Carillon News

Historical Carillon Recording

Historische Beiaardopnamen - Volume 1 - 1925-1950. Vlaamse Beiaardvereniging, 2000.

The Flemish Carillon Guild has begun a compact disc series featuring historical carillon recordings. The first CD documents the carillon art in Flanders during the period between 1925 and 1950. The recordings, taken from the archives of the Flemish Radio & Television and from the archives of the Royal Carillon School "Jef Denyn," are invaluable sources of information.

Several carillons are heard in conditions which no longer exist: either they were completely retuned (Ghent), completely or partially destroyed during World War II (Nivelles), or recently replaced by new instruments (Oudenaarde). These recordings are our only link to the former sound of these instruments. They demonstrate that some carillons had a surprisingly warm timbre, but that the majority were quite out of tune.

Another revealing aspect of the CD is the interpretation of the performers:  Jef Denyn, founding director of the Belgian Carillon School, his celebrated colleagues Staf Nees and Léon Henry, as well as seven less well known carillonneurs. Their manner of playing often reveals the technical condition of the instrument:  a stiff connection between the keys and clappers was inherent to nearly every carillon. That they succeeded nonetheless in virtuosic and finely nuanced performances is a testament to the talent of carillonneurs such as Jef Denyn.  His legendary musicality is substantiated, for example, in the sublime interpretation of his own Prelude in B-flat--and this at age 76!

The CD is divided into two parts.  The first features Jef Denyn and Staf Nees, the first two directors of the Belgian Carillon School, performing primarily their own compositions. Additional tracks include Jef Denyn speaking about the Carillon School, and an interview of Staf Nees by Karel Albert Goris (Marnix Gijsen) which includes comments on the influence of Jef Denyn.  The second part is a series of sound documents in which the focus is on the sound of the instrument itself rather than the interpretation. This part includes the Hemony carillon of Ghent and the Du Mery carillon of Brugge before they were retuned. One piece is played on the Mechelen World Exposition carillon (1938) which was installed at Stanford University in 1941.

The cover photo shows the playing console in the St. Rombout's Tower in Mechelen--a vivid example of a bygone era. For a genuine impression of the state of affairs during the period in question, this CD is indispensable. Any filtering which would have altered the timbre and adversely affected the authenticity of the recordings was avoided in the editing process. The primitive recording equipment with which the original recordings were made provides for a nostalgic character such as it would have sounded on an old phonograph.

One track features Jef Denyn speaking in 1937 (translated from Flemish):  "The Carillon School was founded in Mechelen in August, 1922, in commemoration of my 35 years as carillonneur.  Its purpose is to train excellent carillonneurs to play the instrument artistically and sensitively. The curriculum consists of playing both manual and pedal; secondly:  the automatic carillon, theory, adapting accompaniments, knowledge of the notes and names. Applied:  arranging music, programming the automatic carillon, carillon construction."

Interview of Staf Nees by Karel Albert Goris (Marnix Gijsen)

Mr. Nees, what do you think was the significance of your great predecessor?

Above all I believe that Jef Denyn is the one who revived the carillon art which in general had waned by the end of the previous century. I must say, however, that Mechelen kept the tradition going, a tradition that Denyn perpetuated by founding the Carillon School in 1922.

The work of our great master carillonneur is significant in that, beginning in Mechelen, he resurrected the carillon art by renovating neglected or poorly installed carillons, by building new instruments, by having other cities organize evening concerts in the Mechelen tradition, and last but not least by creating and promoting a carillon repertory that had been virtually nonexistent and is now known both here and abroad.

And of course I must ask you Mr. Nees, how many carillonneurs has the school in Mechelen trained so far?

Well, we can't say exactly, but there have been approximately 250, and note that these were students from fifteen different countries. The best of these students are now working not just in Belgium but all over the world. Under Mechelen's impulse, a new carillon school has been established in The Netherlands that helps to promote the carillon art. Our former students are also active in countries such as France, England, Ireland, Denmark, the United States, Canada, New Zealand, South Africa, etc.

