"* HOLLAND ^WILLIAM GORHAM RICE UNIVERSITY OF CALIFORNIA LOS ANGELES CARILLONS of BELGIUM and HOLLAND WILLIAM GORHAM RICE MECHLIN: S. ROMBOLD'S TOWER FROM THE NORTHEAST PHOTOGRAPH BY \V. G. RICE, JR. CARILLONS of BELGIUM and HOLLAND TOWER MUSIC IN THE LOW COUNTRIES BY WILLIAM GORHAM RICE WITH THIRTY -TWO ILLUSTRATIONS NEW YORK: JOHN LANE COMPANY LONDON : JOHN LANE, THE BODLEY HEAD MCMXV Copyright, 1914, by JOHN LANE COMPANY PUBLISHERS PRINTING COMPANY ao7-ai? Wert Twenty-fifth Street. New York Music Library ML TO MY WIFE THE CHARMING GUIDE WHOSE UNFAILING INTEREST HAS INSPIRED THIS BOOK AND TO MY SON WHOSE COMPANIONABLE AID HAS COMPLETED IT 468398 "VOORSLAG" WHEN the Assistant Keeper of the British Museum wrote me, "I know of no work on carillons," it con- vinced me there was need of another book in the world. In many journeys through the Low Countries I had admired the beauty of bell-towers and had listened to their music with increasing delight. Yet rarely did I find anyone who knew the story of the towers or could tell me about the bells. Primarily to answer such questions, this book was begun. Soon I realised that the subject deserved larger treatment and that the history, often- times romantic, of the carillon art ought to be preserved in an accessible form. What is brought together here is the result of explorations among many towers, and of careful research in libraries of the United States and in those of Antwerp, Brussels, the Hague, and Amsterdam, and in the Biblio- theque Nationale of Paris. Perhaps still more it is due to fortunate acquaintance with men of countries other than our own, who, 8 "VOORSLAG" sharing my admiration and affection for the Dutch and Flemish peoples, have generously co-operated in my endeavour to assemble in or- der widely scattered and often obscure details concerning the origin and development of a unique racial music. Many friends have assisted me in compila- tion and translation, and to them all I make grateful acknowledgment. Particularly I wish to record my recognition of the interest expressed by Mr. Andrew D. White, of Ithaca, Chairman of the American Delega- tion at the First Hague Conference, who has visited more than once the principal bell-tow- ers of Holland and Belgium. My thanks are also specially due to Mr. A. J. F. van Laer, the State Archivist, Albany; to Mr. Freder- ick Rocke, organist and choir-master of the Cathedral of All Saints, Albany; to the caril- lonneur of Mechlin, Mr. Josef Denyn; to that of Gouda, Mr. G. van Zuylen; and to that of the Hague, Mr. J. A. de Zwaan, for valuable aid and suggestions. And to Mr. J. J. A. Knoote, of the Hague, and to Mr. W. den Boer, of Middleburg, I am indebted for many facts and several illustrations. "VOORSLAG" 9 My indebtedness is also acknowledged to Mr. W. W. Starmer, of Tunbridge Wells, for the information I have obtained from his let- ters and from his addresses on bell-music. He recently wrote me: "I could give you enough matter to fill a book, on clock chimes alone. Here in my study I have no less than 12000 communications catalogued." Above all, I am under obligation to Mr. Prosper Verhey- den, of Antwerp, who has kindly given me the benefit of his advice and has generously put at my service knowledge attained by long and careful study. The courtesy of the Houghton Mifflin Company, of Boston, in allowing me to re- print the poem by Longfellow is much appre- ciated. The sources of my information have been so various and so largely from books in lan- guages other than English that some inaccu- racies may be found. If so, I should be glad to have them made known to me. And if those in any country who know or find addi- tional facts will send them to me, I shall be equally glad. The revival of interest in carillon music is 10 "VOORSLAG" widespread, a revival inspired most of all by the devotion, genius, and wonderful skill of Josef Denyn, greatest of bell-masters. Trav- ellers from other lands return again and again to the Low Countries, attracted by picturesque scenes of market-place and busy harbour; of civic hall and church tower; of quiet canal and lush field; but only when the music of bells is heard over all does the charm become complete. WILLIAM GORHAM RICE. 135 WASHINGTON AVENUE, ALBANY, N. Y. CONTENTS CHAPTER I PACK The land of carillons Its peculiar attractiveness Architectural beauty of towers Definition of car- illon Remarks of Charles Burney, 1773 The frontiers of carillon music Stevenson Scarcity of carillon literature Longfellow Hugo 19 CHAPTER II Journals of travellers Correr, 1611 Giorgi, 1626 Garampi, 1764 Evelyn, 1641 Other writings Hemony's book, 1678 Fischer, 1737 Schaep- kens, 1857 Haweis, 1875 Van der Straeten, 1867-88 Gregoir, 1877-79 Starmer Municipal records and local histories 31 CHAPTER III Ghent The centenary The belfry The bells Prin- cipal carillons of Belgium Of Holland Mechlin Methods of play Automatic By a bell-mas- ter Connection of keyboard with bells Pedal clavier Most effective music Anecdotes of Ghent 44 CHAPTER IV Bruges Meaning of "belfry" Flemish belfries Municipal ownership of carillons and bell towers Longfellow at Bruges His diary "Carillon" A night in Bruges Its transformation The car- illon now "The Belfry of Bruges" 61 11 12 CONTENTS CHAPTER V PAGE The primitive carillon Its development in the six- teenth century Municipal clocks The "voorslag" The "jeu de cloches" Increase in number of bells Improvement of keyboard and automatic bar- rel A good carillon to-day The Denyn improve- ments Important place of carillons in times past Brussels Mons Maastricht Ath A christen- ing at Mechlin A celebration at Bruges The twin carillons at Mafra, Portugal 75 CHAPTER VI Founders The Hemonys Their contemporaries At Zutfen At Amsterdam Pieter Hemony's letters The amount of their work The van den Gheyns and the van Aerschodts The Dumerys The Waghevens De Haze The Petits Fremy Witlockx Noorden and de Grave Derk Mod- ern founders Old contracts Maastricht The Hague Brussels Ath Middleburg Danzig Oudenaarde Cost of bell-metal Its composition Prices of carillons to-day Character of bells by various founders Tuning 88 CHAPTER VII The charm of unseen music Carillons and the sea De Amicis Carillons and character Music used in automatic play Examples of music used now and in the seventeenth century Effect of air cur- rents The drum Method of setting tunes The improved cylinder Drum play at Mechlin Praise and condemnation Clavier play Deca- dence and revival The music Its character Where to listen Market day music Festive con- certs Description of a keyboard Ill CONTENTS 13 CHAPTER VIII FACE Carillonneurs and their pay Amsterdam Pieter Pa- ter Pieter Chatelet's contract Dirck Scholl Pothoff Matthias van den Gheyn Haverals Pay and duties in the sixteenth and seventeenth centuries To-day Hereditary bell-mastery First inspiration Kindness of carillonneurs A postcard canvass Further kindnesses Briel Schiedam Delft Tours suggested The carillon region Mechlin the climax 131 CHAPTER IX How the Mechlin carillon was got Choosing the bell-master Mechlin Louvain Bruges as host Mechlin prize competitions, 1897 and 1910 Mr. Denyn's playing His other activities for the art The Denyn festival, 1912 The new bell The afternoon recital The evening recital The presentation and speeches The carillon school The need of it What has been done Its scope Difficulties of practice Hope against fear.... 148 CHAPTER X A visit to Mechlin, August 18, 1913 165 APPENDIX A List of carillons in Holland 179 APPENDIX B List of carillons in Belgium 194 APPENDIX C List of carillons in other countries Austria-Hungary Denmark France Germany Great Britain Italy Luxemburg Portugal Russia Spain Sweden United States of America.. . 