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Cimbalom
View on Wikipedia | This article needs additional citations for verification. (July 2008) |
.jpg) Top view and playing area of a modern concert cimbalom | |
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| Classification |
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| Various (see § The concert cimbalom below) | |
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The cimbalom (/ˈsɪmbələm, -ˌlɒm/; Hungarian: [ˈt͡simbɒlom]; also cimbal or concert cimbalom) is a type of chordophone composed of a large, trapezoidal box on legs with metal strings stretched across its top and a damping pedal underneath. It was designed and created by V. Josef Schunda in 1874 in Budapest, based on his modifications to the existing hammered dulcimer instruments which were already present in Central and Eastern Europe.[1]
Today the instrument is mainly played in Hungary, Slovakia, Moravia, Belarus, Romania, Moldova, and Ukraine.[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. The Hornbostel–Sachs musical instrument classification system registers the cimbalom with the number 314.122-4,5.[2]
History
[edit]The modern Hungarian concert cimbalom was designed and created by V. Josef Schunda in 1874 in Budapest based on his modifications to existing folk dulcimers.[1] He demonstrated an early prototype with some improvements at the 1873 Vienna World's Fair, gaining praise from audiences and drawing the attention of highly-placed Hungarian politicians such as József Zichy, Gyula Andrássy, and King 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 on Hajós utca, across the street from the Budapest Opera House in Pest.[5] He also started to develop a playing method and school to popularize his new instrument, eventually recruiting Géza Allaga, a prominent musician and pedagogue, to publish method books.[6][1] Prominent Hungarian musicians such as Franz Liszt became increasingly interested in the instrument and its possibilities. The instrument quickly became popular among the Bourgeoisie as well as Roma musicians, and by 1906, Schunda had produced over ten thousand instruments.[1]
Walter Zev Feldman took to reintroducing the instrument for Jewish folk music and derivatives in the 1970s.[7]
Characteristics
[edit]Concert instruments from Schunda onward are fully chromatic. The Schunda tuning system established a standard pitch range of four octaves plus a major 3rd; extending from C to e′′′[8] (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 in Ukraine from 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 the Chernihiv factory and the Melnytso-Podilsk folk instruments workshop which also produced many types of other folk instruments.[9]
Compositions for cimbalom
[edit]Classical and contemporary music
[edit]Many composers have written for the cimbalom. Zoltán Kodály made extensive use of the instrument in his orchestral suite Háry János which helped make the cimbalom known outside Eastern Europe. Igor Stravinsky was also an enthusiast.[9] He owned a cimbalom which he purchased after hearing Aladár Rácz perform on the instrument. He included the cimbalom in his ballet Renard (1915–16), his Ragtime for eleven instruments, his original (1917) scoring for Les Noces, and his Four Russian Songs.[10] Franz Liszt used the cimbalom in his Ungarischer Sturmmarsch (1876) and in the orchestral version of his Hungarian Rhapsody No. 6. Béla Bartók used it in his Rhapsody No. 1 for violin and orchestra (1928).
More recently, other composers including Pierre Boulez, Peter Maxwell Davies, Peter Eötvös, György Kurtág, Miklós Kocsár, Richard Grimes, Louis Andriessen, and Peter Machajdík have made a great use of cimbalom in their works. Henri Dutilleux used it extensively in Mystère de l'Instant for chamber orchestra, and L'arbre des songes for violin & orchestra. Elvis Costello's orchestral ballet score Il Sogno includes several extended cimbalom passages. Harrison Birtwistle's operas Gawain (1991) and The Minotaur (2008) each utilize the cimbalom. John Adams uses the instrument prominently in his large 2012 symphonic oratorio The Gospel According to the Other Mary[11] as well as in his 2014 dramatic symphony Scheherazade.2.[12] Cimbalom is used in a popular arrangement of Debussy's La plus que lente which the composer approved but did not actually score. (La plus que lente with cimbalom saw renewed popularity with its inclusion in world tours of the Hundred Gypsy Violins starting in 1985.)
Film and television
[edit]The cimbalom has occasionally been used in film scores, especially to introduce a "foreign" feel. The cimbalom appears in Christmas in Connecticut (1945) in a scene in Felix's (S. Z. Sakall) Hungarian restaurant in Manhattan. It was also featured in the films Captain Blood (1935), The Divorce of Lady X (1938), and Sherlock Holmes and the Secret Weapon (1943).
The cimbalom was used in the film score for the movie In the Heat of the Night (1967). Composer Carmine Coppola made heavy use of the cimbalom in his soundtrack for The Black Stallion (1979) to accentuate the Arabian heritage of the majestic horse. Miklós Rózsa used the cimbalom in the main theme and throughout the score for the science-fiction thriller The Power (1968). John Barry used it in the title theme for the film The Ipcress File (1965), as well as in the main theme of the ITC TV series The Persuaders! (1971); in both examples the performer was John Leach.[13] James Horner made use of the instrument in his "Stealing the Enterprise" cue from Star Trek III: The Search for Spock (1984). In addition, John Williams has made less prominent use of the instrument in scores such as Raiders of the Lost Ark (1981). Howard Shore used the cimbalom as well to express Gollum's sneaky nature in Peter Jackson's film The Lord of the Rings: The Two Towers (2002). The cimbalom is also featured prominently in Hans Zimmer's scoring of Sherlock Holmes (2009). Alexandre Desplat uses cimbalom in works such as The Golden Compass (2007), The Curious Case of Benjamin Button (2008), and The Grand Budapest Hotel (2014).
