In memoriam Emma Maleras. Today, aged 97, Emma Maleras has passed away. She may be unfamiliar for many people but, for those of us who care about castanets, she is a milestone. Emma Maleras at Teatro Romea (1975). Author unknown. Emma Maleras created a method that approached castanets like any other instrument: with respect and… Continue reading In memoriam Emma Maleras
Category: History
Articles dealing with the rich history of percussion instruments.
Happy birthday, Ms. Abe!
Happy birthday, Ms. Abe! Today is the 80th birthday of a person who has had a tremendous influence in the marimba world: Keiko Abe. © Yamaha. It is not the purpose of this article to detail her career, achievements or insist on the tremendous importance of her figure (all of that already well known), but… Continue reading Happy birthday, Ms. Abe!
“The Timpani and Percussion Instruments in 19th-century Italy”
“The Timpani and Percussion Instruments in 19th-century Italy” Because I have been a very good boy during this last year, the Three Wise Men brought me as a present the book “The timpani and percussion instruments in 19th-century Italy”, written by Renato Meucci, translated into English by Michael Quinn and edited by Banda Turca. ©… Continue reading “The Timpani and Percussion Instruments in 19th-century Italy”
The tenor drum, that great unknown
The tenor drum, that great unknown. The tenor drum is an instrument not very well known; even seasoned percussionists mistake it for the military drum, another member of the percusive family. This article will define its characteristics and make clear what instrument it is. At first I thought that this article would make not much sense… Continue reading The tenor drum, that great unknown
The Provençal drum
The Provençal drum. Today´s article deals with a traditional instrument that has made its way into the symphony orchestra. Common to different drumming traditions from several countries and around five centuries old, its name in French is very similar to the way that other completely different instruments are named in other nations, which has caused… Continue reading The Provençal drum
“Bluebeard´s Castle” – Xylophone.
“Bluebeard´s Castle” – Xylophone This month, the Asturias Symphony Orchestra is playing Béla Bartók´s opera “Bluebeard´s Castle”. This work features one of the most unusual and difficult xylophone parts in the repertoire, and this article will deal with this particular issue. “Barbe Bleue”. Ilustration by Gustav Doré for “Les Contes de Perrault”. Paris, Jules Hetzel,… Continue reading “Bluebeard´s Castle” – Xylophone.
In memoriam David Searcy
In memoriam David Searcy. Sadly, I am writing again mourning a loss. David Searcy has passed away on August, 2nd. David was timpanist for the orchestra of Teatro alla Scala in Milan (before that, he played for the Bergen Philharmonic), a magnificent musician, and an excellent person. He was also a faculty member at the Royal… Continue reading In memoriam David Searcy
Editing timpani parts (and III)
Editing timpani parts (and III). In this last article on the series I have wanted to use examples from Verdi himself to prove my points when editing the timpani part of his “Requiem“. It is not my intention when quoting the composer to fall into an “ad verecundiam” fallacy; by showing examples of his writing… Continue reading Editing timpani parts (and III)
Editing timpani parts (II)
Editing timpani parts (II). Continuing with the issue that we previously discussed, I´d like to show you my version of the “Sanctus” from Verdi´s “Requiem”. The use of full range speakers or headphones is highly recommended. You can legally and freely download the score and the parts here: IMSLP. © David Valdés This… Continue reading Editing timpani parts (II)
Editing timpani parts (I)
Editing timpani parts (I). He who has ever played repertoire by Mendelssohn, Schubert, Dvorak, Schumann, Tchaikovsky, Weber, Gounod, opera (mainly Italian and French works) and, as a particular case, Spanish zarzuela, is very likely to have found on many occasions notes that do not “match” with the harmonic/melodic context and, depending on his audacity or… Continue reading Editing timpani parts (I)