204 14 CONTENTS APPENDIX D PAGE Lists of bells in carillon at Mechlin Carillon at Ghent Peal of Exeter Cathedral Chime of Cornell University 210 APPENDIX E Report of the Jury at the Mechlin prize competition in 1910 214 APPENDIX F English bells and change ringing Other notes 225 ILLUSTRATIONS Mechlin: Saint Rombold's Tower .... Frontispiece Groningen: Saint Martin's Church 20 Amsterdam: The Mint Tower in 1765 24 Antwerp : The Cathedral Spire 28 The Hague: The Bell Tower in the Distance . . 32 Delft: The New Church in 1729 38 Fanciful Picture of an Ancient Carillon 42 Ghent: The Belfry 46 Bruges: The Drum 54 Antwerp : The Key Board 56 Bruges: The Belfry 62 Bruges: The Bells 68 Edam : The Bell Tower 76 Oudenaarde: The Town Hall Tower 80 Mons: The Belfry 84 Zutfen : The Wine House Tower and Market Square 90 Utrecht: The Cathedral Tower 94 Middleburg : The Abbey Tower, in Winter . ... 102 Appingedam: The Bell Tower 106 Amsterdam: View from the Palace Bell-level . . . 108 Mechlin: Transmission Bars and Wires 120 Haarlem: The Great Church from the Spaarne . . 126 15 16 ILLUSTRATIONS Mechlin : The Key Board 128 Amsterdam: The Carillonneur in His Tower Cabin 134 Mechlin: The Bells 136 Schiedam: The Bell Tower 144 Ypres: The Cloth Hall Tower 148 Josef Denyn of Mechlin: The Great Bell-Master . 166 Amersfoort: The Tower of Our Lady 182 Enkhuizen: The Dromedary Tower 186 Veere: The Town Hall 192 Antwerp: The Cathedral Spire at Sunrise .... 196 Map of the Carillon Region 51 Carillon Music , 217 CARILLONS of BELGIUM and HOLLAN D CARILLONS CHAPTER I "Flanders where the Carillons ripple from old Spires" DOWDEN "In Holland the passing hour sings." DE AMICIS MY story is one of discovery and ex- ploration; exploration leading often into fascinating aerial fields, and discovery, for many Americans, at least, of a new kind of music. Yet the land of which I write is not far off and the music has long been heard. Ver Meer and Rembrandt, van Dyck and Rubens, listened to it as they paint- ed the life of their time, and still in our day the benediction of this music continues for travellers and for all people in the Low Countries. It is heard from St. Catherine's tower at Briel, on the island of Voorne, where first 19 20 CARILLONS OF "The Beggars of the Sea" rose up against the power of Spain, and it sounds from that fifteenth century New Church at Delft, where William of Orange, victorious but as- sassinated, forever rests. From St. Stephen's tower at Nimeguen, rising above wide river waters, it marks the hours for the passing boatmen, and from St. Lawrence's tower at Rotterdam it gives a welcome to sailors com- ing home from distant seas. Hundreds of students hear its call at the University of Louvain, and it unites with the worship of thousands in the Cathedral at Antwerp. At Ypres it sounds over the mag- nificent Cloth Hall of the merchants; at Amsterdam it floats over the great palace of the Queen. The watchmen high up in Groningen's tower in the north and those in Mechlin's tower in the south, follow with their faint-sounding trumpet-strains the notes of the bells at each half hour of the night; and the market-men at the weigh-house of Alkmaar, and the market-women in their GRONINGEN: S. MARTIN'S CHURCH BELGIUM AND HOLLAND 21 Zealand costumes at Middleburg wait for the signal of this music to begin their sell- ing at mid-day. From the belfry at Ghent to-day sounds the concord of bells as it did when the Treaty of 1814 first was pro- claimed, and from the belfry of Bruges ring the chimes, "low at times and loud at times," which were the inspiration of Long- fellow when he first journeyed through Flanders. So tower after tower might be named, each carrying a part in this chain of melody. Assuredly no music joins more perfectly in the celebration of days of national rejoic- ing; but, better still, it sends down from airy heights an influence which lightens routine and to happy occupation adds an accompani- ment of surpassing charm. Many travellers have sought to compre- hend the secret of the attractiveness of the Low Countries. Complex and elusive that secret doubtless is, yet I believe we shall find a clue for our search in a knowledge 22 TOWER MUSIC IN of this distinctive music. Surely its long- continued hold upon the people of Holland and Belgium; its association with stirring events in their history; its touch with pro- saic duties; its democratic spirit; its com- panionship with time; its seat in lofty towers, and its maintenance at the public charge all give suggestions of racial temperament well worth considering. Most of these lofty towers are themselves of exquisite architectural beauty. Amersfoort and Oudenaarde, Veere and Mons, and all those already spoken of, are perfect in their setting. By their proportions and strength, by their domination of the scene, they satisfy the eye even before the melody of their bells comes to please the ear. Before approaching nearer the domain of this unique music, a brief definition, showing in general terms the sense in which the word carillon is used here, seems desirable. Exact definition would demand an extended consid- eration of many details which may be better THE LOW COUNTRIES 23 kept until the mechanism and technique of tower music is taken up. For the present, then, it is enough to say that a carillon is a set of bells, (a) attuned to intervals of the chromatic scale, (b) many in number, some- times four octaves or more, (c) the lowest often several tons in weight, with each suc- ceeding bell smaller, so that in the highest octave, the weight of each bell is scarcely 20 pounds, and (d) hung fixed, that is, so as not to swing. Owing to its more convenient form, the word chime has often been used when a carillon is actually meant. Strictly, a chime, ring, or peal is a set of bells generally not more than about an octave, attuned to inter- vals of the diatonic scale with sometimes a few additional half tones. The bells of a carillon usually are connected (a) with a key- board by means of which a bell-master or carillonneur causes their clapper to strike the inside of their sound bow, and (b) with a clockwork mechanism which causes a ham- mer to strike the outside. Between a carillon 24 CARILLONS OF and a chime this fundamental difference exists, namely: the carillon is essentially chromatic in its intervals while the chime is essentially diatonic, these terms being used as defined by Dr. C. W. Pearce, in "Modern Academic Counterpoint," where he says: "Diatonic means proceeding mostly by tones as opposed to chromatic, which proceeds by semitones." The chromatic characteristic, combined as it is with the extended compass and range in size of the bells, enables a master of a carillon keyboard not only to play the notes of a great variety of music but to interpret its sentiment and to produce effects which are distinctive and beyond the power of any other musical instrument. That quaint book, "The Present State of Music in Germany, in the Netherlands, &c., being The Journal of a Tour undertaken to collect material for a General History of Music by Charles Burney, Musical Doctor, London, 1773," informs us that the traveller was enlivened in his journey by the sound BELGIUM AND HOLLAND 25 of bells. Their playing attended him almost constantly, and we find him recording im- pressions such as these: "COURTRAY. It was in this town that I first per- ceived the passion for carillons or chimes, which is so prevalent through the Netherlands. I happened to arrive at 11 o'clock and half an hour after the chimes played a great number of chearful tunes, in dif- ferent keys, which awakened my curiosity for this spe- cies of music, so much so that when I came to GHENT I determined to inform myself in a particular manner concerning the carillon science. For this purpose I mounted the town belfry from whence I had a full view not only of the city, which is reckoned one of the largest in Europe, but could examine the mechanism of the chimes, so far as they are played by clock-work, and likewise see the carillonneur perform with a kind of keys communicating with the bells, as those of a harpsichord or organ with strings and pipes." # * * # "GRONINGEN. Here again I found myself in a country of carillons; I had indeed heard some slight at- tempts in Bremen, but in this place every half hour is measured by chimes." * # # * "AMSTERDAM. This is truly the country of chimes; every quarter of an hour a tune is played by them in all the churches." 26 TOWER MUSIC IN "LlEGB. The organist of the Cathedral is likewise carillonneur as is often the case in the Netherlands; but here the passion for chimes begins to diminish." # # * * "AIX-LA-CHAPELLE. The passion for carillons and chimes seems here at an end. However, through a street through which a procession had lately passed, there were hung to festoons and garlands a great number of oblong pieces of glass cut and tuned in such a manner as to form little peals of four and five bells all in the same key which were played on by the wind. * * They are put in motion by the most gentle breeze which may truly be called the carillonneur." The passion for this music from the be- ginning of its larger development in the sixteenth century followed racial influence rather than political frontiers. With scarcely an exception, each principal town of the ancient Netherlands, both north and south, early established its municipal carillon and maintained it with devoted spirit. In north- ern France too, as at Douai, Arras, Lille, Cambrai, and Dunkirk, and here and there in border towns of western Germany, as at Malmedy and Diiren, bell towers have long THE LOW COUNTRIES 27 existed, and many of these possess even now their complement of harmonious bells. It was at Antwerp on the Scheldt that Arethusa and Cigarette began their voyage, and in that delightful chapter, "The Oise in Flood," Stevenson thus tells how a new sen- sation of sound revealed itself: "On the other side of the valley a group of red roofs and a belfry showed among the foliage; thence some inspired bell ringer made the afternoon musical on a chime of bells. There was something very sweet and taking in the air he played and we thought we had never heard bells speak so intelligently or sing so melodiously as these. It must have been after some such measure that the spinners and the young maids sang 'Come away, Death' in the Shakespearian Illyria. "There is so often a threatening note, something blatant and metallic in the voice of bells that I be- lieve we have fully more pain than pleasure in hearing them; these as they sounded abroad, now high, now low, now with a plaintive cadence * * *, were always moderate and tunable and seemed to fall into the spirit of the still rustic places like noise of a waterfall. * * * I could have blessed the priest or the heritors, or who- soever may be concerned with such affairs in France who had left these sweet old bells to gladden the after- noon. At last the bells ceased and with their note the 28 CARILLONS OF sun withdrew. The piece was at an end; shadow and silence possessed the valley of the Oise." What bells they were that Stevenson heard we do not know. Certainly more than once their music must have sounded over him as Belgian market-place and French church tower were passed on that inland voyage. Why should the measures of this music be thought so intelligent and melodious? And why should chimes in those nether lands awaken so great civic interest and popular affection, when the playing of bells at home often distracts rather than pleases our ear? Even if no complete answer finally appears here to questions such as these, I trust that we shall have been, if not discoverers, at least explorers together in congenial fields. Nowhere can be found any comprehen- sive treatment of carillons, their towers, and their music. True, some traveller has in- cidentally mentioned the beauty of their melody, or has curiously looked into their playing, or has briefly described an enchant- ' **' ANTWERP: THE CATHEDRAL SPIRE SKETCH BY JEAN BAES BELGIUM AND HOLLAND 29 ing view from the tower cabin of a caril- lonneur; or perhaps some poet has given them a charming setting in his rhyme. Many of us know the verses in which Longfellow wrote: "But amid my broken slumbers Still I heard those magic numbers, As they loud proclaimed the flight And stolen marches of the night." And lovers of French will remember the poem of Victor Hugo in "Les rayons et les ombres," entitled "Ecrit sur la vitre d'une fenetre flamande": "J'aime le carillon dans tes cites antiques, O vieux pays gardien de tes mreurs domestiques, Noble Flandre, ou le nord se rechauffe engourdi Au soleil de Castille et s'accouple au midi! Le carillon, c'est 1'heure inattendue et folle, Que 1'oeil croit voir, vetue en danseuse espagnole, Apparaitre