First International Church Choir Competition

Brian Swager is carillon editor of THE DIAPASON.

Carillon composition competition
On the occasion of the 750th anniversary of the city of Rhenen, The Netherlands, and the 50th anniversary of the Van Bergen carillon in the St. Cunera tower, the Cunera Carillon Association is very pleased to announce an international carillon composition competition. This competition is organized in cooperation with the Dutch Carillon Guild.
St. Cunera was a virgin and martyr. She was born a princess from York, England. On October 29, 340, she was strangled by Aldegonde, the wife of King Radboud, out of jealousy. She is now the patroness of the city of Rhenen.
The best composition will be awarded a first prize of €1,500. The second and third prizes are €1,000 and €750. Furthermore, there is an incentive prize of €750 for the best composition by a composer under than 30 years old. Anyone may submit more than one piece. Only pieces that have not entered other competitions or were published before are welcome, and only original compositions for carillon are allowed; no arrangements of existing works. However, variations on a song or an existing theme will be accepted. There is no limitation on the duration or difficulty of the entries.
A piece must be playable on a standard European four-octave carillon: 47 bells, 4 octaves without low c-sharp and d-sharp. Pedal range from c to g1, manual from c to c4. To assure total objectivity, an entry may not have any signs or marks that can reveal the identity of the composer. The names of the winning composer(s) will be revealed to the jury only after their deliberations.
A committee of judges consisting of Ton Hartsuiker (musician and former director of the Sweelinck Conservatory of Amsterdam), Carl Van Eyndhoven (carillonneur and carillon teacher), Marco de Goeij (composer), and Gideon Bodden (carillonneur), will evaluate all entries received by the deadline. The jury judges on originality, musicality, and usefulness or effectiveness for the instrument. The judges may also decide not to award any composition, or to divide the prize money between more than one submitter.
The announcement of the prize-winning piece(s) will take place at the annual meeting of the Dutch Carillon Guild in Rhenen on March 29, 2008. The winning piece(s) and a selection of the other entries will be performed that day. All the composers of the performed pieces will be informed in advance.
Two (good readable) copies must be sent (please no originals!). The date on the envelope will be used to determine the timely receipt. Send them to Freek Bakker, the secretary of the jury (address below). Participants must write their name, address, the title of the submitted piece(s), and a short curriculum vitae in a letter that accompanies the entry or entries. Also, every participant agrees to the publication and performance in the scope of the competition. The prize-winning composition(s) and a selection of other interesting entries will be published and distributed by the Dutch Carillon Guild and the Cunera Carillon Association after the competition.
The deadline for entries is Tuesday, January 1, 2008. For further information, contact the secretary of the jury: Freek Bakker, Van Kluyvelaan 14, 3862 XG Nijkerk, The Netherlands; phone: +31 (33) 245 90 53; e-mail: <[email protected]>.

When one thinks of the history of the harpsichord, Hungary
is not the first country that comes to mind. Yet, as might be expected from a
country that has produced so many outstanding musicians, a number of talented
and enthusiastic performers have succeeded in securing the harpsichord a place
in Hungarian musical life. Compared to Western Europe and the United States,
this has come about relatively recently and much of the credit must go to
János Sebestyén, who established the first harpsichord class at
the Lizst Academy in 1970. In recognition of the harpsichord, its literature
from both the past and the present, and the many outstanding performers now
active in  Hungary, the International
Music Competition, Budapest, devoted this year's activities to the
harpsichord for the first time. The competition took place September
19-30, 2000 with János Sebestyén presiding over a jury
consisting of Máté Hollós, Anikó Horváth,
István Lantos, Ketil Haugsand, Jacques Ogg, Miklós Spányi
and Elzbieta Stefanska.

The competition opened on September 19 with a concert at the
Liszt Academy in commemoration of the 250th anniversary of Bach's death.
It provided a rare opportunity to hear all six of Bach's multiple
harpsichord concertos (BWV 1060-65) as well as Brandenburg Concerto No. 5
(BWV 1050) in a live concert setting. Harpsichordists Ágnes
Várallyay and Borbála Dobozy shared performing duties with jury
members Horváth, Haugsand, Sebestyén, Spányi and
Stefanska. It was easy to appreciate the different timbres of the four solo
instruments in the excellent acoustics of the Academy's large hall.
Eleven members of the Ferenc Erkel Chamber Orchestra provided discreet string
support on modern instruments. The evening's highlights included a majestic
performance of the C major concerto (BWV 1064) by Horváth, Stefanska,
and Várallyay, as well as Spányi's propulsive account of
the solo part in the Brandenburg Concerto. Ildiko Kertész's
baroque-flute playing in the same concerto was stunning.

