–1824: 0% (n=27)saxophone · 1825–1849: 0% (n=30)saxophone · 1850–1874: 0% (n=54)saxophone · 1875–1899: 1% (n=93)saxophone · 1900–1924: 3% (n=108)saxophone · 1925–1949: 8% (n=83)8saxophone · 1950–1974: 12% (n=43)12saxophone · 2000–2024: 3% (n=64)
Show table (20)
Instrument1750177518001825185018751900192519502000
harpsichord / continuo48%2%0%0%0%0%0%0%0%2%
oboe96%92%100%100%100%99%99%98%100%98%
horn98%100%100%100%100%100%100%100%95%97%
bassoon70%78%100%100%100%98%100%99%100%95%
flute23%71%100%100%100%99%100%99%100%100%
trumpet25%52%93%93%100%99%98%98%98%92%
timpani20%49%89%100%100%99%93%93%86%78%
clarinet2%17%85%100%100%99%100%99%100%94%
piccolo0%5%11%23%48%57%81%81%88%55%
trombone0%2%26%80%83%99%95%93%95%81%
contrabassoon0%0%7%13%2%14%56%60%60%34%
English horn1%0%0%10%19%28%67%64%72%36%
other percussion0%2%7%20%33%54%79%83%91%64%
harp0%0%0%13%22%28%62%59%63%41%
tuba0%0%0%7%26%62%81%86%91%61%
bass clarinet0%0%0%3%4%16%65%53%65%33%
celesta0%0%0%0%0%0%32%24%33%16%
piano0%0%0%3%2%1%13%25%16%14%
organ0%0%0%3%2%3%14%6%5%6%
saxophone0%0%0%0%0%1%3%8%12%3%

7. The pitch of a′, 1361 to the 1880s

A. J. Ellis's table of historical pitches (Helmholtz, On the Sensations of Tone, tr. Ellis, 3rd ed. 1895, Appendix XX, Section H, Table I, pp. 495–504 — public domain), transcribed from the page images and checked line by line against the 2nd edition of 1885: 235 of 242 rows have a date. Each dot is one a′ record collected by Ellis. Most were measured from a fork, organ pipe or instrument, but some are computed from surviving pipes or from documents, and some are proposed or adopted standards (for example the Society of Arts' unexecuted standard of 1860 and the pitch adopted by the London Inventions and Music Exhibition of 1885). The horizontal axis is the date given in the table, which is not always the year of measurement: some organs carry the year they were built (the value for the Halberstadt organ of 1361 is Ellis's calculation from a model built to the pipe dimensions given by Praetorius), and periods such as 1740–1812 are plotted at their first year. Faint dots have dates given as before / after / about, or as a period. The black line is the median per 25-year bin (bins with five or more points); it weights records of different places, instruments and methods equally, and because it joins across sparse bins, a line passing through a year does not mean there are records for that year. Colors are a rough grouping by use, from words in the description. A maker's trade (organ-builder) is not treated as a use, and an opera, orchestra or band use takes precedence over the word 'organ' unless a church building is named. Some records belong to both, such as an organ in an opera house, so the colors are not suited to comparing uses across periods. Pitches of the same period differ by more than 100 Hz depending on place and use. This is the spread of the measured sample, not each era's 'standard'. The table ends in the 1880s.

Church / organ (78)Opera / orchestra / theater / band (86)Other (forks, instruments) (71)
380420460500540580440 Hz13501400145015001550160016501700175018001850frequency of a′ (Hz)1648 · Paris: a′ 373.7 Hz — Paris, from a model after Mersenne (E.)1700a · Lille: a′ 374.2 Hz — Lille, organ of l'Hospice Comtesse (Delezenne)1766 · Paris: a′ 376.6 Hz — Paris, from a model after Bédos (E.)1511 · Heidelberg: a′ 377 Hz — Heidelberg, from a model after Arnold Schlick (see 535 cents) (E.)1700c · Lille: a′ 384.3 Hz — Lille, old fork found 1854a by M. Mazingue (Delezenne)1851 · Lille: a′ 384.6 Hz — Lille, organ of St. Sauveur, rebuilt, with old pitch (Delezenne)1739 · St. Petersburg: a′ 392.2 Hz — St. Petersburg, a clavichord according to Marpurg, but Euler gives no particulars (Euler)1713 · Strassburg Minster: a′ 393.2 Hz — Strassburg Minster, great organ by A. Silbermann (Stockhausen & E.)1759 · Cambridge: a′ 395.2 Hz — Cambridge, Bernhardt Schmidt's organ at Trinity College, 1708, after being new voiced and 'shifted' in 1759 (Dr. R. Smith)1720 · Rome: a′ 395.2 Hz — Rome, pitch-pipes observed by Dr. R. Smith (Dr. R. Smith)1789 · France, Versailles: a′ 395.8 Hz — France, Versailles, copy of fork No. 410 at the Musée du Conservatoire, Paris, compared with the original by C (McLeod & E.)1615 · Palatinate of the Rhine: a′ 396.4 Hz — Palatinate of the Rhine, from a model of pipe described by Salomon de Caus (E.)1854a · Lille: a′ 398.7 Hz — Lille, old organ of La Madeleine restored (Delezenne)1648 · Paris: a′ 402.9 Hz — Paris, Mersenne's Spinet, from his statement that B♮ = Bédos's 4-foot c (see 31 cents) (E.)1730 · Padua: a′ 403.9 Hz — Padua, from copy sent by Prof. Rossetti of the old lower f″ fork of the bellfoundry of Colbacchini (E.)1704 · Paris: a′ 406.6 Hz — Paris, result of several experiments on an e pipe (Sauveur)1854 · Lille: a′ 407.3 Hz — Lille, organ of St. Maurice repaired, old pitch kept (Delezenne)1762 · Hamburg: a′ 407.9 Hz — Hamburg, organ of St. Michaelis Kirche, built by Hildebrand of Dresden, under the direction of Handel's friend (Schmahl & E.)1783 · Paris: a′ 409 Hz — Paris, Court clavecins, fork of Pascal Taskin, their tuner (Lissajous)1688 · Hamburg: a′ 411.4 Hz — Hamburg, chamber pitch on the former 8-foot Gedact of the St. Jacobi organ (see 484 cents) (Schmahl & E.)1776 · Breslau: a′ 414.4 Hz — Breslau, clavichords (Marpurg)1754 · Dresden: a′ 415 Hz — Dresden, organ of the Roman Catholic Church by Gottfried Silbermann, pitch of the chained fork placed there by (E.)1722 · Dresden: a′ 415.5 Hz — Dresden, organ of St. Sophie, built by G. Silbermann (Naeke)1780 · St. Petersburg: a′ 418 Hz — St. Petersburg, organs; no particulars (Euler)1878 · Dresden: a′ 418.1 Hz — Dresden, present pitch of the organ of the Roman Catholic Church, from a fork tuned for me there (E.)1700c · London: a′ 419 Hz — London, Renatus Harris's organ at St. John's, Clerkenwell (E.)1714 · Freiberg, Saxony: a′ 419.5 Hz — Freiberg, Saxony, G. Silbermann's organ (Naeke)1858 · Madrid: a′ 419.6 Hz — Madrid, ton de chapelle, calculated (de la Fage)1785 · Seville, Spain: a′ 419.6 Hz — Seville, Spain, pitch of the old organ of Torje Bosch, from a fork said by the organist Don Yñiguez to be in e (E.)1715c · England: a′ 419.9 Hz — England, rude tenor a fork, belonging to Rev. G. T. Driffield, who held it to have been made by John Shore, th (E.)1780 · Winchester College: a′ 420.1 Hz — Winchester College organ, from one of the pipes added by Green when repairing R. Harris's organ of 1681 (E.)1860 · Russian Imperial Court: a′ 421.2 Hz — Russian Imperial Court church band from fork lent by Frau Naeke (E.)1780 · Vienna: a′ 421.3 Hz — Vienna, fork of the Saxon organ-builder Schulze, who lived at Vienna in Mozart's time (Naeke)1780 · Vienna: a′ 421.6 Hz — Vienna, copy of fork of Stein, who made Mozart's clavichords and pianos, lent me by Frau Naeke (Naeke & E.)1780 · Dresden: a′ 422.3 Hz — Dresden, fork of former Court organist Kirsten (Naeke)1780c · Verona: a′ 422.3 Hz — Verona, from a copy of a c′ fork believed to be the Roman pitch of 1780, preserved at the bell-foundry of Cave (E.)1751 · England: a′ 422.5 Hz — England, Handel's fork belonging to Rev. G. T. Driffield. The organ at Cannons in the private chapel of the Du (E.)1820a · Westminster Abbey: a′ 422.5 Hz — Westminster Abbey, as originally tuned by Schreider and Jordans, from indications by Mr. T. Hill, who retuned (E.)1838 · Bath Abbey Church: a′ 422.5 Hz — Bath Abbey Church, as rebuilt by Smith of Bristol, from indications by Mr. T. Hill (E.)1877p · England: a′ 422.5 Hz — England, Mr. J. Curwen's Tonic Solfa standard c″507, using the just a′ only (E.)1790a · Kew Parish Church: a′ 422.6 Hz — Kew Parish Church, Green's organ, untouched and in meantone temperament when measured in 1878, built as a cham (E.)1754c · Lille: a′ 422.6 Hz — Lille, very old fork found in workshops of M. François, musical instrument maker there (Delezenne)1780c · Padua: a′ 422.6 Hz — Padua, from copy of the higher f″ fork of the bell-foundry of Colbacchini (see 152 cents) (E.)1800c · England: a′ 422.7 Hz — England, from old fork, c″505·7, belonging to Messrs. Broadwoods (E.)1820 · Paris: a′ 423 Hz — Paris, Théâtre Feydeau, Opéra Comique, from copy of fork at the Conservatoire, Paris, compared with the origin (McLeod and E.)1778 · London: a′ 423.2 Hz — London, Green's organ at St. Katherine's, Regent's Park, still (when I measured it) in meantone temperament (s (E.)1815-1821 · Dresden: a′ 423.2 Hz — Dresden, band of the Opera while C. M. von Weber (1786-1826) was conductor (Kapellmeister) (E.)1813 · London: a′ 423.3 Hz — London, second copy of Peppercorn's fork by which the pianofortes of the Philharmonic Society were originally (E.)1813 · London: a′ 423.7 Hz — London, first copy of Peppercorn's fork made before 1860, belonging to Mr. Hipkins; see last entry, the origin (E.)1740-1812 · Eutin (18 miles N. of Lübeck): a′ 424.1 Hz — Eutin (18 miles N. of Lübeck), fork of Franz Anton von Weber, father of Carl Maria von Weber (Naeke)1619 · Brunswick: a′ 424.2 Hz — Brunswick, from a model made from Prætorius's drawing of an organ pipe at a 'suitable' church pitch (E.)1823 · Paris: a′ 424.2 Hz — Paris, Italian Opera, mean of twenty measurements of a fork given by Spontini (Fischer)1750a · London: a′ 424.3 Hz — London, old forks formerly belonging to Prof. Faraday, lent me by Mr. D. J. Blaikley (E.)1749 · London: a′ 424.3 Hz — London, organ at All Hallows the Great and Less, Upper Thames Street, built by Glyn & Parker, by whom Handel's (E.)1833 · Weimar: a′ 424.4 Hz — Weimar, from a model of Töpfer's wide principal c″-pipe (E.)1800c · England: a′ 424.6 Hz — England, old fork said to have been used in Plymouth Theatre, lent me by Dr. Stainer (E.)1805 · London: a′ 424.9 Hz — London, old D fork of Elliott's, by which he tuned the organ built for the Ancient Concerts at the Hanover Squ (E.)1800c · Germany: a′ 424.9 Hz — Germany, fork of the bassoonist Kummer (Naeke)1730c-1780c · Padua: a′ 425.2 Hz — Padua, mean of two ancient pitch-pipes belonging to the bellfoundry of Colbacchini, lent me at the request of (E.)1829 · Paris: a′ 425.5 Hz — Paris, pitch of opera piano as distinct from the orchestra, verified by Monneron for de la Fage (Lissajous)1740-1780 · England: a′ 425.6 Hz — England, Schnetzler's organ at the German Chapel Royal, St. James's Palace (E.)1764 · Halifax: a′ 425.6 Hz — Halifax, Schnetzler's organ, from indications by Mr. T. Hill (E.)1824 · Paris: a′ 425.8 Hz — Paris, pitch of opera, suddenly lowered on 31 March for Mme. Branchu, whose voice was failing. The piano for r (Lissajous)1839 · Bologna, Italy: a′ 425.8 Hz — Bologna, Italy, pitch of fork of Tadolini, the best tuner in the town (de la Fage)1740 · Great Yarmouth: a′ 425.9 Hz — Great Yarmouth, St. George's Chapel, by Byfield, Jordan & Bridge (Tunbridge & E.)1843 · Wimbledon Church: a′ 426.5 Hz — Wimbledon Church, organ built by Messrs. Walker (E.)1811 · Paris: a′ 427 Hz — Paris, Grand Opera (Scheibler)1878a · Norwich Cathedral: a′ 427.2 Hz — Norwich Cathedral organ before it was altered by Bryceson, supposed to be by R. Harris (E.)1877a · : a′ 427.5 Hz — Tonic Solfa pitch to 1877, afterwards 422·5 (E.)1823 · Paris: a′ 427.6 Hz — Paris, Théâtre Feydeau, fork given by Spontini (Fischer)1696 · London: a′ 427.7 Hz — London, old organ built by R. Harris, a pipe of St. Andrew Undershaft, from Green's Organ, preserved by Mr. T. (E.)178 8 · St. George's Chapel, Windsor: a′ 427.8 Hz — St. George's Chapel, Windsor, measured in Feb. 1880, while still in meantone temperament (E.)1670 · Newcastle-on-Tyne: a′ 428.7 Hz — Newcastle-on-Tyne, St. Nicholas Church organ built by Renatus Harris, frequently altered except in pitch (Ions)1810c · Paris: a′ 430 Hz — Paris, Fork of M. Lemoine, a celebrated amateur (Lissajous)1701 · Fullham Parish Church: a′ 430.4 Hz — Fullham Parish Church organ, built by Jordans. This pitch was officially adopted in Italy in 1884 as the pitch (E.)1625 · Lavenham (16½ miles W.N.W. of Ipswich): a′ 431.3 Hz — Lavenham (16½ miles W.N.W. of Ipswich), from a famous old tenor bell sounding d288·4 (Lewis)1826 · Paris: a′ 431.7 Hz — Paris, Grand Opera, fork given by Spontini (Fischer)1854a · Lille: a′ 432.2 Hz — Lille, organ of St. André repaired (Delezenne)1846c · England: a′ 432.3 Hz — England, old fork which belonged to the father of Messrs. Bryceson, organ-builders, and had not been tuned sin (E.)1820c · London: a′ 433 Hz — London, fork approved of by Sir George Smart, conductor of the Philharmonic Concerts, in possession of Mr. Hip (E.)1828 · London: a′ 433.2 Hz — London, Sir G. Smart's own Philharmonic fork. Sir G. Smart considered this a′ fork of his to agree with c″518 (E.)1847 · Shrewsbury: a′ 433.6 Hz — Shrewsbury, St. Mary's, built 1729, by John Harris and John Byfield, pitch altered in 1847 by Gray & Davison (Byolin & E.)1834 · Vienna: a′ 433.9 Hz — Vienna, fork I., Delezenne's Vienna minimum (Scheibler)1829 · Paris: a′ 434 Hz — Paris, opera, verified by M. Montal, after the opera had recovered its pitch, the opera piano remaining at a′4 (Cagniard de la Tour)1834c · Paris Opera: a′ 434 Hz — Paris Opera, fork by Petitbout, luthier de l'opéra (Scheibler)1818 · Paris: a′ 434.3 Hz — Paris, Chapelle des Tuileries, from a copy compared by Cavaillé-Coll of fork No. 493 in the Conservatoire (McLeod & E)1869 · Baden: a′ 434.5 Hz — Baden, fork sent officially to Society of Arts (E.)1826 · Dresden: a′ 435 Hz — Dresden, opera, fork of Kapellmeister Reissiger, successor to C. M. von Weber. Naeke considers this to have be (Naeke)1859 · Carlsruhe: a′ 435 Hz — Carlsruhe, opera, the fork which determined the French Diapason Normal (Fr. Com.)1834a · Paris: a′ 435.2 Hz — Paris, Conservatoire, fork made by Gand, luthier du Conservatoire (Scheibler)1859 · Paris: a′ 435.4 Hz — Paris, the Diapason Normal in the Conservatoire, used extensively in Germany, officially adopted for the Belgi (Koenig & E)1868 · U. S. America: a′ 435.9 Hz — U. S. America, E. S. Ritchie's standard pitch (Cross & Miller)1802 · St. Petersburg: a′ 436 Hz — St. Petersburg, five-foot organ pipes (Sarti)1846p · London: a′ 436 Hz — London, 'Philharmonic,' from Mr. Hipkins's vocal pitch, c″518·5, which for equal temperament gives a′436, but (E.)1878 · London: a′ 436 Hz — London, Messrs. Bishop's standard for church organs (E.)1878 · London: a′ 436.1 Hz — London, fork to which Messrs. Bryceson tuned the organ at Her Majesty's Theatre (E.)1834c · Vienna: a′ 436.5 Hz — Vienna, opera, fork II. (Scheibler)1845 · Florence: a′ 436.7 Hz — Florence, fork lent by M. Marloye (Delezenne)1740-1780 · Dublin: a′ 436.8 Hz — Dublin, Green's organ in the Refectory of Trinity College, probably sharpened (E.)1869 · Würtemberg: a′ 436.9 Hz — Würtemberg, fork sent officially to the Society of Arts (E.)1859 · Toulouse: a′ 437 Hz — Toulouse, Conservatoire (Fr. Com.)1666 · Worcester: a′ 437.1 Hz — *Worcester, cathedral organ built by Thomas and Renatus Harris, from a pipe at Mr. T. Hill's (E.)1872 · Berlin: a′ 437.3 Hz — Berlin, from a fork furnished