soudain par le trou vif et clair Que ferait en s'ouvrant une porte de 1'air; Elle vient, secouant sur les toits lethargiques Son tablier d'argent plein de notes magiques, Reveillant sans pitie les dormeurs ennuyeux, Sautant a petits pas comme un oiseau joyeux, 30 TOWER MUSIC Vibrant, ainsi qu'un dard qui tremble dans la cible; Par un frele escalier de cristal invisible, Eff aree et dansante, elle descend des cieux ; Et 1'esprit, ce veilleur fait d'oreilles et d'yeux Tandis qu'elle va, vient, monte et descend encore, Entend de marche en marche errer son pied sonore !" CHAPTER II "/ had the honour of being every day permitted to search in the Bibliotheque du Roi, in Paris, for more than a month together, in hopes of finding something to my purpose, but in vain." CHARLES BURNEY WHILE carillons may not have ap- peared often in general literature, frequent notice of them is found in the letters and diaries of observant travellers. That the early Venetian ambassadors to the Low Countries were impressed by their mel- ody is shown clearly in the "Relazione Vene- ziane," recently published by the Dutch Gov- ernment. There Marcantonio Correr, writing in 1611 of the tower at Middleburg, says: "Ha un horologio all' uso de' Paesi Bassi, che a tutti gli quarti ed a tutte le hore suonano una quantita grande di campane musicalmente * * *; suonano da per se con artificio et con tastature secondo ancora che si su- onano gli organi." The expression "all' uso de' Paesi Bassi," 31 32 CARILLONS OF indicates that the ambassador, who doubt- less had travelled in many European coun- tries, regarded the carillon as peculiar to the lands of Rembrandt and Rubens. Par- ticularly interesting, too, is a passage from Francesco Belli's account of the journey of Ambassador Giorgio Giorgi in 1626: "Le campane di questi paesi servono per musica: hanno una temperatura soave ed una consonanza ar- monica, ch' isprime ed unisce tutte le voci; ed in Aga appunto il batter dell'hora e prevenuto da un concerto di campanelli sonori e dilicati al possibile. Aggiungo qui la industria ed il modo d'un publico benefizio, ch' e una campana di tanta, no so se io dica riputazione o superstizione, che a morti non si suona per manco di cinque ducati per hora." "The bells in these (low) countries serve for music; their timbre is so sweet and their harmony so complete that they express and include all the notes of the voice; and in the Hague the striking of the hour is preceded by a concert from the belfry which is most melodious and delicate. Thrift here combines with a form of pub- lic benefaction, for a bell is so regarded, I do not know whether I should say with reverence or superstition, that for the dead it is not sounded for less than five ducats an hour." BELGIUM AND HOLLAND 33 What was true of the Venetian ambas- sadors was true also of representatives from the Papal Court. Indeed, the carillons at- tracted the attention of all foreigners of culture who passed through the Low Coun- tries. Count Giuseppi Garampi of Rimini, Prefect of the Vatican Archives, in 1764, accompanied Monsignor Oddi, then Nuncio to Switzerland and afterward Cardinal, on a journey to Holland. Monsignor Garampi, who himself later became Nuncio to Vienna and Cardinal, was a man of much learning and greatly interested in everything per- taining to the social conditions and customs of the countries through which he travelled, and his journal, preserved in the Vatican, mentions "il carillon" a number of times. The one at Delft he calls "il piu armonioso di tutti questi paesi." Concerning Utrecht he writes: "There is a carillon which is played by hand at cer- tain hours of the day, the playing lasting each time a good half hour or three quarters of an hour. The per- 34 TOWER MUSIC IN son who plays, strikes the various bells in such a way as to produce musical chords and makes various melo- dies which are quite pleasing." And of the City Hall, now the Palace, at Amsterdam, he says: "I examined the carillon, the drum of which has 7200 holes for various chords and pieces of music which are produced by the arrangement of a number of pegs that are inserted into these holes and which, as the drum revolves, strike certain levers which raise the hammers that strike the bells." It is indicative of the place carillons oc- cupied in the affairs of the seventeenth cen- tury that grave ambassadors considered it worth while to send account of this music of bells to the Doge and Senate of the far- away Southern Republic. James Howell, in one of his Familiar Let- ters, dated Antwerp, 1622, gives "A Survey of the Seventeen Provinces," and briefly men- tions that "Those curious quadrants, chim's and dialls * * * were first us'd by them." The earliest considerable reference to caril- lons in English seems, however, to be in the THE LOW COUNTRIES 35 Diary of John Evelyn. This is his inter- esting entry: "Amsterdam, August, 1641. The turrets, or steeples, are adorned after a particular manner and invention; the chimes of bells are so rarely managed, that being curious to know whether the motion was from any en- gine, I went up to that of St. Nicholas, where I found one who played all sorts of compositions from the tab- lature before him, as if he had fingered an organ ; for so were the hammers fastened with wires to several keys put into a frame twenty feet below the bells, upon which (by help of a wooden instrument, not much un- like a weaver's shuttle, that guarded his hand) he struck on the keys and played to admiration. All this while, through the clattering of the wires, din of the too nearly sounding bells, and noise that his wooden gloves made, the confusion was so great, that it was impossible for the musician, or any that stood near him, to hear any- thing himself; yet, to those at a distance, and especially in the streets, the harmony and the time were the most exact and agreeable." That there never has been attempted until now any comprehensive historic treatment of this characteristic democratic municipal music of the Low Countries is difficult to believe. Especially does this omission seem 36 CARILLONS OF remarkable when the distinct identification of the carillon with racial lines and its long-continued use within well-defined boun- daries (and almost there alone) is considered. Yet, heretofore, no such treatment has been made. The Assistant Keeper of the British Museum wrote me, when I first became a student of the subject, that he knew of no work on carillons. Like answer came from the librarians of the greater cities of the United States. Careful inquiry in other countries confirmed their statements. But while no general work on carillons has been found, my search has discovered two small books not lacking in general interest, but specially to be noticed from the fact that among the many books in the world they seem to be unique in