I can certainly understand why early music musicians would like to standardize pitch as they are often playing in different early music ensembles and otherwise it would be chaos. But listeners should realize that this is quite anachronistic. In the 18th century every town and every ensemble had their own "A". There was no national or international standard. But now there are two, one for "modern" and one for "early" music. I have another friend, a singer, who has perfect pitch for both and can switch back and forth.
So I was musing on perfect pitch and whether it is memory of pitch or memory of the label: "A" or "C"? And as I mused, I picked up my guitar and just on the spur of the moment I thought in my mind two notes, D up to B, a major sixth. Then I sang them and immediately checked on the guitar. I was dead on! But I don't for a moment think I have perfect pitch, because if you go to the piano and strike a note, I probably can't identify it. So I'm not sure what is going on.
If I were Ludwig Wittgenstein, I could probably say a lot more about this idea of remembering exact pitches and, even more interesting, remembering what labels we attach to them...
Let me see, what music would go with this post? How about the Ravel Piano Concerto for the left hand that was commissioned by Ludwig's brother, Paul Wittgenstein, who lost his right arm in the First World War?