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

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Eighteenth and early nineteenth century works representing the first orchestral compositions to incorporate the bass drum, cymbals, and triangle include Gluck’s operas Le Cade dupé (1761), La recontre imprévue, The Pilgrims of Mecca (both 1764), and Iphigénia en Aulide (1774), Mozart’s Die Entführung as dem Serial (1782), Franz Joseph Haydn’s “Military” Symphony No. 100 (1794), Ludwig Von Beethoven’s De Ruinen von Athens (1812), Wellington’s Victory (1813), and the last movement of Symphony No. 9 (1823), Gioacchino Rossini’s L’ Italiana in Algeri (1813), Il Barbiere di Siviglia Overture (1816), and La Gazza Ladra (1817), and Franz Schubert’s Des Teufels Lustschloss, D. 84 (1814). Brief excerpts from several of these works are illustrated in the following musical examples. 7 Figure 11. Gluck’s use of cymbals in Iphigénia en Aulide. Reprinted from Hector Berlioz, Treatise On Instrumentation, Revised by Richard Strauss. Translated by Theodore Front. (New York: Edwin F. Kalmus, 1948), 226 7 Although several of the compositions listed include snare drum, the domestication of this instrument is not part of the “Turkish movement,” and it is not part of this study. 28
Gluck’s use of cymbals for special effects in Iphigénia en Aulide (Figure 11) excited the often-critical Hector Berlioz. He wrote, “Never has there been a finer effect of cymbals produced, than in the chorus of Scythians: ‘Les dieux,’ in Gluck’s Iphigénia en Aulide.” 8 Here the cymbals play a steady quarter note rhythm that accents the eighth note pattern played by the bass drum and string basses. Gluck later scored cymbals with snare drums to create a barbaric tone symbolic of the central character, Iphigénia, who must cut the throat of her murderous brother. In a letter sent from Paris in 1822, Berlioz wrote to his sister, Nanci: Short of actually fainting, I couldn’t have felt stronger emotions that I did seeing Gluck’s masterpiece Iphigénia en Aulide. . . I defy the most insensitive human being not to be profoundly moved . . . 9 In the above musical excerpt from Berlioz’s A Treatise Upon Modern Instrumentation and Orchestration (1858), the bass drum part is written in notational shorthand that is still seen today in some printed percussion parts. A slash is placed on the stem of a note, or series of notes, denoting the composer’s intent to divide the duration of the original note into repeated eighth notes whose composite value is equal in length to that of the printed note. A second slash on a note’s stem would indicate repeated sixteenth notes were intended. 10 In this instance, a single slash printed on each half note denotes a steady eighth note rhythm to be played on the bass drum. This example marked “Allegro” shows only downward stemmed notes, suggesting that Gluck most likely desired the use of two wooden beaters in place of a single beater and a ruthe. Berlioz is equally impressed by Gluck’s individualistic use of the 8 Hector Berlioz, A Treatise Upon Modern Instrumentation and Orchestration, 2d ed., trans. Mary Cowden Clarke (London: J. Alfred Novello, 1858), 226. 9 Macdonald, Hugh, ed., Selected Letters of Berlioz. Translated by Roger Nichols. (New York: W. W. Norton and Company, 1995), 5-6. 10 A tremolo, sometimes called a trill or roll, is denoted by three slashes on a note. Such notation was not common in this era. 29
Page 1 and 2: THE ROLE OF TURKISH PERCUSSION IN T
Page 3 and 4: TABLE OF CONTENTS ACKNOWLEDGMENTS .
Page 5 and 6: LIST OF FIGURES 1. Turkish bass dru
Page 7 and 8: ABSTRACT The fascination of eightee
Page 9 and 10: CHAPTER 1 DESCRIPTION AND INTRODUCT
Page 11 and 12: not addressed in the monograph beca
Page 13 and 14: Before the influence of Turkish ins
Page 15 and 16: The trend to incorporate percussion
Page 17 and 18: Figure 1. Turkish bass drum. Reprin
Page 19 and 20: that was often doubled on the trian
Page 21 and 22: the Turkish word for “cymbalsmith
Page 23 and 24: opinion will be further discussed i
Page 25 and 26: Figure 5. Triangle similar to one u
Page 27 and 28: and as seen in Figure 6. The novel,
Page 29 and 30: Figure 7. The tambourine. Reprinted
Page 31 and 32: to the pianoforte as an optional at
Page 33 and 34: Figure 8. La Scala seating arrangem
Page 35: Early works that precede the use of
Page 39 and 40: “stick and switch” passages of
Page 41 and 42: Figure 14. “Military” Symphony
Page 43 and 44: Figure 16. Die Ruinen von Athens by
Page 45 and 46: Figure 17. Symphony No. 9 (movement
Page 47 and 48: As seen in Figure 18 from Rossini
Page 49 and 50: the beater and the ruthe as the tim
Page 51 and 52: Figure 20. Overture to Preciosa by
Page 53 and 54: Figure 21. Modern orchestral bass d
Page 55 and 56: situations in the life of a young m
Page 57 and 58: Figure 23. Grande Messe des Morts b
Page 59 and 60: Figure 24. L’Apprenti-Sorcier by
Page 61 and 62: Figure 26. Le sacre du printemps by
Page 63 and 64: it was through the abundant and inn
Page 65 and 66: color of his composition. He calls
Page 67 and 68: Smaller triangles were used to achi
Page 69 and 70: Nikolai Rimsky-Korsakov in his Capr
Page 71 and 72: Figure 33. Symphony No. 4 (movement
Page 73 and 74: Figure 34. Scheherazade by Rimsky-K
Page 75 and 76: The Turkish crescent is only briefl
Page 77 and 78: the opposite head with a switch mos
Page 79 and 80: 2. With rare exception, percussioni
Page 81 and 82: Rossini, Gioacchino. Il barbiere di
Page 83 and 84: Duckles, Vincent H., and Michael A.
Page 85 and 86: Corkhill, David. “The Unique Func
Page 87 and 88:
APPENDIX CHRONOLOGICAL LISTING OF M
Page 89 and 90:
1911 Stravinsky Petrouchka xylo., b
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