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

the beater and the ruthe as the timpani plays a steady eighth note pattern that is rhythmically
reminiscent of the pattern often assigned to the triangle.
Questions regarding Rossini’s intended use of percussion in this work begin with his
scoring for bass drum in the overture, and continue into the two-act opera. It is not clear
whether the part scored for bass drum in the overture was to be doubled by cymbals. If this
was Rossini’s intent, the cymbals would most likely reinforce each strong beat played by the
bass drum beater (stems down). One player could have performed the playing of the bass
drum and cymbals by attaching the lower cymbal to the top of the bass drum’s shell. The
opera itself is scored for bass drum (potentially joined by cymbals), and sistro, the
predecessor to our modern orchestra bells. Though it is possible that Rossini desired bells,
there is no key signature given on the percussion stave as would be expected for an instrument
capable of producing definite pitches. It is likely that in characteristic haste, Rossini
misspelled his actual intent to score for the sistrum (sistri). In this case, the Turkish triangle
with its jingling discs suspended from the lower horizontal bar would not only offer a sound
in keeping with the sistrum, but also give added opportunity for dynamic contrast. 19 Renato
Meucci, Professor of History of Musical Instruments at the University of Parma and a
specialist in the music of Rossini, states:
19 Ibid., 51-52.
As regards the “sistro,” it is no doubt the name of triangle, and the use of
the plural, sistri, in “Barbiere” may have had a more general sense, such as for
example, triangle and jingling johnnie. The tradition of a glockenspiel being
used for a sistro dates back only to the end of the 19 th century! 20
20 Rosen, “Rossini Revisited.” 60.
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