So you're saying that it is thanks to Jef Denyn that the carillon art is thriving once again?

Absolutely. We owe everything to Jef Denyn and the traditions maintained in Mechelen. His influence continues to have an impact and to grow. Take for example the ever increasing number of new carillons here and elsewhere. In this respect, we can easily compare our time with the carillon art's most flourishing period in the 17th century.

Even a layman such as myself can tell that Mechelen is without rival as the center of the carillon art.

Of course! Let me add that not only does our carillon school continue to thrive, it is held in high regard all over the world as the central source of carillon art. Former students eagerly return to Mechelen to reunite in their efforts to spread the Mechelen tradition abroad. So you see, it is above all Mechelen that plays a guiding role for carillonneurs throughout the world.

Good music for the carillon is either music written specifically for the instrument or good arrangements of existing music. Our primary concern is that it is simple and clear, not too complex harmonically or contrapuntally. Excellent pieces for the carillon repertory can be drawn from the music of the early Flemish harpsichordists: Fiocco, Krafft, Boutmy, Vanden Gheyn--who was an exceptional organist and carillonneur and wrote several excellent works for carillon--and composers from earlier times such as Couperin, Rameau, Purcell and others.

Works written specifically for carillon are especially important. We heartily urge all composers--especially our own Flemish composers--to take an interest in our instrument. We encourage them to consult with a proficient carillonneur and by all means to take inspiration from our beautiful old Flemish songs that are so simple but sound uncommonly good on the carillon.

With this CD, Historical Carillon Recordings I (1925-1950), the Flemish Carillon Guild is making a significant contribution to the preservation of our cultural heritage.  The Guild hopes to present the second volume (1950-1975) in the near future.

Brian Swager is a contributing editor of THE DIAPASON.

Profile: Germantown, PA

In Philadelphia's historic Germantown on Germantown Avenue at High Street stands the First United Methodist Church of Germantown. In the tower hangs the 50-bell Shelmerdine Memorial Carillon.

The Shelmerdines were industrial people. Their mansion, built in 1900, is three blocks from the church, replete with marble, gold dentils, stained glass, and all the ornate woodwork and crystal chandeliers one could ever dream of. They gave the tower in 1896 in memory of a young son who drowned and gave the carillon in memory of a second son who had died at age 43 in 1923. An inscription reads: "To the glory of God and in loving memory of Thornton S. Shelmerdine (1880-1923). A gift of his father and mother, Mr. and Mrs. William H. Shelmerdine."

Originally, the carillon comprised 63 bells for 48 notes, the highest 15 pitches having two bells per note. The bourdon was a 6,720-pound Bb1 keyed to C. The bells were cast by John Taylor & Sons in Loughborough, England, and dedicated May 8, 1927. The 15 duplicate bells were eventually disconnected. In 1989 two new treble bells cast by Petit & Fritsen of Aarle-Rixtel, The Netherlands, were added to the top of the range, and the bells were keyed to concert pitch. The compass is now Bb1, C, then chromatic to c3.

Bernard Mausert was the first carillonneur at First United Methodist. W. Lawrence Curry played there for many years, from 1931 to 1965. James B. Angell, Robert Kleinschmidt, Robert Benner, Frances Rodgers, and Eloise DeHaan complete the list of carillonneurs through 1979 when the current carillonneur--Janet Tebbel--began. A frequent recitalist in the earlier years was the Belgian Anton Brees, and his compatriots Jef Denyn and Staf Nees also performed in Germantown.

First United Methodist is currently celebrating its bicentennial and the centennial of the building. The church has 18 Tiffany windows including the large "Resurrection Morn" in the west end. The church office building is a historic tavern built in 1748; George Washington and Lafayette both slept there! The church is on the main street of historic Germantown, which was founded in 1689. The tower is over the Germantown well, which was the site of the reading of the first ecclesiastical protest against human bondage in the New World. Francis Daniel Pastorius read the testimony which was used 150 years later as the inspiration for the Emancipation Proclamation. The church has been an activist church in social justice issues since the mid 60s. It is a sanctuary church, a reconciling congregation, and part of a network of churches that hosts homeless families on a rotating basis. The church is partnered with a peasant cooperative in Haiti. Prominent preacher and author Reverend Theodore Loder has been the minister for 34 years.