by Pichler, who tuned the piano of the opera (Fischer)1854a · Paris: a′ 437.4 Hz — Paris, opera, from four forks purchased before 1854, and found to be in unison (Delezenne)1744 · Maidstone: a′ 437.4 Hz — *Maidstone, Old Parish Church, built by Jordans, altered, but not in pitch, in 1878 in meantone temperament (Streatfield & E.)1862 · Dresden: a′ 437.8 Hz — Dresden, fork given by the direction of the Court Theatre to its librarian, Herr Moritz Fürstenau, after the c (E.)1696 · Boston, England: a′ 438.9 Hz — *Boston, England, organ built by Christian Smith, from a pipe preserved by Mr. T. Hill (E.)1834c · Vienna: a′ 439.4 Hz — Vienna, opera, fork III. (Scheibler)1878 · Dresden: a′ 439.4 Hz — Dresden, opera pitch at date, from a fork specially prepared for me by the Court organ-builder, Jehmlich, and (E.)1812 · Paris: a′ 439.5 Hz — Paris, Conservatoire, from copy of a fork preserved there, verified by Cavaillé-Coll (McLeod & E.)1855 · England, Barking, Essex: a′ 439.5 Hz — England, Barking, Essex, Parish Church organ (probably originally a′474·1), built by Byfield & Green, 1770, af (E.)1845 · Turin: a′ 439.9 Hz — Turin, fork lent by Marloye (Delezenne)1829 · Paris: a′ 440 Hz — Paris, opera orchestra, verified by Monneron for de la Fage (Lissajous)1878 · London: a′ 440 Hz — London, Messrs. Gray & Davison's standard pipe (E.)1834 · Stuttgart: a′ 440.2 Hz — Stuttgart pitch, =440 at 69° F., Lissajous measured it, as 440·3 to French Diapason Normal, reckoned as 435, w (Scheibler)1879 · London: a′ 440.2 Hz — London, Messrs. Walker & Sons' standard pipe (E.)1834c · Vienna Opera: a′ 440.3 Hz — Vienna Opera, fork IV. (Scheibler)1878 · London: a′ 440.5 Hz — London, Messrs. Bevington's standard pipe (E.)1834c · Paris Conservatoire: a′ 440.9 Hz — Paris Conservatoire, not trusted so much by Scheibler as 435·2 (Scheibler)1836-1839 · Paris Opera: a′ 441 Hz — Paris Opera, fork of M. Leibner, who kept the pianos to pitch of orchestra, verified by Meyerbeer (Delezenne)1836 · Paris: a′ 441 Hz — Paris, Opéra Comique (Cagniard de la Tour)1859 · Dresden: a′ 441 Hz — Dresden, fork sent to Fr. Com. by the Kapellmeister Reissiger (Fr. Com.)1879 · London: a′ 441 Hz — London, church organ pitch of Messrs. Lewis & Co. (E.)1834 · Vienna Opera: a′ 441.1 Hz — Vienna Opera, fork V., given by Prof. Blahetka as trustworthy; in 1879 this fork was found and lent to me, and (Scheibler)1878 · London: a′ 441.2 Hz — London, Covent Garden Opera, fork for Messrs. Bryceson to tune the organ to (E.)1842 · London: a′ 441.3 Hz — London, the equal a′ corresponding to the late Dr. John Hullah's standard fork, c″524·8, purporting to be c″51 (E.)1690 · Hampton Court Palace: a′ 441.7 Hz — Hampton Court Palace, Bernhardt Schmidt's organ from an original pipe, 12 inches long and 1·2 inch in diameter (E.)1660 · Whitehall, Chapel Royal: a′ 441.7 Hz — Whitehall, Chapel Royal, organ by Bernhardt Schmidt, according to indications by Mr. T. Hill (E.)1878 · London: a′ 441.7 Hz — London, standard pipe of Messrs. Hill and Sons, from c″525·3 (E.)1834c · Berlin: a′ 441.8 Hz — Berlin opera (Scheibler)1859 · Toulouse: a′ 442.5 Hz — Toulouse opera (Fr. Com.)1859 · Brussels: a′ 442.5 Hz — Brussels, opera under direction of Bender (Fr. Com.)1878 · Vienna: a′ 442.7 Hz — *Vienna, small Franciscan organ kept at modern pitch, from a fork tuned for me by the organ-builder Ullmann (E.)1859 · Bordeaux: a′ 443 Hz — Bordeaux opera (Fr. Com.)1859 · Stuttgart: a′ 443 Hz — Stuttgart opera (Fr. Com.)1815c · Durham: a′ 443.1 Hz — *Durham organ, as altered by shifting from a′474·1; a′444·7, the present pitch of new organ, is by Willis (E.)1869 · Bologna, Italy: a′ 443.1 Hz — Bologna, Italy, Liceo Musicale, from fork sent officially to Soc. of Arts (E.)1878 · Vienna: a′ 443.2 Hz — *Vienna, St. Stefan cathedral organ, from a fork tuned for me by organ-builder Ullmann (E.)1836 · Paris: a′ 443.3 Hz — Paris, Wölfel's pianos (Wölfel)1859 · Gotha: a′ 443.3 Hz — Gotha, opera (Fr. Com.)1878 · London: a′ 443.4 Hz — London, from Messrs. Bryceson's standard pipe (E.)1859 · Brunswick: a′ 443.5 Hz — Brunswick, opera (Fr. Com.)1880 · U.S. America, Boston: a′ 443.9 Hz — U.S. America, Boston, organ of Church of the Immaculate Conception (Cross & Miller)1860 · : a′ 444 Hz — Intended but unexecuted standard of Society of Arts to c″528 (nan)1880 · U.S. America: a′ 444.2 Hz — U.S. America, from c″528, the 'low organ pitch' of Hutchings, Plaisted & Co. (Cross & Miller)1840 · France, St. Denis Cathedral: a′ 444.3 Hz — *France, St. Denis Cathedral, organ built by Cavaillé-Coll (Cavaillé-Coll)1880 · London: a′ 444.3 Hz — *London, Temple Church organ after rebuilding by Messrs. Forster and Andrews, who retained the pitch which the (E.)1858 · Madrid: a′ 444.5 Hz — Madrid, Theatre Royal, fork sent to de la Fage by the Maître de Chapelle. French pitch was adopted on 18 March (Lissajous)1877 · London: a′ 444.6 Hz — *London, St. Paul's, after rebuilding by Willis, from a fork belonging to Mr. Hipkins at 57°·5 (E.)1879 · Durham Cathedral: a′ 444.7 Hz — *Durham Cathedral organ, rebuilt by Willis; for its original state, see a′474·1 (E.)1859 · Turin: a′ 444.8 Hz — Turin opera (Fr. Com.)1859 · Weimar: a′ 444.8 Hz — Weimar opera (Fr. Com.)1859 · Würtemberg: a′ 444.8 Hz — Würtemberg concerts (Fr. Com.)1857 · Naples: a′ 444.9 Hz — Naples, San Carlo opera, Guillaume's fork (Lissajous)1880 · London: a′ 444.9 Hz — London, Her Majesty's opera, fork of the theatre (Hipkins)1862 · Vienna: a′ 445 Hz — Vienna, piano of Kapellmeister Proch (Naeke)1834c · Vienna: a′ 445.1 Hz — Vienna opera, fork VI., 'a monstrous growth' (Auswuchs) in Scheibler's opinion (Scheibler)1878 · London: a′ 445.2 Hz — *London (from c″529·4), Mr. H. Willis's church pitch, to which he tuned the organs of the cathedrals of St. Pa (E.)1845 · Vienna Conservatorium: a′ 445.4 Hz — Vienna Conservatorium, fork lent by Marloye (Delezenne)1879 · London: a′ 445.5 Hz — London, Her Majesty's opera during performance (Hipkins & E.)1879 · London: a′ 445.6 Hz — London, Covent Garden opera, fork in possession of Mr. Pitman, organist, and Sig. Vianesi, conductor. Mr. Pitm (E.)1867 · London: a′ 445.8 Hz — London, Exeter Hall, both organs as originally built, from a pipe at the makers', Messrs. Walker; since sharpe (E.)1856 · Paris opera: a′ 445.8 Hz — Paris opera, from the fork of M. Bodin, professor of the piano and music (Lissajous)1849-1854 · London: a′ 445.9 Hz — London, from Broadwoods' original medium pitch of c″530·6, fork of the tuner Finlayson; since 1854 Messrs. Bro (E.)1859 · Pesth: a′ 446 Hz — Pesth, opera (Fr. Com)1856 · Paris: a′ 446.2 Hz — Paris, opera and Conservatoire (Lissajous)1859 · Holland, the Hague: a′ 446.2 Hz — Holland, the Hague at the Conservatoire (Fr. Com.)1845 · Milan: a′ 446.6 Hz — Milan, fork lent by Marloye (Delezenne)1851 · Lille: a′ 446.8 Hz — Lille, festival organ, fork of the tuner Mazingue (Delezenne)1878 · Vienna: a′ 446.8 Hz — Vienna opera, from a fork sent me by the organ-builder, Ullmann, who had charge of the organ there (E.)1859 · Marseilles: a′ 447 Hz — Marseilles Conservatoire (Fr. Com.)1879 · London: a′ 447.3 Hz — London, Exeter Hall organ, from a pipe of the makers, Messrs. Walker, see 445·8 (E.)1856 · Paris: a′ 447.4 Hz — Paris, Italian opera, Bodin's fork (Lissajous)1878 · London: a′ 447.5 Hz — London, Covent Garden opera harmonium (Hipkins)1877 · Gloucester: a′ 447.7 Hz — Gloucester Festival organ, built by Messrs. Walker; from the fork to which it was tuned at 64° F., the tempera (E.)1854 · Paris: a′ 448 Hz — Paris, Grand Opera—also at Lyons and Liège (Lissajous)1839-1840 · Hamburg: a′ 448 Hz — Hamburg, opera, under Krebs (Schmahl)1859 · Munich: a′ 448.1 Hz — Munich, opera (Fr. Com.)1869 · Leipzig: a′ 448.2 Hz — Leipzig, Gewandhaus Concerts, from fork sent officially to the Society of Arts (E.)1857 · Berlin: a′ 448.4 Hz — Berlin, opera, fork of the conductor Taubert (Lissajous)1860 · London: a′ 448.4 Hz — London, from Cramer's, c″533·3, purporting to be the Society of Arts' pitch, intended for c″528 (E.)1880 · Boston: a′ 448.5 Hz — Boston, Nichol's fork of Germania Orchestra, as corrected to 59°F. (Cross & Miller)1859 · Leipzig: a′ 448.8 Hz — Leipzig Conservatoire (Fr. Com.)1855 · Paris: a′ 449 Hz — Paris, opera, experiments by Lissajous and Ferrand, the first violin (Lissajous)1877 · Covent Garden Opera: a′ 449.2 Hz — Covent Garden Opera, pitch of the harmonium (Hipkins)1860 · London: a′ 449.4 Hz — London, from Griesbach's c″534·5, tuned for the Society of Arts as c″528; he tuned a′ as 445·7 (E.)1879 · London: a′ 449.7 Hz — London, Covent Garden opera, taken from organ a′ during performance (Hipkins)1859 · Prague: a′ 449.8 Hz — Prague, opera (Fr. Com.)1877 · London: a′ 449.9 Hz — London, from copy of Collard's standard fork (E.)1856 · Milan: a′ 450.3 Hz — Milan, opera (Lissajous)1848 &1854 · Lille: a′ 450.5 Hz — Lille, from forks tuned by the oboist Colin, during the performances of Robert le Diable, 27 April 1854, betwe (Delezenne)1877 · Glasgow: a′ 450.6 Hz — Glasgow Public Halls organ, from fork settled by the organist W. T. Best and the late H. Smart, lent me by the (E.)1880 · U.S. America, Boston: a′ 450.9 Hz — U.S. America, Boston Music Hall, reduced from pipe c271·2 at 70° F. (Cross & Miller)1858 · Russian opera: a′ 451.5 Hz — Russian opera, from a c″ fork, probably miscalculated, as the a′ from Broadwoods' c″ forks were (Fr. Com.)1874 · Belgian army: a′ 451.7 Hz — Belgian army pitch, reduced from Koenig's 451 vib. by his old standard, and also measured from copy sent by Ma (E.)1867 · Milan: a′ 451.7 Hz — Milan, Scala Theatre (Lissajous)1880 · U.S. America, New York: a′ 451.7 Hz — U.S. America, New York, from Chickering's c268·5 standard fork (Cross & Miller)1878 · British Army: a′ 451.9 Hz — British Army regulation, from fork lent by Dr. W. H. Stone (E.)1885 · : a′ 452 Hz — The International Inventions and Music Exhibition of 1885 adopted this as the pitch of all instruments for the (E.)1852-1874 · London: a′ 452.5 Hz — London, mean of the pitch of the Philharmonic Band under the direction of Sir Michael Costa 1846-54, tuned dur (E.)1880 · Newcastle-on-Tyne: a′ 452.5 Hz — Newcastle-on-Tyne, Schulze's Tynedock organ, from a fork tuned by Mr. Ch. Chambers, Mus. B. (Chambers & E.)1878 · Kneller Hall Training School for Military Music: a′ 452.9 Hz — Kneller Hall Training School for Military Music, from a fork lent by Dr. W. H. Stone (E.)1645 · Holstein, Glückstadt: a′ 453 Hz — *Holstein, Glückstadt organ, built 1645, improved by Schnitger 1665, measured 1879 (Schmahl)1878 · London: a′ 453.9 Hz — London, Willis's concert organ pitch, to which he tuned the large organs in the Albert Hall and Alexandra Pala (E.)1862 · Vienna: a′ 454 Hz — Vienna, piano of Kapellmeister Esser, while the orchestra was at a′466, the regular fork at a′456·1, and the p (Naeke)1877 · Crystal Palace: a′ 454.1 Hz — Crystal Palace, from a fork c″540 lent by Mr. Hipkins, to which the piano for concerts was tuned (E.)1715c · London: a′ 454.2 Hz — London, very old fork found at Brixton 1878 of the same make as Rev. G. T. Driffield's tenor a, see a′419·9 (E.)1874 · London: a′ 454.7 Hz — London, from c″540·8, a fork representing the highest pitch of the London Philharmonic observed by Mr. Hipkins (E.)1879 · London: a′ 454.7 Hz — London, Messrs. Steinway's London pitch (E.)1878 · London: a′ 454.7 Hz — London, Messrs. Bryceson's band pitch, to which they tuned their organ in St. Michael's, Cornhill, London (E.)1877 · London: a′ 455.1 Hz — London, Wagner Festival at Albert Hall, temperature probably 61·5° F., see above a′453·9 (Hipkins & E.)1749 · Hamburg: a′ 455.2 Hz — Hamburg, old positiv or chamber organ, built by Lehnert, in possession of Herr Schmahl (Schmahl & E.)1879 · London: a′ 455.3 Hz — London, Erard's concert pitch, from their fork (E.)1859 · Belgium: a′ 455.5 Hz — Belgium, band of Guides; probably no such fork existed. M. Bender used to give the pitch on a small clarinet, (Fr. Com.)1877 · London: a′ 455.9 Hz — London, fork used by one of Chappell's tuners, lent me by Dr. Stone (E.)1880 · U.S. America, Cincinnati: a′ 456.1 Hz — U.S. America, Cincinnati, pitch used in Thomas's orchestra. [This is said by de la Fage to have been the pitch (Cross & Miller)1859a · Vienna: a′ 456.1 Hz — Vienna, fork tuned for me by the pianoforte makers Streicher in Vienna from a fork in their possession, giving (E.)1879 · U.S. America, New York: a′ 457.2 Hz — U.S. America, New York, from a fork obtained for me by Messrs. Steinway as representing their American pitch (E.)1880 · U.S. America, New York: a′ 458 Hz — U.S. America, New York, from a fork furnished by R. Spice as Steinway's pitch (Cross & Miller)1880 · U.S. America: a′ 460.8 Hz — U.S. America, highest New York pitch, from a fork furnished by R. Spice; these two last are sharper than the n (Cross & Miller)1640c · Vienna: a′ 457.6 Hz — Vienna, Great Franciscan organ, stated by organ-builder Ullmann to be 240 years old in 1878, and to possess it (E.)1668 · England: a′ 474.1 Hz — England, in the Pars Organica of Tomkins's Musica Deo Sacra as quoted in Sir F. A. Gore Ouseley's Collection o (E.)1683 · Durham: a′ 474.1 Hz — Durham, Bernhardt Schmidt's original organ at Durham, which had both a♭ and g♯. The pipe I measured in Feb. 18 (Armes & E.)1708 · Chapel Royal, St. James's: a′ 474.1 Hz — Chapel Royal, St. James's, Bernhardt Schmidt's organ, now in Mercers' Hall, which I found on examination had h (E.)1748 · Botolph Lane: a′ 474.1 Hz — The Jordans' organ, Botolph Lane, from indications by Mr. T. Hill (E.)1879 · Hamburg: a′ 480.8 Hz — Hamburg, St. Catherine Kirche, built by Hans Stellwagen in 1543, and frequently repaired. Herr Degenhardt, the (Degenhardt & E.)1878 · Lübeck Cathedral: a′ 484.1 Hz — Lübeck Cathedral, small organ, which according to the organist Jimmerthal has its g′ in unison with the pipe o (Jimmerthal)1688 · Hamburg: a′ 489.2 Hz — Hamburg, St. Jacobi Kirche, built by Schnitger of Harburg originally in equal temperament, played on and appro (Schmahl & E.)1879 · Hamburg: a′ 494.5 Hz — Hamburg, St. Jacobi Kirche, present pitch, used since 1866 in order to agree with Scheibler's forks, taking hi (Schmahl & E.)1700 · Holstein, Rendsburg: a′ 495.5 Hz — Holstein, Rendsburg, a large organ recently broken up (Schmahl)1636 · Paris: a′ 503.7 Hz — Paris, Mersenne's ton de chapelle with G112·6 on the French four-foot pipe, this being the lowest note of his (E.)1511 · Heidelberg: a′ 504.2 Hz — Heidelberg, from a model after Arnold Schlick, who recommends that his 6½-foot Rhenish pipe, having 301·6 vib. (E.)1361 · Halberstadt: a′ 505.8 Hz — Halberstadt organ, built 1361, repaired 1495, described by Prætorius, who gives the dimensions of the largest (E.)1636 · Paris: a′ 563.1 Hz — Paris, Mersenne's chamber pitch calculated from F being the pipe of 4 French feet giving 112·6 vib. See Harmon (E.)1619 · North German: a′ 567.3 Hz — North German church pitch, called by Prætorius chamber pitch, taken as a meantone Fourth (503 cents) above Præ (E.)
