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By the 17th century, the timpani moved indoors for good and composers began to demand more from timpanists than ever before. The timpani was first introduced to the court orchestras and opera ensembles as well as in larger church works. [7] Due to this move indoors, a much more formalized way of playing and approaching the timpani was developed.
Metropolitan Museum of Art: Hampstead Heath with Bathers: 18th century Metropolitan Museum of Art: Netley Abbey: 1800s Herbert F. Johnson Museum of Art: Stonehenge at Sunset: 1836 Yale Center for British Art: The White Horse: 1800s National Gallery of Art: Salisbury Cathedral from Lower Marsh Close: 1820 National Gallery of ArtAndrew W. Mellon ...
A traditional silhouette portrait of the late 18th century. A silhouette (English: / ˌ s ɪ l u ˈ ɛ t /, [1] French:) is the image of a person, animal, object or scene represented as a solid shape of a single colour, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the ...
Image from late 18th century, Valencia. Mozart and Haydn wrote many works for the timpani and even started putting it in their symphonies and other orchestral works. Ludwig van Beethoven revolutionized timpani music in the early 19th century. He not only wrote for drums tuned to intervals other than a fourth or fifth, but he gave a prominence ...
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Wikipedia: Peer review/Evolution of Timpani in the 18th and 19th centuries/archive1
Die Zauberflöte has the greatest variety of orchestral color that the eighteenth century was to know; the very lavishness, however, is paradoxically also an economy as each effect is a concentrated one, each one—Papageno's whistle, the Queen of the Night's coloratura, the bells, Sarastro's trombones, even the farewell in scene 1 for ...
18th; 19th; 20th; 21st; 22nd; 23rd; Subcategories. This category has only the following subcategory. 1770s drawings (2 C) Pages in category "18th-century drawings"