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This site introduces unknown Emanuel Bach (C. P. E. Bach).

Use of Percussion in Symphonies

I asked ChatGPT4o about the use of percussion in symphonies (Note: I did not ask specifically about Emanuel Bachʼs use of percussion, but information about timpani usage can be found there). First, I asked: "Haydnʼs symphony titled ʼDrumrollʼ features a drum roll, but which drum is being rolled?"

Haydnʼs Symphony No. 103 in E-flat major, known as the "Drumroll" Symphony, is famous for its distinctive use of percussion. The term "drumroll" refers to the characteristic rhythm played at the beginning of the first movement.

This "drumroll" is typically performed on the timpani (or kettledrum). The timpani is a large drum commonly used in orchestras. In this symphony, the timpani is forcefully rolled, becoming an integral part of the symphonyʼs thematic material.

Specifically, the first movement begins with a powerful drum roll on the timpani, creating a strong, march-like rhythm that sets the symphonyʼs distinctive atmosphere. This roll serves as a key thematic element throughout the entire symphony.

Next, I asked: "In Haydnʼs symphonies, are there works where drums other than timpani are used?"

In Haydnʼs symphonies, the use of drums other than timpani is quite rare, but there are notable examples:

1. Symphony No. 100 in G major, "Military" (Hob. I/100)
• Part of Haydnʼs "London Symphonies," this work features military-style percussion in the second movement. Instruments such as the triangle, cymbals, and bass drum are added, creating a distinct marching sound.
2. Symphony No. 26 in D minor, "Lamentatione" (Hob. I/26)
• The second movement uses a tam-tam (gong) along with the timpani. The tam-tam, known for its dramatic effect, is used to express sorrow and lamentation.

These examples show how Haydn incorporated non-timpani percussion to add new colors and dramatic effects to his symphonies.

Next, I asked: "I believe the tam-tam originated in China. How did it make its way to Germany?"

The tam-tam (gong) originated in China and Southeast Asia, arriving in Europe mainly through East-West exchanges in the 17th and 18th centuries. Several factors contributed to its introduction to Germany:

Trade and Exploration

1. East India Companies:
• From the 17th to 18th centuries, Dutch and British East India Companies conducted active trade with Asia, bringing various cultural artifacts to Europe.
2. Explorers and Diplomats:
• European explorers, diplomats, and missionaries visiting China and Southeast Asia introduced local instruments and musical culture to Europe.

Musical and Cultural Exchange

1. Interest in Orientalism:
• During the late 18th and 19th centuries, European fascination with "Orientalism" led composers to incorporate Asian instruments into their music.
2. Military Bands:
• Influenced by the Ottoman Empireʼs Janissary bands, Turkish-style percussion instruments, including the tam-tam, were adopted by European military and orchestras.

Spread of the Instrument

1. Adoption by Orchestras:
• Composers sought new sounds, and exotic instruments like the tam-tam added fresh color to orchestras.
2. Musical Instrument Merchants:
• Instrument dealers imported tam-tams from Asia, distributing them across Europe.

Through these avenues, the tam-tam spread throughout Europe, including Germany, where composers like Haydn utilized its unique sound in their works.

Next, I asked: "Where did the East India Companies obtain tam-tams?"

The Dutch and British East India Companies actively traded with Asia, bringing various items to Europe. Tam-tams were likely obtained from the following regions:

China:

China, one of the tam-tamʼs origins (known as "luó" in Chinese), was a major trade partner. Ports like Guangzhou facilitated the exchange of traditional instruments like the gong.

Southeast Asia:

• Indonesia: The Dutch East India Company had strongholds in Indonesia, acquiring Javanese and Sumatran gongs.
• Thailand and Vietnam: These regions also used gongs, which were exported through trade.

India:

India used gong-like instruments, which the British East India Company imported into Europe.

Next, I asked: "Were tam-tams used in Southeast Asia imported from China or locally made?"

Most tam-tams used in Southeast Asia were locally crafted, reflecting unique regional traditions:

Local Manufacturing Techniques

1. Indonesia:
• Gongs are central to Indonesian gamelan music, with unique local designs and sounds.
2. Thailand:
• Gongs are key instruments in Thai classical music, crafted within the country.
3. Vietnam:
• Vietnamese gongs are widely used, especially by ethnic minorities, for rituals and festivals.

Conclusion:

Most tam-tams in Southeast Asia were locally made, reflecting the regionʼs diverse musical traditions.

Next, I asked: "Did Haydn use a Chinese tam-tam or a Southeast Asian gong?"

No specific records remain, but considering European trends, Haydn likely used a tam-tam similar to the Chinese gong, known for its deep, resonant sound, suitable for dramatic effects.

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