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.jpg) Top view and playing area of a modern concert cimbalom | |
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Thecimbalom,cimbal (/ˈsɪmbələm,-ˌlɒm/;Hungarian:[ˈt͡simbɒlom]) orconcert cimbalom is a type ofchordophone composed of a large, trapezoidal box on legs with metal strings stretched across its top and a damping pedal underneath. It was designed and created byV. Josef Schunda in 1874 inBudapest, based on his modifications to the existinghammered dulcimer instruments which were already present in Central and Eastern Europe.[1]
Today the instrument is mainly played inHungary,Slovakia,Moravia,Belarus,Romania,Moldova, andUkraine.[1]
The cimbalom is typically played by striking two sticks, often with cotton-wound tips, against the strings which are on the top of the instrument. The steel treble strings are arranged in groups of 4 and are tuned in unison. The bass strings which are over-spun with copper, are arranged in groups of 3 and are also tuned in unison. TheHornbostel–Sachsmusical instrument classification system registers the cimbalom with the number 314.122-4,5.[2]
The name “cimbalom” is also sometimes used to describe other types of dulcimers, which may have different tuning systems and which may lack the dampers and heavy construction of the concert instrument.[citation needed] Additionally, "cimbal" has many alternate spellings; e.g.,tsimbal,[3]țambal inRomanian, orцимбали [tsymbaly] inUkrainian).[citation needed]
The modern Hungarian concert cimbalom was designed and created byV. Josef Schunda in 1874 inBudapest based on his modifications to existing folk dulcimers.[1] He demonstrated an early prototype with some improvements at the1873 Vienna World's Fair, gaining praise from audiences and drawing the attention of highly-placed Hungarian politicians such asJózsef Zichy,Gyula Andrássy, andKing Franz Joseph.[4] He then continued to work to modify and improve his design. He extended the length of the strings and redesigned the position of the bridges to improve the tone and musical range.[5] He added heavy dampers which would allow a greater degree of control over the ringing of the strings, and a metal brace inside the instrument which would increase its stability.[1] Four detachable legs were added to support this much larger instrument; its folkloric predecessors had usually been played on a barrel or table.[1]
Schunda began serial production of his concert cimbalom in 1874, manufacturing them in a piano shop located onHajós utca, across the street from theBudapest Opera House inPest.[6] He also started to develop a playing method and school to popularize his new instrument, eventually recruitingGéza Allaga, a prominent musician and pedagogue, to publish method books.[7][1] Prominent Hungarian musicians such asFranz Liszt became increasingly interested in the instrument and its possibilities. The instrument quickly became popular among theBourgeoisie as well asRoma musicians, and by 1906 Schunda had produced over ten thousand instruments.[1]
Walter Zev Feldman took to reintroducing the instrument for Jewish folk music and derivatives in the 1970s.[8]
Concert instruments from Schunda onward are fully chromatic. The Schunda tuning system established a standard pitch range of fouroctaves plus a major 3rd; extending from C to e′′′[9] (Helmholtz pitch notation). The cimbalom has continued its development and modern concert instruments are often further expanded and have numerous refinements beyond Schunda's design. These instruments can now have a pitch range that extends five fully chromatic octaves from AA to a′′′.
Contemporary cimbalom makers also create smaller instruments. These run the gamut from less weighty versions of Schunda's original concert layout to truly portable fully chromatic cimbaloms (which use Schunda's signature tuning pattern and note layout but with reduced range in the bass). Modern makers also continue to craft new and traditional folk style instruments.
A smaller more portable version of the concert cimbalom was produced inUkraine from the 1950s to the 1980s that came with detachable legs and dampers, but could be carried more easily than the larger concert instrument. These instruments were produced by theChernihiv factory and the Melnytso-Podilsk folk instruments workshop which also produced many types of other folk instruments.[10]
Many composers have written for the cimbalom.Zoltán Kodály made extensive use of the instrument in his orchestral suiteHáry János which helped make the cimbalom known outsideEastern Europe.Igor Stravinsky was also an enthusiast.[10] He owned a cimbalom which he purchased after hearing Aladár Rácz perform on the instrument. He included the cimbalom in his balletRenard (1915–16), hisRagtime for eleven instruments, his original (1917) scoring forLes Noces, and hisFour Russian Songs.[11]Franz Liszt used the cimbalom in hisUngarischer Sturmmarsch (1876) and in the orchestral version of hisHungarian Rhapsody No. 6.Béla Bartók used it in hisRhapsody No. 1 for violin and orchestra (1928).
More recently, other composers includingPierre Boulez,Peter Maxwell Davies,Peter Eötvös,György Kurtág,Miklós Kocsár,Richard Grimes,Louis Andriessen, andPeter Machajdík have made a great use of cimbalom in their works.Henri Dutilleux used it extensively inMystère de l'Instant for chamber orchestra, andL'arbre des songes for violin & orchestra.Elvis Costello's orchestral ballet scoreIl Sogno includes several extended cimbalom passages.Harrison Birtwistle's operasGawain (1991) andThe Minotaur (2008) each utilize the cimbalom.John Adams uses the instrument prominently in his large 2012 symphonic oratorioThe Gospel According to the Other Mary[12] as well as in his 2014 dramatic symphonyScheherazade.2.[13] Cimbalom is used in a popular arrangement ofDebussy'sLa plus que lente which the composer approved but did not actually score. (La plus que lente with cimbalom saw renewed popularity with its inclusion in world tours of theHundred Gypsy Violins starting in 1985.)
