Carillon News

Brian Swager is a contributing editor of THE DIAPASON.

Next GCNA Congress

Iowa State University and University Carillonneur Tin-shi Tam will host the 57th Congress of The Guild of Carillonneurs in North America from Wednesday, June 16 through Saturday, June 19.  The congress will be part of the celebration of the centennial anniversary of the Bells of Iowa State.

The Bells of Iowa State were donated to the University by Edgar Williams Stanton, who graduated with the first class in 1872. Including his years as a student, Stanton spent a half century on campus, becoming a faculty member, head of the department of mathematics, secretary of the Board of Trustees, Dean of the Junior College, Vice President and, on four different occasions, Acting President.

Stanton's first wife was Margaret Price MacDonald Stanton, the University's first Dean of Women, who was a part of Iowa State for almost twenty-five years. When she died in 1895, her husband decided to establish a monument--a free-standing tower with a chime of ten bells. With the help of University President William M. Beard-shear, Stanton chose a site for the tower on central campus, and the state legislature appropriated $7,500 for the construction of the tower and its clock.

The Campanile was built in 1897, designed by an architect from Des Moines, George E. Hallett. The bells were installed in the newly built campanile in 1899. They were the first scientifically tuned bells to be exported by John Taylor & Company of Loughborough, England.

When Stanton died in 1920, his will provided for a second memorial. At the request of his second wife, Mrs. Julia Ann Wentch Stanton, and their children, the university installed twenty-six additional bells and a playing console in the campanile in 1929. The structure thus became known as the Edgar W. and Margaret MacDonald Stanton Memorial Carillon.

In 1954, the trustees of the Stanton Memorial Estate joined with others to create the Stanton Memorial Carillon  Foundation, further advancing the carillon at Iowa State. Soon after the foundation was formed, it purchased thirteen additional treble bells, along with a new playing console. These were installed in 1956, bringing the total number of bells to forty-nine. In 1967, a fiftieth bell was added.

The carillon and campanile were renovated from 1992 to 1994. The renovation of the carillon was completed by the I. T. Verdin Company and Meeks, Watson & Company. The work included a redesign of the framing and positioning of the bells, new clappers for all bells, a new transmission system (radial action) for the instrument, and new playing and practice consoles. The campanile received a new roof, the exterior bricks were repaired, and new clock movements and a digital control system were added to coordinate the operation of the clock and chimes.

Of the fifty bells cast by John Taylor & Company, the bourdon weighs 5,484 pounds and the smallest weighs 9 pounds. The total weight of the bells is 30,855 pounds. The pitches range from the second B-flat below middle C, then chromatically, four octaves from C to C4. The playing console is made according to the North American standard with a two-octave pedalboard (C-C2).

Next year is the centennial anniversary of the Bells of Iowa State.  The university is delighted to have the congress as part of the celebration. Located in Ames, Iowa State University is the nation's oldest land-grant university. Its campus covers nearly 2,000 acres and includes 154 buildings, many of which are on the National Register of Historic Places. Ames is easily accessed by Interstates 35 and 80. The Des Moines International Airport, located 45 minutes south of Ames, is served by major commercial airlines.

Congress lodging will be in the Iowa State Memorial Union, located across the street from Stanton Memorial Carillon and within walking distance to campus buildings; phone: 515/292-1111; fax: 515/294-1105. Other accommodations are available at Friley Hall, a campus residence hall; phone: 515/294-8384; fax: 515/294-0623. Also available is Iowa House, a guest house located one block south from Iowa State University; phone: 515/292-8870; fax: 515/292-8870.

Inquiries may be directed to the University Carillonneur, Department of Music, Iowa State University, Ames, Iowa 50011; phone: 515/294-2911; fax: 515/294-6409. E-mail: <[email protected]>. Further information about the Congress is available on the ISU Homepage: <http://www.music.iastate.edu/carillon&gt;.

Jenny King appointed in Michigan

Jenny Lungershausen King is the new carillonneur at Christ Church Cranbrook in Bloomfield Hills and at Jefferson Avenue Presbyterian Church in Detroit. Serving as interim carillonneur at Christ Church Cranbrook since the fall of 1995, King was appointed to the re-instated position last year. At Cranbrook she plays twice a month for Sunday morning worship services; for weddings, funerals and memorial services, and for special programs. She is responsible for coordinating the church's long-standing summer carillon series, initiated in 1928 by Anton Brees.