In television, composer Lalo Schifrin made use of the cimbalom in several scores he wrote for the original Mission: Impossible television series, from which several cues were regularly recycled throughout the series' run.
Composer Debbie Wiseman used the cimbalom, played by Greg Knowles, in her score for the BBC television series 'Dickensian' (2015–16).
The cimbalom, played by John Leach, features prominently in the score of the BBC television drama serial from 1988, 'Babylon Bypassed' by Gareth Glyn.
Rock
[edit]The cimbalom was used by Alan Parsons on his "I Robot"[14] and Tales of Mystery and Imagination[15] albums and is included in the guest musician acknowledgments. The experimental rock group Mr. Bungle made use of the cimbalom on the Disco Volante[16] and California[17] albums. It is included in the guest musician acknowledgments. The experimental performance organization Blue Man Group has used a cimbalom in its productions.[18] American progressive chamber group, cordis, uses electric and acoustic cimbalom as a centerpiece in their music.[19] Romanian rock group Spitalul de Urgență has frequently used cimbalom, including a full-time player in some line-ups of the band. New York multi-instrumentalist Rob Burger used a cimbalom on the album L'Entredeux (2008) by Tucson chanteuse Marianne Dissard. Alternative rock band Garbage incorporated cimbalom into their track "The Trick Is to Keep Breathing" from their 1998 album Version 2.0.[20] Portishead track Sour Times includes samples from Lalo Schifrin's Danube Incident that has cimbalom in its arrangement.
Schools of performance
[edit]Belarus
[edit]
In Belarus a 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 dampen the strings.
Croatia
[edit]The cimbal (or cimbule) today is a rare instrument found in folk groups (Međimurje, Zagorje and Podravina regions, parts of northern Croatia near the Hungarian border).
Moravia
[edit]The instrument is used foremost in the historical region of Moravia as a basis for Moravian traditional music ensembles. Foremost in regions of Moravian Slovakia and Moravian Wallachia.[21]
France
[edit]Luigi Gaggero teaches since 2004 at the Conservatoire de Strasbourg and at the Académie Supérieure de Musique de Strasbourg. His teaching focuses on classical and contemporary repertoire for cimbalom.[22]
Greece
[edit]In Athens, a cimbalom school was established in 2004 by M. Papadeas. The Greek musicians play on small portable folk-style instruments.
Hungary
[edit]Besides the main cimbalom centre in Budapest, there is a very strong school of performance in Debrecen in Hungary.
Moldova
[edit]In 1952, cimbalom classes were opened at the Chişinău conservatory in Moldova.
Romania
[edit]A strong performance school was established in Bucharest. Toni Iordache, a Romani-Romanian lăutar, was the most famous Romanian cimbalom player.
Slovakia
[edit]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.[21]
Slovenia
[edit]Used historically in the Prekmurje region. Cimbalom is traditionally played in musical groups called Banda, accompanied by two violins, a viola, violoncello and a double bass. Classes are held in the town of Beltinci.
Ukraine
[edit]In Ukraine, the concert Cimbalom was first formally used in the Orchestra of Ukrainian Folk Instruments organized and directed by Leonid Haydamaka from 1922 by Oleksandr Nezovybatko. In time, it was replaced by 2 smaller instruments in order to facilitate transportation. Music for the cimbalom has been published in Ukraine since 1930. With the serial manufacture of tsymbaly by the Chernihiv Musical Instrument Factory cimbalom playing became popular in Eastern Ukraine in the post-war years. Textbooks for the tsymbaly were 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 the Lviv, Kyiv and Kharkiv conservatories. 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 Kumlyk was a famous player from the Hutsul area. After his death, a museum was named for him and is now run by his family.
References
[edit]- ^ a b c d e f g Gifford, Paul M. (2001). The hammered dulcimer: a history. Scarecrow Press. pp. 115–6. ISBN 978-1-4616-7290-6.
- ^ Baran, Taras (1999). The Cimbalom World. Lviv: Svit. p. 15. ISBN 5-7773-0425-7.
{{cite book}}: CS1 maint: publisher location (link) - ^ Schunda, V. József (1906). A czimbalom: Története (in Hungarian). Budapest: Buschmann. pp. 18–9.
- ^ Schunda, V. József (1906). A czimbalom: Története (in Hungarian). Budapest: Buschmann. p. 17.
- ^ Baran, Taras (1999). The Cimbalom World. Lviv: Svit. p. 21. ISBN 5-7773-0425-7.
{{cite book}}: CS1 maint: publisher location (link) - ^ Schunda, V. József (1906). A czimbalom: Története (in Hungarian). Budapest: Buschmann. pp. 21–2.
- ^ Feldman, Walter (2016). Klezmer: music, history and memory. New York, NY: Oxford University Press. p. 101. ISBN 978-0-19-024451-4.
The reintroduction of the cimbalom into klezmer music was the work of the present writer in the 1970s.