Show table (242)
a′ (Hz)CentsDate (as printed)PlaceParticularsObserverGroupPage
370.00—Ideal lowest pitch or zero pointE.Other (forks, instruments)495
373.115—Calculated from D.'s measurements of an open wooden pipe 1·3 metres long, taken as cDelezenneOther (forks, instruments)495
373.7171648ParisParis, from a model after MersenneE.Other (forks, instruments)495
374.2191700aLilleLille, organ of l'Hospice ComtesseDelezenneChurch / organ495
376.6311766ParisParis, from a model after BédosE.Other (forks, instruments)495
377.0331511HeidelbergHeidelberg, from a model after Arnold Schlick (see 535 cents)E.Other (forks, instruments)495
384.3661700cLilleLille, old fork found 1854a by M. MazingueDelezenneOther (forks, instruments)495
384.6691851LilleLille, organ of St. Sauveur, rebuilt, with old pitchDelezenneChurch / organ495
392.21001739St. PetersburgSt. Petersburg, a clavichord according to Marpurg, but Euler gives no particularsEulerOther (forks, instruments)495
393.21041713Strassburg MinsterStrassburg Minster, great organ by A. SilbermannStockhausen & E.Church / organ495
395.21141759CambridgeCambridge, Bernhardt Schmidt's organ at Trinity College, 1708, after being new voiced and 'shifted' in 1759Dr. R. SmithChurch / organ495
395.21141720RomeRome, pitch-pipes observed by Dr. R. SmithDr. R. SmithOther (forks, instruments)495
395.81171789France, VersaillesFrance, Versailles, copy of fork No. 410 at the Musée du Conservatoire, Paris, compared with the original by Cavaillé-CollMcLeod & E.Opera / orchestra / theater / band495
396.41191615Palatinate of the RhinePalatinate of the Rhine, from a model of pipe described by Salomon de CausE.Other (forks, instruments)495
398.71291854aLilleLille, old organ of La Madeleine restoredDelezenneChurch / organ495
402.91481648ParisParis, Mersenne's Spinet, from his statement that B♮ = Bédos's 4-foot c (see 31 cents)E.Other (forks, instruments)495
403.91521730PaduaPadua, from copy sent by Prof. Rossetti of the old lower f″ fork of the bellfoundry of ColbacchiniE.Other (forks, instruments)495
406.61631704ParisParis, result of several experiments on an e pipeSauveurOther (forks, instruments)495
407.31661854LilleLille, organ of St. Maurice repaired, old pitch keptDelezenneChurch / organ495
407.91691762HamburgHamburg, organ of St. Michaelis Kirche, built by Hildebrand of Dresden, under the direction of Handel's friend, J. Mattheson (1681-1764), in the chamber pitch of the period, still preserved; now, and probably always, in equal temperamentSchmahl & E.Church / organ495
409.01741783ParisParis, Court clavecins, fork of Pascal Taskin, their tunerLissajousOther (forks, instruments)495
410.0178—ParisParis, 18th century pitch-pipe found in the cabinet of the Faculty of SciencesLissajousOther (forks, instruments)495
411.41841688HamburgHamburg, chamber pitch on the former 8-foot Gedact of the St. Jacobi organ (see 484 cents)Schmahl & E.Church / organ495
413.3191—'Schneider's Oboe,' date and place unknownNaekeOther (forks, instruments)495
414.41961776BreslauBreslau, clavichordsMarpurgOther (forks, instruments)495
415.01991754DresdenDresden, organ of the Roman Catholic Church by Gottfried Silbermann, pitch of the chained fork placed there by King August der Grechte, 1763-1827, who would not allow the pitch to be changed; the fork was lent me by Frau NaekeE.Church / organ495
415.52011722DresdenDresden, organ of St. Sophie, built by G. SilbermannNaekeChurch / organ496
418.02111780St. PetersburgSt. Petersburg, organs; no particularsEulerChurch / organ496
418.12121878DresdenDresden, present pitch of the organ of the Roman Catholic Church, from a fork tuned for me thereE.Church / organ496
419.02151700cLondonLondon, Renatus Harris's organ at St. John's, ClerkenwellE.Church / organ496
419.52171714Freiberg, SaxonyFreiberg, Saxony, G. Silbermann's organNaekeChurch / organ496
419.62181858MadridMadrid, ton de chapelle, calculatedde la FageChurch / organ496
419.62181785Seville, SpainSeville, Spain, pitch of the old organ of Torje Bosch, from a fork said by the organist Don Yñiguez to be in exact unison with its a′ at a mean temperatureE.Church / organ496
419.92191715cEnglandEngland, rude tenor a fork, belonging to Rev. G. T. Driffield, who held it to have been made by John Shore, the inventor of tuning-forksE.Other (forks, instruments)496
420.12201780Winchester CollegeWinchester College organ, from one of the pipes added by Green when repairing R. Harris's organ of 1681E.Church / organ496
421.22241860Russian Imperial CourtRussian Imperial Court church band from fork lent by Frau NaekeE.Church / organ496
421.32251780ViennaVienna, fork of the Saxon organ-builder Schulze, who lived at Vienna in Mozart's timeNaekeOther (forks, instruments)496
421.62261780ViennaVienna, copy of fork of Stein, who made Mozart's clavichords and pianos, lent me by Frau NaekeNaeke & E.Other (forks, instruments)496
422.32291780DresdenDresden, fork of former Court organist KirstenNaekeOther (forks, instruments)496
422.32291780cVeronaVerona, from a copy of a c′ fork believed to be the Roman pitch of 1780, preserved at the bell-foundry of Cavedini, procured by Prof. Rossetti of PaduaE.Other (forks, instruments)496
422.52301751EnglandEngland, Handel's fork belonging to Rev. G. T. Driffield. The organ at Cannons in the private chapel of the Duke of Chandos, built by Jordans, and afterwards bought by Trinity Church, Gosport, has been recently (in 1884) examined by the organist, Mr. Howlett, and found to have had in Handel's time, when he used to play on it, a B♮ (now B♭) pipe of 12·3 inches long, and 1 inch in diameter; this shews that its pitch, was then A423·5, or practically the same as Handel's forkE.Church / organ496
422.52301820aWestminster AbbeyWestminster Abbey, as originally tuned by Schreider and Jordans, from indications by Mr. T. Hill, who retuned it to a′441·7. It had been altered by Greatorex to a′433·2, Smart's pitchE.Church / organ496
422.52301838Bath Abbey ChurchBath Abbey Church, as rebuilt by Smith of Bristol, from indications by Mr. T. HillE.Church / organ496
422.52301877pEnglandEngland, Mr. J. Curwen's Tonic Solfa standard c″507, using the just a′ onlyE.Other (forks, instruments)496
422.62301790aKew Parish ChurchKew Parish Church, Green's organ, untouched and in meantone temperament when measured in 1878, built as a chamber organ for George III.E.Church / organ496
422.62301754cLilleLille, very old fork found in workshops of M. François, musical instrument maker thereDelezenneOther (forks, instruments)496
422.62301780cPaduaPadua, from copy of the higher f″ fork of the bell-foundry of Colbacchini (see 152 cents)E.Other (forks, instruments)496
422.72311800cEnglandEngland, from old fork, c″505·7, belonging to Messrs. BroadwoodsE.Other (forks, instruments)496
423.02321820ParisParis, Théâtre Feydeau, Opéra Comique, from copy of fork at the Conservatoire, Paris, compared with the original by Cavaillé-CollMcLeod and E.Opera / orchestra / theater / band496
423.22331778LondonLondon, Green's organ at St. Katherine's, Regent's Park, still (when I measured it) in meantone temperament (see sect. G., p. 484c′)E.Church / organ496
423.22331815-1821DresdenDresden, band of the Opera while C. M. von Weber (1786-1826) was conductor (Kapellmeister)E.Opera / orchestra / theater / band496
423.32331813LondonLondon, second copy of Peppercorn's fork by which the pianofortes of the Philharmonic Society were originally tuned; this copy was prepared for the Society of Arts in 1860, and is now in the possession of Messrs. BroadwoodsE.Opera / orchestra / theater / band496
423.72351813LondonLondon, first copy of Peppercorn's fork made before 1860, belonging to Mr. Hipkins; see last entry, the original is lost, and it is impossible to say which was correct. The difference, 2 cents, is utterly insignificantE.Other (forks, instruments)497
424.12361740-1812Eutin (18 miles N. of Lübeck)Eutin (18 miles N. of Lübeck), fork of Franz Anton von Weber, father of Carl Maria von WeberNaekeOther (forks, instruments)497
424.22371619BrunswickBrunswick, from a model made from Prætorius's drawing of an organ pipe at a 'suitable' church pitchE.Church / organ497
424.22371823ParisParis, Italian Opera, mean of twenty measurements of a fork given by SpontiniFischerOpera / orchestra / theater / band497
424.32371750aLondonLondon, old forks formerly belonging to Prof. Faraday, lent me by Mr. D. J. BlaikleyE.Other (forks, instruments)497
424.32371749LondonLondon, organ at All Hallows the Great and Less, Upper Thames Street, built by Glyn & Parker, by whom Handel's Foundling Hospital organ was builtE.Church / organ497
424.42381833WeimarWeimar, from a model of Töpfer's wide principal c″-pipeE.Other (forks, instruments)497
424.62391800cEnglandEngland, old fork said to have been used in Plymouth Theatre, lent me by Dr. StainerE.Opera / orchestra / theater / band497
424.92401805LondonLondon, old D fork of Elliott's, by which he tuned the organ built for the Ancient Concerts at the Hanover Square Rooms, lent me by his successor, Mr. T. HillE.Opera / orchestra / theater / band497
424.92401800cGermanyGermany, fork of the bassoonist KummerNaekeOther (forks, instruments)497
425.22411730c-1780cPaduaPadua, mean of two ancient pitch-pipes belonging to the bellfoundry of Colbacchini, lent me at the request of Prof. F. Rossetti thereE.Other (forks, instruments)497
425.52421829ParisParis, pitch of opera piano as distinct from the orchestra, verified by Monneron for de la FageLissajousOpera / orchestra / theater / band497
425.62421740-1780EnglandEngland, Schnetzler's organ at the German Chapel Royal, St. James's PalaceE.Church / organ497
