In Henry Purcell’s (1659-1695) Music for the Funeral of Queen Mary (1695), the general sense of percussion is strict and solemn, providing a ceremonial atmosphere to the composition. Purcell seems to use percussion to deliver support to the rhythmic structure. This support is achieved by loud hits spaced in time. It will appear that the composer also applies percussion to emphasise key moments during the work through soft, gentle hits. In Beethoven’s (1770-1827) Symphony No. 8, 1st Movement (1812), the role of percussion appears to be rather subtle at times compared to Purcell’s composition. Nevertheless, the use of percussion seems to be to enhance the rhythmic elements, adding accents and contributing to the overall texture. Furthermore, the timpani rolls support the relatively short crescendos in dynamics, adding power to the climaxes at the end of phrases. Although the percussion doesn’t seem to have a main role in the movement, it complements the melodic and harmonic elements through dynamic and intensity. In contrast, in Berlioz’s (1803-1869) Symphonie Fantastique (1830), the percussion section plays a prominent role in creating a sense of chaos, terror and a supernatural atmosphere. The composer applies loud solo hits and crescendos to intensify the sense of drama. He also uses orchestral chimes to provide a further atmospheric soundscape. The timpani seems to provide rhythmic support along the brass and intensifies the final climax. The Bass drum adds weight to the texture, while the cymbals contribute to sharp and cutting accents. After listening to Messianen’s work, there seems to be an array of instruments all contributing to shaping the soundscape of a ‘celestial city’. Due to the properties and characteristics of the glockenspiel, vibraphone, marimba and crotales, the colour is light, and a sense of spirituality is provided. All the percussive instruments seem to support the piano, which could be considered a percussive instrument due to the hammers hitting the strings. In Gyorgy Kurtag’s (1926-Present) Grabstein fur Stephan (1978-1989), the percussion instruments provide an ethereal and introspective atmosphere. Supporting the dissonant melodies and harmonies. At times, loud hits appear to create a sense of shock. However, the percussion instruments support and punctuate moments of reflection and grief. The bass drums provide drive and direction to the piece. Finally, in Thomas Ades’ (1971-Present) unconventional Chamber Symphony (1990) the percussion instruments support the creation of different textures and timbers. The snare appears to provide drive and direction. The percussion appears to be integrated with other instruments colours and not as prominent as the other compositions. It will seem that the application of percussion is to add colour, atmosphere and rhythmic support.
The use of percussion seems to vary between the compositions. Some composers use percussion instruments to add atmosphere to their works; others use percussion, making it stand out as a primordial role depending on what they want to communicate. However, it seems that something doesn’t differ between them, and it seems to be the supporting role of the percussion to rhythms. They also add intensity, drive, colour, and timbral variety. There doesn’t seem to be a chronological development in the use of the percussion. However, in older compositions, the use of the role appears to have a primordial role rather than in more contemporary ones. In the 20th century, however, many works relying exclusively on percussion instruments were created as studied in previous modules. Overall, although there doesn’t seem to be a direct chronological development, the application of percussion in the orchestra seems to have increased as more percussive instruments have been added to it.
Reference:
Beethoven: Symphony No. 8,1st Movement. Deutsche Kammerphilharmonie Bremen. Accessed on 22/08/2023 from: https://youtu.be/Iq4bHt5FTmY
Berlioz: Symphonie Fantastique, 5th Movement. Orchestre National de France. Accessed on 22/08/2023 from: https://youtu.be/cao6WyF-61s
Gyorgy Kurtag: Grabstein für Stephan, Op. 15c. Accessed on 24/08/2023 from: https://youtu.be/_pUbg5TWTv8?si=nbOYqiQH2lP-86VA
Henry Purcell: Music for the Funeral of Queen Mary, March. Baroque Brass of London, Choir of Clare College Cambridge. Accessed on 22/08/2023 from: https://youtu.be/AYELAu9hqdU
Messiaen: Couleurs de la cite celeste. hr-Sinfonieorchester – Frankfurt Radio Symphony. Accessed on 22/08/2023 from: https://youtu.be/hvCJ1Q4daMw
Thomas Ades: Chamber Symphony. MDI ensemble. Accessed on 24/08/2023 from: https://youtu.be/qxnGiTjQ8zY?si=yhk9TfmCvIXcjn78
Orchestration and Arrangement 