Category Archives: Trips

From Pompeii to Paris – the Berlioz Sistrum

You may see sistrum, sistri, sistro or similar on an old percussion score, but rarely does it actually indicate the use of the instrument featured in this blog post. For edification and disambiguation, seek out the excellent blog by David Valdés on this subject (and in particular, for Rossini’s The Barber of Seville). However, if you are looking at The Trojans / Les Troyens by Hector Berlioz, then you are in the right place.

Sistrums at the Louvre museum in Paris
Pompeii Sistrums at the Louvre, Paris

 

The story goes that in 1831 Berlioz visited the ancient Pompeii museum in Naples, Italy and saw there the ancient cymbals (crotales) and sistrums from Pompeii and Herculaneum, two ancient Roman cities buried in volcanic ash and pyroclastic flow during the infamous AD 79 eruption of Mount Vesuvius. These percussion instruments were from temples set up to worship the Egyptian goddess Isis (who had subsumed many of the aspects of the earlier deity Hathor; both goddesses were worshiped using the sistrum).

Berlioz wanted to use these instruments in the orchestra. He had replicas made in France at some time between the 1830s and 1850s and wrote them into his opera, The Trojans, composed between 1856 and 1858. The ancient cymbals – small, thick, heavy and specifically pitched were included earlier in his choral symphony, Roméo et Juliette, in 1839, so the replica cymbals were certainly made in the 1830s. It is likely that his replica sistrums came later, maybe soon after The Louvre museum in Paris acquired their own ancient specimen in 1852. The ancient cymbals caught on, with Debussy and other composers adopting them soon afterwards and they are still written into parts today, having evolved into the modern rack of crotales. The ancient sistrum, didn’t quite gain the same traction, though Saint-Saëns did include it in his comic opera Phryné in 1893. In more recent times, Takashi Yoshimatsu uses a sistrum in his Cyberbird Concerto and Tan Dun also includes one  in his Cello Concerto. Both composers are using the French nomenclature – sistre.

Berlioz was keen to add new percussion instruments to the orchestra, and not just in terms of decoration and colour. He wanted an expansion in the pitched percussion department also. Here is a plea to instrument makers that he wrote in the Journal Des Débats on the 12th October 1847:

Newspaper scan
Plea to instrument makers

 

Sistrums (or Sistra if we are to pluralise it in the Latin form) are still in use in various cultures today, and in various forms. They are a (usually) metal shaker / rattle with some form of open frame or hoop attached to a handle. Within the frame there are moving or fixed horizontal bars and often, but not always, there are metal discs on the bars  which are free to move back and forth within the frame. There are sistrums produced today for use in the Ethiopian Coptic Orthodox Church and you might argue that the Brazilian Samba Band Chocalho is a version of the sistrum.

Chocalho
Chocalho
Sensasel
Sensasel – Ethiopian Sistrum

 

Very early forms of this  instrument come from Sumeria and Babylonia as far back as 2500BC, with some even earlier similar instruments made of wood,  coconut shell, shark teeth and other materials coming from the Indonesia / Melanesia region. The Sistrum became a very big thing in ancient Egyptian culture from around 2000BC in religious worship of the goddess Hathor,  and later the goddess Isis. There are many depictions of priestesses  playing these. Instruments were made from materials including wood, bone, ivory, clay and bronze. Some were active ritual instruments, others were purely symbolic – for example the clay versions used in burials.

Isis worship spread around much of the Mediterranean including into ancient Greece and ancient Rome. The Roman name sistrum comes from the Greek seistron which means “that which is shaken”. The Egyptian names for the instrument are sekhem and sesheshet – the latter is quite likely to be onomatopoeic representing the sound of the instrument.