that they alone carry the word carillon in their title. Of local pamphlets of much value concerning in- dividual carillons there are, happily for the historian, many, but only the two publica- tions hereafter described have had the good BELGIUM AND HOLLAND 37 fortune to attain the dignity of books and to secure for themselves a place in the cata- logue of important libraries. The first of these is by Pieter Hemony, who published it at Delft in 1678. It is an octavo of but eight leaves in all, with this imposing title: "De On-Noodsaakelijkheid van Cis en Dis in de Bassen der Klokken. Ver- toont uyt verscheyde advysen van ervaren organisten ende klokken-speelders," "The Uselessness of C sharp and D sharp in the Bass of Carillons. Shown by various opinions of skilful organists and carillonneurs." The Bibliotheque Nationale of Paris does not pos- sess this, and the only copy I have been able to find is in the University Library at Am- sterdam. There it exists among the reserved rare books in apparently its original binding in boards, their outside covering being of paper having a small artistic design in col- ours on a light ground repeated many times. Hemony treats his theme with vigour and decided partisanship, his conclusions being 38 TOWER MUSIC IN sustained and endorsed by the signatures of the city carillonneurs of Briel, Delft and Amsterdam. The book ends with these live- ly verses by Dirck Scholl of Delft directed against Quiryn van Blankenburgh, official carillonneur of the Hague, who, it appears, had strongly argued that C sharp and D sharp were necessary: De Cis en Dis die zyn ter Gouw, Is dat niet volmaakt gebouw? Quirinus geeft het woord van Ja, Kan 't beter voor ons dan niet besta? Hij raad de Stad en leid haar om Tot iets dat meesten tijd blijft stom: Ja ieder slag kost een pond groot, Zij hangen daar als levend-dood. Which may thus be put in English: Those bells Cis and Dis of old Gouda's big Chime, In truth were they bought to make melody fine? Quirinus says: Yes, that their music is rare. To us it were well had they never hung there; The city was cheated and wrongly induced To purchase what scarcely could ever be used. Each stroke of these bells costs a pound, so 'tis said; Pretending they're living, in fact they are dead! NIEl \X'K/,| w i-cer S!URSUL& KERCK DELFT: THE NEW CHURCH IN 1729 THE LOW COUNTRIES 39 The second book, a small quarto having only about a score of pages, is also Dutch and its title is: "Verhandeling van de Klok- ken en het Klokkespel." It was published at Utrecht in 1737 by J. P. A. Fischer, an organist and carillonneur well-known at that time. A fanciful illustration therein of a carillonneur at his keyboard is taken from Mersenne's "Harmonic Universelle," 1636. While Fischer discusses the origin of the Klokkespel the Dutch word for carillon and gives rules for setting tunes for automatic hour play his larger interest is in bells gener- ally and in curious tales about them and he presents nothing comprehensive concerning the carillon art The Journal of Dr. Burney, published in 1773, has already been quoted. He has much more to say about carillons, and the tech- nical skill exhibited in their playing was very amazing to him. Nevertheless, he had little sympathy with what he so often calls the "passion for carillons," and his conclu- 40 CARILLONS OF sion was that they were of no genuine mu- sical importance. Alexandre Schaepkens, "Directeur de 1'Ecole de Dessin de Maas- tricht, Chevalier de 1'ordre de la Couronne de Chine," published at Brussels in 1857 a small volume, "Des Cloches et de leur usage," in which are quoted two or three pages of interesting specifications from seventeenth century carillon contracts. Quite a contrary view to that of Dr. Burney was presented a hundred years later by another Englishman, the Rev. H. R. Haweis. In "Music and Morals," printed at London in 1875, he discussed carillons with much enthusiasm, advocated their use in England as far superior to chimes, and urged his countrymen to take up their play- ing in the place of change-ringing. Then, even as now, exact knowledge of carillons was difficult to obtain, and Mr. Haweis ap- parently not having the time to search out such detailed information as was available, contented himself with a general treatment BELGIUM AND HOLLAND 41 of the subject. Closer to the present day, the gifted Italian, De Amicis, and other writers of books of travel, have given a few words of charming description where tower views and melodies have attracted them. Covering wider ground, however, than anything before it, is "La Musique aux Pays Bas, Avant le XIX Siecle; documents inedits et annotes," published 1867-1888 by Edmond van der Straeten, a distinguished Belgian author and musician. That erudite and well- indexed work contains many references to carillons and gives data of decided historic value. Ancient carillon compositions have a place in the second part of the "Bibliotheque Musicale Populaire," published by E. G. J. Gregoir, at Brussels, in 1877-1879. There also will be found a brief account of caril- lons, with a list of those in Belgium, and a list of founders. Finally, within the last decade W. W. Starmer, member of the Royal Academy of Music, London, has published on several occasions papers, of which I have 42 TOWER MUSIC IN made much use, giving a sympathetic and ac- curate analysis of the characteristics of the carillon and he contemplates putting in more permanent form his valuable conclusions. The publications enumerated cover sub- stantially all that has been written, so far as I can ascertain, upon the broader features of the carillon art. Remaining to be con- sidered are the early municipal records so religiously preserved in Holland and Bel- gium; the later archaeological annals, con- tributed by Dr. G. van Doorslaer, Professor W. P. H. Jansen, D. F. Scheurleer, F. A. Hoefer, J. W. Enschede and other careful investigators, and the present day local pam- phlets often ephemeral and rare and many times containing facts and traditions not else- where to be found. These all yield cumu- lative evidence of the close relationship of the carillon to the civic and social life of the Low Countries throughout the past four centuries. It early became clear to me that the caril- FANCIFUL PICTURE OF AN ANCIENT CARILLON MERSENNE'S HARMONIE UNIVERSELLE, 1636 THE LOW COUNTRIES 43 Ions themselves must be heard and seen to be fully understood. With this purpose I have visited all the towers thus far men- tioned and many others besides. CHAPTER III "When I came to Ghent I determined to inform my- self in a particular manner concerning the carillon science" CHARLES BURNEY THE traveller who would most com- fortably gain the heights of a bell- tower, and most easily see the bells and the mechanism of a large carillon should visit the belfry of Ghent in Belgium. This