Thecimbalom,cimbal(/ˈsɪmbələm,-ˌlɒm/;Hungarian:[ˈt͡simbɒlom]) orconcert cimbalomis a type ofchordophonecomposed 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 Schundain 1874 inBudapest,based on his modifications to the existingHammered dulcimerinstruments which were already present in Central and Eastern Europe.[1]

Cimbalom
Top view and playing area of a modern concert cimbalom
String instrument
Classification
Playing range
Various (see§ The concert cimbalombelow)
Related instruments

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 classificationsystem 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. In other languages, the words for those other instruments and the concert cimbalom may be similar as well (such asțambalinRomanianorцимбали[tsymbaly] inUkrainian).[citation needed]

History

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The modern Hungarian concert cimbalom was designed and created byV. Josef Schundain 1874 inBudapestbased 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.[3]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.[4]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 HouseinPest.[5]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.[6][1]Prominent Hungarian musicians such asFranz Lisztbecame increasingly interested in the instrument and its possibilities. The instrument quickly became popular among theBourgeoisieas well asRomamusicians, and by 1906 Schunda had produced over ten thousand instruments.[1]

Concert cimbalom with a range of C to e′′′ made byVencel József Schunda.

Characteristics

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Concert instruments from Schunda onward are fully chromatic. The Schunda tuning system established a standard pitch range of fouroctavesplus a major 3rd; extending from C to e′′′[7](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 inUkrainefrom 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 theChernihivfactory and the Melnytso-Podilsk folk instruments workshop which also produced many types of other folk instruments.[8]

Modern concert cimbalom with a range of AA to a′′′ made by Kovács Balázs.

Compositions for cimbalom

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Classical and contemporary music

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Many composers have written for the cimbalom.Zoltán Kodálymade extensive use of the instrument in his orchestral suiteHáry Jánoswhich helped make the cimbalom known outsideEastern Europe.Igor Stravinskywas also an enthusiast.[8]He owned a cimbalom which he purchased after hearing Aladár Rácz perform on the instrument. He included the cimbalom in his balletRenard(1915–16), hisRagtimefor eleven instruments, his original (1917) scoring forLes Noces,and hisFour Russian Songs.[9]Franz Lisztused the cimbalom in hisUngarischer Sturmmarsch(1876) and in the orchestral version of hisHungarian Rhapsody No. 6.Béla Bartókused it in hisRhapsody No. 1for violin and orchestra(1928).

More recently, other composers includingPierre Boulez,Peter Maxwell Davies,Peter Eötvös,György Kurtág,Miklós Kocsár,Richard Grimes,Louis Andriessen,andPeter Machajdíkhave made a great use of cimbalom in their works.Henri Dutilleuxused it extensively inMystère de l'Instantfor chamber orchestra, andL'arbre des songesfor violin & orchestra.Elvis Costello's orchestral ballet scoreIl Sognoincludes several extended cimbalom passages.Harrison Birtwistle's operasGawain(1991) andThe Minotaur(2008) each utilize the cimbalom.John Adamsuses the instrument prominently in his large 2012 symphonic oratorioThe Gospel According to the Other Mary[10]as well as in his 2014 dramatic symphonyScheherazade.2.[11]Cimbalom is used in a popular arrangement ofDebussy'sLa plus que lentewhich the composer approved but did not actually score. (La plus que lentewith cimbalom saw renewed popularity with its inclusion in world tours of theHundred Gypsy Violinsstarting in 1985.)

Film and television

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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 Coppolamade heavy use of the cimbalom in his soundtrack forThe Black Stallion(1979) to accentuate the Arabian heritage of the majestic horse.Miklós Rózsaused the cimbalom in the main theme and throughout the score for the science-fiction thrillerThe Power(1968).John Barryused it in the title theme for the filmThe Ipcress File(1965), as well as in the main theme of theITCTV seriesThe Persuaders!(1971); in both examples the performer wasJohn Leach.[12]James Hornermade use of the instrument in his "Stealing the Enterprise" cue fromStar Trek III: The Search for Spock(1984). In addition,John Williamshas made less prominent use of the instrument in scores such asRaiders of the Lost Ark(1981).Howard Shoreused 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 Desplatuses cimbalom in works such asThe Golden Compass(2007),The Curious Case of Benjamin Button(2008), andThe Grand Budapest Hotel(2014).

In television, composerLalo Schifrinmade use of the cimbalom in several scores he wrote for the originalMission: Impossibletelevision series, from which several cues were regularly recycled throughout the series' run.

ComposerDebbie Wisemanused 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.

