Skip to main content

Carillon News

Brian Swager

Brian Swager is carillon editor for THE DIAPASON.

Files
Default

A carillonneur is featured in a 2006 murder mystery, Swing by Rupert Holmes (Random House, ISBN: 140006158X). It takes place in 1940 at the height of the big band era. The setting is San Francisco and the Golden Gate International Exposition on Treasure Island. Musical clues are provided in an accompanying CD of jazzy numbers.

Richard Watson announces a new website for Meeks, Watson & Company. The bell founding and carillon building firm, based in Georgetown, Ohio, installs both stationary and swinging bells, peals, chimes, and carillons. They also renovate, tune, and recast older instruments; <http://www.mwbells.com/&gt;.

Jill Johnston has written a biography of her father, Cyril F. Johnston, one of the foremost English bellfounders in the first half of the 20th century. She has intertwined her birth circumstances and motivations for writing the book, which inevitably led to her investigations of the bells that her father cast. England’s Child: The Carillon and the Casting of Big Bells is published by Cadmus Editions.

An Eijsbouts mobile carillon has arrived in the USA at Chime Master Systems in Lancaster, Ohio. This carillon comprises four octaves/48 bells. Information and schedule can be found at <mobilemillennium.com>. There is one other mobile carillon in America, a 35-bell instrument built by Petit & Fritsen, played by Frank DellaPenna and his Cast in Bronze. Information and schedule can be found at <castinbronze.com>.

Christoph Paccard Bellfoundries of Charleston, South Carolina has announced that they have become the exclusive representative in the United States for the Paccard Bellfoundry of Annecy, France. Stan Christoph is the president of the new firm. Paccard was formerly represented by the van Bergen Company.

Three record bells have been cast in the last decade. The largest tolling bell in the world was cast in 2006 by the Royal Eijsbouts firm of Asten, the Netherlands. Commissioned by Kiyozaku Shoji for the Tokinosumika park in Gotemba, Japan, the bell weighs 36,250 kg (79,918 lbs), has a diameter of 3.82 meters (12.5 feet), and is 3.72 meters (12.2 feet) high. It sounds a G-sharp. The previous record for a tolling bell was set in 1998 by the Peace Bell cast by the Paccard Bellfoundry of Annecy, France, for the Millennium Monument in Newport, Kentucky. It weighs 33,285 kg (73,381 lbs), has a diameter of 3.7 meters (12.1 feet), and sounds an A. Both bells were too large to be cast in the bellfoundries, so both firms used the facilities of foundries that make ship propellers. Eijsbouts used Wärtsilä in Drunen, the Netherlands, and Paccard used Fonderies de l’Atlantique in Nantes, France. The lowest sounding carillon bell in Europe was cast by Royal Eijsbouts for the carillon of Ghent, Belgium, in May 2008. The Matilde bell was named for Matilde of Portugal, who was Countess of Flanders from 1157 to 1218. The bell sounds E, leaning toward E-flat, just as the entire carillon is closer to A-flat than to A. It weighs a bit more than the 10-ton bourdon of the carillon of Dordrecht, the Netherlands.

Nunc Dimittis
The carillon world was saddened by the passing of two lovely carillonneurs recently. Marilyn Clark was carillonneur of the Church of Our Lady of Good Voyage in Gloucester, Massachusetts. I have many fond memories of Marilyn from visits to play in Gloucester, her visit to Bloomington, Indiana, and carillon congresses. Marilyn was a role model for me, especially in her ability to be so generous with warmth and loving kindness. Sue Magassy of Canberra, Australia, was the first foreign carillonneur to pass the playing examination in order to become a carillonneur member of the Guild of Carillonneurs in North America. A gregarious character and zealous supporter of the carillon art, she traveled all over the world to attend carillon events.

Send items for “Carillon News” to Dr. Brian Swager, c/o The Diapason, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; <[email protected]>. For information on the Guild of Carillonneurs in North America: GCNA, 37 Noel Dr., Williamsville, NY 14221; <www.gcna.org&gt;.

Related Content

Carillon News

Mobile carillons in the news and a new publication

Brian Swager
Files
DIap1212p12.pdf (947.41 KB)
Default

The Carillon Academy of Lier, Belgium, offered a carillon summer course in July for beginning and intermediate levels as well as a masterclass for advanced students. The course was taught by Koen Van Assche and Geert D’hollander, with instruction on making carillon arrangements by Anna Maria Reverté. Lodging was in the abbey of Averbode.  

