Turkish Crescent - Use in Specific Musical Works

Use in Specific Musical Works

  • The Turkish crescent was used by the composer Joseph Haydn in his Symphony No. 100 (1794).
  • Beethoven made use of the Jingling Johnny or Turkish crescent in the finale to his Ninth Symphony.
  • Hector Berlioz used it in his massive piece for military wind band with optional choir and organ Grande symphonie funèbre et triomphale (1840). His "dream ensemble" of 467 instrumentalists included four pavillons chinois among its 53 percussion instruments. He said about the instrument: "The Pavillon Chinois, with its numerous little bells, serves to give brilliancy to lively pieces, and pompous marches in military music. It can only shake its sonorous locks, at somewhat lengthened intervals; that is to say, about twice in a bar, in a movement of moderate time".
  • John Philip Sousa's Nobles of the Mystic Shrine (1923) also called for the use of the Turkish crescent.
  • It is used by Nikolai Rimsky-Korsakov in Capriccio Espagnol.

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