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The timpani is considerably older than other melodic percussion instruments, such as the marimba and xylophone. [citation needed] Music historians trace the instrument's history to ancient times when the drums were used in religious ceremonies. During the 13th century, timpani began to be used in pairs and were called Nakers, or Nakirs.
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 ...
Like the marching mallet percussion, timpani were marched when drum corps required everything to be marched. The marching timpani were made of fiberglass, and were played by a four- or five-man line (similar to a modern-day bass drum line). The timpani were cranked by a handle sticking up on the side of the drum.
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Portrait, by Thomas Gainsborough, Fischer's father-in-law, 1780, the year he married Mary Gainsborough [1] [2] (Royal Collection). Johann Christian Fischer (c. 1733 – 29 April 1800) was a German composer and oboist, one of the best-known oboe soloists in Europe during the 1770s.
Important concertos from these eras include Johann Fischer's Symphony for Eight Timpani and Georg Druschetzky's Concerto for Six Timpani. During the Romantic Period, the timpani concerto was largely ignored. The timpani concerto was revived in the 20th century and the timpani concerto repertoire increased significantly.
Concerto for organ, strings, timpani and percussion after the Spiritual Canticle of St. John of the Cross (1973) Einojuhani Rautavaara (1928–2016) Annunciations, concerto for organ, brass quintet, wind orchestra and percussion (1977) Kenneth Leighton (1929–1988) Organ Concerto (for organ, strings and timpani), Op. 58 (1970) Petr Eben (1929 ...
Accent can refer to any stressed or emphasized note, such as sforzando.It was used to indicate an ornament until the 18th century. In German Baroque music it occurs in J. S. Bach's ornament tables as a stressed appoggiatura, indicated by a half circle or "C" in front of a note.