THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND ...

Figure 8. La Scala seating arrangement. Reprinted from Adam Carse, The Orchestra From
Beethoven to Berlioz: A History of the Orchestra in the First Half of the Nineteenth Century,
and of the Development of Orchestral Baton-Conducting (New York: Broude Brothers, 1949),
474
In the San Carlo plan, however, the Turkish music does not include the bass drum. That
instrument is clearly identified opposite the other Turkish percussion instruments, close to the
timpani, in an obvious attempt to position the instrument near the contrabasses. Even at this
early date, the percussion instruments within the Turkish group were being accorded some
individuality, and could function not only as a homogeneous group, but in combination with
other orchestral instruments. 4 Yet another seating arrangement used by one of the large
orchestras in Paris was published by the same German journal in 1810 (Figure 10).
4 Adam Carse, The Orchestra From Beethoven to Berlioz: A History of the Orchestra in the First Half of the
Nineteenth Century, and of the Development of Orchestral Baton-Conducting. (New York: Broude Brothers,
1949), 272, 472-75; Musical Times (Germany). “Orchestra for the Large Concerts and the Large Chorus in
Paris,” (August 1810): 46; “Orchestra of the New Great Theater San Carlo in Naples,” (July 1818): 27-28.
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