alone of the towers in the Low Countries has an electric lift. Perhaps some explorer may feel that the atmosphere of the antique is dis- turbed by so modern an invention, but by its aid the ascent becomes possible for many who would not undertake the arduous climb, some- times of several hundred steps necessary to reach a carillonneur's cabin. Antwerp, for instance, has 622 steps; Bruges 402; and Mechlin 400, to the bells. Ghent at this time will specially attract English-speaking people and, indeed, those of 44 all lands who feel that the alleged gains of war are the great illusion of the present day. The same carillon which rang out a century ago, will welcome now the completion of a hundred years of peace between Great Britain and the United States, begun by the treaty signed on December 24th, 1814. That Christ- mas Eve agreement was the work of J. Q. Adams, Gallatin, Clay, Bayard, and Russell, representatives at Ghent on the part of the United States, aided by the wisdom of Madi- son and Monroe at home. On the part of England it was due to Castlereagh, Bathurst, Liverpool, and Wellington, though none of these men were actually Peace Commissioners. No accomplishment of the treaty was more important than that which provided for the arbitration of the boundary between the United States and Canada; a line, with its subsequent extensions, running by land and water nearly 4000 miles. Since the signing of the treaty, not a few irritating controversies have arisen between the nations who were 46 TOWER MUSIC IN parties to it, and great populations active in trade rivalries have come to exist on either side of the dividing line, but through all, that line has continued unfortified, unguarded, and unpatrolled. Both adjacent peoples have maintained their rights, both have advanced in prosperity and, as fixed by arbitration, that boundary has remained secure with neither forts, nor soldiers, nor ships of war upon it to keep a threatening or even a protective watch. The fine house, with extensive grounds, in the Rue des Chartreux in which the conclu- sion of the negotiations of 1814 took place, known then as the house of Lieven Bauwens and occupied by the British Peace Commis- sioners, is now a Carthusian convent. It was there, in the long saloon looking out upon an inner court which contains a delightful formal garden, that the treaty was signed. The carved woodwork and decorated ceiling have re- mained in their original form, but the room itself was divided in recent years by plain par- titions into three parts. It is a satisfaction to GHENT: THE BELFRY SKETCH BY JEAN BAES THE LOW COUNTRIES 47 know that this historic meeting-place has lately been restored to its earlier size and dignity. Not far distant in the very heart of the old city is the Place Saint Bavon, at one side of which rises the great bell-tower. The heights of this belfry once gained, the traveller finds himself among a greater company of bells, both large and small, than he has ever before seen. In all there are 52 bells. Fixed upon a heavy framework of wooden beams, they ex- tend in parallel rows, tier above tier, filling the sides of the great tower room. The little bells are hung the highest. The big ones just clear the floor. The largest of all is taller than a tall man. Its diameter, 82.67 inches, is even greater than its height. It weighs six tons. On it is this inscription in Flemish, "My name is Roland; when I toll there is fire, and when I ring, there is victory in the land." Made in 1314, it was recast in 1659 and will have again to be recast as a crack developed in July, 1914. The smallest bell has both a height and a diameter of only about 48 CARILLONS OF 8 inches and weighs less than 18 pounds. In some ways, nothing gives a better idea of a great carillon to one who has not seen it than' a list of bells composing it. Such a list of the Ghent carillon, with some details of each bell, is given in an appendix. Of greater consequence, however, than number, or size, or weight is the pitch rela- tionship of the bells. For it is to be borne in mind that throughout virtually its entire compass the bells of every carillon progress by regular semitone or chromatic intervals. Ghent has these intervals complete through four and one-half octaves, except that in the lowest part of its bass, two semitones are omitted. Other carillons have somewhat fewer bells but this essentially chromatic scale is characteristic of all, and the compass of the most important is from three to four octaves. Omission of bells in the bass is primarily be- cause of their great weight and therefore great cost. Hemony's spirited little book upon this subject and the declaration of the BELGIUM AND HOLLAND 49 amusing Gouda verses, "Each stroke costs a pound, so 'tis said," will be recalled. An ex- amination of the list of the bells of Ghent shows that if the omitted bass bells had been supplied, they would have weighed about nine tons. In other words these two would have weighed as much as the 46 composing the middle and upper parts of the carillon. There are today in Belgium about 30 caril- lons of importance and in Holland about 20. If those of lesser consequence are included the total for both countries will be well over 100. Many authorities give higher figures, Brock- haus' German Encyclopedia saying there are 1 15 in the Netherlands and 97 in Belgium, but such numbers must include many caril- lons not now existing. The individuality of their towers and their surroundings will make all carillons of interest to students and to trav- ellers with ample time at their disposal. But there are many not in either of these privi- leged classes, and for their benefit I name a score that seem most worth hearing. 50 TOWER MUSIC Curiously enough, opinion as to what are the best seems rarely to have been recorded, though I discover that Ghent in 1543 sent four commissioners to examine the carillons of Antwerp, Mechlin, Tongerloo, and Lou- vain, apparently then considered the most famous. Similarly commissioners from Ypres went to hear the carillons of Lille, Tournai, Ghent, Aalst, and Mechlin, in 1575. De Sany, an historian of music living at Brussels, made a list in 1642 of renowned carillons in his day and headed it with Brussels, Louvain, Ant- werp, Ghent, Mechlin, Mons, and Tournai. In our own day van der Straeten indicates as the best, Mechlin, Antwerp, Delft, and Gro- ningen, and Larousse gives as the most impor- tant, Amsterdam, Delft, Haarlem, Bruges, Mechlin, Antwerp, Ghent, Aalst, and Oude- naarde. The lists here given embody conclu- sions which have been reached after hearing many carillons and after talking with many carillonneurs and lovers of the art. I offer them as a suggestion rather than as a state- MAP OF THE CARILLON RECIOM x0 t . > A /?