Celesta
The celesta (pronounced /səˈlɛstə/) or celeste (pronounced /səˈlɛst/) is a struck idiophone operated by a keyboard. Its appearance is similar to that of an upright piano (four- or five-octave) or of a large wooden music box (three-octave). The keys are connected to hammers which strike a graduated set of metal (usually steel) plates suspended over wooden resonators. On four or five octave models one pedal is usually available to sustain or dampen the sound. The three-octave instruments do not have a pedal, due to their small "table-top" design. One of the most well-known works that makes use of the celesta is Tchaikovsky's "Dance of the Sugarplum Fairy" from The Nutcracker.
The sound of the celesta is akin to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave rise to the instrument's name, celeste meaning "heavenly" in French.
The celesta is a transposing instrument; it sounds an octave higher than the written pitch. The original French instrument had a five-octave range, but as the lowest octave was considered somewhat unsatisfactory, it was omitted from later models. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although treated as a member of the percussion section in orchestral terms, it is almost always played by a pianist, the part being normally written on two bracketed staves, called a grand staff.
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History
The celesta was invented in 1886 by the Parisian harmonium builder Auguste Mustel. His father, Victor Mustel, had developed the forerunner of the celesta, the typophone or the dulcitone, in 1860. This consisted of struck tuning forks instead of metal plates, but the sound produced was considered too small to be of use in an orchestral situation.
Pyotr Tchaikovsky is usually cited as the first major composer to use this instrument in a work for full symphony orchestra. He first used it in his symphonic poem The Voyevoda, Op. posth. 78, premiered in November 1891.[1] The following year, he used the celesta in passages in his ballet The Nutcracker (Op. 71, 1892), most notably in the "Dance of the Sugarplum Fairy", which also appears in the derived Nutcracker Suite, Op. 71a.
Ernest Chausson preceded Tchaikovsky by employing the celesta in December 1888 in his incidental music, written for a small orchestra, for La tempête (a French translation by Maurice Bouchor of Shakespeare's The Tempest).[2]
Gustav Holst employed the instrument in his orchestral work "The Planets" (premiered 1918), with its most significant use in the final movement, "Neptune, the Mystic." Béla Bartók uses the instrument prominently in his 1936 Music for Strings, Percussion and Celesta.
Use in other musical genres
Jazz
Since its adoption by Earl Hines in 1928, the celesta has been used occasionally by jazz pianists as an alternative instrument. Fats Waller in the 1930's sometimes played the celesta with his right hand and the piano simultaneously with his left hand. Other notable jazz pianists who occasionally played the celesta include Meade "Lux" Lewis, Willie "The Lion" Smith, Art Tatum, Duke Ellington, Thelonious Monk, Oscar Peterson, Sun Ra, and Herbie Hancock. A celesta provides the introduction to a song Louis Armstrong recorded for RCA entitled "Someday You'll Be Sorry", and is featured prominently throughout the song.
Rock and pop
While the celesta is not overly common in more popular forms of music, it's been used now and again such as in a number of recordings made by Frank Sinatra for Columbia in the 40s, most notably "I'll Never Smile Again". Others include the Beatles ("Baby, It's You"), The Beach Boys ("Girl Don't Tell Me"), and Pink Floyd ("The Gnome").
Soundtrack
A standard instrument used when music of a heavenly or dream-like quality is desired, the celesta has been commonplace in film soundtracks since the silent era. The celesta is featured playing the signature opening of "Pure Imagination", a well known song from the film Willy Wonka and the Chocolate Factory (sung by Gene Wilder). Composer John Williams's score for all three Harry Potter films features notable use of the celesta, it opens "Hedwig's Theme" as well as other numbers featured on the soundtracks.
See also
- Dulcitone
- Glockenspiel, a mallet percussion instrument with a similar timbre
- Electric Piano, many of which use a similar system [to that of a celesta] of struck metal tines [though amplified in the case of an electric piano]
- Piano
References
- "Celesta", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London, 2001).
- "Celesta", The New Grove Dictionary of Jazz, second edition, edited by Barry Kernfeld (London, 2002).
Notes
- ^ Freed, Richard. [LP Jacket notes.] Tchaikovsky: "Fatum," [...] "The Storm," [...] "The Voyevoda." Bochum Orchestra. Othmar Maga, conductor. Vox Stereo STPL 513.460. New York: Vox Productions, Inc., 1975.
- ^ Blades, James and Holland, James. "Celesta"; Gallois, Jean. "Chausson, Ernest: Works," Grove Music Online (Accessed 8 April 2006) (subscription required)
External links
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Wikimedia Commons has media related to: Celesta |
- NPR - The Celesta: The Sound of the Sugar Plum Fairy
- "Songs for Celesta", by Marc Sanchez
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