The Wallace carillon at Christ Church Cranbrook was originally installed in 1928. It now comprises 50 Taylor bells and a new keyboard designed and installed by Rick Watson.

King founded an annual summer carillon series at Jefferson Avenue Presbyterian Church in 1995. She became the official carillonneur at the church last year. The church's 23-bell Gillett and Johnston instrument was installed in 1925 in honor of Henry Russel. The oldest carillon in Michigan and to date the only carillon in Detroit, the Jefferson Avenue Presbyterian instrument likewise is played before and after Sunday worship, for special events and in recital. It features its original playing console.

King studied with Bill De Turk at Grosse Pointe Memorial Church and played her GCNA examination recital in 1991 at Baylor University in Waco, Texas. A graduate of Oberlin College, she is a freelance writer who covers the auto and commercial real estate industries for several publications. In September she took delivery of a 1998 VW New Beetle and figures she may be the first GCNA member to own one. "Hug it, drive it--either way it's great," she said.

Profile: Wiesbaden, Germany

The Evangelical Lutheran Market Church in Wiesbaden, Germany, was built in 1853-1862 as the "Cathedral of Hessen-Nassau." In neo-gothic style and with a three-nave basilica form, the church was built of brick with red sandstone steeples, with Schinkel's Werder church in Berlin as a model. The architect was Carl Boos. The center steeple is 300 feet high, while the side narthex steeples are 190 feet and the sanctuary steeples are 240 feet.

The Grand Organ was built in 1863 by E.F. Walcker. It was rebuilt and enlarged in 1929, 1938, 1970, and 1982 by Walcker, Sauer, Oberlinger. The Choir organ was built in 1970 by Oberlinger. Both organs can be played from one four-manual console, thereby controlling the total of 125 ranks.

The carillon in the center steeple of the Marktkirche of Wiesbaden was built by the Royal Eijsbouts Bellfoundry in Asten, The Netherlands, in 1986. Four of the five swinging bells cast by the Rincker bellfoundry in 1962 were integrated into the new carillon which consists primarily of 45 new Eijsbouts bells. The bourdon sounds C and weighs nearly 4800 pounds; the lightest bell is 28 pounds. The Wiesbaden carillon is one of only about 30 such instruments in Germany.

Hans Uwe Hielscher is organist and carillonneur of the church, and Thomas Frank is assistant carillonneur. The carillon is played every Saturday at noon, during the weekly market. Visits to see the keyboard room and the bells may be arranged through either carillonneur at (0611) 30.34.30.

Profile: Carillon Beach

Carillon Beach is a gated community in Panama City Beach, a coastal city in Florida's panhandle. The focal point and namesake of the community is a carillon that hangs in a 50-foot tower that stands just one block from the Gulf of Mexico. The carillon, installed in 1993, is the fourth in the state of Florida, following those at Bok Tower Gardens in Lake Wales, the University of Florida in Gainesville, and the Episcopal Church of the Ascension in Clearwater. Carillon Beach is still being developed and will have over 300 homes.

The 35 bells were cast by the Petit & Fritsen Bellfoundry in Aarle-Rixtel, The Netherlands. The tower and carillon were designed by Richard M. Watson of Meeks, Watson & Company of Georgetown, Ohio, following sketches prepared by Carillon Beach architect Lloyd Vogt. The clappers, bell fittings, action, electric control equipment and tower steel were fabricated by the Verdin Company of Cincinnati, Ohio. Petit & Fritsen made the electric strikers, and Meeks, Watson & Co. bouilt the manual playing console. All bells are playable from the manual playing console with batons for hands and feet. Fourteen of the bells can be programmed by an automatic playing system which also sounds the Westminster quarters and the hour strike.