- ^ Tóth, Ida Tarjáni; Falka, Jószef. Cimbalomiskola 1. Editio Musica Budapest, Z. 2528, 1958, p. 101 (chart)
- ^ a b Leach, John (1972). "The Cimbalom". Music & Letters. 53 (2): 134–142. doi:10.1093/ml/LIII.2.134. ISSN 0027-4224. JSTOR 733612.
- ^ "Igor Stravinsky". Retrieved 2009-09-05.
- ^ Alex Ross (June 18, 2012). "John Adams's The Other Mary "Sacred Dissonance"". The New Yorker.
- ^ Anthony Tommasini (March 27, 2015). "Review: John Adams Unveils "Scheherazade.2", an Answer to Male Brutality". The New York Times.
- ^ Jon Burlingame "John Leach, English Cimbalom Player, Dead at 82", Film Music Society, 14 July 2014
- ^ Arista records ARCD 8040
- ^ PolyGram records 832 820-2
- ^ Warner Brothers 9 45963-2
- ^ Warner Brothers 9 47447-2
- ^ "Blue Man Group: Blue Man Instruments". Archived from the original on March 30, 2009. Retrieved 2009-09-03.
- ^ Landspeed Records 9 47447-2
- ^ Massey, Howard (1998-10-01). Talking Tech and Trash. Musician (magazine).
- ^ a b Johnston, 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.
- ^ Examen d’entrée 2021 / Cymbalum (in French) hear.fr 2021
External links
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Media related to Cimbalom at Wikimedia Commons
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Cimbalom
View on GrokipediaHistory
Origins and Early Development
The cimbalom traces its roots to ancient hammered dulcimer-like instruments originating in the Near East and Persia, where precursors such as the santir—a trapezoidal zither struck with mallets—emerged as early as the 9th century.[7] These early forms featured metal or gut strings over a resonant soundbox and were carried westward through cultural exchanges by Asiatic nomads and migrating groups from regions including India and Mongolia.[2] By the medieval period, European variants of the dulcimer had developed, adapting Eastern designs into trapezoidal frames with struck strings, laying the foundational structure for later instruments like the cimbalom across Central and Eastern Europe.[7] In the 18th century, the cimbalom appeared in folk music traditions of Hungary and Romania, where it was primarily adopted by Roma musicians for performance in small ensembles.[8] These portable, diatonic versions, often smaller than later models, provided harmonic and rhythmic accompaniment in intimate settings such as village gatherings and traveling bands, competing with keyboard instruments like the harpsichord in rural and urban folk contexts.[2] Roma performers, known for their virtuosic improvisations, elevated the instrument's role, integrating it into the vibrant Gypsy music scene that characterized Central European vernacular traditions during this era.[8] By the early 19th century, increasing demands from folk musicians for greater harmonic flexibility prompted experiments with chromatic modifications to the traditional diatonic cimbalom, including adjustments to string layouts and bridges to incorporate accidentals.[1] These informal innovations, driven by instrument makers responding to the needs of Roma ensembles, aimed to expand the instrument's range beyond modal folk scales while maintaining its portable folk character.[9] Prior to the 1870s, the cimbalom held a central position in Hungarian folk orchestras, where Roma groups used it as a core element for chordal support and melodic embellishment alongside violins and cimbalo-like percussion, embodying the improvisational spirit of verbunkos and csárdás styles.[8]Standardization and Modern Evolution
The standardization of the cimbalom began with the work of Hungarian instrument maker Vencel József Schunda, who developed a prototype in 1873 that incorporated legs for elevation, an expanded chromatic range, and a damper mechanism to control resonance.[10] This prototype was demonstrated at the Vienna World's Fair in 1873, where it received acclaim for elevating the folk instrument to concert suitability.[11] Building on this success, Schunda refined the design into the concert cimbalom in 1874, featuring a trapezoidal body on four detachable legs, approximately 125 metal strings arranged in courses for a four-octave range from D to E, and a foot-operated damping pedal to selectively mute strings, preventing unintended harmonic overlaps.[1] Serial production of Schunda's concert cimbalom commenced in 1874 at his workshop in Budapest, transforming the instrument from a regional folk device into a standardized orchestral staple.[12] By 1884, the 1,000th unit had been completed; production reached 3,000 instruments by 1891, 7,000 by Hungary's Millennium celebrations in 1896, and surpassed 10,000 by 1906, when Emperor Franz Joseph attended the milestone event at the factory.[1] These instruments, often veneered in walnut or mahogany with ornate decorations, were exported across Europe and adopted by professional ensembles, solidifying the cimbalom's role in classical and gypsy music traditions.[13] Throughout the 20th century, modifications to the concert cimbalom focused on enhancing playability and expressiveness, including further expansions of the string range to five octaves in some models and refinements to the damping system for precise sustain control.[14] Early innovations by Schunda himself, such as improved note-specific pedals introduced around 1900, were built upon by successors.[15] These changes allowed the instrument to integrate more seamlessly into symphony orchestras and contemporary compositions, though popularity waned temporarily post-World War I due to the rise of jazz and keyboard alternatives.[1] Post-World War II developments saw continued production in Eastern Europe amid Soviet influence, with factories in Chernihiv and Kamianets-Podilskyi, Ukraine, manufacturing Hungarian-style concert cimbaloms from the 1960s through the late 1980s to support state ensembles and folkloric groups.[16] The Schunda firm in Hungary faced bankruptcy in 1931 but was revived through cooperatives, with Lajos Bohák Jr. producing instruments until 1953 and later innovators sustaining output at around 100 units per decade.[1] Following the Soviet Union's dissolution, revival efforts in the 1990s emphasized educational programs, such as the cimbalom class at I.P. Kotlyarevsky Kharkiv National University of Arts in Ukraine, founded around that time, which fostered progressive performance techniques and repertoire expansion to counter decades of cultural suppression.[17] Into the 21st century, the cimbalom has seen further evolution through expanded repertoire in contemporary and folk genres, with organizations like the Cimbalom World Association promoting global education and performance as of 2025.[18]Design and Characteristics
