Chorda Timpani (2006, revised 2026)
– for percussion quartet
4 timpani
Duration: c. 3 minutes
Chorda Timpani is an exploration of rhythm, resonance and musical memory, constructed from fragments of the timpani parts from all nine of Beethoven’s symphonies.
The four timpani parts are arranged in pairs: the first and second timpanists play the original material, while the third and fourth follow them like an echo, creating a sense of musical reflection and response. Each player is restricted to a single pitch: D for Timpani 1, A for Timpani 2, B-flat for Timpani 3 and F for Timpani 4. Together, these notes form a striking harmonic structure, with two perfect fourths separated by a major third.
Chorda also refers to a particular type of nerve fibre, while timpani evokes the tympanic membrane of the ear. This brings an especially poignant and ironic dimension to the work’s relationship with Beethoven, whose progressive deafness profoundly affected his life and music.
Originally composed for the Ludwig project in 2006, the work was revised in 2026.
Score
Audio
Press
“Ultimately, it matters little whether you get the musical references, though some are obvious, rather it’s the thought process that counts here, Beethoven’s, Barber’s and yours, the listener. Barber’s fascination with the idea of taking fragments of existing music and using them as a basis for some entirely new has continued and there are now six pieces inspired by Beethoven. The notion of evoking something of the spirit of the original composer through quotations is rather romantic given such a robust and often uncompromising style of music, yet there is a definite resonance in the pulse and rhythm which makes for compelling listening. Barber has a neat way, too, of picking up on associations with words which in turn lead him to play with intriguing musical ideas. Chorda Timpani is a case in point… it uses fragments of the timpani parts from all nine of Beethoven’s symphonies, but the titles reference to a particular nerve fibre and to the tympanic membrane of the ear makes for a connection with (Beethoven) which is both poignant and ironic.”
Rian Evans, Musical Opinion, January 2008
Performances
| 24.02.06 | CARDIFF | The Gate Arts Centre |
| 25.02.06 | ABERYSTWYTH | Arts Centre |
| 26.02.06 | HOLYHEAD | Ucheldre Centre |
| 27.09.07 | TENBY | Festival, De Valance Pavilion |
| 29.09.07 | MOLD | Clwyd Theatr Cymru |
| 30.09.07 | CARDIFF | Chapter Arts Centre |
| 02.10.07 | LONDON | Southbank Centre, Purcell Room |
| 10.10.07 | BRADFORD-ON-AVON | Wiltshire Music Centre |
| 11.10.07 | ALSAGER | Arts Centre |
| 14.10.07 | SWANSEA | Music Festival, Taliesin Arts Centre |
| 20.10.07 | LLANTWIT MAJOR | St Donats Arts Centre |
| 23.10.07 | LAMPETER | University |
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