425.62421764HalifaxHalifax, Schnetzler's organ, from indications by Mr. T. HillE.Church / organ497
425.82431824ParisParis, pitch of opera, suddenly lowered on 31 March for Mme. Branchu, whose voice was failing. The piano for rehearsals was also lowered, and was not raised immediately when the orchestra was raised; this was called opera pitchLissajousOpera / orchestra / theater / band497
425.82431839Bologna, ItalyBologna, Italy, pitch of fork of Tadolini, the best tuner in the townde la FageOther (forks, instruments)497
425.92441740Great YarmouthGreat Yarmouth, St. George's Chapel, by Byfield, Jordan & BridgeTunbridge & E.Church / organ497
426.52461843Wimbledon ChurchWimbledon Church, organ built by Messrs. WalkerE.Church / organ497
427.02481811ParisParis, Grand OperaScheiblerOpera / orchestra / theater / band497
427.22491878aNorwich CathedralNorwich Cathedral organ before it was altered by Bryceson, supposed to be by R. HarrisE.Church / organ497
427.52501877aTonic Solfa pitch to 1877, afterwards 422·5E.Other (forks, instruments)497
427.62501823ParisParis, Théâtre Feydeau, fork given by SpontiniFischerOther (forks, instruments)497
427.72511696LondonLondon, old organ built by R. Harris, a pipe of St. Andrew Undershaft, from Green's Organ, preserved by Mr. T. HillE.Church / organ497
427.8251178 8St. George's Chapel, WindsorSt. George's Chapel, Windsor, measured in Feb. 1880, while still in meantone temperamentE.Church / organ497
428.72551670Newcastle-on-TyneNewcastle-on-Tyne, St. Nicholas Church organ built by Renatus Harris, frequently altered except in pitchIonsChurch / organ497
430.02601810cParisParis, Fork of M. Lemoine, a celebrated amateurLissajousOther (forks, instruments)497
430.42621701Fullham Parish ChurchFullham Parish Church organ, built by Jordans. This pitch was officially adopted in Italy in 1884 as the pitch of the Italian army brass bands, giving B♭456, the nearest whole number to equal B♭456·13, which would correspond to the 'arithmetical' pitch C512E.Church / organ497
431.32641625Lavenham (16½ miles W.N.W. of Ipswich)Lavenham (16½ miles W.N.W. of Ipswich), from a famous old tenor bell sounding d288·4LewisOther (forks, instruments)498
431.72671826ParisParis, Grand Opera, fork given by SpontiniFischerOpera / orchestra / theater / band498
432.22691854aLilleLille, organ of St. André repairedDelezenneChurch / organ498
432.32701846cEnglandEngland, old fork which belonged to the father of Messrs. Bryceson, organ-builders, and had not been tuned since 1848, when it had been sharpened slightlyE.Other (forks, instruments)498
433.02721820cLondonLondon, fork approved of by Sir George Smart, conductor of the Philharmonic Concerts, in possession of Mr. Hipkins, from c″ 518 using meantone temperament; if equal temperament were used it would give a′435·4 and be a 30 years' anticipation of French pitch. Used in this way it is Broadwoods' lowest pitch. Long sold in shops as 'London Philharmonic'E.Opera / orchestra / theater / band498
433.22731828LondonLondon, Sir G. Smart's own Philharmonic fork. Sir G. Smart considered this a′ fork of his to agree with c″518 (see last entry). This shews that he used meantone temperamentE.Opera / orchestra / theater / band498
433.62751847ShrewsburyShrewsbury, St. Mary's, built 1729, by John Harris and John Byfield, pitch altered in 1847 by Gray & DavisonByolin & E.Other (forks, instruments)498
433.92761834ViennaVienna, fork I., Delezenne's Vienna minimumScheiblerOther (forks, instruments)498
434.02761829ParisParis, opera, verified by M. Montal, after the opera had recovered its pitch, the opera piano remaining at a′425·5, which see, and also a′425·8Cagniard de la TourOpera / orchestra / theater / band498
434.02761834cParis OperaParis Opera, fork by Petitbout, luthier de l'opéraScheiblerOpera / orchestra / theater / band498
434.32781818ParisParis, Chapelle des Tuileries, from a copy compared by Cavaillé-Coll of fork No. 493 in the ConservatoireMcLeod & EChurch / organ498
434.52781869BadenBaden, fork sent officially to Society of ArtsE.Other (forks, instruments)498
434.7279—LondonLondon, from a model of pipe representing b′486·1, one foot long and one inch diameter, on Renatus Harris's organ at All Hallows, BarkingE.Church / organ498
435.02801826DresdenDresden, opera, fork of Kapellmeister Reissiger, successor to C. M. von Weber. Naeke considers this to have been Dresden pitch from 1825 to 1830NaekeOpera / orchestra / theater / band498
435.02801859CarlsruheCarlsruhe, opera, the fork which determined the French Diapason NormalFr. Com.Opera / orchestra / theater / band498
435.22821834aParisParis, Conservatoire, fork made by Gand, luthier du ConservatoireScheiblerOpera / orchestra / theater / band498
435.42821859ParisParis, the Diapason Normal in the Conservatoire, used extensively in Germany, officially adopted for the Belgian army in 1885. The various imperfect copies used are not citedKoenig & EOpera / orchestra / theater / band498
435.92831868U. S. AmericaU. S. America, E. S. Ritchie's standard pitchCross & MillerOther (forks, instruments)498
436.02841802St. PetersburgSt. Petersburg, five-foot organ pipesSartiChurch / organ498
436.02841846pLondonLondon, 'Philharmonic,' from Mr. Hipkins's vocal pitch, c″518·5, which for equal temperament gives a′436, but on meantone temperament, for which it was first used, gave a′433·5; the fork with which Mr. E. J. Hopkins compared the pitch of the organs at Lübeck, Hamburg, and Strassburg, see his The Organ ed. 1870, art. 791, p. 189E.Opera / orchestra / theater / band498
436.02841878LondonLondon, Messrs. Bishop's standard for church organsE.Church / organ498
436.12851878LondonLondon, fork to which Messrs. Bryceson tuned the organ at Her Majesty's TheatreE.Opera / orchestra / theater / band498
436.52861834cViennaVienna, opera, fork II.ScheiblerOpera / orchestra / theater / band498
436.72871845FlorenceFlorence, fork lent by M. MarloyeDelezenneOther (forks, instruments)498
436.82871740-1780DublinDublin, Green's organ in the Refectory of Trinity College, probably sharpenedE.Church / organ498
436.92881869WürtembergWürtemberg, fork sent officially to the Society of ArtsE.Other (forks, instruments)498
437.02881859ToulouseToulouse, ConservatoireFr. Com.Opera / orchestra / theater / band499
437.12891666Worcester*Worcester, cathedral organ built by Thomas and Renatus Harris, from a pipe at Mr. T. Hill'sE.Church / organ499
437.32891872BerlinBerlin, from a fork furnished by Pichler, who tuned the piano of the operaFischerOpera / orchestra / theater / band499
437.42891854aParisParis, opera, from four forks purchased before 1854, and found to be in unisonDelezenneOpera / orchestra / theater / band499
437.42891744Maidstone*Maidstone, Old Parish Church, built by Jordans, altered, but not in pitch, in 1878 in meantone temperamentStreatfield & E.Church / organ499
437.82911862DresdenDresden, fork given by the direction of the Court Theatre to its librarian, Herr Moritz Fürstenau, after the conference on pitch held there, by whom it was lent me to measure, meant for a′440E.Opera / orchestra / theater / band499
438.92951696Boston, England*Boston, England, organ built by Christian Smith, from a pipe preserved by Mr. T. HillE.Church / organ499
439.4297—LilleLille, old fork formerly belonging to the Marquis d'AligreDelezenneOther (forks, instruments)499
439.42971834cViennaVienna, opera, fork III.ScheiblerOpera / orchestra / theater / band499
439.42971878DresdenDresden, opera pitch at date, from a fork specially prepared for me by the Court organ-builder, Jehmlich, and sent by Herr Moritz Fürstenau, librarian of the theatreE.Opera / orchestra / theater / band499
439.52981812ParisParis, Conservatoire, from copy of a fork preserved there, verified by Cavaillé-CollMcLeod & E.Opera / orchestra / theater / band499
439.52981855England, Barking, EssexEngland, Barking, Essex, Parish Church organ (probably originally a′474·1), built by Byfield & Green, 1770, after alterations by Messrs. WalkerE.Church / organ499
439.92991845TurinTurin, fork lent by MarloyeDelezenneOther (forks, instruments)499
440.03001829ParisParis, opera orchestra, verified by Monneron for de la FageLissajousOpera / orchestra / theater / band499
440.03001878LondonLondon, Messrs. Gray & Davison's standard pipeE.Other (forks, instruments)499
440.23011834StuttgartStuttgart pitch, =440 at 69° F., Lissajous measured it, as 440·3 to French Diapason Normal, reckoned as 435, which then when corrected to 435·4 gives 440·7ScheiblerOther (forks, instruments)499
440.23011879LondonLondon, Messrs. Walker & Sons' standard pipeE.Other (forks, instruments)499
440.33011834cVienna OperaVienna Opera, fork IV.ScheiblerOpera / orchestra / theater / band499
440.53021878LondonLondon, Messrs. Bevington's standard pipeE.Other (forks, instruments)499
440.93031834cParis ConservatoireParis Conservatoire, not trusted so much by Scheibler as 435·2ScheiblerOpera / orchestra / theater / band499
441.03041836-1839Paris OperaParis Opera, fork of M. Leibner, who kept the pianos to pitch of orchestra, verified by MeyerbeerDelezenneOpera / orchestra / theater / band499
441.03041836ParisParis, Opéra ComiqueCagniard de la TourOther (forks, instruments)499
441.03041859DresdenDresden, fork sent to Fr. Com. by the Kapellmeister ReissigerFr. Com.Other (forks, instruments)499
441.03041879LondonLondon, church organ pitch of Messrs. Lewis & Co.E.Church / organ499
441.13041834Vienna OperaVienna Opera, fork V., given by Prof. Blahetka as trustworthy; in 1879 this fork was found and lent to me, and then from rust and ill-treatment measured only 439·9, the greatest loss of pitch I have found in any forkScheiblerOpera / orchestra / theater / band499
