T he interpretation of timpani parts in the Baroque and Classical peri-
ods is, at times, shrouded in mystery. Our knowledge of the timpani, timpani mallets, bowl shape, timpani heads, the composer’s understand- ing of the use of the timpani in the orchestra, and scoring for the timpani is limited. In a two-hundred-year period, the timpani underwent a trans- formation. The size of the drums and the tonal quality of the instruments increased. In some cases, we know the drums composers had available to them, but in other cases we can only speculate about the kind of drums that composers had in mind when they wrote for the timpani. We have few documents describing the timpani sticks used in the seventeenth and eigh- teenth centuries. Therefore, we are left to speculate about the quality of sound production that a timpanist could produce. During the Baroque and the early to middle Classical period, timpanists were quite secretive about their art, and, with few exceptions, they did not leave a written record of the drums, performance practices, techniques, and playing styles (Virdung 1993; Arbeau 1972; Speer 1697; Eisel 1738; Mersenne 1957; Altenburg 1974, 30–35; Titcomb, 1956, 56–66). The seventeenth and eighteenth cen- turies witnessed the gradual introduction of the timpani into the orches- tra. Undoubtedly, composers puzzled over how the timpani could be used effectively in communicating musical ideas. In some cases, timpani nota- tion was not standardized: composers did not agree on how to notate a roll. Consequently, the interpretation of timpani parts must be a very personal one—one informed by our limited understanding of the timpani and its use in the Baroque and Classical eras. In this chapter, the author will ex- amine stylistic concerns, musical notation, and phrasing issues that bear on the interpretation of music in the Baroque. The author will leave it to others to discuss whether or not this music is best played on original in- struments. The Baroque era begins around 1600 and ends in the mid-1700s. His- torically and intellectually, this was a period of great change on the Conti-
AUSTRO-BOHEMIAN TRUMPET MUSIC IN THE LATE SEVENTEENTH CENTURY - COMPOSITIONAL AND PERFORMANCE TECHNIQUES ASSOCIATED WITH THE PRINCE-BISHOPS COURT OF KROMERÍZ - Bland Justin
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