With a bourdon sounding middle C and weighing only 583 pounds, the instrument transposes up an octave which results in a light, clear sound suited to the relatively low placement of the bells in a smaller, open tower. The three-octave range is chromatic with the exception of the two lowest semitones (C# and D#). The carillon is owned by the Carillon Beach Institute. Beverly Buchanan was appointed Resident Carillonneur on August 1, 1996.  She plays one or two concerts weekly and on some holidays. Tours are given following concerts and by appointment. Visitors are welcome to call 904/234-5600 to ascertain concert times and arrange for a tour.

Kansas Congress Report

In the spring of 1854 the Massachusetts legislature chartered the New England Emigrant Aid Company, whose mission was to promote the settlement of Kansas by people who opposed slavery. Among the towns founded under its direction was Lawrence, and it was there that the University of Kansas was established. Central to its lovely campus, located on Mount Oread, is the World War II Memorial Campanile with its carillon.

Hosted by University Carillonneur Albert Gerken and the University's Department of Music and Dance, 132 individuals participated in the 55th Congress of the Guild of Carillonneurs in North America, June 3-7, 1997, which celebrated the instrument's restoration and with it the lives and contributions of four individuals whose careers as composers are inextricably linked to the carillon and to the University. Honored were Ronald Barnes, Roy Hamlin Johnson, John Pozdro and Gary White, who took inspiration from the magnificent Taylor carillon and contributed to the profession beyond words. Through recitals and presentations, the delegates, representing Australia, Belgium, Canada, England, The Netherlands and The United States of America, witnessed in glorious measure the significance of those contributions and of the instrument that inspired them.

John Gouwens played the opening recital, which included two compositions commissioned by the GCNA: Figments (1982) by Gary White, and Easter Dawning (1992) by George Crumb. Albert Gerken, like Gouwens, featured each of the four composers being honored, and premiered two works: Roy Hamlin Johnson's Winter Fanfares (1996), commissioned by the Department of Music and Dance and dedicated to Gerken, and Winds of Autumn, by John Pozdro. Other recitalists were Robert Byrnes, Don Cook, Bill De Turk, David Hunsberger, Karel Keldermans, Brian Swager, and Sally Slade Warner.

Six individuals were accorded Carillonneur status by vote of the Guild after playing successful examination recitals: Elaine Brewer, a Lawrence, Kansas freelance harpist; Helen Hawley, Organist/Choir Director at Plymouth Congregational Church, Lawrence; Rosemary Laing of Victoria, British Columbia, who is Carillonneur of the Netherlands Centennial Carillon, Organist at First Church of Christ, Scientist, and Music Specialist at the University of Victoria; Patrick Macoska, Organist/Choirmaster at St. Mary's of Redford, Detroit, Michigan; Suzanne Magassy, Carillonneur at the National Carillon, Canberra, Australia, and the only person outside of North America  to have become a Carillonneur member of the GCNA; and Gloria Werblow, Carillonneur at the Rainbow Tower Carillon, Niagara Falls, Ontario, and Carillonneur/Handbell Director at Calvary Episcopal Church, Williamsville, New York.

Presentations were enlightening and enjoyable. Mark Holmberg provided a historical overview of the KU carillon. Don Cook conducted a presentation/discussion on carillon music that meets pedagogical needs. Karel Keldermans described Gillett and Johnston's impact on carillon design in North America, focusing on the Rockefeller Chapel instrument at the University of Chicago. Brian Swager continued his description, begun in a Cohasset presentation, of baroque performance practice for carillonneurs, while Bill De Turk, anticipating his own recital, discussed the work of Samuel Barber, Gian-Carlo Menotti and Nino Rota while composers-in-residence at Bok Tower. In a session on Russian campanology, Edward Williams reviewed some of the more spectacular projects of Russian bellfounders.

George Gregory, joined in performance by Guild volunteers and KU music faculty, demonstrated the use of cup-shaped bells. John Pozdro led a session on composing, Andrea McCrady offered suggestions on how to play the carillon so as to avoid injury, and Roy Hamlin Johnson recalled his early efforts to learn how to compose for the carillon. Two new instruments were highlighted in illustrated presentations:  Margo Halsted introduced the Lurie Carillon, located on the north campus of the University of Michigan, Ann Arbor; and Beverly Buchanan described the Carillon Beach instrument, located at Panama City, Florida. Milford Myhre and Ronald Barnes gave a master class. There were tours of the Reuter Organ Company, and two KU students performed on the recently completed Wolff organ in the new Bales Recital Hall. John Agraz, Arla Jo Anderton, and John Courter were elected board members at-large.

