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BELL MUSIC

ORIGIN AND HISTORY EVOLUTION OF CARILLONS 0 HISTORIC OLD AND NEW PECULIAR CHARM . Four hundred years ago, Charles V., the Roman Emperor, inherited the territory within the boundaries of Belgium and Holland, and in tbis country, distracted by sieges and distress, there came music, which, though gaining a permanent place in the hearts of its own people, was, until the end of the nineteenth century, almost unknown outside the countries . of its origin. In the sixteenth century, carillons were established in each of the main towns of the ancient Netherlands, and later, in Northern France, and oecasionally in the b order towns of Western Germany bell towers have been known to exist at that time. The word "carillon" is rarely used in the countries of their abundance, and in Holland the usual name is "Klokkenspel," which means, iiterally, "Bell play." "Carillon" was at first "quatrillon," and this name indicates the four diatonic bells which composed the tintinnabulum of the twelfth century. The evolution of the mechanism of carillon was evolved from two main principles. The first or ancient method was automatic cylinder play, in which the outer surface of the bell was struck by a hammer moved by a cylinder which operated in cennection with a tower clock. The second or present-day method Is keyboard play, in which the inside of the bell is struck by a clapper operated by the carillonneus. To Tell the Time The carillon was first associated with docks, and consisted of an arrangement of a set of small bells connected with a tower clock, and these carillons were very eommon in the main towns of the Low Countries. The mechanism of the clock caused the bells to chime just before the hour, to act as a warning for the deep hour-bell of the clock itself. At first four bells were used, but gradually the number was increased, and the bells were arranged to play little tunes; and as the number grew and the intervals of the chromatic scale were added, the bells played at every quarter-hour, and at the hour, the tune lasted for about a minute. Then came a complete change, with the addition of the.davier or manual keyboard, to the aufomatic means of mechanism previously employed; and with the arrival of the pedal keyboard to supplement the manual on account of the increased weight of the bells. Since the adoption of the pedal keyboard, carillons have undergone changes only in the improvement of details in the mechanism, the increase in the number of bells, and in the accuracy of tuning them. The greater part of the playing is on the smaller bells, with occasional use of the large ones, due to the faet that the effect of chords on the smaller bells is more satisfying than on the larger bells, in which the harmonic

tones are prominent, and when , sounded together, frequently inter- j fere with each other in a manner ! which is disagreeable. Peculiar Charm Carillon music has a peculiar charm, due to the invisibility of the player, so that his movements do not distract us from giving up ourselves entirely to the music. Regarding where to listen to a carillon, a good place, in the countries where they thrive, is described as.being at least 1,500 feet from the J bells, and should combine quietness 1 with a clear view of the tower, but in Wellington, owing to the hilly nature of the landscape and the gusty nature of the elements, experience alone will show the spot. The qualifications of a oarillonneur are similar to those of an organist, and many of the famous players and composers for the carillon have been organists. Fischer, writing in 1738, says that the requirements of good j playing are: "A musician with a good , knowledge of music, good hands and j feet, and no gout." But, in spite of , these simple requirements, there was j a decline in the art for a long period, , but, fortunately, the present day has j brought a revival. Thus, upon the foundation of a few bells playing simple tunes, 'has been j built a noble instrument lasting for ! centuries and giving delight to thousands.

Permanent link to this item

https://paperspast.natlib.govt.nz/newspapers/RMPOST19311207.2.67

Bibliographic details

Rotorua Morning Post, Volume 1, Issue 90, 7 December 1931, Page 7

Word Count
697

BELL MUSIC Rotorua Morning Post, Volume 1, Issue 90, 7 December 1931, Page 7

BELL MUSIC Rotorua Morning Post, Volume 1, Issue 90, 7 December 1931, Page 7

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