Construction and Materials
The concert cimbalom features a large trapezoidal body constructed from resonant hardwoods such as spruce, maple, or beech to optimize acoustic projection and durability.[20][3] The body, which rests on four sturdy legs, measures approximately 150 cm along its longer side, 100 cm along the shorter side, and about 80 cm in height, with a total weight around 95 kg to withstand the instrument's substantial string tension of up to 12 tons.[1] The soundboard, typically crafted from high-quality pinewood sourced for its tonal clarity, forms the top surface and is built over a reinforced wooden or metal frame.[1] Stretched across the soundboard are 125 to 150 metal strings, arranged in parallel courses of 2 to 5 strings tuned in unison, with steel used for the treble sections and copper-wound strings for the bass to provide varied tension and timbre.[3][20] These strings are anchored at one end by hitch pins and adjusted at the other via tuning pins, allowing precise intonation across the instrument's range.[20] The strings pass over two primary bridges that divide the soundboard into sections, supporting vibration transmission to the body.[3] Beneath the soundboard lies a mechanical damper pedal system, consisting of adjustable spring-loaded felt pads that can mute or sustain groups of strings when activated, enhancing control over resonance.[20][21] The instrument is played using a pair of lightweight wooden mallets, each with a curved shaft and heads wrapped in soft materials like leather, yarn, cotton, or felt to produce a range of attacks from bright to mellow.[3][20] Portable variants of the cimbalom employ similar construction principles but in a more compact form, often reduced to about 60-65 kg and smaller dimensions for mobility.[1]Tuning, Range, and Playing Technique
The cimbalom employs a chromatic tuning system with a unique string layout that facilitates playing full diatonic and chromatic scales without fixed frets. This layout, adjusted via tuning pins, supports precise intonation for both melodic lines and harmonies.[22] The standard range spans four octaves plus a major third, from C to e′′′ in Helmholtz pitch notation, encompassing over 100 strings grouped in unisons for the treble (typically four strings per note) and fewer for the bass (three strings per note).[23][24] Modern concert cimbaloms have extended this range to five fully chromatic octaves, reaching from AA to a′′′, to accommodate broader orchestral and solo repertoire demands. In folk contexts, alternative tunings—often partially chromatic, diatonic, or regionally varied—are used to align with specific modal scales and improvisational styles, though these may sacrifice some chromatic flexibility for idiomatic resonance.[25][22] Players strike the strings using two lightweight hammers per hand, held between the thumb and first two fingers, to produce a bright, percussive timbre that varies by strike position: closer to the bridge yields a sharper, bell-like attack, while central strikes create a warmer sustain. This technique facilitates rapid rolls for tremolo effects, intricate chord voicings, and arpeggiated passages, with the instrument's taut steel and copper-wound strings responding quickly to nuanced dynamics.[20][22] A foot-operated damper pedal governs the instrument's sustain, lifting or lowering felt pads against the strings to allow vibrations to continue for legato phrasing or to mute them abruptly for staccato articulation; similar to a piano's mechanism, it primarily affects lower and mid-register strings, leaving the highest notes undamped. The resonant soundboard amplifies these techniques, projecting a shimmering overtone-rich tone suitable for ensemble and solo performance.[20][26]Variants
Concert Cimbalom
The concert cimbalom is the standardized large-scale variant of the instrument, specifically engineered for professional solo and orchestral performances in concert settings. It consists of a trapezoidal resonating body mounted on four sturdy legs for elevated stage positioning, with typical dimensions of approximately 150 cm along the longer side facing the player, 100 cm along the shorter side, and a height of about 80-87 cm including legs, resulting in a substantial weight of 80-100 kg that requires careful handling and transport.[1][27] This model employs a full chromatic layout across its string array, typically spanning from C2 to A6 or similar ranges, divided into distinct bass and treble sections to facilitate versatile playing. The bass section, located on the left, features thicker strings and larger mallets for lower registers, while the treble section on the right uses finer steel strings grouped in unisons or octaves, enabling performers to execute intricate melodies, harmonies, and arpeggios simultaneously with dual hammers.[22] Since its development in the late 19th century, the concert cimbalom has occupied a significant role in European concert halls, particularly following József Schunda's 1874 innovations that adapted it for symphonic use. It integrates into symphony orchestras to provide unique percussive and harmonic textures, as evidenced in works by composers like Zoltán Kodály and Béla Bartók, enhancing the ensemble's color without overpowering other sections.[9] The instrument's acoustic properties derive from its expansive soundboard and over 100 metal strings, yielding a rich, resonant timbre with shimmering overtones that sustains through complex harmonic structures. This nasal yet robust sound quality, influenced by the striking technique and string grouping, distinguishes it among chordophones and supports its efficacy in elaborate musical contexts.[28]Portable and Regional Variants