Meeks and Watson hosted a welcoming reception, and Schulmerich hosted a closing ice cream social at the Campanile. The John Taylor Bellfounders hosted a candlelight buffet at the Dyche Natural History Museum. The Verdin Company hosted the annual pizza party at historic Liberty Hall, with entertainment by the Chuck Berg Quartet. The Royal Eijsbouts Bellfounders hosted the Congress banquet at KU's Adams Alumni Center, after which Bert Gerken formally introduced and thanked Ron Barnes, Roy Johnson, John Pozdro, and Gary White.

Profile: University of Kansas

The World War II Memorial Carillon and Campanile, inspired by the memories of classmates, teachers, friends, and relatives, stands as the most outstanding visual symbol of the University of Kansas.

In 1945, Kansas Supreme Court Justice Hugo T. "Dutch" Wedell, secretary of the Kansas Alumni Association Fred Ellsworth, Chancellor Deane W. Malott, and their tireless volunteers began a campaign which would raise $343,000 from 8,000 individuals to build KU's memorial to its war dead, the 276 students and faculty whose names appear in the Memorial Room of the Campanile, and to additional individuals in whose memory bells and donations were given. Through many people's efforts, the World War II Memorial Carillon and Campanile was constructed. The Belgian Anton Brees, then carillonneur at Lake Wales, Florida, and Duke University, played the dedicatory recital to over 7000 listeners on May 27, 1951. Thus, KU became one of the first universities in the nation to complete a major World War II memorial. An inscription in the Memorial Room at the base of the tower reads: "Free government does not bestow repose upon its citizens, but sets them in the vanguard of battle to defend the liberty of every man."

The Campanile is 120 feet tall and made of native Kansas limestone quarried in Cottonwood Falls and Junction City. It was inspired by a plan by Olin Templin and designed by Kansas City architects Homer F. Neville (class of '22) and Edward B. Delk. The fifty-three bronze bells were cast by the John Taylor Foundry in 1950 and range in weight from 12 pounds to 13,490 pounds. The bourdon is keyed to G and sounds F-sharp. Frank Godfrey supervised the design, casting, and installation of the KU bells.

State of Kansas funds provided for maintenance of the Campanile structure itself, but there was never a maintenance fund for the musical instrument inside. Because the carillon received only minimal maintenance after the day of its dedication in 1951, use and time took their toll. By 1991 the carillon had fallen into disrepair, with no funds available for restoration. Deterioration was so extensive that the cost for repair had risen to $425,000. It needed new playing and practice consoles, new bell clappers and hardware, an entire new mechanical action, and a bell frame.

Fortunately for the beloved campus landmark and everyone who cherished it, Keith and Joan Bunnel, of Pittsburgh, Pennsylvania, contributed the entire $425,000, because they cared deeply about the carillon and those to whom it was dedicated.

The bells were silenced in 1993 to begin renovation. The Verdin Company of Cincinnati performed the work, and the new consoles were supplied by Meeks, Watson, & Company. That same year, former Chancellor Deane Malott of Ithaca, New York, agreed to lead a campaign to establish a $200,000 endowed maintenance fund that will provide annual inspection and upkeep of the carillon, in order to avoid the same deterioration that occurred in the first forty years. With Malott's leadership and the inspiration of the Keith and Joan Bunnel gift, nearly one thousand alumni responded to the call, exceeding the campaign's goal and ensuring that the KU carillon remains in perfect condition forevermore.

Ronald Barnes was University Carillonneur from 1951 to 1963 during which period the instrument was influential in the development of a North American school of carillon composition. Primary in this movement were KU composers Roy Hamlin Johnson, John Pozdro, and Gary White.

The University Carillonneur since 1963 has been Professor Albert Gerken of the KU Department of Music and Dance in the School of Fine Arts. Gerken supervised the entire carillon renovation and played the rededication on April 26, 1996.