The carillon is played occasionally on Sunday mornings after the service by volunteer carillonneur Janet Tebbel. There is a series of five guest recitals in June and July, and there is special carillon music on the fourth Sunday in Advent and on Easter morning.

Carillon composition competition

The fifth international Queen Fabiola Carillon Competition will take place in 2003 in Mechelen, Belgium. It is the most prestigious performance competition for carillonneurs. To complement this event, the Royal Carillon School "Jef Denyn" in Mechelen, in conjunction with the city of Mechelen and with the support of local carillon associations, has organized a composition competition. The winning score will be performed by the finalists in the 2003 Queen Fabiola Competition.

The composition should last about five minutes and should be adapted to the carillon of the St. Rombout's tower in Mechelen, which comprises 49 bells. The instrument transposes down a fourth. (C on the keyboard sounds G.)  The keyboard compass is B-flat, C, D, E-flat, then chromatic to C.

The jury will be asked to focus on:

* Suitability: Is the composition suitable for carillon and can it be played by an experienced carillonneur?

* Originality: How inventive is the piece?

* General musicality: Does the composition appeal to the general music lover?

The winning score, which will be the obligatory work for the Queen Fabiola Competition, will be awarded the "Jef Denyn Award" of 1000 Euros.

A special "Staf Nees Award" of 300 Euros will be awarded to a work based on a folksong.

Each participant may submit one or more original compositions. Scores can be written by hand or notated with a computer. Entries must reach the Royal Carillon School "Jef Denyn," F. de Merodestraat 63, B-2800 Mechelen, Belgium, by October 31, 2002. Besides the name and address of the Royal Carillon School, the outer envelope and the musical score itself may only mention the following:

* "Composition Competition 2002"

* a motto

* the award sought (Jef Denyn or Staf Nees)

A closed inner envelope mentioning only the motto on the outside, contains a page with the name and address of the composer. This envelope will be opened only after the jury has made its decision.  The identity of the composer must not be discernible in any way from the envelope or the score. 

The winners will be notified and invited for the presentation of awards in the Mechelen City Hall. The results of the competition will be announced by the press. The winning scores remain property of the Royal Carillon School, which retains the right to publish the works. Scores of non-winning works will be returned on request. Finally, the jury may decide not to award a prize if the scores presented do not meet the requested standards.

A new type of bell

It has been said many times that since the computer made its appearance in bell foundries in the mid-eighties, the possibilities have expanded greatly. For example, Dr. André Lehr, conservator of the Dutch National Carillon Museum and former director of the Royal Eijsbouts Bell Foundry, developed a considerably lighter bell with the same diameter as the customary bell while maintaining the same pitch and sonority. A traditional C2 bell with a diameter of 30 inches (77 cm.) weighs approximately 631 pounds (286 kg.) The new bell design with the same diameter only weighs 472 pounds (214 kg.). With 25% less bronze, the result was surprising. The Royal Petit & Fritsen Bell Foundry in Aarle-Rixtel, The Netherlands, cast a prototype. It has a beautiful sound and moreover a long, resonant decay. More details are available in an article written by Dr. Lehr entitled "The Geometrical Limits of the Carillon Bell," published in the periodical, Acustica, Vol. 86, 2000, pp. 543-549. There is no copyright on the bell--it can be cast and used by anyone who wishes.

Profile: McDonogh School

The McDonogh School is an independent, endowed, non-denominational, college preparatory school for boys and girls. The spacious 775-acre country campus with colonial and contemporary brick buildings lies to the northwest of Baltimore, Maryland. Established in 1873, John McDonogh had provided for this school for promising boys who would not otherwise have been able to obtain an education. Paying students were admitted for the first time in 1922, and in 1975 the school became coeducational.