Portable variants of the cimbalom, adapted for mobility in folk traditions, contrast with the larger concert model by featuring reduced size, lighter construction, and often diatonic tunings suited to regional scales.[20] These instruments typically employ trapezoidal bodies that can be suspended via straps, allowing performers to play while standing or moving, which facilitates use in rural ensembles and itinerant performances across Central and Eastern Europe.[23] The Ukrainian tsymbaly exemplifies a portable adaptation, particularly in its Hutsul and Boyko forms prevalent among Carpathian communities. The Hutsul tsymbaly is a compact instrument with 12–20 diatonic courses spanning three octaves, constructed from spruce wood and designed for suspension from a neck strap, resting against the waist for easy transport.[29][23] Similarly, the Boyko tsymbaly offers a mid-sized portable build with 18–25 courses, also covering three octaves in diatonic configuration, emphasizing lightness for folk gatherings in western Ukraine.[29] Concert tsymbaly variants, slightly smaller than the Hungarian concert cimbalom, incorporate pedals for damping while maintaining portability for stage use.[23] In Slovakia and Romania, regional cimbalom variants prioritize compactness for Roma and klezmer traditions. Slovakian folk cimbaloms feature variable sizes with diatonic or partially chromatic tunings, often around 100 strings in a lightweight trapezoidal frame to support ensemble play in rural settings.[23][20] Romanian țambal mic, a smaller portable model, uses fewer strings—typically under 100—and a strap for shoulder suspension, enabling standing performances in wedding bands and folk groups, typically tuned chromatically like the larger concert cimbalom.[30][23] Greek and Moldovan adaptations further diversify the portable cimbalom through material and structural modifications for cultural scales. The Greek santouri employs a portable trapezoidal body of walnut with 92 metal strings in 23 courses of four, typically tuned diatonically with movable bridges allowing adjustments for various modes over 3½ octaves, often with altered bridges to accommodate folk microtonal inflections.[23][31] In Moldova, the tambal mic serves as a compact Roma instrument with chromatic tuning and lightweight build using metal strings, differing from the metal-dominated concert forms.[23][32] Modern lightweight variants advance portability using innovative materials like carbon fiber, reducing weight while preserving acoustic integrity. Luthier Sam Rizzetta's carbon fiber hammered dulcimers, such as the compact prototype, employ ultra-light construction with light-gauge strings for a sweet, articulate tone, making them suitable for travel and contemporary folk applications without sacrificing projection.[33]Repertoire
Classical and Contemporary Compositions
The cimbalom gained prominence in classical music during the early 20th century, often employed to evoke Eastern European folk colors within orchestral and chamber contexts. Igor Stravinsky integrated the instrument into his burlesque chamber opera Renard (1916), scoring it for a small ensemble including solo strings, voices, and percussion where the cimbalom adds a brittle, arpeggiated texture reminiscent of Russian guzli traditions.[34] This work marked one of the instrument's early adoptions outside Hungary, highlighting its percussive resonance in theatrical settings.[35] Zoltán Kodály prominently featured the cimbalom in his opera Háry János (1926) and its subsequent orchestral suite (1927), assigning it a soloistic and accompanying role to underscore themes of Hungarian nostalgia and satire. In the suite's Intermezzo movement, the cimbalom's tremolo and distinctive timbre evoke the protagonist's homesickness, blending folk influences with symphonic form.[36] Béla Bartók similarly incorporated the cimbalom in orchestral integrations, most notably in his Rhapsody No. 1 for violin and orchestra (1928, revised 1929), where it accompanies the soloist to intensify the piece's rhythmic drive and modal folk derivations.[37] These Hungarian composers drew on the instrument's cultural associations, adapting it for concert halls while preserving its idiomatic strumming and damping techniques.[38] Twentieth-century chamber solos expanded the cimbalom's soloistic potential, as seen in works like György Kurtág's Eight Duos for Violin and Cimbalom, Op. 4 (1961), employing microtones and portamento for impressionistic effects, and Tre Pezzi for Clarinet and Cimbalom, Op. 38a (1996), which leverages the cimbalom's dynamic range in sparse, introspective dialogues.[39] These compositions underscore the cimbalom's evolution from folk adjunct to a versatile concert instrument in art music.Folk and Traditional Uses