Nefertari holding sistrum
Nefertari Sistrum – credit Abu Simbel, Wikimedia Commons

 

Sistrums were depicted on various ancient Roman coins – here is the rear side of a coin minted during the reign of Emperor Claudius:

Isis Claudius Roman Coin
Isis with sistrum on rear of Claudius coin

 

Here is is depiction of a sistrum from an ancient Roman floor mosaic:

sistrum floor mosaic
Roman mosaic at the British Museum

 

It was the late Nigel Shipway who initially suggested to me that I should make some kind of period-authentic sistrum for Berlioz’s Trojans. Many orchestras who play the work today will opt for an alternative instrument such as a ringed triangle or some type of tambourine, or even spurs. This is a shame as the sound is not authentic to Berlioz’s ideas. The idea mulled over in my mind – on the back burner, so to speak – for quite a while. How best to construct this? Patterns, molds and casting maybe? How to get those shapes? How to make something sturdy, beautiful and musical? It wasn’t until I was approached this year by French percussionist, Sylvain Bertrand with a request for two to four authentic sistrums that the real impetus came along to make this a reality. The Festival Berlioz was marking 150 years since Hector Berlioz’s death and parts of Les Troyens were to be performed by The Hector Berlioz European Youth Orchestra – young pre-professional musicians from the best european conservatoires with section principals of the orchestra Les Siècles, specialists in the interpretation of the 19th century repertoire, on period instruments, under the baton of François-Xavier Roth. The timing was right.

I had been hoping that I might manage to visit the museum in Naples and see the actual inspiration pieces that Berlioz saw and I also have “agents” in various museum and opera house basements in Paris trying to find the replicas he had made. No luck on that front yet, but I opted for the next best thing which was to arrange to visit the British Museum in London and get hands-on access to some of the specimens from their collection in storage:

sistra and ancient cymbals
Egyptian sistrums and Roman cymbals at the British Museum

 

On public display, the British Museum also has a Roman sistrum. Like the ancient Egyptian ones above, it is made from Bronze. There are often sacred animals depicted on top of or at the base of the hoop – cats, birds and so on:

Roman bronze sistrum
Roman sistrum in the British Museum display

 

Being able to see these old instruments up close and take measurements, weights, etc. (though I wasn’t allowed to shake them and they were so corroded that they wouldn’t have sounded anyway) was very valuable to help me make my “replicas” with appropriate proportions. I put the word replicas in inverted commas as, with only so much time on my side and only so much budget from the orchestra, great and fine detail was not an option. So, instead, I made what might be better termed “homages” to the original instruments: more plainly decorated, but inspired by these wonderful artefacts of the ancient world.

I also studied many images of sistrums from different museums’ collections from around the world. With the opportunity to make four instruments, I thought it would be good to try out  varied forms and materials to explore the range of sounds these sistrums can make. I made the new instruments from three different bronze alloys and one brass alloy. Three of them have sliding rods, one has fixed rods, two have discs on the rods and two do not. They were constructed using a combination of brazing and welding, lots of cutting and filing, grinding and polishing, hammering, bending by hand, and turning and twisting of parts in the lathe.

Here is the first one, with what I call a “stirrup” shaped hoop:

Matt Nolan period-authentic bronze sistrum
Matt Nolan Stirrup Sistrum

 

The second is larger and heavier with a more elaborate handle:

Matt Nolan Bronze Sistrum
Matt Nolan Face Sistrum

This one has a blank plate between the hoop and handle where you might find a Hathor face engraved on an ancient Egyptian one. It has both moving rods and discs, all bronze. The discs sound quite chime-like, like the thicker discs on “spurs”, not like drier, thinner, tambourine type jingle discs.

 

For my third sistrum I really quite closely copied the turned handle detail from a photograph of an original instrument (you can click on all the pictures here to see a larger version). It is very comfortable in the hand and balances the instrument well. There is a numerical significance to three and one in ancient Egyptian religion, but not to four. Many old sistrums with four rods have them grouped like this, as three and one:

Matt Nolan Bronze Sistrum
Matt Nolan Bronze Sistrum with turned handle

 

For the last one, I took inspiration from two different originals. Snakes or serpents are often depicted on sistrums and there are suggestions that the sound of them being shaken is representative of snakes hissing. The sliding rods on many sistrums are suggestive of serpents, some even have little heads carved in. I actually have fixed rods here. I just wanted the sound of the discs in this instance. The entwined handle is a reference to snakes. I saw an old sistrum with two serpents entwined as the handle. There are other old instruments with four struts from the handle to the base of the hoop, so I combined these two ideas. Rather than being polished like new, this sistrum has been artificially patinated to look like a relic showing its age:

Matt Nolan relic sistrum
Matt Nolan twist handle Sistrum

The jingle discs are physically thin and light, and dry sounding. To get a broader sound, I used several different metals in combination.

