Oh course they may have worked harder and they were accustomed to the anomalies when they were faced with the situation, as great players normally are. Pedagogical schools of playing even cropped up to deal with the long scale anomaly. The most notable of these was the Joseph Mariano concept of playing which can be derived as the result of dealing with a long scale flute at higher pitch.Listen to Barrere or Moyse or Rampal or Bennett or countless others. They do not struggle to stay on the mark, any more than a good violin player struggles to find the correct finger position on his fretless fingerboard.
WIBB carried around a ton of flutes with him to cover any pitch standard he might encounter. You never know when you travel exactly what pitch the piano technician would tune to. :bluewink:
Almeida and the golden era Powells were not traditional long scaled instruments. They were among the first to modernize the scale. The reason you haven't noticed anything is because they are not that much different in terms of scaling! Now if you still played an old traditional model Haynes in the 435 range with players playing modernized 442 you would most likely get frustrated pretty quickly.I have played many flutes with different scales, and I have never found the traditional scale a great handicap. In fact, I now have an Almeida with traditional scale at 440 and a Powell with Cooper scale at 442, and I am hard-pressed to notice any difference while playing, nor do I find myself making any extra effort to play one in tune as compared to the other.
We all do tend to generalize our personal experiences with flutes to everyone. One's person's experience is not necessarily the next person's for lots of reasons I'm sure you are aware of.
Most certainly true!You simply cannot expect any instrument to be perfectly in tune.
Also most certainly true. The problem with the long scaled flutes is that it is much easier with embouchure gymnastics to play a flute flatter, cover the embouchure hole more, "blowing down" more, but it is much more difficult to raise pitch with control by comparison.You should also realize that the stopper position really only affects the intonation in the third register, unless it is so far out that you wouldn't be able to play the third octave decently at all.
The more embouchure gymnastics you need to do to play in tune the more compromises you need to make. Why work so hard? If you love those old longer scaled flutes, just play them where they were designed to be played.
It's interesting to note the struggles that many flute players encountered as a result of following the instructions contained in the writings of some of the flute "bibles" Altes, Marquarre, Taffanel, which did not take into account the rise of English pitch. Once you have a flute that is actually scaled according to today's pitch standard (or within a narrow "range") these instructions are much more productive.
Personally, I hear many professional flute players that play out of tune because there is a bit of ignorance regarding scaling. Now that we have the capability of playing more in tune, it seems that many players from the previous generation of great players actually played more in tune than the current.
...at least from my perspective...