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

By the middle of the first melodic phrase, cymbals and triangle join the orchestration, mostly
doubling the bass drum and bassoons that now accent both strong beats in each measure. The
bass drum, cymbals, and triangle are each given their own line in the score until the end of the
symphony (marked “Prestissimo”), where the cymbals and bass drum are scored together.
There are no indications suggesting the ruthe was to be used in striking the bass drum. By the
time of Beethoven’s last symphony in 1824, Turkish percussion instruments had developed
into accepted members of the orchestra. 15
Examples of the early use of Turkish percussion instruments in the orchestra illustrate
their effectiveness in creating dramatic effects. As previously mentioned in this chapter, use
of Turkish percussion instruments was sometimes intended by the composer even in the
absence of their specific mention in the score. In a dissertation entitled The History of
Percussion Instruments in Orchestration, Edgar Gangware includes the commentary of a
nineteenth-century French historian named Francois Gavaert who outlined several such
illustrations. According to Gavaert, Grétry included a written instruction for the use of
cymbals, triangles, and similar instruments in the “Bohemian March” of his opera, La fausse
magie (The Magic Flute, 1775), yet parts for these instruments are not written down. As
previously mentioned, Beethoven gave only general instructions for as many “noisy”
instruments as were available to accompany the authentically Arabian melody in De Ruinen
von Athens (The Ruin of Athens), composed in 1812.
15 New Grove Dictionary of Music and Musicians, s.v. “Janissary Music,” “Bass Drum,” Cymbals.”
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