The sound of the first sistrum I made was surprising to me. The hoop / frame itself actually contributes a lot to the sound. Quite handbell-like, or like a modern orchestral triangle at the more pitched end of the spectrum. I hadn’t quite expected this but then I do usually aim to make my instruments as resonant as possible. I never quite agreed with the suggestions from some quarters that the modern triangle is a direct descendant of the sistrum. I think that comes more from the ringed triangle being used as a substitute for a sistrum, or from the Italian score nomenclature confusion. Now I can hear why the substitution is fairly appropriate. In fact, even Berlioz himself offers 19th Century style ringed triangles as alternatives for the sistrum part in The Trojans.

All four of the sistrums that I made have three components to the sound in different proportions: the sound of the hoop, the sound of the rods, and the sound of the discs. The manner of playing can also emphasise or de-emphasise different aspects of the overall sound, making the instrument more dry or more sustaining. There is a clatter of the free rods hitting the frame but also their own resonance, as with the discs. The dimensions and materials of the discs can be used to adjust how much dry “shuck” sound there is from them and how much ringing “jingle” sound. There is scope for a lot of variation. Fixing the rods or making a thin but stiff frame (like in the British Museum public display example, with the frame having a flange) can reduce the ringing contribution to the sound from the frame, as can playing in a more “dead-stroke” manner as you shake the sistrum back and forth.

Joseph Baggers Sistrum
French Sistrum from Joseph Baggers’ method book

Above is a picture of a French sistrum from Joseph Baggers’ method book published in 1906. So this would be roughly contemporary with the reproductions made for Berlioz – it may even be one of those. Berlioz had them made larger and more sturdy in an attempt to make them loud enough to compete with the full orchestra.

So, how do they actually sound? Well, with the time limitations and rushing to get these instruments delivered in time for first rehearsals, I did not have the chance to make a good audio or video documentation. However, the full performance with the instruments in context was broadcast on 21st September at 8pm (local time) on France Music on the “Saturday evening at the Opera” show – here is the link to listen to the performance. The sistrums are played shortly after the 35 minutes and 20 seconds mark. I don’t know how long that concert will remain available up there so here is just the excerpt featuring the sistrums. The rhythmic motive played on the sistrums is doubled on tuned triangles which I also made for this performance. This is another Berlioz first which did not really catch on – the Jeu De Triangles – a chromatic set of seven pitches in this case.

Addendum: Short video montage of my research expedition to the British Museum. How many different sistrums can you spot?

 

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Aquasonic – underwater music

Music? Underwater? Really? I was both intrigued and excited by the challenge of this. This was one of those things that perhaps had the risk of being, if you’ll pardon the pun, a total wash-out. On the other hand, it had the chance of being amazing. It was amazing.

Aquasonic Percussion Tank with Dea

I really enjoyed working with the Danish group, “Aquasonic”, and with the small, transatlantic team they’d put together to really get to grips with all the issues of making good sounds underwater. We had a mechanical (and usually robotic) instrument maker from Brooklyn, an underwater acoustics professor from Texas, a pioneer in the development of the world’s first musical instrument that actually produces sound directly from water – the Hydraulophone, a “normal, above water”, Danish acoustician, a New York producer who usually works with the likes of Cirque du Soleil and me, the metal percussion specialist who also has some form tuning unusual instruments and figuring out general stuff to do with vibrations and acoustics.

The Aquasonic project has been going on for quite a long time, making discoveries and incremental improvements all along the way. With this new team and concentrated effort though, I think we’ve really pushed things forwards a few great leaps. Firstly, lots of skype conference calls, emails, tests, experiments and simulations. Then, for me, further underwater testing of prototype ideas in a plastic tank with a hydrophone (underwater microphone) in my workshop in Bath. Then a 9 day trip to Aarhus to install, test, tune and troubleshoot new instruments of my creation and some 3rd party instruments too.

So, Aquasonic is now 5 musicians, each with their own large custom-built aquarium – the largest ones clocking in at around 1600 litres. They play (and sing – more on that later) underwater as an ensemble. The audience gets to keep their feet on dry land – the music is picked up by hydrophones, amplified, and relayed through loudspeakers. The musicians have in-ear monitors so they can hear each other. This may be more important than you think. Visual cueing is not so easy with the strange refractive effects looking outwards from inside the big glass water-filled tanks.

