Historically Informed Performance
Interpretation
Music is an interpretive art form. There are no rules in art, and there are no fixed rules for interpreting a piece of music. Differing philosophies about artistic value are merely matters of opinion and taste. There is no definitive method of interpreting a composition the “right” way. It is no different with contemporary HIP interpretation. When interpreting HIP, one should always look at the different standards and metrics that existed at the time and then make interpretative choices based on scholarship, creativity, imagination, experimentation, and artistry. Below are just a few examples of contemporary HIP Interpretation by various timpanists.
The opening of video below of the Schumann Symphony No 4 in D minor with David Zinman conducting the Tonhalle Orchestra Zurich is a good example of HIP practices on modern timpani.
Schumann Symphony No 4 D minor
David Zinman Tonhalle Zurich
Chicago Symphony Orchestra’s Principal Timpani David Herbert explains his HIP approach to the opening of Haydn’s Symphony No. 103 (Drumroll) using modern timpani.
Chicago Symphony Orchestra’s Principal Timpani David Herbert
J.S.Bach – Nikolaus Harnoncourt
Weihnachtsoratorium
Christmas Oratorio – BWV 248
Traditional Grip/Wood Sticks
Concentus Musicus Wien
Much of the interpretation and aesthetics of period performance may be as much visual as aural, e.g., the ornate wooden sticks mentioned above, so late 19th or early 20th century hand-tuned timpani mounted on wooden floor stands are often used. They may look the part, but the sound will still need to be adjusted. Based on extant examples, period timpani (16th-19th century) were much smaller in diameter and more shallow in depth than modern 21st century instruments and were equipped with very thick heads. The size and depth of the narrow collared bowls produced less projection. The integrity and mechanics of the construction produced less pitch definition. The quality of the heads produced less resonance and sustain. The sticks and playing techniques (e.g. playing spot) were much different as well. Consequently, early timpani emitted a sound that is quite unlike that of modern drums, so using modern instruments for HIP requires some reverse engineering if you want to approach a true period sound, which is often not all that palatable to modern ears.
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Courtesy of The National Music Museum: Pair of timpani, German states, 18th century. Bowls hammered from sheets of copper. Animal skin heads tucked around iron hoop and tightened by iron tuning rods (six and seven, respectively). Rods received by nuts mounted on decorative iron shields nailed to the bowls. Large internal funnels (schalltrichter) above each vent hole. Three-legged, one-piece, integral stand. Diameters: 61.5 cm and 63.5 cm Bowl Depths: 30 cm and 30 cm |
18th Century Kettledrums
Lobkowicz Family Collection
The sizes of modern American timpani now considered “standard” are, 32″, 29″, 26″ and 23/24″ and are usually equipped with Mylartm heads. The standard sizes of modern European timpani are 58cm, 66cm, 74cm, and 81cm and European timpanists generally prefer natural skin heads. If you are using natural skin heads such as calf or goat on modern instruments, it is somewhat easier to emulate the sound of period timpani.
More often than not, controlling the length of your sound as well as the amount of sound you generate will go a long way in defining your HIP interpretation. The color of your sound is important, but the aforementioned will do more to emulate a true period sound.
An excellent example of controlling the length of your sound as well as the amount of sound is demonstrated by Adrian Bending performing Bach’s Christmas Oratorio with the Gabrieli Consort Players. The timpani used for the authentic period performance are 21″ & 23″ drums with English white calf heads made by Pete Woods of www.henrypotter.co.uk. Notice as well the sticks Adrian is using. Even when using period instrument replicas with modern heads, one has to be conscious of sound control.
Adrian Bending with the Gabrieli Consort Players