Performing the Timpani Parts to "Symphonie Fantastique"

Performing the Timpani Parts to “Symphonie Fantastique”

BY ANDREW P. SIMCO

Editor’s Note: To get the most out of this Originally, Berlioz placed the move- for the thunderstorm sequence near the article, I suggest following the original ment titled “A Ball” third, with the end of the third movement, which re- timpani part while reading the following “Scene in the country” coming second, but quires playing with the utmost sensitiv- text. The complete timpani part to changed the order of the movements to ity and touch. “Symphonie Fantastique” can be found in their present position at a later date. Note that Berlioz requires sponge- Orchestral Excerpts from the Symphonic This made much more sense to the highly headed mallets for these last passages. Repertoire for Timpani by Scott Stevens creative composer, and it is in this form Felt was not yet in general use as a cov- (International Music Co., New York). The that the work has stood the test of time. ering for timpani mallets, so Berlioz, who measure numbers referred to in the fol- Considering the work from the view- was a percussionist of sorts himself, ex- lowing article are not indicated in the point of an orchestral timpanist, the last perimented with sea-sponge and was Stevens book; therefore, I suggest that three movements of the symphony pose most satisfied with the effect produced by readers mark measure numbers at the be- the biggest challenge for several reasons. that material. Today, timpanists use vari- ginning of each line, so as to derive the First, Berlioz uses the instruments in ous grades of piano felt as covering for most benefit from the text. chords, in order to simulate thunder at the mallets, and these work very well, —Michael Rosen the end of the third movement. This ne- particularly on modern instruments, cessitates the use of four players, each most of which are equipped with plastic The timpani parts to the “Symphonie with a timpano to themselves. Player one heads. Fantastique” by Hector Berlioz are has the high F; player two has the B-flat; However, with the re-appearance of among the most intriguing in the orches- player three has the C; player four has calfskin heads and period instruments, it tral literature. What makes these parts the A-flat. might be useful to try a pair of sponge- intriguing, and how can one best inter- The fourth movement requires two headed mallets, and gauge the effect of pret them correctly in order to elicit a re- players for the most part, with a third what Berlioz was asking. I have done so, warding musical experience? player coming in to play the low-G roll at and have found the effect interesting. First, we must consider the work itself the very end of the march. The fifth In regard to leather-covered wooden and when it was written. Some of the ef- movement uses two players throughout mallets, their place has been taken by fects in the composition sound so fresh, the entire movement. hard felt mallets, which do a very good so novel even on the brink of the twenty- job of producing the type of sound re- first century, that it is difficult to believe MOVEMENT ONE quired by the composer. I use a pair of that it was composed in 1830, just three The first movement is played by one bamboo-shafted mallets that have a thin years after the death of Beethoven. At player, who is assigned two pitches, C covering of piano felt for the passages at the time, Berlioz was twenty-six years and G. The part is fairly straightforward, bar 64, bars 113 through 325, and bars old, and already had several works to his with precise indications from the com- 427 through 437. These work well with credit, including a “Messe Solenelle,” the poser as to how the movement is to be either calfskin or plastic heads. opera “Franc-Juges,” the overture played and with what type of timpani “Waverly” and “L’Morte de Cleopatre.” mallets. (This is typical of Berlioz MOVEMENT THREE His creative and imaginative powers throughout nearly all of his output.) In As mentioned previously, the third were at fever pitch, and this work bears the latest edition of the symphony, pub- movement calls for the timpani to play eloquent testimony of this. The actual lished by Barenrieter Verlag and chords near the end of the movement, re- composition of the symphony took place Breitkopf & Härtel, three different types quiring four players. The passage at bar between January and April of 1830. It is of mallets are specified, and Berlioz lists 106, which is written for players One and in five movements, which are arranged them as follows: A. Wood-headed sticks Two, is usually played by Player One as follows: covered with leather; B. Sponge-headed with wooden sticks as specified in the sticks; C. Wood-headed sticks. score. Do not try to use another type of Episodes In The Life Of An Artist; Berlioz was among the first composers mallet here. The music is extremely in- A Fantastic Symphony In Five to specify a particular type of mallet. His tense, and the sound of the timpani must Movements concept of tone demanded such specific- be equally intense—almost shatteringly By Hector Berlioz, Opus 14 ity, as the normal wood- or leather- so! However, at bar 143 one can use a Movement One: Reveries, passions covered mallet in use at the time was in- hard-felt mallet instead of a wood mallet, Movement Two: A Ball capable of producing the type of sound he as the pitch of the F here must be fairly Movement Three: Scene in the country required at bar 329 in the long, almost secco (dry), but clear in intonation as Movement Four: March to the scaffold solo roll on C, or at the Religiosamente at well. Movement Five: Dream of a witches’ bar 511, near the very end of the move- The famous thunderstorm sequence sabbath ment. They most certainly would not do begins with Players Three and Four at