The Joseph Dill Baker Carillon in Frederick, Maryland, has been renovated recently and expanded to 49 bells. The carillon began as the last chime cast by Menneely and Company of Water-vliet, New York, in 1941. The chime of 14 bells was installed in a neo-Gothic tower of reinforced concrete and granite. The tower stands in the middle of Baker Park, a linear, downtown park. The tower is 16 feet square at the base and stands 70 feet.

In 1966, Tony Elderhorst, working for Schulmerich/Eijsbouts, installed a two-octave baton keyboard and nine additional bells in the tower, making the instrument a 23-bell carillon. This addition was made possible by unusual circumstances. An election which was planned in 1965/66 in the City of Frederick was not held, as all contenders for office were running unopposed. The funds budgeted for this election were used to pay for the carillon expansion.

The most recent renovation project has been made possible by a fund raising drive by the Friends of Baker Park, the advocacy organization for the park, and by additional funding from the City of Frederick. The carillon now comprises 49 bells. The 3,384-pound bourdon sounds D and is keyed to Bb1. The keyboard compass is: Bb1, C, D1 C#, chromatic through c3. The 26 new bells were cast by the Petit & Fritsen foundry and installed by the Verdin Company. The Meeks & Watson firm designed the frame and the keyboard. Richard Watson modified the tuning of the existing 23 bells. A used, 1926, 50-note, Taylor practice keyboard was also acquired. The dedication recital was played on September 10 by John Widmann, Frederick City Carillonneur.

The annual Northeastern Regional Carillon Event was held at the newly renovated and expanded Joseph Dill Baker Carillon on Saturday, November 4. In addition to a recital by John Widmann, the host carillonneur, the City of Frederick sponsored a special guest recital featuring Larry Weinstein, president of The Guild of Carillonneurs in North America. All present for the event had an opportunity to play the new instrument. There were lectures and discussions on building a student carillonneur program and on fund raising techniques for carillon programs. Students had the opportunity to play for, and be critiqued by, carillonneur members of the GCNA.

News from Belgium

Jef Denyn's Unwritten Prelude

One of the cornerstones of the Flemish romantic carillon repertory is undoubtedly the Unwritten Prelude by Jef Denyn. It is a work that neither he nor his students put on paper. Improvisatory in character and with opening chords reminiscent of Rachmaninov, this prelude has been handed over from generation to generation, a method not customary in Western culture but of common occurrence in eastern civilizations. Rabindranat Tagore--who was not only a writer and poet, but also a musician--improvised many works that later were taken over by his son and are still taught to this day in his school in Santiniketan.

The Unwritten Prelude was put on paper first by Gaston Feremans to the dismay of Staf Nees who wanted to maintain the "unwritten" tradition. Later the work was published by the Belgian Carillon Guild in a transcription by  Piet  van den Broek and Frans Vos based primarily on a prewar recording published by "His Majesty's Voice."

In spite of the intriguing beauty of this extremely romantic work, with its typical Mechelin-style lyricism, performances of the Unwritten Prelude are relatively infrequent. Many carillonneurs struggle with Denyn's tremolos, rendering disagreeable performances of this prelude. The scores offer no clarity with regard to the interpretation of the tremolos. The performer who has never really heard the prelude remains uncertain and finds it easier to set the piece aside. Playing tremolos well is indeed an art of its own, just as vibrato on the violin. Nevertheless, this style of playing is part of the carillon playing tradition, especially in Flanders, and adds an enchanting dimension that moves many listeners deeply. According to Leentje Denyn, Jef Denyn's granddaughter and a student at the Carillon School, the composer's inspiration for writing this piece was profound. It may have been an "outpouring" around 1904 upon the birth of his first daughter Emma.

This prelude made an undeniable contribution toward Denyn's great success as a carillonneur in the beginning of this century.

Brian Swager is a contributing editor of THE DIAPASON.