The cimbalom has occasionally been used in film scores, especially to introduce a "foreign" feel. The cimbalom appears inChristmas in Connecticut (1945) in a scene in Felix's (S. Z. Sakall) Hungarian restaurant inManhattan. It was also featured in the filmsCaptain Blood (1935),The Divorce of Lady X (1938), andSherlock Holmes and the Secret Weapon (1943).
The cimbalom was used in the film score for the movieIn the Heat of the Night (1967). ComposerCarmine Coppola made heavy use of the cimbalom in his soundtrack forThe Black Stallion (1979) to accentuate the Arabian heritage of the majestic horse.Miklós Rózsa used the cimbalom in the main theme and throughout the score for the science-fiction thrillerThe Power (1968).John Barry used it in the title theme for the filmThe Ipcress File (1965), as well as in the main theme of theITC TV seriesThe Persuaders! (1971); in both examples the performer wasJohn Leach.[14]James Horner made use of the instrument in his "Stealing the Enterprise" cue fromStar Trek III: The Search for Spock (1984). In addition,John Williams has made less prominent use of the instrument in scores such asRaiders of the Lost Ark (1981).Howard Shore used the cimbalom as well to express Gollum's sneaky nature inPeter Jackson's filmThe Lord of the Rings: The Two Towers (2002). The cimbalom is also featured prominently inHans Zimmer's scoring ofSherlock Holmes (2009).Alexandre Desplat uses cimbalom in works such asThe Golden Compass (2007),The Curious Case of Benjamin Button (2008), andThe Grand Budapest Hotel (2014).
In television, composerLalo Schifrin made use of the cimbalom in several scores he wrote for the originalMission: Impossible television series, from which several cues were regularly recycled throughout the series' run.
ComposerDebbie Wiseman used the cimbalom, played by Greg Knowles, in her score for the BBC television series 'Dickensian' (2015–16).
The cimbalom, played byJohn Leach, features prominently in the score of the BBC television drama serial from 1988, 'Babylon Bypassed' byGareth Glyn.
The cimbalom was used byAlan Parsons on his "I Robot"[15] andTales of Mystery and Imagination[16] albums and is included in the guest musician acknowledgments. The experimental rock groupMr. Bungle made use of the cimbalom on theDisco Volante[17] andCalifornia[18] albums. It is included in the guest musician acknowledgments. The experimental performance organizationBlue Man Group has used a cimbalom in its productions.[19] American progressive chamber group,cordis, uses electric and acoustic cimbalom as a centerpiece in their music.[20] Romanian rock groupSpitalul de Urgență has frequently used cimbalom, including a full-time player in some line-ups of the band. New York multi-instrumentalistRob Burger used a cimbalom on the albumL'Entredeux (2008) by Tucson chanteuseMarianne Dissard. Alternative rock bandGarbage incorporated cimbalom into their track "The Trick Is to Keep Breathing" from their 1998 albumVersion 2.0.[21]Portishead have long been successful pioneers of the cimbalom or hammered dulcimer in their groundbreaking work since formation in 1991.
InBelarus a cymbaly school was established in 1948 by J. Zynovych. The Belarusian cymbaly differs from the concert cimbalom in timbre and size—it is smaller and produces a sweeter, more mellow tone. Also, pedal dampers are not typically used. Instead, hands and fingers are used to damp the strings.
The cimbal (or cimbule) today is a rare instrument found in folk groups (Međimurje,Zagorje andPodravina regions - parts of northern Croatia near Hungarian border).
The instrument is used foremost in thehistorical region of Moravia as a basis forMoravian traditional music ensembles. Foremost in regions ofMoravian Slovakia andMoravian Wallachia.[22]
Luigi Gaggero teaches since 2004 at theConservatoire de Strasbourg and at the Académie Supérieure de Musique de Strasbourg. His teaching focuses on classical and on contemporary repertoire for cimbalom.[23]
In Athens, a cimbalom school was established in 2004 by M. Papadeas. The Greek musicians play on small portable folk style instruments.
Besides the main cimbalom centre in Budapest, there is a very strong school of performance in Debrecen in Hungary.
In 1952, cimbalom classes were opened at theChişinău conservatory inMoldova.
A strong performance school was established inBucharest.Toni Iordache, aRomani-Romanianlăutar, was the most famous Romanian cimbalom player.
The cimbal is a very popular instrument found in all Slovak regions, as well as in the ethnically Slovak/Hungarian mixed southern regions and among Romani folk ensembles.[22]
Slovenia
Used historically in thePrekmurje region. Cimbalom is traditionally played in musical groups called Banda, accompanied by two violins, a viola, violoncello and a double bass. Classes are held in town ofBeltinci.
In Ukraine, the concert Cimbalom was first formally used in theOrchestra of Ukrainian Folk Instruments organized and directed byLeonid Haydamaka from 1922 byOleksandr Nezovybatko. In time it was replaced by 2 smaller-sized instruments in order to facilitate transportation. Music for the cimbalom has been published in Ukraine from 1930 on. With the serial manufacture oftsymbaly by theChernihiv Musical Instrument Factory cimbalom playing became popular in Eastern Ukraine in the post war years. Textbooks for thetsymbaly were published in 1966 by O. Nezovybatko, and initially players played on semi-concert instruments manufactured by the Chernihiv Musical Instrument Factory. In recent times most professional performers have switched over to the Schunda system of playing on concert-size instruments. Classes for the instrument exist in theLviv,Kyiv andKharkiv conservatories. Currently most Ukraine folk instrument ensembles and orchestras such as the Orchestra of Ukrainian Folk instruments and the State Bandurist Capella usually have 2 concert cimbaloms.Roman Kumlyk was a famous player from Hutsul area. After his death, a museum was named for him and is now run by his family.
The reintroduction of the cimbalom into klezmer music was the work of the present writer in the 1970s.