The McDonogh Carillon was given by Mr. H. Beale Rollins (class of 1915) and his wife in 1978. The 48 bells were cast by the Petit and Fritsen Bellfoundry of Aarle-Rixtel, The Netherlands. The bourdon weighs 3,300 pounds, sounds D, and is connected to C on the keyboard. The carillon hangs in the tower of the Tagart Memorial Chapel. A chime of ten bells, crafted at Baltimore's McShane Bellfoundry for the new chapel in 1898, was in use until 1978.

William S. Lyon-Vaiden has been the McDonogh Carillonneur since the instrument's installation. A special series of summer recitals on Friday evenings at 7:00 during July and August features guest recitalists from the U.S. and abroad.

Profile: Holland, Pennsylvania

Trinity United Church of Christ in Holland, Pennsylvania--near Philadelphia--is home to a unique carillon installation. The first 25 bells for the Schneider Memorial Carillon were a gift of Mr. and Mrs. Henry Schneider. Cast in 1929 by the Meneely Bell Foundry in Watervliet, New York, the original two-octave instrument was dedicated by Melvin Corbett in 1930. It was one of few American-made carillons. A third octave was realized in 1954/55 with the addition of twelve Petit & Fritsen bells. In September 1968, the carillon was removed from the tower at Broad and Venango Streets in Philadelphia and taken to the Verdin Company in Cincinnati for storage and renewal of some of the mechanism. Upon completion of the new church building, it was installed at its present location in 1970. On the occasion of the nation's Bicentennial, twelve more Petit & Fritsen bells completed the fourth octave. The 3000-pound bourdon sounds E-flat and is keyed to C, hence the instrument transposes up a minor third. In contrast with most tower installations, the playing cabin of the Schneider carillon is on ground level, and the bells hang from an open steel frame that sits atop the cabin.

Lisa Lonie, carillonneur of Trinity Church, plays for regular church services. A special series of summer recitals on Thursday evenings at 7:30 during July and August features Lonie, other Philadelphia-area carillonneurs, and guest recitalists from the U.S. and abroad.

Profile: Roeselare, Belgium

Each of the 13 stories of St. Michael's Church in Roeselare, Belgium, has a story to tell. Rebuilt following a fire that leveled the city in 1488, the Sint-Michielskerk lost its 300-foot spire to a storm in 1735, and the current campanile was erected in the middle of the 18th century. Four swinging bells hang in the attic from a large frame that supports their total weight of seven tons. A mechanical tower clock from the city hall is preserved in the tower of St. Michael's. Tourists can read a series of didactic texts on the walls that chronicle the history of several centuries of bell ringing traditions in this old Flemish city. In fact, the Roeselare bell ringers guild claims that theirs is the only place in Flanders where the tradition of tolling bells manually is preserved.

During the 19th century, the Roeselare carillon was composed of a hodgepodge of 38 bells that were played by a pneumatic system from an ivory type keyboard devised by the Ghent organbuilder Lovaert. The bells were played by the church organist until the system fell into an unplayable state of disrepair. In 1893 a new carillon was cast by Severinus van Aerschodt of Louvain and connected to a Mechelen/Denyn-standard console fabricated by Desiré Somers. In 1917, during the first World War, these bells were plundered by the Germans. Marcel Michiels of Doornik cast 35 bells (bourdon of 1,332 pounds) for Roeselare  in 1921. The bells were recast in Doornik in 1939 and returned to the tower. The bourdon had grown to 1,378 pounds. Twelve Eijsbouts bells were added in 1988, and in 1992 the old bells were returned, a new bass bell was added, and a new playing console was installed. The lightweight instrument now comprises 49 bells from a 1,962-pound bourdon which sounds F and is keyed to B-flat; hence the instrument transposes up a fifth. Koen Cosaert is municipal carillonneur of Roeselare, Izegem, and Harelbeke, an organist in Kortrijk, and an instructor at the Royal Belgian Carillon School in Mechelen. The carillon is played every Tuesday morning and every other Saturday at noon. A special series of evening recitals is organized each year from June through September. Guided tours of the tower are available from June through September; phone (051)207-843 for group reservations.

