ically kept within appropriate bounds: typically between pianissimo to for-
tissimo. In Haydn and Mozart, forte and piano are common dynamic
markings. To add stress to a note, a forzando might be added. Occasionally
the crescendo or decrescendo is written in a score; however, this is the ex-
ception, not the rule (Ratner 1980, 189). Haydn’s Symphony No. 98 is a
good example. Most of the symphony is played between the pianissimo
and forte, and the dynamic gestures alternate between piano and forte
phrases or periods. In the last movement, Haydn scores a tutti at fortissimo
(measure 178). Only in this movement does he score crescendos (see mea-
sures 73 and 272). However, these crescendos rarely carry the listener into
an emotional catharsis (Haydn 1985a). While the Mannheim orchestra
(perhaps the most disciplined in Europe) was noted for employing cres-
cendos and decrescendos, their use in the later Classical period seems
quite limited (Burney, 1957, 945). Haydn and Mozart used them sparingly—
preferring contrasts between alternating dynamic levels. This trend is par-
ticularly evident in the second movement of Haydn’s Symphony No. 102
and the first movement of Mozart’s Piano Concerto No. 24 (Haydn 1985b;
Mozart 1959). As described above, Daniel Turk emphasizes the importance
of execution in achieving clarity. In executing Mozart’s symphonies, the as-
cending and descending scalar lines require what Turk would call exqui-
site “mechanical execution.” Allowing each note in a flurry of semiquavers
to speak properly requires attention to the attendant articulation. Clarity
of line requires a certain balance between instrumental sections. In sup-
porting the thematic line, Mozart gives other instruments an independent
voice that needs to be heard. To achieve this, the orchestra must be dynam-
ically and tonally balanced. Finally, the periodic structure of Haydn and
Mozart require musicians to clearly begin and end a musical line or theme.
Within a theme, the constituent motifs should be clearly stated and prop-
erly articulated.1
Music and performance practices of the Classical era shape the tim-
panist’s approach to interpreting this music. First, the timpani should
project a more transparent or translucent sound. As described in chapter
1, the tonal characteristics of this kind of drum are not so dark that other
instruments are obscured by its presence. This permits sections or instru-
ments to be balanced and each instrument heard.2 Second, the timpanist
should carefully punctuate cadences—especially those ending a phrase or
period. Pay particular attention to authentic cadences that may clearly de-
note the end of a phrase. Third, use articulate sticks in movements with
quicker tempos and general purpose sticks for other movements. The ar-
ticulate sticks will permit rhythms, so important to many Classical sym-
phonies, to be articulated and distinctly heard. The general purpose sticks
work well in movements with moderate and slow tempos and they effec-
tively execute rolls. Leave softer sticks for special parts that need a dark
sound, for example, the opening rolls in Mozart’s overture to Don Juan.3
Fourth, play dynamics as written. These typically alternate between pi-
anissimo and fortissimo (and often between piano and forte). Crescendo
and decrescendos should be used sparingly. The timpani part should be
102 Timpani Tone and the Interpretation of Baroque and Classical Music