 

Dick Gegner was honored Monday at Memorial Day ceremonies in the Village of Mariemont by being named Mariemont Citizen of the Year, by the Mayor and Council. Gegner has been the carillonneur of the Mary M. Emery Memorial Carillon in Mariemont, an eastern suburb of Cincinnati, Ohio, for 45 years. 

 

Mobile carillons in the news

Dutch carillonneur Boudewijn Zwart took his mobile carillon to Ireland for a series of recitals in Cork City and St. Colman’s Cathedral in Cobh. The photos show the carillon being hoisted into the Blackpool Library in Cork for a series of children’s concerts, and Adrian Gebruers lending a helping hand for a budding carillonneur’s first rendition of “Twinkle Twinkle Little Star.” This attracted considerable media attention, including headline billing on Irish television’s peak-time news bulletins.

 

Cast in Bronze creator Frank DellaPenna commissioned the first mobile carillon ever to be constructed in the United States. The 35 bells on the carillon consist of 25 Petit & Fritsen bells and 10 Eijsbouts bells. Both bell foundries are in the Netherlands. Ewald A. Stellrecht, proprietor of ESE Machines in Coatesville, Pennsylvania, designed and build a keyboard, frame, and carillon action. Michael Shaffer of Bandara, Texas, constructed the wooden music rack.  David Mars, owner of Texas Trans Am Service and Restoration in Fort Worth, Texas, custom-built the carillon trailer. The bourdon, inscribed to Anne and Frank DellaPenna, weighs 640 pounds. The batons (keys) are made from Lucite, which is more weather and rodent resistant than traditional wood. For the audience to visualize the carillon’s similarity with other keyboard instruments, the batons are purposefully colored black and white. The new carillon was inaugurated at Longwood Gardens, Kennett Square, Pennsylvania. DellaPenna created Cast in Bronze, a musical act employing his four-ton mobile carillon, over 20 years ago to bring the haunting beauty of the carillon to more listeners by demonstrating its versatility with other instruments. More info at castinbronze.com.

 

New publication

Publishing company Davidsfonds published a book by Luc Rombouts: Zingend brons. 500 jaar beiaardmuziek in de Lage Landen en de Nieuwe Wereld (“Singing Bronze. 500 Years of Carillon Music in the Low Countries and the New World”). The book gives a complete overview of the past and present of the carillon, starting with the first jingling bells in the Middle East, and ending with the present status of the carillon and the threats to and potential of the instrument in the future. It is written not only for carillon enthusiasts and specialists, but also to arouse interest for the carillon with the greater public. It contains no lists or inventories of carillons, but tells a story of development, flourishing and decline, of aspirations, successes, and disappointments.

Three chapters are devoted to the carillon art in North America: 1) “Memorial Bells,” about the English bell foundries and the creation of carillons in the Anglo-Saxon world between the two World Wars; 2) “Dutch production vs. Carillon Americana,” about the successes of the Dutch bell foundries after WW II and the struggle against electronic “carillons” in the USA and Europe; and 3) “American Beauty,” about the advent of the American carillon movement and the creation of a new carillon repertoire beginning in the 1950s.

Zingend brons is written in Dutch. It contains 460 pages and 230 full-color pictures.

 

Send items for “Carillon News” to Dr. Brian Swager, c/o The Diapason, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; or e-mail [email protected]. For information on the Guild of Carillonneurs in North America: www.gcna.org.

Carillon News

by Brian Swager
Default

 

Bok Tower Festival

 

The 16th International Carillon Festival, February 3–11, 2001, will feature guest carillonneurs Stéfano Colletti (France), Liesbeth Janssens (Belgium), John Courter (Berea College, Kentucky), George Matthew Jr. (Middlebury College & Norwich University, Vermont), and Bok Tower Gardens' Milford Myhre and William De Turk. Events will include daily recitals at 3 pm, a moonlight recital at 8 pm on Tuesday, February 6, carillon exhibits, and non-carillon concerts. For further information, contact Bill De Turk, 1151 Tower Blvd., Lake Wales, FL 33853-3412; ph 863/676-1154; fax 863/676-6770; e-mail: <[email protected]>;

web page: <boktowergardens.org>.