The competition itself took place at the Óbudai
Társaskör, a small but accommodating hall perfect for an event of
this type, located just one block from an ancient Roman excavation site. There
were nineteen competitors in the preliminaries: six from Hungary, two from the
Czech Republic, two from Italy, and one each from Greece, Yugoslavia, Canada,
Spain, Armenia, Poland, Australia, China and Japan. The required repertoire
included a Fantasia by the renaissance composer Bálint Bakfark; a choice
of one of the Bach/Vivaldi concerto transcriptions (BWV 972, 976 or 980);
Soler's Sonata Rondo in G major (Rubio No. 58); and seven pieces from
Bartók's Mikrokosmos (Nos. 79, 92, 117-18, 122-24).
Competitors had a choice of four double-manual instruments by Vyhnálek,
Klinkhamer, Dowd and Sperrhake. The Dowd proved to be the most popular choice
with the Vyhnálek a close second. Several of the competitors chose the
Sperrhake for the Bartók. Perhaps surprisingly, the Soler, with its
virtuoso figuration and extreme mood-swings, posed the greatest challenge to
the competitors from both technical and interpretive standpoints. The Bakfark,
with its improvisatory lute-style writing, proved interpretively challenging.
Most of the competitors failed to make the piece sound cohesive. The Bach/Vivaldi
D Major Concerto (BWV 972) was by far the most popular choice among the three
concertos; nearly everyone rose to its technical challenges. Not surprisingly,
several of the Hungarian competitors excelled in the Bartók, performing
the miniatures with an almost fierce precision.

Twelve players were chosen for the semi-finals. The required
repertoire included the second and fourth movements from the suite Four
Self-Portraits in Masks by Emil Petrovics, a beautiful work composed in 1958,
which deserves to become part of the standard harpsichord repertoire;
Haydn's Esterhazy Sonata in F major (Hob. XVI: 23/Landon 38);
Bach's Prelude and Fugue in C-sharp minor (BWV 849) or Prelude and Fugue
in A major (BWV 864); and 12 minutes of selections from Rameau's
Pièces de clavecin (1724, 1731) with Les cyclopes being compulsory. This
round proved to be more interesting. The varied repertoire choices available
brought out the strengths and weaknesses of each performer more clearly. Again,
the Hungarians excelled in the contemporary work. Unfortunately, the elegance
and humor required of the Haydn proved elusive to most of the competitors.
Bach's Prelude and Fugue in C-sharp minor was the popular choice and the
Rameau brought out the best playing from nearly everyone. Yang Tien, currently
a student in London, must be singled out for her truly stunning performance of
Les cyclopes which was one of the most exciting and technically brilliant
harpsichord performances I have ever heard.

Seven competitors advanced to the final round: Zsolt Balog,
Dalma Cseh and András Szepes, all from Hungary; Yago Mahugo-Carles,
Spain; Alessandro Pianu, Italy; Alina Ratkowska-Szadejko, Poland; and Yang
Tien, China. The repertoire included a choice of one movement from Sándor
Szokolay's Sunset of the Old Millennium, Dawn of the New Millennium, a
work commissioned for the competition; Bach's Chromatic Fantasy and Fugue
(BWV 903) or Toccata in D Major (BWV 912); and his Concerto for Harpsichord and
Strings in E Major (BWV 1053). The Szokolay piece, written in an academic style
that was popular three decades ago, proved a challenge to both the performers
and the audience. However, after hearing movements from the work seven times in
one evening, its qualities gradually became apparent. Six of the performers
chose the Chromatic Fantasy and Fugue with only Balog playing the Toccata in D
Major. The Ferenc Erkel Chamber Orchestra returned for the E Major concerto
with all seven competitors performing the work during one long evening.
Fortunately, the last performance, given by Dalma Cseh, was clearly the best of
all. She possesses the rare combination of technical command, musicality and
stage presence that makes it impossible not to become involved with the
music--even after six prior performances of the same piece.

The jury, which apparently had difficulty reaching a
decision, finally announced the awards several hours after the final concerto
performance. Zsolt Balog and Dalma Cseh shared Second Prize, while Alessandro
Pianu, András Szepes and Yang Tien shared Third Prize. First Prize was
not awarded. The competition concluded on September 30 with a gala concert in
which six of the finalists played a program of pieces selected by the jury.

The competition proved to be a great success. It was well
organized and, from the very first round, all of the participants demonstrated
a high level of musicianship. The choice of repertoire proved to be somewhat
controversial, yet it succeeded in its goal of finding well-rounded performers
capable of traversing four centuries of harpsichord literature. Most
importantly, the competition presented several talented young musicians capable
of taking the harpsichord and its music well into the 21st century.

--Robert Tifft

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.