PERCUSSIVE NOTES 62 APRIL 1998 bar 159, with Player Three on C and I (Players One and Two), and Timpani II straightforward. Players One and Two Player Four on A-flat. Sponge sticks are (Players Three and Four). share the first set of timpani, and Play- called for, but it is possible to use fairly This is pretty much how we do it in the ers Three and Four share the second set. soft ball mallets, ones that bring out the Oslo Philharmonic, except that I play the Player One has the option of playing the pitch yet are capable of some degree of part assigned to Player One, which in- high F either on the smallest drum of his articulation when required. (All four cludes all of the first movement, both set (the 23-inch), or the 25- or 26-inch, players are so equipped at this point.) parts at bar 106 in the third movement, while Player Two plays the B-flat on the Player Two enters at bar 177, with the high F in the rest of the movement, 28- or 29-inch drum. On the second set, Player One following on the high F at and the first timpani part throughout the Player Three plays the C either on the bar 178. Dynamics must be observed fourth and fifth movements. Player Two 25- or 26-inch drum, or on the 28- or 29- scrupulously in order to make the most is responsible only for the B-flat in the inch. of this particular passage. Player Three thunderstorm sequence of the third Nowadays, most players use the larger makes a second entrance at bar 182. A movement. Our principal percussionist drums for the C to obtain a rounder, word of caution: Watch your dynamics, has usually taken this part, going back to fuller and warmer tone. Berlioz was very and choose your mallets carefully! This play percussion in the fourth and fifth fond of using the upper register of the in- scene must be effective, or the work loses movements. strument, so playing the C on a larger its impact. (Literally!) Player Three’s role is taken by my as- drum with its added tension is actually The placement of the drums must be sociate timpanist, who is responsible for complying with the wishes of the com- carefully calculated, along with the as- the C’s in this movement. He then plays poser! (Ditto having the high F on the 25- signment of the players. The whole piece the second timpani part throughout the or 26-inch drum as opposed to the 23- can be played on four drums, if neces- remainder of the symphony. Player Four inch.) Player Four plays the A-flat either sary, but common practice is to allot two is responsible for the low A-flat in this on the 29-inch drum, if the third player is sets of timpani between timpanists One movement, and other than the low-G roll not using it, or (as is usually the case) and Three, who are the principal players at the end of the fourth movement, is the 31-inch drum. throughout the remainder of the work. In pretty much confined to those passages. In preparing this work for perfor- the score and in the parts themselves, In regards to the instruments them- mance, it is advisable that all four play- Berlioz divides them as follows: Timpani selves, the arrangements are fairly ers rehearse the sequence as a group,

PERCUSSIVE NOTES 63 APRIL 1998 what the composer had in mind. In our own performances of the sym- phony, our conductor takes the opening at, or at least very close to, the tempo as indicated by Berlioz, so we are (thank- fully) able to play it exactly as marked. However, the tendency is to pick up the tempo after the opening bars, so I am still faced with the choice of the above op- tions. After bar 50, the texture of the or- chestration is thick enough that I can use either option without compromising the effect Berlioz had in mind. This applies to Player One’s part, which carries this same rhythmic figure repeatedly from bar 32 until bar 47. Player Two has the exact same sticking in the opening bars of the movement, but nowhere near to the same extent and frequency as Player each player getting a feel for the passage note of each half bar with two sticks, One. and the instrument. This can be done Berlioz is by no means suggesting that I mentioned earlier that Berlioz was during a short group rehearsal, in which this be played as a flam. No way! He looking for the effect of muffled drums at the players also decide on what type of wants them played together, as he is look- the beginning, and that the effect should mallets they feel most comfortable using. ing for the sound of muffled drums in the be as if they were in the distance. The dy- Whatever make or type of mallets one distance, with a slight accent on that namic here is piano, which implies dis- uses, it would be well to make sure that first eighth-note. tance. On modern timpani, most of which they are capable of producing a round The following five eighth notes are to are equipped with plastic heads, the ef- tone as well as some degree of articula- be played by the right-hand mallet alone. fect of the opening bars can be somewhat tion. If taken at the tempo marked at the be- boomy, unless they are muffled. In the In addition to a group rehearsal (which ginning of the movement, which is half Barenreiter edition, Berlioz does not indi- should take place before the regular or- note = 72, this is not a problem. However, cate that mufflers are to be used, but the chestral rehearsals begin), it is usual for many conductors play this movement at way he scores for the instruments here conductors to rehearse this passage sepa- a slightly faster tempo, which poses a implies, at least in my opinion, that this rate from the regular rehearsal in order problem for the timpani player, as it be- was the effect he was looking for. We use to properly balance the passage. Be alert, comes increasingly more difficult to ex- very light mufflers for the opening bars, responsive to suggestions and flexible in ecute the passage cleanly if the tempo is and remove them later as the music your attitude. This will go a long way to- increased to any great degree. In my own changes character. With calf heads, this wards making for a good, musically re- case, my right hand will not function works very well, as the calfskin gives an warding performance. much beyond the tempo indicated by the earthy, almost military-drum character composer—at least not with the sticking to the opening. MOVEMENT FOUR as indicated. So I have two choices: One, Whatever type heads you use, muffle We now come to the famous “March to I can use a third mallet in the left hand, the drums at the opening of the fourth the Scaffold,” or as the French would playing the first eighth note with the two movement. Make sure that the mufflers have it, “Marche au Supplice.” This mallets of the left hand, and playing the are light enough to let some pitch movement is mainly performed by two others with the right. This remains true through, but heavy enough to take out players, with the assistance of a third to the spirit of Berlioz’ intentions, while the brighter overtones. The rest of the player towards the very end. The opening adjusting to the faster tempo. My second movement is fairly straightforward, and bars of the movement are among the option is to play the first eighth-note if played as the composer indicates, there most famous passages in the orchestral with both mallets as indicated, and then should be no real problems. repertoire, and require the most careful alter the sticking of the following eighth At bar 169, Berlioz brings in a third consideration in order to interpret them notes as follows: first eighth-note (both player for the long roll at the end of the correctly. sticks as indicated), then LRLRL. movement. This is indicated in the part Berlioz is very specific in his instruc- This sticking has the advantage of of the second timpanist. The notes are G tions as to how the passage is to be helping to maintain the faster tempo, but and D, with the second timpanist playing played: “The first quaver of each half-bar the disadvantage is that, unless one prac- the D and the third player on the low G. is to be played with two drum sticks; the tices this sticking assiduously, there is a The first player is rolling on B-natural other five quavers with the right hand tendency to make a flam on the first here, and this makes for a nice chordal drum stick.” Translate the term “quaver” eighth note, which dilutes the effect of passage. The practice up until recently into American terminology and you have the passage somewhat. I prefer to use the was to have the second player do a “eighth note.” By playing the first eighth first option, as it is closer in spirit to double-roll on the G and D; although this