Paris carillon project

A new carillon for the city of Paris, France, is in the planning stages. The site is the Parc de La Villette. An architectural study has confirmed the possibility of installing a carillon in a contemporary structure that already exists in the park: la Folie Belvédère. The proposal is for a carillon of 51/2 octaves, 66 bells, from G2 to C8, with a total of 35 tons of bronze. The bells would hang on five levels in a conical cage of open construction without a roof. The performer in the playing cabin will be visible to the public.

Situated in the center of the park, the Folie Belvédère seems an ideal place for the resounding of bells, amidst the Cité des Sciences and the Cité de la Musique. There is ample green space for listening at an appropriate distance.  In contrast to the mystery plays that were enacted on church squares in front of cathedrals and churches in the Middle Ages, the Folie and its carillon envision popular theatrical productions such as circus, street theater, and all sorts of musical and artistic expression.

Major Dutch treat

The National Carillon Museum in Asten, The Netherlands, is expanding its facilities. The tower will be an attractive feature. It goes without saying that a carillon will be hung in the tower. Furthermore, this special tower deserves a special carillon. The choice was made for a carillon with bells that have a major-third overtone instead of the traditional minor third. These sound significantly different than classic bells and carillons. This modern type of carillon seemed to be a logical choice for the hpyermodern tower. Hence, with bells from ca. 1500 B.C. to the most contemporary specimens, the museum's collection will span 3500 years of bell history. The design for these major-third bells was developed a few years ago by Drs. André Lehr and Bert Schoofs (Technical University Eindhoven). This design was used for a carillon made by Eijsbouts for the Academy Tower of the University of Groningen. The Asten carillon will be relatively small, with 25 bells covering two octaves. The largest bell will weigh 236 kg., the smallest 10 kg., total weight 468 kg.

The museum is seeking sponsors to cover the cost of the bells which will be purchased at a significant discount from the Royal Eijsbouts Bellfoundry in Asten. Contact Dr. André Lehr at [email protected] or Ostaderstraat 23, 5721 WC Asten, The Netherlands.

An American in Peer

When a carillon committee was formed in 1989 in the city of Peer, Belgium, there were three tolling bells in the tower of the St. Trudo Church. At that time there were no carillons in the whole province of North Limburg that were playable manually. The 14th-century brick tower of Peer had a huge bellchamber capable of accommodating a heavy carillon. Financial resources were limited such that a choice was made for a medium weight carillon of 51 bells with a bourdon sounding D.

In 1992 the new Petit & Fritsen instrument was dedicated. After the festivities the carillon committee began its quest to expand the instrument as soon as possible to a heavy carillon. The project was completed in 1999 exceeding all expectations. The 17th-century bell frame was restored, the bell chamber got a new oak floor, and the electrical components were updated.

The carillon was completely dismantled and reinstalled, and a deluxe new playing cabin was built. Thirteen new bells were cast. Most significantly, an American standard playing console was chosen over the current European standard. The instrument now boasts 64 bells covering five octaves with a bourdon sounding B-flat. The keyboard compass is B-flat, C, then chromatic through D. Erik Vandevoort is the carillonneur of Peer.

Miscellanea from abroad

 

The Olsen Nauen Bellfoundry in Tønsberg, Norway, made a new four-octave carillon for the Oslo Town Hall in December 1999. The 49 bells replace a 38-bell carillon of inferior quality which dated from 1952. The new instrument can be played manually from a traditional baton-type console, electrically by means of an electric keyboard, and automatically by a computer. It is the largest carillon in all of the Nordic countries.

                  There are 80 carillons in Denmark, the Faroe Islands, and Greenland. Of these, 21 are concert carillons operated manually from a baton-type playing console. The remaining 59 are automatic carillons, and 29 of them can be operated from an electric piano-style keyboard. Most of the carillons were fabricated in The Netherlands (27% Petit & Fritsen, 45% Eijsbouts) with a few from France (7% Paccard) and England (4% Taylor).