441.23051878LondonLondon, Covent Garden Opera, fork for Messrs. Bryceson to tune the organ toE.Opera / orchestra / theater / band499
441.33051842LondonLondon, the equal a′ corresponding to the late Dr. John Hullah's standard fork, c″524·8, purporting to be c″512; J. H. Griesbach measured it as 521·6E.Other (forks, instruments)499
441.73071690Hampton Court PalaceHampton Court Palace, Bernhardt Schmidt's organ from an original pipe, 12 inches long and 1·2 inch in diameter, giving b′♭472·6E.Church / organ499
441.73071660Whitehall, Chapel RoyalWhitehall, Chapel Royal, organ by Bernhardt Schmidt, according to indications by Mr. T. HillE.Church / organ499
441.73071878LondonLondon, standard pipe of Messrs. Hill and Sons, from c″525·3E.Other (forks, instruments)499
441.83071834cBerlinBerlin operaScheiblerOpera / orchestra / theater / band500
442.53101859ToulouseToulouse operaFr. Com.Opera / orchestra / theater / band500
442.53101859BrusselsBrussels, opera under direction of BenderFr. Com.Opera / orchestra / theater / band500
442.73111878Vienna*Vienna, small Franciscan organ kept at modern pitch, from a fork tuned for me by the organ-builder UllmannE.Church / organ500
443.03121859BordeauxBordeaux operaFr. Com.Opera / orchestra / theater / band500
443.03121859StuttgartStuttgart operaFr. Com.Opera / orchestra / theater / band500
443.13121815cDurham*Durham organ, as altered by shifting from a′474·1; a′444·7, the present pitch of new organ, is by WillisE.Church / organ500
443.13121869Bologna, ItalyBologna, Italy, Liceo Musicale, from fork sent officially to Soc. of ArtsE.Other (forks, instruments)500
443.23131878Vienna*Vienna, St. Stefan cathedral organ, from a fork tuned for me by organ-builder UllmannE.Church / organ500
443.33131836ParisParis, Wölfel's pianosWölfelOther (forks, instruments)500
443.33131859GothaGotha, operaFr. Com.Opera / orchestra / theater / band500
443.43131878LondonLondon, from Messrs. Bryceson's standard pipeE.Other (forks, instruments)500
443.53141859BrunswickBrunswick, operaFr. Com.Opera / orchestra / theater / band500
443.93151880U.S. America, BostonU.S. America, Boston, organ of Church of the Immaculate ConceptionCross & MillerChurch / organ500
444.03151860Intended but unexecuted standard of Society of Arts to c″528Other (forks, instruments)500
444.23161880U.S. AmericaU.S. America, from c″528, the 'low organ pitch' of Hutchings, Plaisted & Co.Cross & MillerChurch / organ500
444.33171840France, St. Denis Cathedral*France, St. Denis Cathedral, organ built by Cavaillé-CollCavaillé-CollChurch / organ500
444.33171880London*London, Temple Church organ after rebuilding by Messrs. Forster and Andrews, who retained the pitch which they found, which was Robon's, originally built by Bernhardt Schmidt, with both E♭ and D♯, and both A♭ and G♯ keys, and perhaps then having a′441·7E.Church / organ500
444.53181858MadridMadrid, Theatre Royal, fork sent to de la Fage by the Maître de Chapelle. French pitch was adopted on 18 March 1879LissajousChurch / organ500
444.63181877London*London, St. Paul's, after rebuilding by Willis, from a fork belonging to Mr. Hipkins at 57°·5E.Church / organ500
444.73181879Durham Cathedral*Durham Cathedral organ, rebuilt by Willis; for its original state, see a′474·1E.Church / organ500
444.83191859TurinTurin operaFr. Com.Opera / orchestra / theater / band500
444.83191859WeimarWeimar operaFr. Com.Opera / orchestra / theater / band500
444.83191859WürtembergWürtemberg concertsFr. Com.Opera / orchestra / theater / band500
444.93191857NaplesNaples, San Carlo opera, Guillaume's forkLissajousOpera / orchestra / theater / band500
444.93191880LondonLondon, Her Majesty's opera, fork of the theatreHipkinsOpera / orchestra / theater / band500
445.03201862ViennaVienna, piano of Kapellmeister ProchNaekeOther (forks, instruments)500
445.0320—HamburgHamburg 'old pitch,' date unknownSchmahlOther (forks, instruments)500
445.13211834cViennaVienna opera, fork VI., 'a monstrous growth' (Auswuchs) in Scheibler's opinionScheiblerOpera / orchestra / theater / band500
445.23211878London*London (from c″529·4), Mr. H. Willis's church pitch, to which he tuned the organs of the cathedrals of St. Paul's (London), Durham, Salisbury, Glasgow (established), St. Mary's (Edinburgh)E.Church / organ500
445.43221845Vienna ConservatoriumVienna Conservatorium, fork lent by MarloyeDelezenneOther (forks, instruments)500
445.53221879LondonLondon, Her Majesty's opera during performanceHipkins & E.Opera / orchestra / theater / band500
445.63221879LondonLondon, Covent Garden opera, fork in possession of Mr. Pitman, organist, and Sig. Vianesi, conductor. Mr. Pitman said the pitch was thus in 1878 because oboe, bassoon, and flute would not play lowerE.Opera / orchestra / theater / band500
445.83231867LondonLondon, Exeter Hall, both organs as originally built, from a pipe at the makers', Messrs. Walker; since sharpened to a′447·3E.Church / organ500
445.83231856Paris operaParis opera, from the fork of M. Bodin, professor of the piano and musicLissajousOpera / orchestra / theater / band500
445.93231849-1854LondonLondon, from Broadwoods' original medium pitch of c″530·6, fork of the tuner Finlayson; since 1854 Messrs. Broadwoods use a′446·2 as their medium pitch. This pitch was chosen empiricallyE.Other (forks, instruments)501
446.03231859PesthPesth, operaFr. ComOpera / orchestra / theater / band501
446.23241856ParisParis, opera and ConservatoireLissajousOpera / orchestra / theater / band501
446.23241859Holland, the HagueHolland, the Hague at the ConservatoireFr. Com.Opera / orchestra / theater / band501
446.63261845MilanMilan, fork lent by MarloyeDelezenneOther (forks, instruments)501
446.83271851LilleLille, festival organ, fork of the tuner MazingueDelezenneChurch / organ501
446.83271878ViennaVienna opera, from a fork sent me by the organ-builder, Ullmann, who had charge of the organ thereE.Opera / orchestra / theater / band501
447.03271859MarseillesMarseilles ConservatoireFr. Com.Opera / orchestra / theater / band501
447.33281879LondonLondon, Exeter Hall organ, from a pipe of the makers, Messrs. Walker, see 445·8E.Church / organ501
447.43291856ParisParis, Italian opera, Bodin's forkLissajousOpera / orchestra / theater / band501
447.53291878LondonLondon, Covent Garden opera harmoniumHipkinsOpera / orchestra / theater / band501
447.73301877GloucesterGloucester Festival organ, built by Messrs. Walker; from the fork to which it was tuned at 64° F., the temperature of the pipe being reduced to 59°E.Church / organ501
448.03311854ParisParis, Grand Opera—also at Lyons and LiègeLissajousOpera / orchestra / theater / band501
448.03311839-1840HamburgHamburg, opera, under KrebsSchmahlOpera / orchestra / theater / band501
448.13311859MunichMunich, operaFr. Com.Opera / orchestra / theater / band501
448.23321869LeipzigLeipzig, Gewandhaus Concerts, from fork sent officially to the Society of ArtsE.Opera / orchestra / theater / band501
448.43331857BerlinBerlin, opera, fork of the conductor TaubertLissajousOpera / orchestra / theater / band501
448.43331860LondonLondon, from Cramer's, c″533·3, purporting to be the Society of Arts' pitch, intended for c″528E.Other (forks, instruments)501
448.53331880BostonBoston, Nichol's fork of Germania Orchestra, as corrected to 59°F.Cross & MillerOpera / orchestra / theater / band501
448.83341859LeipzigLeipzig ConservatoireFr. Com.Opera / orchestra / theater / band501
449.03351855ParisParis, opera, experiments by Lissajous and Ferrand, the first violinLissajousOpera / orchestra / theater / band501
449.23361877Covent Garden OperaCovent Garden Opera, pitch of the harmoniumHipkinsOpera / orchestra / theater / band501
449.43371860LondonLondon, from Griesbach's c″534·5, tuned for the Society of Arts as c″528; he tuned a′ as 445·7E.Other (forks, instruments)501
449.73381879LondonLondon, Covent Garden opera, taken from organ a′ during performanceHipkinsOpera / orchestra / theater / band501
449.83381859PraguePrague, operaFr. Com.Opera / orchestra / theater / band501
449.93391877LondonLondon, from copy of Collard's standard forkE.Other (forks, instruments)501
450.33401856MilanMilan, operaLissajousOpera / orchestra / theater / band501
450.53401848 &1854LilleLille, from forks tuned by the oboist Colin, during the performances of Robert le Diable, 27 April 1854, between the acts, and carefully verifiedDelezenneOther (forks, instruments)501
450.63411877GlasgowGlasgow Public Halls organ, from fork settled by the organist W. T. Best and the late H. Smart, lent me by the builder LewisE.Church / organ501
450.93421880U.S. America, BostonU.S. America, Boston Music Hall, reduced from pipe c271·2 at 70° F.Cross & MillerOther (forks, instruments)501
451.53451858Russian operaRussian opera, from a c″ fork, probably miscalculated, as the a′ from Broadwoods' c″ forks wereFr. Com.Opera / orchestra / theater / band501
451.73451874Belgian armyBelgian army pitch, reduced from Koenig's 451 vib. by his old standard, and also measured from copy sent by Mahillon. On 19 March 1885 the Belgian Government adopted French pitch, A435E.Opera / orchestra / theater / band501
451.73451867MilanMilan, Scala TheatreLissajousOpera / orchestra / theater / band501
451.73451880U.S. America, New YorkU.S. America, New York, from Chickering's c268·5 standard forkCross & MillerOther (forks, instruments)501
451.93461878British ArmyBritish Army regulation, from fork lent by Dr. W. H. StoneE.Opera / orchestra / theater / band501