Schunda Cimbalom, late 1800s, E2-E6, + D2 string (fromEmil Richards Collection)

Rock

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The cimbalom was used byAlan Parsonson his "I Robot"[13]andTales of Mystery and Imagination[14]albums and is included in the guest musician acknowledgments. The experimental rock groupMr. Bunglemade use of the cimbalom on theDisco Volante[15]andCalifornia[16]albums. It is included in the guest musician acknowledgments. The experimental performance organizationBlue Man Grouphas used a cimbalom in its productions.[17]American progressive chamber group,cordis,uses electric and acoustic cimbalom as a centerpiece in their music.[18]Romanian rock groupSpitalul de Urgențăhas frequently used cimbalom, including a full-time player in some line-ups of the band. New York multi-instrumentalistRob Burgerused a cimbalom on the albumL'Entredeux(2008) by Tucson chanteuseMarianne Dissard.Alternative rock bandGarbageincorporated cimbalom into their track "The Trick Is to Keep Breathing"from their 1998 albumVersion 2.0.[19] Portisheadhave long been successful pioneers of the cimbalom or hammered dulcimer in their groundbreaking work since formation in 1991.

Schools of performance

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Belarus

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Oldcimbuleexhibited in theMeđimurje County MuseuminČakovec,northern Croatia
Hutsultsymbaly(Ukraine)

InBelarusa 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.

Croatia

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The cimbal (or cimbule) today is a rare instrument found in folk groups (Međimurje,ZagorjeandPodravinaregions - parts of northern Croatia near Hungarian border).

Roman Kumlyk - Hutsul musician, playing in the Museum of Musical Instruments and Hutsuls Lifestyle in Verkhovyna, Western Ukraine

Moravia

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The instrument is used foremost in thehistorical regionof Moravia as a basis forMoravian traditional musicensembles. Foremost in regions ofMoravian SlovakiaandMoravian Wallachia.[20]

France

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Luigi Gaggeroteaches since 2004 at theConservatoire de Strasbourgand at the Académie Supérieure de Musique de Strasbourg. His teaching focuses on classical and on contemporary repertoire for cimbalom.[21]

Greece

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In Athens, a cimbalom school was established in 2004 by M. Papadeas. The Greek musicians play on small portable folk style instruments.

Hungary

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Besides the main cimbalom centre in Budapest, there is a very strong school of performance in Debrecen in Hungary.

Moldova

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In 1952, cimbalom classes were opened at theChişinăuconservatory inMoldova.

Romania

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A strong performance school was established inBucharest.Toni Iordache,aRomani-Romanianlăutar,was the most famous Romanian cimbalom player.

Slovakia

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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.[20]

Ukraine

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In Ukraine, the concert Cimbalom was first formally used in theOrchestra of Ukrainian Folk Instrumentsorganized and directed byLeonid Haydamakafrom 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 oftsymbalyby theChernihiv Musical Instrument Factorycimbalom playing became popular in Eastern Ukraine in the post war years. Textbooks for thetsymbalywere 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,KyivandKharkivconservatories. 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 Kumlykwas a famous player from Hutsul area. After his death, a museum was named for him and is now run by his family.

References

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  1. ^abcdefgGifford, Paul M. (2001).The hammered dulcimer: a history.Scarecrow Press. pp. 115–6.ISBN978-1-4616-7290-6.
  2. ^Baran, Taras (1999).The Cimbalom World.Lviv: Svit. p. 15.ISBN5-7773-0425-7.
  3. ^Schunda, V. József (1906).A czimbalom: Története(in Hungarian). Budapest: Buschmann. pp. 18–9.
  4. ^Schunda, V. József (1906).A czimbalom: Története(in Hungarian). Budapest: Buschmann. p. 17.
  5. ^Baran, Taras (1999).The Cimbalom World.Lviv: Svit. p. 21.ISBN5-7773-0425-7.
  6. ^Schunda, V. József (1906).A czimbalom: Története(in Hungarian). Budapest: Buschmann. pp. 21–2.
  7. ^Tóth, Ida Tarjáni; Falka, Jószef.Cimbalomiskola 1.Editio Musica Budapest, Z. 2528, 1958, p. 101 (chart)
  8. ^abLeach, John (1972)."The Cimbalom".Music & Letters.53(2): 134–142.doi:10.1093/ml/LIII.2.134.ISSN0027-4224.JSTOR733612.
  9. ^"Igor Stravinsky".Retrieved2009-09-05.
  10. ^Alex Ross (June 18, 2012)."John Adams's The Other Mary" Sacred Dissonance "".The New Yorker.
  11. ^Anthony Tommasini (March 27, 2015)."Review: John Adams Unveils" Scheherazade.2 ", an Answer to Male Brutality".The New York Times.
  12. ^Jon Burlingame"John Leach, English Cimbalom Player, Dead at 82",Film Music Society, 14 July 2014
  13. ^Arista records ARCD 8040
  14. ^PolyGram records 832 820-2
  15. ^Warner Brothers 9 45963-2
  16. ^Warner Brothers 9 47447-2
  17. ^"Blue Man Group: Blue Man Instruments".Archived fromthe originalon March 30, 2009.Retrieved2009-09-03.
  18. ^Landspeed Records 9 47447-2
  19. ^Massey, Howard (1998-10-01).Talking Tech and Trash.Musician (magazine).
  20. ^abJohnston, Jesse A. (2010)."The Cimbál (Cimbalom) and Folk Music in Moravian Slovakia and Valachia".Journal of the American Musical Instrument Society.36:78–117.hdl:2027.42/87955.
  21. ^Examen d’entrée 2021 / Cymbalum(in French) hear.fr 2021
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