The cimbalom has played a central role in Hungarian folk music traditions, particularly within csárdás ensembles, where it provides rhythmic and harmonic accompaniment to the lively, paired dances featuring slow introductions (lassú) and fast sections (friss). These ensembles, often comprising violin, viola, and double bass alongside the cimbalom, emerged prominently in the 19th century as symbols of national identity following Hungary's 1848 independence, with the instrument's resonant strikes enhancing the dance's energetic pulse.[40][41] In Roma communities across Central and Eastern Europe, the cimbalom has been integral to wedding bands since the 19th century, serving as a core instrument in small ensembles that perform at celebrations, blending improvisational flourishes with traditional melodies to accompany dances and vocals. Roma musicians, who adopted and popularized the hammered dulcimer variant in the late 18th and 19th centuries, used it to create vibrant, percussive textures in these oral traditions, often in configurations with violin, accordion, and bass.[8][42] Beyond Hungary, the cimbalom features in Romanian hora dances, where it delivers the characteristic rhythmic drive in circular folk gatherings, as seen in ensembles combining it with violin for hora melodies in regions like Moldavia. In Ukrainian folk contexts, it pairs with the bandura in duos and small groups to accompany epic songs and dances, utilizing its chordal capabilities to support the plucked lute's melodic lines. Similarly, in Belarusian and Slovakian folk groups, improvisational techniques on the cimbalom (or local variants like cymbalki and cimbál) underpin vocal accompaniments and dances, with players employing rapid rolls and glissandi to respond dynamically to singers and dancers in community settings.[42][41][43][44] The instrument's folk applications are preserved within UNESCO-recognized intangible cultural heritage, notably the Hungarian string band tradition inscribed in 2022, where the cimbalom contributes to ensemble performances at dances, festivals, and community events, sustaining oral transmission and improvisatory practices across generations.[45]Film, Television, and Popular Music
The cimbalom has been employed in various film scores to evoke exotic or tense atmospheres, drawing on its percussive, resonant timbre reminiscent of Eastern European folk traditions. In the 1970 crime drama They Call Me Mr. Tibbs!, composer Quincy Jones incorporated the cimbalom to underscore the emotional depth of the protagonist Virgil Tibbs, adding a layer of introspective subtlety to the jazz-inflected soundtrack.[46] Howard Shore utilized the instrument prominently in his score for The Lord of the Rings: The Two Towers (2002), where it articulates Gollum's slithering leitmotif, enhancing the character's eerie, otherworldly presence through its hammered strikes and metallic overtones.[47] More recently, Hans Zimmer featured the cimbalom extensively in the 2009 film Sherlock Holmes, particularly in the track "Discombobulate," where it contributes to the chaotic, pub-like energy with its sharp, rhythmic accents alongside unconventional elements like a broken piano. In television, the cimbalom appeared in several episodes of the espionage series Mission: Impossible (1966–1973), composed by Lalo Schifrin, who leveraged its exotic resonance to heighten suspense in cues like "Danube Incident," evoking Central European intrigue.[48] A portion of this cimbalom-heavy segment was later sampled in the 1994 trip-hop track "Sour Times" by Portishead, bridging the instrument into modern electronic music.[48] Within popular music, particularly progressive rock, the cimbalom provided textural depth in the Alan Parsons Project's 1977 album I Robot, where session musician John Leach played it on tracks like the title song and "I Wouldn't Want to Be Like You," infusing the sci-fi-themed arrangements with a dulcimer-like shimmer amid synthesizers and guitars.[49] Post-2000, the instrument has surfaced in world music fusions, such as Alexandre Desplat's score for The Grand Budapest Hotel (2014), which blends it into whimsical, folk-inspired orchestral passages representing the fictional Zubrowka's cultural heritage.[50] In the animated series Arcane (2021), a League of Legends adaptation, cimbalom elements underscore intense action sequences, merging symphonic metal influences with its percussive drive.[51]Performance Traditions
Hungarian and Central European Schools
The Hungarian school of cimbalom performance emerged prominently through institutional training at the Franz Liszt Academy of Music in Budapest, where a dedicated cimbalom department was established in 1897 to cultivate the instrument's role in national music traditions.[10] This formal education emphasized fusion of classical techniques with folk elements, drawing heavily from Roma musicians who historically dominated cimbalom playing in Hungarian ensembles.[52] The Hungarian State Folk Ensemble, founded in 1951, further institutionalized this approach under the artistic direction of Sándor Timár from 1981, integrating cimbalom training into its programs and focusing on authentic Roma-derived methods such as rapid tremolo and idiomatic phrasing to preserve and stage folk repertoires.[53][54] In neighboring Slovakia, cimbalom instruction was incorporated into conservatory curricula following the establishment of the State Conservatory in Bratislava in 1919, which prioritized regional folk instruments alongside classical studies.[55] By the late 20th century, the Bratislava Conservatory offered specialized cimbalom classes with support from Hungarian tutors, fostering a stylistic blend of virtuoso solo lines and supportive ensemble roles in Slovak folk orchestras.[18] Moravian variants in the Czech Republic highlight cimbalom's centrality in ensemble-based folk traditions, particularly in regions like southern Moravia, where the instrument has been documented since the 19th century through ethnographic collections tied to national revival movements.[56] Training occurs in local music schools and conservatories, with the cimbalom providing rhythmic drive and harmonic foundation in mixed ensembles featuring fiddles and clarinets. Across these Central European schools, key stylistic traits include virtuosic glissandi, executed by sweeping mallets across string groups for dramatic sweeps in fast sections, and robust harmonic accompaniment that underpins dances like the csárdás, often featuring alternating slow (lassú) introspection and rapid (friss) exuberance rooted in Roma-influenced ornamentation.[57][52]Eastern European Schools
