Performing the Timpani Parts to "Symphonie Fantastique"
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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.