(Italian: “drums”), orchestral kettledrums (kettledrum). The name has been applied to large kettledrums since at least the 17th century. The permanent orchestral use (orchestra) of timpani dates from the mid-17th century, early examples being in Matthew Locke's (Locke, Matthew) Psyche (1673) and Jean-Baptiste Lully's (Lully, Jean-Baptiste) opera Thésée (1675). At first they were mainly confined to expressions of rejoicing or to supporting the brass (brass instrument) in loud passages. Two instruments, one tuned to the tonic and the other to the dominant (first and fifth notes of the scale), were normal in 17th- and 18th-century scores. Later, more instruments were used with a variety of tunings. In the 19th century the timpani were used in more varied and expressive ways, a development stimulated in large part by the innovations of Ludwig van Beethoven (Beethoven, Ludwig van). The French composer Hector Berlioz (Berlioz, Hector), who required 16 kettledrums in his Grand Messe des morts (1837; Requiem), even urged composers to specify which type of hard or soft sticks they wished used.