Sculptor Eric Andersen created the Campana degli Umori for the Fairy Tale Gardens in Odense, Denmark. A ten-ton bell is suspended on a steel frame at street level. Also hanging on this frame are nine clubs or hammers for striking the bell in nine different areas. Campana degli Umori means "the bell of humors"—humors in the sense of moods. The nine striking areas on the bell are color coded and symbolize different moods such as black for pain and sorrow, red for love, etc. Consequently the bell can be used as a means of expression communicating to others the mood of the person who strikes the bell. Eric Andersen, who is both a visual artist and a composer, is fascinated with the bell as the carrier of a new language, and as a musical and poetical instrument the bell can be the tongue of the soul.

The 25th anniversary of the City Hall carillon in Magdeburg, Germany, was celebrated in 1999. In contrast with other concert performances, the carillon usually has the disadvantage that its players have no immediate contact with their listeners. The carillonneur sits in a  tower cabin, high above the ground, often remaining anonymous. Recognizing this situation, the city of Magdeburg rented a four-octave mobile carillon from the Royal Eijsbouts Bellfoundry in The Netherlands. Several concerts at various locations in the city were presented. Plentiful audiences comprising both locals and tourists witnessed the carillonneur hard at work (at play).

Zvonar ("The Bell Player") is a new periodical published by the Moscow Bell Center. The Center was established about four years ago primarily to train qualified bell players. Russian church bells are typically played by hand. The art of Russian bell ringing lost popularity because of  church reform measures in the Soviet Union. Bell players who were dying out in the 70s had few new recruits. Since it began, the Moscow Bell Center has educated over 150 bell players between the ages of 11 and 64. Most were from Moscow and its environs. The Zvonar newsletter will help spread information about liturgical tolling, bell repairs, and other technical questions while the Center will serve in consultation to church congregations and monasteries.

A new 45-bell carillon was built for the monastery tower in Kiel, Germany. The bells were cast by the Karlsruhe Bellfoundry, and the playing console, the mechanical action, and the electronic automatic player mechanism were fabricated by Otto Buer Bells & Clocks of Neustadt/Holstein. The carillon was inaugurated in September 1999. It incorporates a 1367-pound tolling bell (pitch "G") that dates from 1928 as the bourdon.

Carillon News

Brian Swager

Brian Swager is a contributing editor of THE DIAPASON.

Default

Preludia voor Beiaard/Preludes for Carillon; Matthias Van den Gheyn. Gilbert Huybens and Luc Rombouts, eds., part 2 of Monumenta Flandriae Musica, Eugeen Schreurs, ed. Peer: Alamire Foundation, 1997.  ISBN 90-6853-120-4. Available for 1990 BF plus postage from: Alamire Muziekuitgeverij; Postbus 45; 3990 Peer, Belgium; ph: 32.11.63.21.64; fax: 32.11.63.49.11; e-mail: <[email protected]>; web site:<http://www.innet.be/musica/alamire&gt;.

This publication is a milestone in the carillon literature. The preludes themselves are the most significant 18th-century contributions to the carillon repertory. Ever since knight Xavier van Elewyck rediscovered the carillon preludes of Matthias Van den Gheyn in the 19th century, carillonneurs have based their playing editions on a manuscript made by Van Elewyck's copyist--a hastily made manuscript riddled with mistakes and unclear notation. With the discovery and publication of an autograph manuscript, previously unknown mistakes come to light, and many of the riddles can be solved.

The boxed set includes two volumes, the first of which is a facsimile of the autograph manuscript acquired by the Louvain University Archive on 19 April 1995. The manuscript includes the eleven preludes--with the exception of the final page of the Cuckoo Prelude--as well as six carillon arrangements of existing music: an allegro in D, an untitled piece in D, and aria in G, a six-section "Cantate," a menuet in C, and an andante in D. The second volume consists of editorial commentary and a new performance edition of the eleven preludes based on the autograph. All essays are in Dutch with clear English translations by Todd Fair.

Codicologist Chris Coppens and paleographer Marc Nelissen confirm that both the text and the music notation in the manuscript are in the hand of Matthias Van den Gheyn. The editors provide a short history of the performance of the preludes, and they examine the relation between the other manuscript copies of the preludes that exist or are known to have existed. They also give some consideration to the question "for which carillon were the preludes composed?"