In Belarus, the cimbalom school at the Belarusian State Academy of Music in Minsk represents a foundational center for professional training, offering specialized programs in the instrument from undergraduate to master's levels, with an emphasis on its integration into orchestral and folk ensembles.[58] The academy's attached National Music College introduces cimbalom studies from an early age, fostering technical proficiency and ensemble skills essential for symphonic contexts.[59] A key example is the student cimbalom ensemble "Lileya," established in 1966, which highlights the school's focus on collective performance and the instrument's role in Belarusian musical heritage.[60] Ukrainian tsymbaly training, centered at the Ukrainian National Tchaikovsky Academy of Music in Kyiv, prioritizes its use in folk traditions and regional ensembles.[29] Programs at the academy cultivate skills for both solo and group settings, reflecting the tsymbaly's historical role in Ukrainian cultural expressions through aural learning and practical application in traditional music.[29] In Romania, Roma performance traditions on the cimbalom are epitomized by the influential lăutar Toni Iordache (1942–1988), whose mastery of the portable țambal showcased extraordinary improvisational flair, speed, and sensitivity, elevating the instrument within Gypsy musical lineages.[61] Iordache's style, rooted in oral transmission and virtuosic elaboration, has shaped subsequent generations of Romanian performers, blending technical precision with expressive freedom in ensemble contexts. Moldovan and Croatian cimbalom schools integrate Ottoman-derived elements, such as rhythmic patterns and scalar structures, with local dance forms, adapting the instrument for vibrant folk ensembles. In Moldova, training underscores aural traditions and the cimbalom's accompaniment role in regional music.[62] Similarly, in Croatia, the cimbalom features prominently in northwestern and central traditional repertoires, supporting dances like the drmeš through its resonant strings in violin-led groups influenced by Alpine and Eastern motifs.[63]International Adoption and Western Schools
The adoption of the cimbalom beyond its Eastern European roots has been marked by innovative integrations into Western musical traditions, particularly in France, where it has been incorporated into contemporary percussion practices since the mid-20th century. In Strasbourg, the ensemble Les Percussions de Strasbourg, founded in 1962, played a pivotal role in expanding the instrument's use within modern classical and experimental music during the 1970s and beyond, treating the cimbalom as a versatile percussion-string hybrid in works by composers like Pierre Boulez. This development fostered a distinct French school, centered at the Académie Supérieure de Musique de Strasbourg, where Luigi Gaggero serves as a professor of cimbalom in Western Europe, emphasizing its pedagogical role in contemporary ensembles and solo performance.[64] Gaggero's work, including founding a dedicated contemporary music ensemble at the academy, has solidified the instrument's place in French musical education, blending traditional techniques with avant-garde compositions.[65] In Greece, the cimbalom's close relative, the santouri, found a prominent place in rebetiko music, an urban folk genre originating in the early 20th century among Greek communities in Smyrna and Piraeus. The santouri provides harmonic and melodic support in ensembles featuring bouzouki, violin, and laouto, contributing its resonant, hammered tones to the genre's emotive soundscapes, as heard in Smyrneiko rebetiko styles.[66] Performers often adapt string courses—typically 40 to 50 pairs—for ensemble interplay, enabling intricate rhythmic and ornamental exchanges in live settings.[67] This adoption reflects rebetiko's multicultural influences, with the santouri bridging Anatolian traditions and Greek urban expression, as documented in UNESCO's recognition of the genre.[68] Post-1990 migrations from Eastern Europe have facilitated the cimbalom's presence in diaspora communities in the United States and United Kingdom, where Ukrainian and Slovenian groups have preserved and adapted the instrument through informal workshops and cultural events. In the US, Ukrainian-American ensembles have incorporated the tsymbaly into folk performances, drawing on immigrant traditions from the Carpathian region to teach younger generations in community settings since the 1990s.[69] Similarly, Hungarian and broader Eastern European diaspora in the UK, supported by organizations like the Hungarian Cultural Association, have hosted workshops featuring the concert cimbalom for cultural preservation, often in London-based events post-Cold War.[70] These initiatives emphasize oral transmission and hybrid styles, connecting performers to their heritage amid global dispersion. As of 2025, the cimbalom's international reach is bolstered by modern manufacturers producing high-quality instruments for global markets, including German workshops specializing in the related hackbrett variant, which shares the cimbalom's chromatic layout and pedal dampers but in a more compact form. Firms like those associated with the Cimbalom World Association collaborate on hackbrett-cimbalom hybrids, exporting to Europe and North America for both folk and classical use.[18] Complementing this, online teaching resources have proliferated, with platforms offering virtual lessons and tutorials tailored to the instrument's techniques; for instance, Giani Lincan provides structured online cimbalom courses for beginners and advanced players, while sites like cimbalompit host free video tutorials on repertoire from folk to contemporary pieces.[71][72] These digital tools, accessible worldwide, have democratized access, enabling self-study and fostering a growing community of non-traditional players as of late 2025. Recent developments include increased participation in international festivals like the Cimbalom World Congress, promoting cross-cultural exchanges as of 2025.[18]Notable Performers