PERCUSSIVE NOTES 64 APRIL 1998 works all right, with wooden sticks, one One has the B) until the Allegro Assai at passage using cross-sticking, which can hear the difference. We obey the bar 29. This passage should be played works very naturally here and is visually score and have a third player come in for with sticks covered with hard felt, as ar- exciting as well. However, there can also the chord. It is much more effective, and ticulation is important here. The drums be a case made for doubling, especially if what Berlioz wanted! are accompanying a solo C clarinet, and the conductor changes the dynamic. the effect is supposed to be macabre. Be Berlioz marked the passage forte, and us- MOVEMENT FIVE aware of this, and play accordingly. ing cross-sticking is no problem at all at The fifth movement, “Dream of a Throughout most of the movement, the that dynamic. However, our conductor witches’ sabbath,” is played by two play- parts are straightforward, and it would has changed the dynamic to piano, with a ers throughout the entire movement. The be well for Player One to remember that gradual crescendo to bar 506. This tends opening is extremely interesting, as Player Two usually has the tonic and to make the conscientious player a bit Berlioz calls for the players to play their dominant of the piece, as well as the wary of over-playing, so it might be best opening notes simultaneously, giving the leading rhythmic pulse. (See bars 399 to leave the histrionics aside and use effect of chords, albeit with only two of through 403.) Player One’s part should be doubling, especially if the conductor in- the notes present. Player One has an E carefully balanced with that of Player sists on the piano dynamic with a cre- on the first two bars and a B in the corre- Two, in order for both parts to project ef- scendo. sponding passage at bars 12 and 13. fectively. This is always a problem when Whichever you choose, you will find Player Two has a C-sharp on the opening faced with a part requiring more than that performing “Symphonie bars and a G-sharp at bars 12 and 13. one player. The music is exciting, so the Fantastique” will provide an experience Immediately after bar 13, Player Two is temptation is to play loud, fast and furi- that adds a new dimension to your play- instructed to change to C and G. Do so ously. Here is another case of where less ing, especially in the area of tonal pro- quickly, as there is a very important C at is more. Play with vitality, but use musi- duction. May you savour the experience! bar 17! cal judgement at all times and don’t over- At the Allegro (6/8) passage at bar 21, play! Andrew P. Simco is timpanist with the Player Two takes the reins for a bit by Finally, let me mention the passage at Oslo Philharmonic and a member of the playing double-stops on C and G for four bar 496, which can be played either by Board of Directors of the Norwegian and a half bars, then is joined by Player doubling or by cross-sticking. It has be- Percussion Club. PN One on the second half of bar 25 (Player come tradition to play this particular

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PERCUSSIVE NOTES 65 APRIL 1998