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

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Years after Berlioz composed for two players to play simultaneously on one drum in his Requiem, Bela Bartók reverted back to a similar playing style widely seen during his travels researching folk music of the Orient and Europe. 6 In The Miraculous Mandarin (1919), both sides of the bass drum were played with small sticks and mallets, reminiscent of the “stick and switch” performance practice from the bass drum’s military use. Like Berlioz and Bartok, Gustav Mahler in his compositions scored for a wide array of percussion instruments such as tambourine, cowbells, chimes, glockenspiel, and celeste. It is interesting to note, however, that only the bass drum, cymbals, triangle, and gong (in addition to timpani) appear in each of his nine symphonies. In his Third Symphony (1895), Mahler combines the bass drum and cymbal parts to be played by one performer, instructing that the shell of the bass drum be struck with a ruthe. In both his Symphony No. 6 (1904) and Symphony No. 7 (1905), Mahler scored for the bass drum to be struck with the beater and ruthe. 7 The subtle, yet effective use of the bass drum roll is also evidenced in L’Apprenti- Sorcier by Paul Dukas (The Sorcerer’s Apprentice, 1897). As seen in Figure 24, Dukas instructs the player to roll on one head of the drum with a double-headed beater. A rapid oscillating movement of the wrist of one hand brings both heads of the stick into contact with the drumhead to produce the single-handed roll. 8 6 Peinkofer, Handbook of Percussion Instruments, 96. 7 Blades, Percussion Instruments and Their History, 328; Reginald Smith Brindle, Contemporary Percussion. (London: Oxford University Press, 1975), 236-37. 8 The New Grove Dictionary of Music and Musicians, 2 nd ed., (2001), s.v. “Bass Drum.” 50
Figure 24. L’Apprenti-Sorcier by Dukas. Reprinted from Edgar Brand Gangware, Jr., “The History and Use of Percussion Instruments in Orchestration,” Ph.D. diss., (Northwestern University, 1962) 217 Igor Stravinsky’s use of the bass drum in the finale to Part One of Le sacre du printemps (The Rite of Spring, 1913) is considered one of the instrument’s finest moments. 9 In Figure 25, Stravinsky ends part one with a rhythmically exploding crescendo of triplets for the bass drum (and brass) to play simultaneously against the sixteenth-note rhythm scored for the timpani and strings. Stravinsky also included a passage in Part Two requiring the bass drum to be played near its edge with a wooden stick. In Figure 26, the bass drum and timpani are chosen from a large percussion section (including cymbals, triangle, tambourine, tam-tam, and guiro) to share an intricate rhythm that drives the work to its feverish conclusion. 9 Igor Stravinsky, Le sacre du printemps, (New York: Dover Publications, Inc., 1989). 51
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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 and 36: Early works that precede the use of
Page 37 and 38: Gluck’s use of cymbals for specia
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: Figure 23. Grande Messe des Morts b
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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