The editors give a cursory explanation of their rationale for choices made in the performing edition. This leaves considerable room for discussion. For example, they state simply that "incorrect note values have been corrected."  Without further justification they have changed, not corrected, note values such as the dotted rhythms in the early measures of Prelude Six. In the same prelude, they invent a quirky rhythmic pattern--for which there is no basis in the manuscript--in order to avoid one of Van den Gheyn's shifts from triple to duple divisions of the beat. As in the past, carillonneurs concerned with performance practice and performances directed at authenticity will need to scrutinize the manuscript, realizing that the performing editions--including this most recent one--are subjective interpretations. Fortunately we now have an autograph manuscript.

The publication is "Dedicated to Xavier van Elewyck and Ronald Barnes, with respect for the roles played by each in studying the work of Matthias Van den Gheyn." As an invaluable reference for historically informed performance and study, it belongs in the library of every serious carillonneur and campanologist.  Carpe Librum!

News from abroad

* Wallonian carillonneur Edmond de Vos writes in Bulletin Campanaire about the carillon and the history of Chimay, Belgium. The 26 bells are playable automatically, via the mechanical drum connected to the clock, or manually via a machine à carillonner--a piano-type keyboard with large keys. The carillon was restored in 1997 by the Clock-o-Matic firm, and because of its rarity and historical interest the mechanical piano-type keyboard was kept in service.

* Carmen Bernad V. E. Hijos announced that a 72-bell carillon was installed in the Basilica of San Pascual van Villarreal, 50 km north of Valencia. The total weight of the bells, cast in France, is 12,000 kg. The inauguration was to have taken place on 17 May 1998.

* Rosemarie Seuntiëns writes in Klok en Klepel about the history of the St.  Petrus-banden Tower in Venray, The Netherlands, and its 50-bell carillon. A new type of tumblers was adapted for the instrument's traction system.  Rather than the traditional roller bars or directed cranks, the new tumblers involve a thin steel cable that turns over a round wheel whose axis is placed off-center. The system seems to be effective for short, relatively direct connections; the action is supple, and dynamic possibilities are optimal.

* The Petit & Fritsen Bellfoundry was commissioned to cast a 36-bell carillon for the Presbyterian Church in La Porte, Indiana.

* Petit & Fritsen was commissioned to cast an 84-bell carillon (E, F-sharp, G-sharp, chromatic to F) with a bourdon of approximately 8500 kilograms and a total weight of 42,300 kilograms. The donors have not yet disclosed the specific location in America where this "Millennium Carillon" will be located.

* A 51-bell Eijsbouts carillon was installed in Hamburg and dedicated on 24 July 1993. The instrument has a completely chromatic range from C to d.  It has a unique setting amidst the ruins of the St. Nicholas' Church. Hamburger Richard Brinkmann is the carillonneur.

* Currently, one of the heaviest bells in the world can be found in Cologne, Germany. However, a Cologne television station reported last May that the American city of Newport (the particular state was not mentioned) has commissioned a 30 metric ton (approximately 33 US tons) bell from the Paccard Bellfoundry in time for millennium celebrations. The bell will be 3.6 meters high (11 feet) and cost over $360,000.  It will be housed in a tower over 450 meters high.

Carillon News

Brian Swager

Brian Swager is carillon editor of THE DIAPASON.

Default

CD review
Die Glocke und ihr Geläute; eine klingende Kulturgeschichte mit Kommentaren von Kurt Kramer. [The Bells and Their Tolling; A Cultural History in Sound with Commentary by Kurt Kramer.] Psallite CD P60661; <www.motette-verlag.de&gt;.

