Thanks Terry for drawing attention to C=256Hz scientific tuning and the work of the Schiller Institute! This is amazing stuff! Maybe it is worth noting that the rise in orchestral pitch was resisted by singers, who found it uncomfortable to sing the classical repertoir in a raised pitch since it did not suit the natural vocal registers (see The Schiller Institute’s Chart of Human Vocal Registers). It was the French government who passed a law in order to preserve a more natural pitch:
In the late 1850’s, the French government, under the influence of a committee of composers led by bel canto proponent Giacomo Rossini, called for the first standardization of the pitch in modern times. France consequently passed a law in 1859 establishing A at 435, the lowest of the ranges of pitches (from A=434 to A=456) then in common use in France, and the highest possible pitch at which the soprano register shifts may be maintained close to their disposition at C=256. It was this French A to which Verdi later referred, in objecting to higher tunings then prevalent in Italy, under which circumstance ``we call A in Rome, what is B-flat in Paris.‘’
(I had to put in this quote because its a reference to Bb, so I am not totally of topic 
) The quote was from the next link:
I found A Brief History of Tuning also extremely interesting to read, since it points out a political connection to create a standard pitch of A=440Hz, championed by Nazi Germany in alliance with Britain and excluding the French. Although I read that an international standard pitch was never agreed on despite several attempts, it appears that A=440Hz has become de facto standard, and perhaps (??) much helped by the spread of electronic instruments (keyboards) and musical aids.
Talasiga, I do agree that it is the sequence of intervals which create a musical mood and mode, and not the individual note or the tonic of the mode. But nervertheless I think that we as singers, players and listeners also resonate with individual notes and how they are pitched in absolute terms, and that we can feel this absolute pitch, even if we are not conscious of it. It has an effect, a physical resonance which goes beyond simple cultural conditioning.
A personal anecdote:
Apart from playing the flute I love playing mandola, which mostly I do on my own. I am again and again amazed that after having tuned to A=440Hz in order to play with friends my tuning of the instrument gradually settles down about half a semitone lower, and I am most comfortable with this tuning, which seems to be close to the scientific pitch of C=256Hz.
Has anyone similar experiences, perhaps even with the flute?
~Hans
I’ve had the same kind of experience with my Bb(Casey Burns),oh how I love this flute. Most wonderful thing I’ve ever played, I think. And the big resonant tone is just so awesome, fills the room even though it’s softer that the D flute. I don’t think it’s quieter, not sure, but it is softer, if that makes any sense. Big resonant soft sultry wonderful tone. 
Oooh, and the other day I played it and this cute guy was there, and he said “That sounded really good,” like he meant it. Heh heh. 