* C* , 9, g '-< T O s i!5Sr*9MBvK* S.T C^S^^^/iT^ Ni^taoKH,* , W.R^j'SSr Ml OOI.K Boaftl^'l\X-SOI f i.uHittgyC v%^r>c i^V>?-n .EINOIIOVI OSTKH C?x S.NIKUAAS AAUST Diesr , L.O UVAIN /MAAf2 .^.ATH. BELGIUM , IU J TOURNAI Do .. * AACM MA CM or 52 CARILLONS OF ment of recognized relative standing, for in such a matter no absolute determination is possible. In making up these groups, accu- racy of the pitch of the bells, their timbre, their weight, their compass, the perfection of their playing mechanism, their arrangement in the tower, and the situation of the tower itself all have been considered. The follow- ing, in my judgment, are the best carillons in Belgium and in Holland. BEST CARILLONS IN BELGIUM Mechelen Sint Romboutstoren Malines Tour de Saint-Rombaut 45 Mechlin Saint Rombold's Tower Brugge Halletoren Bruges Tour des Halles 49 Bruges Belfry Antwerpen Onze Lieve Vrouwetoren Anvers Tour de Notre Dame 47 Antwerp Cathedral of Our Lady Gent Klokketoren Gand Beffroi 52 Ghent Belfry Leuven Sint Geertruitoren Louvain Ste. Gertrude, S. Ger- trude's 40 BELGIUM AND HOLLAND 53 BEST CARILLONS IN BELGIUM Continued. TOWN TOWER OFBELLS Leuven Sint Pieterstoren Louvain St. Pierre, S. Peter's 46 Yperen Halletoren Ypres Beffroi, Belfry of Cloth Hall 44 Kortryk Sint Maartenstoren Courtrai St. Martin, S. Martin's 47 Bergen Klokketoren Mons Beffroi, Belfry 44 Doornyk Klokketoren Tournai Beffroi, Belfry 40 BEST CARILLONS IN HOLLAND NUMBER OF BELLS TOWN TOWER Middelburg Abdy Middleburg Abbey 41 Delft Nieuwe Kerk 40 Amsterdam Paleis 37 Utrecht Domkerk 42 's Gravenhage, den Haag Groote Kerk The Hague S. James's 37 Nymegen, Nimwegen Groote Kerk Nimeguen, Nymwegen S. Stephen's 40 Gouda Groote Kerk 37 Vlissingen Groote Kerk Flushing S. James's 54 TOWER MUSIC IN BEST CARILLONS IN HOLLAND Continued. T WN TOWER Haarlem Groote Kerk 35 Groningen Martinikerk 37 Kampen Nieuwetoren 35 Generally speaking, the Belgium arrange- ment and mechanical adjustment are superior to the Dutch and the effect produced is, there- fore, more satisfactory. But those who would gain an adequate idea of what this unique music really is, should hear as large a number as possible of the carillons just named and should hear them played by a carillonneur. Above all, endeavor should be made to hear at Mechlin an evening concert by Josef Denyn. A carillon is played in two ways: I Automatically by means of a revolving cylinder. Thus played a carillon may be thought of as a gigantic music box. Its exact designation is then "Carillon a cylindre" or "Carillon a tambour." Before the hour strikes THE LOW COUNTRIES 55 and at certain other intervals this cylinder or drum is moved by a mechanism of its own which is released at the proper moment by the great tower-clock. On the hour music is played for a minute or more; at the halves and quarters the play is for less time, and in some places at the eighths there are flourishes of a few notes. Pins or studs of iron are placed in holes on the surface of the cylinder arranged so that as the cylinder revolves they trip levers con- nected with hammers which strike the outside of the bells. Sometimes there are 10,000 or more holes suitable to receive the pins; say 100 rows, or measures, of 100 holes each. Thus an unlimited number of tunes can be played. In order to secure the quick repeti- tion of a note a single bell is sometimes equipped with as many as six hammers. The pins are variously offset from their centres; thus a bell may be sounded by the use of a properly selected pin at any one or all of sev- eral points in a measure. 56 CARILLONS OF Tunes are set upon the cylinder by the caril- lonneur, and by periodic changing are made appropriate to the season of the year. Town tradition, handed down for a century or more, sometimes fixes these tunes, but more fre- quently the musical taste of the carillonneur governs. A carillon is also played: II By a bell-master, or carillonneur, using a clavier or keyboard resembling that of a piano or organ. Thus played a carillon may be thought of as a gigantic pianoforte or organ. Its exact designation is then "Carillon a clavier." During market hours, at festivals, and in midday or evening concerts, popular songs, operatic airs, national hymns and a great variety of other tunes are played by the carillonneur. This playing by means of the clavier is often called a carillon concert. Each key of the clavier is connected by lever and wire with the clapper of its corre- BELGIUM AND HOLLAND 57 spending bell. In what is known as the Bel- gian system, perfected by Mr. Denyn, each clapper when at rest is held by a spring and guide wires in an exactly defined position close to the inner sound bow and the bells are hung in parallel lines, the deeper ones more or less inclosed in chambers within the tower. Generally in Holland the clappers have neither springs nor guide wires, which omissions tend to make their mechanical operation much less accurate. Often, too, the bells there are hung in circles or placed so that they are seen in the tower lanterns. These practices, while they may add to the pic- turesqueness of the tower, interfere with the most successful playing, because the keyboard connections are necessarily less direct. The bells of the lowest octave and a half are connected also with a pedal clavier. This is done for the reason that the larger bells re- quire a forceful stroke when it is desired to bring out their full tones, and that this ar- rangement gives the bell-master greater com- 58 TOWER MUSIC IN mand of the resources of his instrument by allowing the use both of hands and of feet and so enables him to play music in three or more parts. On the manual clavier, as Mr. Starmer points out, great dexterity of hand is essential, for much of the execution is with a kind of tremulando in which the keys are played from the wrist and the elbow. Scales and arpeggios are accomplished by a constant crossing of the hands. The greater part of the playing is on the smaller bells with occasional use of the large ones. The reasons for this are that small bells are more easily sounded, and that the effect of chords is much more satisfactory on them, due to the fact that on the large bells the harmonic tones are prominent and, when sounded together, frequently interfere with each other in a disagreeable manner. This is not the case with the smaller bells as their harmonic tones are too high in the scale of sounds to distress the ear. Chords are most satisfactory when played arpeggiando and THE LOW COUNTRIES 59 scale passages can be rendered with great rapidity and are most effective. When play- ing in three or more parts, however, the great- est care is necessary as to the disposition of the different notes of the chords, the best ef- fects being obtained by keeping a wide inter- val between the low note and the note next above it. All degrees of crescendo and of diminuendo are possible. Vibration