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.

News from Iowa State University

1. Spring Carillon and Organ Festival 1997

Iowa State University hosted the Spring Carillon and Organ
Festival 1997 and the Carillon Composition Competition during the weekend of April 25-27. The Festival also celebrated the tenth anniversary of the installation and dedication of the Brombaugh organ of the Music Department. Guest artists were Brian Swager, former University Carillonneur at Indiana University, Bloomington, and David Dahl, organist from Pacific Lutheran University, Tacoma, Washington. The Festival began with two recitals by the guest artists. Brian Swager performed carillon music from Belgium and America that included Johan Franco's Ames Nocturne, a work commissioned by The Stanton Memorial Carillon Foundation in 1984. David Dahl performed organ works by two women composers: Fanny Mendelssohn and Ethel Smyth, and Michel Corrette's Magnificat du 3e et 4e ton with Donald Simonson as cantor. A workshop on "Organ Works by Three 19th-century Women Composers: Clara Schumann, Fanny Mendelssohn and Ethel Smyth" was conducted by David Dahl on Saturday morning, and Brian Swager held a carillon seminar in the afternoon on "Music for the Carillon: A Distinguished Repertoire Emerges." The Festival continued with a Family Concert featuring ISU student carillonneurs, ISU Wind Ensemble, ISU Dance Tour Company, and ISU Oratorio Choir. Echo by Amy Michelle Black was premiered by Michael Tammaro at the carillon and the Oratorio Choir under the baton of Robert Molinson. The Festival concluded on Sunday with carillon music from The Netherlands performed by Tin-shi Tam, Iowa State University Carillonneur.

A  Carillon
Composition Competition was held to encourage young composers to write original
carillon music. Judges were Brian Swager, Jeffrey Prater, and
style="mso-spacerun: yes">  Tin-shi Tam. Contestants were from all
parts of the country and overseas. The winning composition was By de dei
lâns (The Proceedings of the Day) by Klaas R. R. de Haan of Amsterdam,
The Netherlands. It was premiered by 
Tin-shi Tam during the Festival. The next Spring Carillon Festival
and  Carillon Composition
Competition  will be held from
April 24-26, 1998. Guest carillonneur will be Albert Gerken, University
Carillonneur  at University of
Kansas, Lawrence.

II. Junior High Keyboard Camp

The Fifth Annual Keyboard Explorations junior high school
summer music camp was hosted by the Iowa State University Music Department from
July 7-12, 1997. Participants had the opportunity to learn about various kinds
of keyboard instruments and had hands-on experiences in playing them. Seven
participants studied carillon under ISU Carillonneur, Tin-shi Tam. Two carillon
concerts were performed by students towards the end of the week.

III. 1998 Carillon Composition Competition

Iowa State University has announced the Carillon Composition
Competition '98. The purpose of the competition is to encourage the writing of
original carillon compositions by composers under age 35. The submitted work
shall be an original composition for four-octave carillon (tenor C to C4), with
a two-octave pedal board (tenor C to C2). The composition may be a solo, duet
for one carillon, or a work for carillon with one or more other instruments or
chorus. The submitted composition must be postmarked no later than March 31,
1998. For more information contact the University Carillonneur at Iowa State
University; Music Department; 149 Music Hall; Ames, IA 50011; phone:
515/294-2911, e-mail: tstam@iastate. edu or web-site: www.music.iastate.edu

