Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts. In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power.
The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks.
In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music. Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: The registered timpani tone and did not ordained on our attack. We drop working on it and we'll find it logged previously also as we can.
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Timpani Tone and the Interpretation of Baroque and Classical Music
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Timpani Tone and the Interpretation of Baroque and Classical Music
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He sets these examinations against current thinking in the areas of wider period performance practice. Although there are published texts on more "neutral" aspects of timpani technique most of which are fully acknowledged, drawn upon and, where appropriate, recommended , this is the only such currently available on tone, and — significantly — tone in the service of greater interpretative expressivity. Timpani Tone and the Interpretation of Baroque and Classical Music is amply illustrated both with black and white photographs and extracts from scores as well as graphs… spectrographs of different sound productions, for example.
Most theses and points where it's necessary are supported by meticulous notes, which themselves occupy five pages. There's an unannotated bibliography; and discography pointing to recordings of music from the B Minor Mass to Mozart's Requiem , the historical center of gravity of the book. There is a password-protected website to further expand availability of relevant supporting material.