The Tambourine, Joseph Dale's Grand Sonata and Its Role in the Appearance of Women Musicians in the Salon

By the turn of the nineteenth century composers such as Daniel Steibelt and Muzio Clementi were writing keyboard pieces with tambourine (and, occasionally, triangle) parts that were clearly intended for private salon performances by girls and young women. These works were introduced to public and private European salons during the early nineteenth century. Steibelt performed such pieces, typically waltzes, bacchanals, rondos and divertissements whilst on tour with his English wife Catherine, daughter of the London-based music publisher and patent tambourine manufacturer Joseph Dale. She became a renowned tambourine virtuoso, even attracting the attention of the Bohemian musician and writer Václav Jan Tomášek, who described the great sensation caused by Catherine's performances.I analyse different types of works that were written for the tambourine around the year 1800. Examples of short waltzes (which were usually published in sets of 6 or 12) are plentiful – they were by far the most common pieces written for piano and tambourine – and in them the historical link between the tambourine and dance is most obvious. I argue that these waltzes may have served as a bridging point between dance-like, energetic, social activities and passive, recreational drawing-room music. Further support for this idea can be found in a Grand Sonata for pianoforte, tambourine, flute, violin and basso by Joseph Dale. The tambourine part contains numerous choreographic instructions as well as a wide variety of playing techniques such as thumb rolls, bass notes and harmonics, the likes of which did not become common practice in the orchestral or chamber repertory until the twentieth century. Dale's intention was clearly to provide an opportunity for women musicians to express themselves in ways that were contrary to contemporary expectations of female social etiquette.