Pioneers and Historical Figures
Vencel József Schunda (1845–1923), a Budapest-based instrument maker, is credited with inventing the modern concert cimbalom in 1874, redesigning the traditional hammered dulcimer into a larger, chromatic instrument with a damper pedal system for enhanced expressiveness and orchestral use.[8] The family workshop had been founded by his older brother József in 1848. Schunda took over the firm in 1871 and, in 1874, invented the modern concert cimbalom—featuring a trapezoidal wooden frame, metal strings spanning four and a half octaves, and intricate rosettes—initiating its serial production, which facilitated its adoption in bourgeois homes and concert halls across Hungary.[13][1] By 1906, his firm had sold over 10,000 cimbaloms, solidifying the instrument's role as a symbol of Hungarian national identity and prompting the establishment of cimbalom instruction at the National Academy of Music in Budapest by 1897.[8] Schunda's innovations not only standardized the concert model but also trained initial performers, bridging folk traditions with classical applications. Aladár Rácz (1886–1958), a Hungarian Romani musician born in Jászapáti, became the instrument's first internationally acclaimed virtuoso, promoting its integration into symphony orchestras and solo recitals during the early 20th century.[73] Renowned for transcribing and performing Baroque harpsichord works by composers like Bach alongside contemporary pieces by Debussy, Rácz's technical mastery and expressive phrasing expanded the cimbalom's repertoire beyond folk roots, earning praise in European capitals such as Paris and London.[20] His 1915 encounter with Igor Stravinsky in Geneva, where he demonstrated folk-inspired techniques, directly influenced the composer's use of cimbalom-like effects in Ragtime pour onze instruments, marking a pivotal crossover to art music.[73] From 1938 until his death, Rácz taught at the Franz Liszt Academy of Music in Budapest, mentoring students and advocating for the instrument's pedagogical development. Toni Iordache (1942–1988), a Romani-Romanian lăutar from Bucharest, pioneered virtuosic folk improvisation on the portable țambal (cimbalom variant) in mid-20th-century Eastern Europe, rising to national fame in the 1950s and 1960s under Romania's communist regime.[74] Starting at age four under the guidance of family and mentors like trumpeter Costel Vasilescu, Iordache mastered intricate solos that fused traditional doinas and dances with oriental scales and rhythmic complexities, often performing in ensembles that highlighted the instrument's melodic agility.[61] His recordings and live improvisations, characterized by rapid hammer strikes and emotional depth, preserved and innovated Romani musical heritage, influencing folk traditions across Romania and beyond until his early death.[74] In early 20th-century Hungarian ensembles, Romani and folk musicians played key roles in embedding the cimbalom within Gypsy and folk groups, adapting Schunda's concert model for communal performances that popularized its resonant timbre in rural and urban settings. These pioneers' efforts collectively established foundational techniques and performance norms that informed later Hungarian and Central European schools.Contemporary Artists and Innovators
Kálmán Balogh, born in 1959 in Miskolc, Hungary, stands as one of the leading contemporary cimbalom virtuosos, renowned for blending traditional Gypsy folk traditions with jazz and world music elements. A graduate of the Franz Liszt Academy of Music in Budapest, Balogh leads the Kálmán Balogh Gypsy Cimbalom Band, which incorporates improvisational jazz structures into Hungarian and Balkan repertoires, as heard in albums like Unicorn (2000) and collaborations with artists such as the Bulgarian clarinetist Theodosii Spassov.[75] His performances at international festivals, including WOMEX, highlight the cimbalom's percussive drive in fusion contexts, expanding its role beyond classical folk settings.[76] In the United Kingdom, Rob Millett has emerged as a prominent promoter of the cimbalom in Western contemporary and multimedia works since the 2000s. Based in London, Millett, a percussionist specializing in cimbalom, has contributed to jazz ensembles, theater productions, and recordings that integrate the instrument into modern compositions, such as those for the BBC Proms and contemporary dance scores.[77] His efforts include workshops and recordings that introduce the cimbalom to non-traditional audiences, fostering its adoption in experimental British music scenes.[77] Hungarian cimbalom player Jenő Lisztes represents a key figure in film scoring, bringing the instrument's resonant timbre to global cinema in the 21st century. Lisztes has collaborated with composer Hans Zimmer on the score for Sherlock Holmes: A Game of Shadows (2011), where the cimbalom contributes to the film's ethnic textures.[78] His work extends to concert halls and festivals, bridging film music with live performances that showcase the cimbalom's versatility in narrative-driven sound design.[79] American cimbalom artist Nicholas Tolle exemplifies 21st-century innovation through experimental and chamber music, often employing extended techniques to explore the instrument's sonic possibilities. A prizewinner at the Budapest Music Center International Cimbalom Competition in 2019, Tolle has premiered works by composers like Mischa Salkind-Pearl on albums such as Lines and Traces of Desire (2025), which feature the cimbalom in duo and ensemble settings with electronic influences and microtonal explorations.[80] Tolle also participates in global festivals, including the Contemporary Music Cimbalom Festival in Budapest, promoting hybrid setups that combine acoustic cimbalom with digital processing for avant-garde repertoires.[81][82]References
- https://www.[researchgate](/page/ResearchGate).net/publication/381988260_The_latest_trends_in_the_cimbalom_repertoire_of_the_21st_century