Anyone who deals with 128 HZ will very quickly come across Maria Renold. Her book “Of Intervals, Scales, Tones and the Concert Pitch C = 128 Hertz” is, so to speak, the bible of the 432 Hz and 128 Hz community. First and foremost, she deserves the thanks of frequency research.
Her book was published in German in 1985 and has become a modern classic of musical research.
Karl von Beitz writes in the foreword:
” Even in antiquity, they sought to constantly redesign their tonal laws and harmonious relationships. Not only because of the daily music-making, but because she wanted to find and organize the destinies of mankind in the tones. And the right tones should harmonize with the whole cosmos, the planets and the zodiac.
In our time of hearing, we feel differently. Raising this to full consciousness is a much attempted endeavour.
Only in listening, which alone must count as a “real” standard for us; then in precise clarification by calculating what has been heard. In such work, Maria Renold gains the certainty of the distinctions, tests countless hearing people, does not give up taking Rudolf Steiner’s statements seriously, interpreting them, harmonizing them with one another. ”
Maria Renold (1917–2003) spent her childhood in the USA, where her parents emigrated to found eurythmy therapy in New York. She studied eurythmy and later violin and viola and toured with the Bush Chamber Orchestra and the Bush String Quartet.
One of Renold’s heartfelt questions concerned the correct concert pitch. When she heard about Rudolf Steiner’s pitch suggestion of c = 128 Hz, she immediately put it into practice and experimented with it for many years in America and Europe.
She discovered a new method of tuning the piano that involves both the frequency C = 128 Hz and the frequency A = 432 Hz.
It was Maria Renold’s aim to find a tuning for the piano that is based on the concert pitch C = 128 HZ, but which also has the concert pitch A = 432 HZ and with which 12 major tones can be explored. She did an excellent job with the Maria Renold tuning .
The frequency model of the naturally pure intonation does not claim to be able to play 12 major keys with a single intonation. The Maria Renold tuning is ultimately a compromise, just like all other tuning systems.Natural tuning follows pure intonation.
In this tuning, the compromised detuning of some chords is absent here.