THE CARILLON By
carilloneur, carillon consultant
Ulla Laage,
They are
everywhere, the Bells. There are church bells, ship’s bells,
doorbells, bicycle bells ... They are used for calling attention, alarm and
warning, and as such they are part of man’s everyday life.
The Chinese were
probably the first who were able to cast bronze bells and already around the
year 2000 B.C. musical instruments consisting of bells existed in
The design of the
keyboard is based on the physical power that is necessary in order to bring the
sometimes very big and heavy clappers to move in order to strike the inside of
the bells and thereby make them sound. As the direct, mechanical action between
the clavier and the bells is very sensitive, the clavier is placed as close to
the bells as possible. The construction of the clavier can be compared with the
white and black keys of a piano, but the carilloneur plays with loosely closed
fists. The quality and intensity of the sound is dependent on the striking of
the keys which gives the carilloneur full control of each tone and optimal
expression in the artistic and musical performance.
In later years
the concert carillon has gained a rising interest and popularity. In original
music for this instrument prominent composers have emphasized and utilized the
special character and possibilities of this majestic and monumental instrument.
Composers to be mentioned are Ronald Barnes, John Courter, Roy Hamlin Johnson,
Milford Myhre and Gary White,
The U.S.A. - Clifford
Ball and John Knox, England; Wim Franken and Leen‘t Hart, The Netherlands; Henk Badings, Jef
Denyn and Staf Nees, Belgium; Birgitte Alsted, Niels Viggo Bentzon, Bent Lorentzen, Erik Norby and Per Nørgård, Denmark; Hugo Melin,
Sweden and Arne Nordheim, Norway. They have all created the most significant and important works
for the concert carillon in our time.
An essential part
of the job of a carilloneur
- besides studying the works - is to transcribe
works for other instruments and arrange hymns and songs carefully considering
the playing technique, the long decay time of the bells and their very special
partial tone relations. Not all music is suitable to be played on a carillon.
If transcriptions of music for other instruments have to be changed so much
that they loose their character and the intention of the composers, they should
not be performed on the carillon.
The
strike tone is the one we hear as the fundamental. The partial tone that sounds
the strongest is a minor third above the strike tone. It is this note - unique
for the musical instruments of the western world - that gives the bells their
characteristic solemn and grave sound. This and the long decay time make it
difficult for many people to listen to the carillon. However if you concentrate
on listening to the notes just being struck and try to ignore the decay time
from the earlier notes, you will quickly learn to listen to and accept this
sound as an unusual “spice” of the bells.
Under ideal
conditions a carillon can be heard at a long distance. The best listening place
you will find away from traffic and wind and with a direct view to the bells.
Close up the bells have a harsh and metallic sound, but at a distance they
sound freely and beautiful.
The concert
carillon must not be mistaken for the automatic, clock controlled chime, as
this precludes any
kind of dynamics. Therefore it is impossible to play recitals from a clock controlled
or computer controlled chime, that since it´s invention has had one
function only: to mark quarter- and hour strikes by a short, simply arranged
melody.
Today 8 bell
foundries worldwide have specialized in casting bells for concert carillons.
There are 584 concert carillons and 4 carillon schools. Organizations taking
care of bell- and carillon interests are the guilds of each carillon nation and
World Carillon Federation.
Web sites to look up carillons are
www.carillon.org - http://soda.csua.berkeley.edu/~maestro/stat.htm - www.klokker.surfhere.net/