Historically Informed Performance
Most iconographic evidence (open to speculation) suggests that the early 16th and 17th “outdoor” cavalry timpani were generally struck dead or slightly off-center. This method of producing pitch (striking the drum dead/off-center) is in fact how noted musicologists Edmund Bowles 53 and John Michael Cooper 29 believe timpani produced pitch until the very end of the 18th century. This purportedly yielded a sound with a very percussive attack with a quick decay, and a short discernible pitch.
Man playing kettle drums – engraving by J.C. Weigel
(1661-1726), from Musicalisches Theatrum
This method of playing is in fact still used today by some traditional Cuban Timbaleros. Below is a short video showing the traditional approach to tuning Timbales Cubanos, and then playing the Cuban danzón. Notice where the timbalero is striking the timbales for the primary notes; near dead center on *do* and just slightly off center for *sol* yet there is still strong sense of the key of F. When he strikes the timbales in the more traditional location, the instruments produce a weak, thin sound. The voice of these drums (when struck dead/off-center) produces a very short envelope, which is probably very similar to the sound of early 17th and 18th century timpani.
| Tutorial on how to tune traditional Timbales Cubanos, and play Cuban Danzón with Canelo Vasquez, drummer and director of the Super Lamas Group of Actopan. |
Below are other examples of traditional Cuban Timbaleros playing a danzon on traditional timbales in a orquestas típicas style.
DANZON EN EL ZOCALO DE VERACRUZ
The great master Polo, playing a danzon.
When replicating period sound, one needs to focus on the length of the natural sound (envelope), the amount of sound, and the color of the sound in that order. For modern timpani, it is not necessarily a question of the amount of sound, but more a question of the length of the sound. The amount of sound can be controlled by stick choice and stroke, but much of the natural length of the sound (envelope) is governed by the instrument itself; specifically the membrane (head) and how it is or isn’t allowed to vibrate. One should also bear in mind that as with all instruments, timpani have undergone an evolutionary process as well. Consequently, this sound envelope differs from stylistic period to stylistic period. One size does not fit all. The mid-nineteenth century Einbigler timpani that Felix Mendelssohn wholeheartedly endorsed would not have been appropriate for an early eighteenth century Bach oratorio, just as they would not be efficient enough to power a full sized orchestra of today. (See The Evolution of Timpani Pitch)
Clearly, original instruments or accurate replicas are best (for pure HIP, all instruments involved in the ensemble need to be authentic), but when authentic period timpani are not available for your performance. Below are three possible options to consider when using modern equipment to emulate a HIP sound. The author has used these methods at different points in his career to modify/alter his sound when HIP or period practice is requested. Each creates a different color, resonance, sonority, and sound envelope. Much of the outcome will depend on the acoustics of the venue, the instruments, the heads, the sticks, the playing technique used, the size and forces of the ensemble, as well as the conductor’s approach. Be flexible, open-minded, and don’t forget to experiment with new ideas as you develop you own personal approach to developing a HIP sound. There is no prescriptive solution, only creativity, imagination, experimentation, and artistry.