New carillon in West Virginia

Nestled in the southern West Virginia Appalachian mountains, atop the administration building of a small liberal arts college, stands one of the newest additions to the world of carillons. This beautiful 48-bell carillon was cast by Paccard and installed by the Van Bergen Bellfoundry of Charleston, South Carolina. The Marsh Memorial Carillon is the first true carillon in the state of West Virginia. It ranges from a C of 4310 pounds to a 29-pound C. The bells can be played manually or by computer. By way of a fiber-optic cable, the system has recording capabilities from the midi keyboard to the bells. All of these units are located in the climate-controlled playing cabin directly under the bell chamber. In the music building is a unique practice console that uses batons, and rather than xylophone bars it uses an electric device for producing computer-generated sound through speakers. The practice console, like the manual console, is equipped with a two-octave pedalboard that duplicates the lower two octaves of the manual keyboard.

Twenty-three of the bells have the Concord College seal, a decorative band, and various other inscriptions. Of particular interest is the inscription on bell number ten, an A-sharp: "Dedicated to the musicians and carillonneurs who will play this carillon and enrich for the centuries to come the college community with melodious tones and provide inspiration to all who hear these bells."

The Marsh Memorial Carillon is a statement of one of man's joy of life, of giving, and of love for college and community and is the realization of a 40-year dream for Dr. Joseph F. Marsh, Jr., the donor. A resident of Athens and a former President and President's son of Concord College, Dr. Marsh became enamored with bells during his years at Dartmouth and Oxford and planned his tower in the 1960s while serving as President of Concord College. During his Presidency the administration building was renovated and redesigned to accommodate a tower room complete with a slit in the roof for the rods and pads on the floor to support a bell frame. Because Dr. Marsh was unable to raise the funds from private sources to finance the bells, he had privately bequeathed the money to the college so that the carillon could be built after his death. In 1995, however, he decided to donate the funds during his lifetime so that he too could enjoy the carillon. It is truly a magnificent gift to the college, the community, and the state.

The carillon was dedicated on 10 October 1997 with a concert by Robin Austin. His program included original works by Barnes, Byrnes, as well as arrangements and transcriptions by Myhre, Austin, Warner, Dundore, Gerken, Rusterolz, and Lannoy. Attending the dedication were representatives from the French government, the United States Navy, the Paccard Bellfoundry, Concord alumni, and local dignitaries.

In addition to the striking of hourly chimes and a special chime--the Concord Chimes, written by Dr. Marsh--that rings at the close of classes, the bells are programmed to ring daily for fifteen minutes in the early evening.

Concord is located between Princeton, West Virginia, and Pipestem State Resort on Route 20. There is easy access to Athens from Interstate 77.

News from Wisconsin

University of Wisconsin Carillonneur Lyle Anderson sends the followong news.

The first set of bells for the University of Wisconsin's Memorial Carillon in Madison was cast by the English firm of Gillett and Johnston late in 1935 and installed in 1936. This was a two-octave span of 25 bells with a bourdon of E-flat (with the then common omission of the two lowest semi-tones, corresponding to C# and D# on the keyboard). G&J often cast numbers on their sets of bells beginning with the highest, so that the smallest bell of this group, an F in pitch, was number one.

As fortune would have it, there was money left over (!) in the carillon fund, so five additional bells were purchased and installed in the tower in early 1937. When the Paccard foundry of France was contracted to next expand the carillon in 1962, the smallest six G&J bells were deemed too delicate of profile to successfully anchor an additional 21 treble bells. So six more Paccard bells replaced these G&J bells (including therefore the original "number one" bell cast in 1935).

When the carillon was next expanded ten years later, the Dutch firm of Royal Eijsbouts won the contract to cast five large bells that would complete the carillon with a bourdon of B-flat. The instrument was reconfigured to play in concert pitch. As part of that installation, Eijsbouts offered to replace all 27 of the Paccard bells for the cost of the metal alone, a deal too good to refuse. Thus no French bells resounded from the carillon after 1973. Like a group of abandoned orphans, the Paccards lost various members and several of them suffered abuse at the hands of a local theatrical company for several years, but eventually 20 of them were put into silent storage for most of the last decade.