This CD is a colorful, historical documentary of bells in Germany. We hear 55 examples of bells and peals, ordered chronologically from the eighth through the twentieth centuries. Each track includes audio commentary by Kurt Kramer dubbed over the bells, with adequate time given to the bells alone to hear them in their full glory. Both the commentary and the accompanying booklet are in German only.
Photos in the booklet show the evolution from the early sugar loaf and beehive types of bell profiles to the forms more common in recent centuries, and Kramer draws attention to the effects of the various profiles on the sound of the bells. Although he doesn’t delve into the effects of the copper/tin ratio in bronze alloys—analogous to the lead/tin ratio in organ pipes and the resulting effect on tone quality—Kramer does begin with an example of an early iron bell. We hear the two 11th-century “silver bells” in the Augsburg Dom, named not for their metal, but referring rather to the jingle of money in the collection. From the Freiburg Münster we hear the Hosanna bell, the oldest Angelus bell in Germany. The seven-bell peal in the Bonn Münster is one of the few unchanged large peals preserved from the Baroque era. The largest freely swinging bell in the world is the 24,000-kilogram (52,800 lbs.) Petersglocke in the Cologne Cathedral. We hear the Petersglocke itself, and later in the CD we hear the entire peal. It is often said that the Freiburg Münster has one of the most beautiful towers in Christendom, and there we hear one of the greatest peals in Germany. It was installed in 1959 by Friedrich Wilhelm Schilling and has a range of over 2½ octaves. Schilling is also represented by his pentatonic peal in Hamburg’s Nikolaikirche. Kramer touts the peal of the Straßburg Münster, with bells by Schilling and Hans Gremp, as one of the most beautiful in Europe.
Such a delightful documentary would not be complete without Maria Gloriosa, a masterpiece, created by the Dutch bellfounder Gert van Wou. This legendary bell, cast in 1497 for the Dom in Erfurt, represents the high point in the art of bellfounding. It is known not only for its glorious sound, but also for the harmony of sound with its form and beautiful design. Before electronic means, it took two teams of eight men to swing all 11½ tons.
The recording is remarkably free of ambient noise, with the exception of a lovely chirping bird at the end of the unusually long six-minute track that features the impressive new peal in Dresden’s recently restored Frauenkirche.

Send items for “Carillon News” to Dr. Brian Swager, c/o The Diapason, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; <[email protected]>. For information on the Guild of Carillonneurs in North America: GCNA, 37 Noel Dr., Williamsville, NY 14221; <www.gcna.org&gt;.

Carillon News

Brian Swager

Brian Swager is carillon editor of THE DIAPASON.

Default

New world-standard console in Victoria, British Columbia
Rosemary Laing, carillonneur of the Netherlands Centennial Carillon in Victoria, British Columbia, sends news of the installation of a new playing console. The donor who underwrote the project wished for the most part to remain anonymous and chose August 1, 2007, for the dedication ceremony and inaugural recital in honor of his wife’s birthday. It came as a complete surprise to her, and she was moved to tears as the crowd belted out a rousing chorus of “Happy Birthday” accompanied by the carillon. She had been told that she was attending just another museum function. It was Victoria’s best-kept secret.
Several dignitaries were on hand, along with invited guests, the family of Carillonneur Emeritus Herman Bergink, patrons of the Royal British Columbia Museum, and a handful of the original Dutch donors who had made the Netherlands Centennial Carillon a reality in the late sixties. The media was out in full force, and the carillon was featured in all types of coverage, from live CBC radio interviews, to an article in The Globe & Mail, a national newspaper. A lavish catered reception followed the outdoor ceremony and carillon recital on a lovely summer’s afternoon in Victoria, a gentle breeze blowing off the water, the scent of flowers in the air.
But for Rosemary Laing, the story began in the dead of winter, when she was awakened from a deep sleep in the middle of the night by a phone call from the Royal Eijsbouts Bellfoundry in Asten, the Netherlands. Victoria was in the midst of a rare snowstorm, and the city had been at a complete standstill for days. When the phone rang, she panicked, afraid that it might be heralding the early arrival of her first grandchild, during a blizzard. Fortunately, it wasn’t her grandchild, but rather, a birth of a different sort. The voice on the other end excitedly spoke about a new carillon console soon to be on its way, and in her shock and disbelief the next morning, she wondered if it had been a dream. In fact, it wasn’t until she actually saw the new console in the tower that she was convinced that it was real.
The Royal BC Museum had gone shopping for a new automatic playing system to replace the broken original roll-type player, and, thanks to the Royal Eijsbouts Bellfoundry, had come home with a lovely new baton playing console, which conforms to the newly developed world standard, as well as an automatic player controlled by a MIDI system utilizing the clappers inside the lower 48 bells. Rosemary finds that the new console is aesthetically appealing and a real pleasure to play. Victoria is indeed fortunate to have this new instrument. Many thanks to the donor for his wonderful generosity!
The Netherlands Centennial Carillon was a gift from British Columbia’s Dutch community to honor Canada’s 100th anniversary in 1967 and in recognition of Canada’s role in the liberation of the Netherlands during World War II. The tower stands 90 feet high, and the carillon is composed of 62 bells cast by the Petit & Fritsen Royal Bellfoundry in Aarle-Rixtel, the Netherlands. The original 49 bells were installed in 1968, and 13 bells were added in 1971. The tower is located on Victoria’s Inner Harbour, in front of the Royal BC Museum and Provincial Archives.