452.03461885The International Inventions and Music Exhibition of 1885 adopted this as the pitch of all instruments for the Exhibition, being the nearest whole number to the next preceding and next following. The fork was verified by myselfE.Other (forks, instruments)501
452.53491852-1874LondonLondon, mean of the pitch of the Philharmonic Band under the direction of Sir Michael Costa 1846-54, tuned during that period by Mr. J. Black of Broadwoods', approved by Sir Michael Costa, and recorded by Mr. Hipkins, who lent me the fork. Used as Broadwoods' highest till 1874, No. 3 of French CommissionE.Opera / orchestra / theater / band502
452.53491880Newcastle-on-TyneNewcastle-on-Tyne, Schulze's Tynedock organ, from a fork tuned by Mr. Ch. Chambers, Mus. B.Chambers & E.Church / organ502
452.93501878Kneller Hall Training School for Military MusicKneller Hall Training School for Military Music, from a fork lent by Dr. W. H. StoneE.Opera / orchestra / theater / band502
453.03501645Holstein, Glückstadt*Holstein, Glückstadt organ, built 1645, improved by Schnitger 1665, measured 1879SchmahlChurch / organ502
453.93541878LondonLondon, Willis's concert organ pitch, to which he tuned the large organs in the Albert Hall and Alexandra Palace, from pipe c″ 543·2 at 65° F., and 541·2 at 61·5° F.E.Opera / orchestra / theater / band502
454.03541862ViennaVienna, piano of Kapellmeister Esser, while the orchestra was at a′466, the regular fork at a′456·1, and the piano of the other Kapellmeister Proch at a′445NaekeOpera / orchestra / theater / band502
454.13551877Crystal PalaceCrystal Palace, from a fork c″540 lent by Mr. Hipkins, to which the piano for concerts was tunedE.Opera / orchestra / theater / band502
454.23551715cLondonLondon, very old fork found at Brixton 1878 of the same make as Rev. G. T. Driffield's tenor a, see a′419·9E.Other (forks, instruments)502
454.73571874LondonLondon, from c″540·8, a fork representing the highest pitch of the London Philharmonic observed by Mr. Hipkins since 1874; at the suggestion of Mr. Charles Hallé, used as Broadwoods' highest pitchE.Opera / orchestra / theater / band502
454.73571879LondonLondon, Messrs. Steinway's London pitchE.Other (forks, instruments)502
454.73571878LondonLondon, Messrs. Bryceson's band pitch, to which they tuned their organ in St. Michael's, Cornhill, LondonE.Opera / orchestra / theater / band502
455.13581877LondonLondon, Wagner Festival at Albert Hall, temperature probably 61·5° F., see above a′453·9Hipkins & E.Other (forks, instruments)502
455.23591749HamburgHamburg, old positiv or chamber organ, built by Lehnert, in possession of Herr SchmahlSchmahl & E.Church / organ502
455.33591879LondonLondon, Erard's concert pitch, from their forkE.Opera / orchestra / theater / band502
455.53591859BelgiumBelgium, band of Guides; probably no such fork existed. M. Bender used to give the pitch on a small clarinet, from which M. Mahillon has a fork of at least a′456Fr. Com.Opera / orchestra / theater / band502
455.93621877LondonLondon, fork used by one of Chappell's tuners, lent me by Dr. StoneE.Other (forks, instruments)502
456.13621880U.S. America, CincinnatiU.S. America, Cincinnati, pitch used in Thomas's orchestra. [This is said by de la Fage to have been the pitch sent by Bettini in 1857 for the London Italian opera—evidently an error]Cross & MillerOpera / orchestra / theater / band502
456.13621859aViennaVienna, fork tuned for me by the pianoforte makers Streicher in Vienna from a fork in their possession, giving the celebrated 'sharp Vienna pitch' before the introduction of the French Diapason Normal. Naeke says he heard a′466 in the actual playing of the orchestraE.Opera / orchestra / theater / band502
457.23661879U.S. America, New YorkU.S. America, New York, from a fork obtained for me by Messrs. Steinway as representing their American pitchE.Other (forks, instruments)502
458.03691880U.S. America, New YorkU.S. America, New York, from a fork furnished by R. Spice as Steinway's pitchCross & MillerOther (forks, instruments)502
460.83801880U.S. AmericaU.S. America, highest New York pitch, from a fork furnished by R. Spice; these two last are sharper than the next, but they are put first because they belong to modern orchestral or pianoforte pitchCross & MillerOpera / orchestra / theater / band502
457.63681640cViennaVienna, Great Franciscan organ, stated by organ-builder Ullmann to be 240 years old in 1878, and to possess its original pitch; only used for leading the ecclesiastical chantsE.Church / organ503
474.14291668EnglandEngland, in the Pars Organica of Tomkins's Musica Deo Sacra as quoted in Sir F. A. Gore Ouseley's Collection of the Compositions of Orlando Gibbons, 1873, makes the f pipe 2½ feet longE.Church / organ503
474.14291683DurhamDurham, Bernhardt Schmidt's original organ at Durham, which had both a♭ and g♯. The pipe I measured in Feb. 1879 as a′443·1 had been shifted, and was originally g′♯, which gives the above pitch. This results from an examination of the original pipes by Dr. Armes, the organistArmes & E.Church / organ503
474.14291708Chapel Royal, St. James'sChapel Royal, St. James's, Bernhardt Schmidt's organ, now in Mercers' Hall, which I found on examination had had the pipes shifted a great Semitone. Handel played on this organ, and hence his note ordering the voice parts of an anthem written for the Chapel Royal to be transposed one Tone, and the organ part two Tones, referred to this organE.Church / organ503
474.14291748Botolph LaneThe Jordans' organ, Botolph Lane, from indications by Mr. T. HillE.Church / organ503
480.84541879HamburgHamburg, St. Catherine Kirche, built by Hans Stellwagen in 1543, and frequently repaired. Herr Degenhardt, the organist, declares that even at the last repairing, 1867-9, the pitch was not altered. The original pitch, however, is doubtful, and Herr Schmahl thinks it was altered formerlyDegenhardt & E.Church / organ503
484.14651878Lübeck CathedralLübeck Cathedral, small organ, which according to the organist Jimmerthal has its g′ in unison with the pipe on Schulze's new great organ there, which gives French a′ in summer at 68° F.; whence the above was calculated at 59° F.JimmerthalChurch / organ503
489.24841688HamburgHamburg, St. Jacobi Kirche, built by Schnitger of Harburg originally in equal temperament, played on and approved by J. Sebastian Bach; pitch determined from an old pipe preserved in the organ case. Herr Schmahl the organist is accustomed to transpose all music at sight one Tone lower, which brings it to French pitchSchmahl & E.Church / organ503
494.55021879HamburgHamburg, St. Jacobi Kirche, present pitch, used since 1866 in order to agree with Scheibler's forks, taking his a′440 for g′Schmahl & E.Church / organ503
495.55061700Holstein, RendsburgHolstein, Rendsburg, a large organ recently broken upSchmahlChurch / organ503
503.75341636ParisParis, Mersenne's ton de chapelle with G112·6 on the French four-foot pipe, this being the lowest note of his own voiceE.Church / organ503
504.25351511HeidelbergHeidelberg, from a model after Arnold Schlick, who recommends that his 6½-foot Rhenish pipe, having 301·6 vib., should give F or c. If it gives F we have a′377, if it gives c we have the present pitchE.Other (forks, instruments)503
505.85411361HalberstadtHalberstadt organ, built 1361, repaired 1495, described by Prætorius, who gives the dimensions of the largest pipe B,,,, whence constructing a model I arrived at the above pitch, confirmed by the four preceding pitchesE.Church / organ503
563.17261636ParisParis, Mersenne's chamber pitch calculated from F being the pipe of 4 French feet giving 112·6 vib. See Harmonie Universelle, liv. 3, p. 143, but from faulty measurements Mersenne makes this pipe to have only 96 vib. But even with that assumption the pitch would be a′480·1, as at Hamburg, St. Catherine Kirche; but compare the next entryE.Other (forks, instruments)504
567.37401619North GermanNorth German church pitch, called by Prætorius chamber pitch, taken as a meantone Fourth (503 cents) above Prætorius's 'suitable pitch' a′424·2, which seeE.Church / organ504

Sources: Helmholtz, On the Sensations of Tone, tr. A. J. Ellis, 3rd ed. 1895 (Internet Archive); checked against 2nd ed. 1885. The 22 differences between the editions found during transcription (capitals and punctuation included; one in cents — the 1885 misprint 300 for 330 — and none in frequency) are recorded in the note column of the transcription. Table II regroups Table I by use, so the two tables cannot be added up as independent observations; it also has six descriptive rows without a frequency.

ellis/ellis_pitch_table1.csvellis/ellis_pitch_table2.csv

Sources and licenses

Sections 1–6: composition year, genre tags, instrumentation and movement fields of IMSLP work pages (CC BY-SA 4.0), parsed and transformed by the editor; page names and revision ids are in the CSVs. These tables and the charts in sections 1–6 are released under CC BY-SA 4.0 (a different license from the other tables; the non-commercial condition on the site's text (CC BY-NC) does not apply to these charts). Reception: NY Phil Performance History (CC0); dates: Wikidata (CC0). Section 7: the editor's transcription of a public-domain source, CC BY 4.0. Instrumentation details were entered by IMSLP contributors and may omit instruments (notably timpani, trumpets and continuo in the 18th century).

imslp/imslp_works.csvimslp/imslp_composer_year.csvimslp/imslp_composer_age.csvimslp/imslp_reception_period.csvimslp/imslp_nyphil_match_rate.csvimslp/imslp_nyphil_matches.csvimslp/imslp_symphony_orchestration.csvimslp/imslp_movement_tempo.csvimslp/imslp_tempo_by_period.csvimslp/imslp_tempo_language.csvimslp/imslp_instrument_use.csvimslp/imslp_symphony_instruments.csv