On May 29, 1998, Wisconsin celebrated 150 years of statehood. To mark the precise moment at noon of that date, a statewide bell-ringing was planned, initiated by Governor Tommy Thompson on the grounds of the State Capitol in Madison and carried by radio and television throughout the state. Through a mostly coincidental series of connections, the largest of the Paccard treble bells--the "F" that replaced the original G&J number one bell--was brought out of storage and mounted by the carillonneur's father, Gordon Anderson, in a visually striking frame that allowed it to be swung by hand by the governor. Several weeks later the bell was returned to the tower, where it resounds in the lively acoustics of the tower's lower stone chamber and serves as a historically significant "hands-on" introduction to the tower.

--Lyle Anderson

News from Ann Arbor

Margo Halsted sends this news from Ann Arbor.

A chime of 17 bells was installed in the Kerrytown Market and Shops in Ann Arbor, Michigan last September. The chime is the third bell instrument in Ann Arbor, since the nearby central and north campuses of the University of Michigan each have a carillon.

The Kerrytown Chime has an interesting history. During a 1993 vacation in Cork, Ireland, Kerrytown owners Joe and Karen O'Neal ascended the tower of St. Anne's Church and were allowed to perform on the Ellacombe system installed there for the eight tower bells. (Around 1850, the Rev. H. T. Ellacombe, an Englishman, devised a system so that one person could play melodies on tower bells that were used at other times as swinging bells.) Next to the Ellacombe apparatus there were pages of melodies written out to correspond to numbers on the ropes. The O'Neals played and then wrote out the numbered melody notes for the University of Michigan Fight Song "The Victors." Later, from the street below, the couple heard someone else playing "The Victors" from the church tower. The O'Neals were surprised and thrilled.

In 1996, Karen and Joe O'Neal discovered some bells for sale in a Brooklyn, Michigan "used bell" shop. They purchased seven bells, planning to acquire one missing bell and install an Ellacombe apparatus in Kerrytown. The bells originally had been installed in the 1920s in the carillon at St. Stephen's Church, Cohasset, Massachusetts (the top octaves of the Gillett & Johnston Cohasset carillon had been replaced in 1989). At that point the O'Neals contacted Margo Halsted, who persuaded them to purchase three more of the Cohasset bells and to order seven additional bells to form a chime to be played from a traditional chimestand.

The Kerrytown Chime, for the most part, is built to the measurements of the Cornell (NY) University Chime, including a pedal note for each manual lever. With a complete pedal range, quite fast and complicated music can be performed. Assisting with the instrument design was Ann Arbor resident Judy Ogden, a former Head Chimemaster at Cornell University, where she played the 19-bell chime for 19 years. In addition, Judy Ogden is a GCNA carillonneur member and an Assistant Carillonist at the University of Michigan. Twice a week she plays 30-minute noonday chime concerts and reports that the action is even and that the bells sound "wonderful."

Kerrytown Market has an open-air market three days a week. In addition to being visually beautiful, the bells also fulfill concert and market-day functions. The chimestand is located at the side of a second-floor hallway in the shopping center, and the public is able to see the chimestand behind glass or watch it being played when a performer is present. Once a practice mechanism is developed, other bell aficionados will have a chance to learn to play the chime.

The seven new bells were cast and the keyboard and mechanism were created and installed by the Royal Eijsbouts Bellfoundry of the Netherlands. There are inscriptions on the seven new bells, and the largest bell has an outside hammer which strikes the hour. The new bells well match the old in finish, shape and timbre. The pitches of the chime are B (of 699 pounds) C, D, E, F, F#, G, A, B-flat, B, C, C#, D, E, F, F#, G.

Visitors are very welcome to visit the three bell instruments of Ann Arbor.

--Margo Halsted

Brian Swager is carillon editor of THE DIAPASON.

Riverside reborn

The installed in the Park Avenue Baptist Church in 1925. Benefactor John D. Rockefeller, Jr., continued his close collaboration with Cyril Johnston and project consultant Frederick Mayer when in 1930 the instrument was moved to The Riverside Church and expanded to 74 bells. For all its glory in the bass range, G&J had yet to thoroughly succeed in producing bells in the treble range that were consistent in quality of tuning and timbre. Furthermore, the sound of the bells was somewhat muffled, and carillon music could not be heard clearly from the ground. The church was persuaded to replace the 58 highest treble bells in 1955, and unfortunately, the new bells cast by the Van Bergen foundry of The Netherlands proved to be a step in the wrong direction.