Send items for “Carillon News” to Dr. Brian Swager, c/o The Diapason, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; <[email protected]>. For information on the Guild of Carillonneurs in North America: GCNA, 37 Noel Dr., Williamsville, NY 14221; <www.gcna.org&gt;.

Carillon News

Brian Swager

Brian Swager is carillon editor of THE DIAPASON.

Files
Default

Aimé Lombaert, a well-known Flemish carillonneur, passed away on October 30, 2008, at age 63. He had just retired from his positions as municipal carillonneur in the Belgian cities of
Bruges, Deinze, Poperinge, Damme, and Geraardsbergen. Lombaert was born in Oudenaarde, Belgium, and studied at the Royal Music Conservatory in Ghent, the Lemmens Institute, and the Royal Carillon School in Mechelen. He received his diploma from the Royal Carillon School in 1978, became assistant carillonneur to Eugeen Uten in Bruges in 1980, succeeding him as municipal carillonneur in 1984. In Deinze, he played one of the few “major-third” carillons.

As a result of the economic downturn, Bok Tower Gardens in Lake Wales, Florida, announced the cancellation of its International Carillon Festival in 2009 as well as the elimination of the positions of the assistant carillonneur/librarian and the administrative assistant.

David Monaghan, Curator of Canada’s House of Commons, announced the appointment of Andrea McCrady to the position of Dominion Carillonneur on Parliament Hill in Ottawa, Canada. McCrady’s former carillon position at the Cathedral of St. John the Evangelist in Spokane, Washington is open.

Trinity College, a liberal arts school with approximately 2,200 students in Hartford, Connecticut, is seeking a college carillonneur. The original 30-bell carillon built by the John Taylor Bellfoundry was enlarged to 49 bells in 1978. It hangs in the tower of the Trinity College Chapel.

Iowa State University in Ames, Iowa, holds its 2009 Carillon Festival September 5, 10 am–4 pm. The guest carillonneur is Adrian Patrick Gebruers from Cobh, Ireland. He will conduct a seminar on Irish carillon music and perform a recital at the festival. In addition, the ISU Celtic Dance Society will present a program on Celtic dances. Hosting the festival is associate professor of music and university carillonneur Tin-shi Tam. In conjunction with the carillon festival, a carillon composition competition is being held to encourage the writing of original carillon compositions by young composers, under age 35. Prizes include a cash award of $500 and the premiere performance of the winning composition at the festival.

The Begijnhof Church, Sint-Jan-de-Doper (St. John the Baptist), in Leuven (Louvain), Belgium, is expanding its 16-bell chime into a carillon. The historic series of 16 Gillett & Johnston bells, which were once part of the carillon of the Leuven University Library, have been played in recent years by an automatic chiming mechanism. The Royal Eijsbouts firm of Asten, the Netherlands, is casting 29 new bells in the profile and tuning of the Gillett & Johnston bells. The instrument will be played by means of a baton keyboard in the new world standard. The Begijnhof is now part of the university and belongs to the UNESCO World Heritage. The carillon will be played for the first time during the Open Monument Day on September 13.

Carillonneur Piet van den Broek passed away on October 26, 2008, at age 92. Van den Broek was director of the Royal Belgian Carillon School and municipal carillonneur in Mechelen, Belgium, from 1965 until his retirement in 1981. Born in Chaam, the Netherlands, he left at age 18 for Mechelen to study at the Lemmens Institute. Upon his graduation in 1938 he became adjunct organist at St. Rombouts Cathedral. He began carillon studies with Staf Nees in 1941 and received his final diploma from the carillon school four years later.

Send items for “Carillon News” to Dr. Brian Swager, c/o The Diapason, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; <brian@
allegrofuoco.com>. For information on the Guild of Carillonneurs in North America: GCNA, 37 Noel Dr., Williamsville, NY 14221; <www.gcna.org&gt;.

Current Issue