Bell information requested

In celebration of the 75th anniversary of the Belgian
Carillon School, a festschrift will be published. Marc Van Bets is preparing a
paper on Mechelen bellfounders for this book. He requests reports on all
Mechelen bells that currently are, or ever have been, in
style="mso-spacerun: yes">  North America. Such bells would have
been brought by Capuchin monks who came to North America as missionaries. All
bells are included in the scope of the paper: carillon, church, tolling,
ornamental, etc. All information is welcome, such as the function of the bell,
measurements, pitch, anecdotes, photos. Please contact Marc Van Bets; Ridder
Dessainlaan 27; 2800 Mechelen; Belgium. Phone: (0112)32.15.42.38.52. Fax:
(011)32.15.43.17.07. Email: [email protected]

1998 Queen Fabiola Competition

Since its founding in 1922 the Royal Carillon School
"Jef Denyn" in Mechelen, Belgium, has fostered a greater blossoming
of the carillon art. Toward this end, the school established the Queen Fabiola
International Carillon Competition in 1987. This competition has grown rapidly,
becoming the most important of its kind and providing a strong stimulus for the
recognition of the carillon art as a high-quality artistic expression.

The winners of the first three competitions were: Geert
D'hollander of Belgium in 1987; Boudewijn Zwart of The Netherlands, in 1990;
and Gideon Bodden of The Netherlands, in 1993.

The fourth Queen Fabiola Competition will take place August
5-9, 1998. Carillonneurs from around the world are invited to take part. There
is no age limit. After an elimination round, a maximum of six competitors will
be selected for the finals. Judging will be done by an international jury.

The candidates are required to present nine pieces of a high
virtuosic level: three baroque, three romantic, and three contemporary pieces.
The romantic and contemporary selections must be original carillon compositions
and not transcriptions. One of the baroque pieces must be a carillon prelude
written by Matthias van den Gheyn. In addition, there will be an obligatory
piece.

The school's 1997 international composition competition
brought 21 entries from seven countries: Belgium, The Netherlands, Australia,
The USA, Spain, Russia, and Sweden. Performance of the winning composition will
be required for participants in the Queen Fabiola Competition. Winners of the
composition competition will be announced once registration for the Fabiola
Competition is closed.

During the competition, the participants perform on the new
carillon in the St. Rombouts tower. This instrument was founded by Koninklijke
Eijsbouts in 1981. It is tuned in equal temperament and consists of 49 bells;
the bourdon sounds F and weighs eight tons.

The first-prize winner will receive 100,000 BF, a bronze
bell, a certificate, and a concert tour in Belgium  in 1999. Five additional prizes with cash awards will be
given. The SABAM prize of 25,000 BF will be awarded for the best interpretation
of a contemporary Flemish carillon composition, and an additional 25,000 BF
will reward the best improvisation. Participants should send their completed
applications to the Royal Carillon School "Jef Denyn"
style="mso-spacerun: yes">  before April 30, 1998. After their
repertoire has been approved, the full list of regulations and practical
information will be sent to each competitor. The obligatory piece will be sent
to the participants two months before the beginning of the competition.
Participants are granted a per diem of 1000 BF for as long as they take part in
the competition.

For information and applications, contact
style="mso-spacerun: yes">  the Royal Carillon School "Jef
Denyn"; Frederik de Merodestraat 63; 2800 Mechelen; Belgium. Phone:
32.15.20.47.92. Fax: 32.15.20.31.76.

McLellan appointed at MSU

Ray McLellan has been appointed University Carillonneur at Michigan State University in East Lansing, Michigan. His responsibilities include playing weekly recitals, teaching carillon and organ, coordinating and
producing the MSU Summer Carillon Recital Series. Ray studied carillon with
Margo Hal-sted at the University of Michigan and with Todd Fair at the
Netherlands Carillon School. He earned the Bachelor of
style="mso-spacerun: yes">  Arts degree at Florida Southern College
in Lakeland and the Master of Music and Doctor of Musical Arts degrees at the
University of Michigan. He also studied on full scholarship at the
Pädagogische Hochschule in Freiburg, Germany. Besides the position at MSU,
Dr. McLellan continues in his church and temple positions.