For the most recent renovation, the Riverside Church chose Olympic Carillon, Inc. of Port Townsend, Washington. The re-engineering of the instrument, under the direction of Peter Hurd, included the replacement of the 58 treble bells, fabrication of a new playing console, revision of the bell chamber and playing cabin, and installation of a new transmission system. The mechanism for the chiming peal and hour strike was to be installed this spring. The 74 bells of the carillon range in weight from the 10-pound treble bell to the 40,900-pound bourdon bell, which is the largest and heaviest tuned bell in the world.

The new bells were cast by the Whitechapel Bell Foundry and were designed to complement the original 16 Gillett & Johnston bells. In order to have greater sound projection from this 390-foot tower, the new bells have considerably greater mass than the Gillett & Johnston treble bells from 1930.

The former playing cabin and a machine room were removed from the bell chamber as they both blocked the egress of bell sound from the tower. The new playing console was designed to a “new world standard” by Olympic Carillon. It is constructed of African Padauk hardwood and marine-grade stainless steel, equipped with stainless steel “flexures” for manual keys and roller bearing clevis assemblies for the pedal coupler mechanism. The Carillonneur’s Study was also supplied with a new practice console.

Former carillonneurs of The Riverside Church were Kamiel Lefevere (1927-1960), James R. Lawson (1960-1989), and Joseph Clair Davis (1990-1998). Dionisio A. Lind is the current carillonneur.

The rededication of the instrument was celebrated on Sunday 17 October 2004. Milford Myhre then gave the dedicatory recital. The service included a prayer of thanksgiving, words from the architect, and comments from David Hurd on the renovations. Mary Morgan was present for the dedication and recital. She shared the legacy of her great grandmother, Laura Spelman Rockefeller, for whom the Riverside carillon is named:

“I never met Laura Spelman. She was born in 1839, a hundred years before my birth . . .

“I think our family will be very touched to hear about the efforts and the victorious conclusion of what’s happening here today with the carillon. It seems grandfather’s gift was like a seed, and now it’s turned into a forest of accomplishment all around this beautiful instrument, bringing such amazing joy and spiritual uplifting to many people.

“So I also want to join my family in giving our thanks to all of those who spent so much time and effort and took such care in this rejuvenation.

“Laura was brought up in a home that was very connected to her community and to the important and emotionally troubling times they were living in. She went to [high] school in Ohio, and that’s where she met John D. Rockefeller.

“Laura loved music. She became an accomplished pianist and also had a lovely singing voice. One of the things that she and John D. Rockefeller did when they first started going out with each other [was] accompany each other in the evening singing and playing the piano. When Laura married John D. Rockefeller, they both had incredibly similar sensitivities, values, and interests.

“To dedicate this carillon to her…is a beautiful thing. She had a spirit that swelled and expressed itself way before its time. She was courageous and her spirit soared. . .

“Her middle name is Celestia. . . . Laura Celestia Spelman was her name before she was married. I like to think of that name, Celestia. . .  I think it’s really appropriate today, now as we get near time of the concert with this beautiful carillon.

“There was a foundation . . . that grandfather set up in her name. It was called the Laura Spelman Rockefeller Memorial Foundation. This foundation supported areas of Laura’s interest that included child study, education, public health, race relations, religion, and social welfare. An early beneficiary of support was the Atlantic Baptist Female Seminary, which was subsequently renamed Spelman College in honor of Mrs. Rockefeller’s family. . .  As many of you know, Spelman is the oldest black college for women.

“So I take my hat off to my great-grandmother, and I am so proud to be her great granddaughter. And I am happy to be present with you here today as we listen to this beautiful carillon and as we feel our spirits rise and expand, as we hopefully can enter into that place within us where we can bring out the best of who we are, just as the music swells to the celestial heavens.”

Send items for “Carillon News” to Dr. Brian Swager, c/o The Diapason, 380 E. Northwest Hwy., Suite 200, Des Plaines, IL 60016-2282; e-mail:

<[email protected]>. For information on the Guild of Carillonneurs in North America, write to: GCNA, 37 Noel Dr., Williamsville, NY 14221.