page_title: Evolution of timpani in the 18th and 19th centuries
section_title: Schumann's timpani writing
hierarchical_section_title: Evolution of timpani in the 18th and 19th centuries / Changes in timpani composition / Schumann's timpani writing
caption_attribution_description: English: Portrait of Robert SchumannDeutsch: Porträt des Robert Schumann
context_page_description: The modern timpani evolved in the 18th and 19th centuries from the simple 12th-century membranophone of the Naker to a complex instrument, consisting of a suspended kettle with a foot-operated clutch, capable of rapid tuning. The technological evolution of the instrument led to increased interest in its capabilities and sound among such composers as Ludwig van Beethoven, Robert Schumann, and Hector Berlioz.
  Initially used only outdoors, the instrument underwent modifications in the 16th and 17th centuries that led to its incorporation into chamber ensembles. During the 18th and 19th centuries, modifications in its design and construction, and rising interest in the symphony orchestra led to changes not only to the ensemble's size, but also to composers' use of specific instruments within the orchestra.
  These new and challenging compositional demands influenced the design of the timpani, how timpanists play the instrument, and also helped to raise the standard of playing to a whole new level. The combination of composers' and players' interest in the timpani during the 18th and 19th centuries helped to make the instrument what it is today.
context_section_description: When composer Robert Schumann revised his Symphony No. 1, he made the timpani part considerably more difficult that required three timpani rather than the standard two-drum set. The first movement of Schumann's Symphony No. 1, demonstrates how the composer utilized the three different drum pitches to support the harmonies and orchestration. Some music historians conclude that Schumann's cousin-in-law Ernst Pfundt, the main timpanist in Leipzig and a prominent figure in timpani development, suggested the use of three machines. Regardless, Schumann understood the harmonic possibilities of three drums and realized that the score would not require as many rests to allow the timpanist enough time to re-tune the drums. The use of three timpani quickly became the standard configuration. With the invention of the "Dresden" foot pedal system, composers writing for the timpani had nearly limitless compositional possibilities.
caption: Schumann was one of the first composers to write for three timpani rather than just two.
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