Aquasonic group photo

The first big improvement was sourcing and using better quality hydrophones. We were all still very worried about standing wave reflections in the tanks (the wavelengths of sound in water are much longer than in air – the aquaria are very small spaces acoustically speaking) and attenuation issues, not to mention the de-tuning effect of the mass-load of the water on the instruments due to strong coupling because of close acoustic impedances. Musical instruments barely “notice” the air around them, but they really can’t ignore the water if they are in it. The second big improvement came from our acoustician – put the hydrophones right into the corners of the tanks. You get a boundary effect which naturally boosts gain and you also get a fairly nice constant overall amplitude (from summing the mics together) as you move the instruments around within the tanks. Before this breakthrough, it was looking worryingly like we woulShuffling singing bowlsd need spot hydrophones, very precisely placed, on every single instrument (and, in the percussion tank, there are 20 to 30 individual instruments). Standing wave issues, for the most part, were not actually a problem. Though we did spend a good amount of time fine-tuning the position of the 15 or so Singing Bowls to balance their timbres and resonance.

There are major issues with volume and sustain of almost all musical instruments underwater. You can forget wind instruments straight away, though Laila Skovmand and her protege Nanna Bech have mastered an inhale-exhale maintain-a-bubble-in-the-mouth underwater singing technique. Struck and plucked instruments almost all behave as dipoles and front and back sound waves cancel much more readily in the non-compressible water than they do in air. Most instruments have to be massive to have a chance or they need to have a continuing energy input – e.g. from bowing or rubbing.

Gongs work quite well – especially the tuned types, with nipples and collars. Higher overtones tend to be attenuated and pitches shift down by varying amounts. Singing Bowls work surprisingly well, especially larger ones. I did a little re-tuning work on Aquasonic’s extensive collection. Only one bowl broke as a result of the (really quite delicate and tentative) re-hammering. I found that larger Bell Plates were good too, but their aspect ratio needed to change under the water – detuning of the overtone frequencies is not linear. They drop about a fifth overall, but the higher tones drop more than the lower ones. Through the generosity of a local glass workshop (Nyholm Cantrel Glass) we had access to equipment necessary for careful tuning of both ceramic tiles and glass bowls from a custom underwater Glass Armonica – Andy Cavatorta’s Crystallophone.

tuning glass bowls

I spent quite a bit of time in my own workshop trying to get Aluminium Harps (or instruments using the same principal) to work as I thought that they could be good under the water. Getting the right friction was a problem though. It still may work with a glass instrument, but time ran out there and I didn’t get to try it. As a by-product though, I came up with what I later dubbed the “SETIphone” as it rather resembles something you might use to contact little green men from outer space. Using (lacquered to mitigate rusting) rebar clamped in the middle on a frame with a cymbal as a sound radiator you can create quasi-pitched industrial sounds by striking or stridulating the bars.

There was a quest for something to perform a hi-hat function. Normal hi-hats and cymbal stacks just don’t do in water what they do in air. The cymbals are too light and there is too much suction between them. For drummers who have trouble with air-lock, you should try water-lock, it is orders of magnitude worse. We didn’t need foot pedal action, just a short, dry (but not too dry!) sound to propel beats along. We had a “bass drum” from a strategically damped Gong Ageng and a “snare” from a Darbuka (about the only actual drum that works underwater – though I did have high hopes for boo-bams). My best prototype was a cup chime with a triangle stacked on it. The evolution of this, which was more satisfactory, was a larger but still quite heavy cymbal with a triangle stacked over the cup and 6 pairs of tambourine jingles riveted around the periphery. The stacked triangle provided crunch while the jingles added hiss. Each one alone wasn’t enough but the combination was about right.

With the improvements in the hydrophone technique, cup chimes and triangles were found to be much more resonant than early tests had suggested, so we threw some more of those in as stand-alone instruments. The SETIphone actually became overwhelmingly loud and lighter beaters had to be employed!

With the new, expanded and somewhat more hi-fi sound palette, Laila is composing new material. Full length concerts will start happening in mid 2016. There were some short teaser previews at the SPOT festival in Aarhus this May. I was blown away by the video from it, even though it is still at the embryonic stage. I can’t imagine what will develop after another year.

 

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