of the bells does not long persist, so that, apart from the fact that the effectual damping of bells is practically an impossibility, when carillons are played by an expert performer, there is no real necessity for such a thing. With smaller bells the sound is so quickly effaced that when the effect of sustained chords is desired, it is obtained by a rapid tremulando, much as in pianoforte playing. To sum up: In the first method, that of automatic cylinder play, the outer surface of the bell is struck by a hammer actuated by a cylinder which operates in connection with the tower-clock. In the second method, that 60 CARILLONS of keyboard play, the inside of the bell is struck by the clapper actuated by a caril- lonneur. But enough for the present of the mechan- ism of the bells, and the intricacy of their play. Above us, surmounting the topmost spire of Ghent's belfry is the gilded copper dragon which has looked down upon many stirring scenes in Flemish history. There is a legend that the Crusaders brought this dragon from Constantinople to crown the belfry of Bruges and that there it remained until Artevelde, victorious, carried it a prized trophy to Ghent where it was again set high above bells. As we meditate and gaze upon the vast expanse before descending to the Place Saint Bavon, there comes vividly to mind that day when 'tis said Charles V, standing where we stand, and beholding the splendid panorama, an- swered Alva's cruel suggestion that the city should be destroyed, with: "Combien faudrait- il de peaux d'Espagne pour faire un Gant de cette grandeur?" CHAPTER IV "In the ancient town of Bruges" LONGFELLOW WESTWARD across the even Flem- ish plain, abloom with intensive farming, it is a short trip from Ghent to Bruges, its ancient rival, till recently famous for its quaintness and quiet. Once inhabited by energetic and independent mer- chants and traders, the city's central feature is the towering belfry rising on the south side of the Groote Markt. Standing as a conspic- uous emblem of municipal liberties, the bel- fry is characteristic of Flemish towns. To say that belfry in its origin is not con- nected with bell appears to deny what is manifestly true. The fact is however, that they have a purely chance resemblance. The Oxford Dictionary says: "Belfry: Pointing to a late Latin type 'berefredus,' adopted from Teutonic 'bergfrid.' In English, its ac- 61 62 TOWER MUSIC IN ccptance was doubtless due to popular association with 'bell' and the particular association which was in conse- quence given to the word. The meaning, has passed from a movable tower used by besiegers and besieged, to a tower to protect watchmen, a watch tower, beacon tower, alarum bell tower, bell tower, place where a bell is hung. 'Frid,' it is generally agreed, is a form of 'fridu,' peace, security, shelter; and 'berg-en* means to protect, defend ; the whole meaning 'protecting or defensive place of shelter.' " Thus these towers were symbols of muni- cipal freedom and represented to the eye and ear the idea of civic solidarity. Grant Allen, in "The European Tour," analysing the char- acter of the art of Belgium, remarks: "These Flemish belfries are in themselves very inter- esting relics, because they were the first symbols of corporate existence and municipal power which every town wished to erect in the Middle Ages. The use of the bell was to summon the citizens to arms in defence of their rights, or to counsel for their common liberties. Every Teutonic burgher community desired to wring the right of erecting such a belfry from its feudal lord; and those of Bruges and Ghent are still majestic memorials of the freedom-loving wool-staplers of the thirteenth century. By the side of the Belfry stands the Cloth Hall, representing the trade from which the town derived its wealth." BRUGES: THE BELFRY THE LOW COUNTRIES 63 The crown of every belfry was a carillon. The belfry and its crown were the proud pos- session of every prosperous community. And today, wherever the carillon may hang, its bells belong to the town and the bell-master is a municipal officer. Neither in Holland nor in Belgium have I found a place where the carillon and the tower in which it hangs, even though it be a church spire, are not controlled and maintained by the municipal authorities. It is true that in some instances, carillons are played and that often the great separate bells are rung for church services or in religious functions, but always the dominating power in the manage- ment of the bells is civic and the religious ele- ment, if it exists at all, is entirely subordinate. Reviewing Rodenbach's late Brugian novels, Dr. Chatterton-Hill says: "Joris Borluut is the carillonneur of Bruges. These are grave and important functions, which cannot be entrusted to the first comer. All the feelings and emo- tions and experiences of an old city, the whole of the priceless moral treasure accumulated during many cen- 64 CARILLONS OF furies, must find expression in the music of the belfry bells. Success and failure, smiles and tears, illusions and realities, must all be blended here into one sweet har- mony. A consummate artist is essential, but one who understands Bruges is essential also, for the difficult task is assigned him of concretising, so to speak, the soul of the Flemish town. In the merry laughter and plaintive sighing of the old bells, the citizens of Bruges require to find the echo of that which they feel within themselves. "Rodenbach has resuscitated the soul of Bruges; he has helped us not only to hear, but to be penetrated by, the infinitely sad and wonderfully sweet music which vibrates in the air of the old Flemish city. It brings back to us the memory of the glorious past, brilliant with hope, of a world that was and that is no more, whose splendour was great but ephemeral, and which survives only in venerable and moss-grown ruins." If Ghent's bells are easiest of access, Bruges' are most celebrated in verse. It was here that Longfellow came under the spell of the caril- lon. At once his imagination was awakened and we foresee his poem in these brief entries in his diary of 1842: "May 30. In the evening took the railway from Ghent to Bruges. Stopped at La Fleur de Ble, attracted by the name, and found it a good hotel. It was not yet night; and I strolled through the fine old streets and felt myself BELGIUM AND HOLLAND 65 a hundred years old. The chimes seemed to be ringing incessantly; and the air of repose and antiquity was de- lightful. * * * Oh, those chimes, those chimes! how deliciously they lull one to sleep! The little bells, with their clear, liquid notes, like the voices of boys in a choir, and the solemn bass of the great bell tolling in, like the voice of a friar! "May 31. Rose before five and climbed the high bel- fry which was once crowned by the gilded copper dragon now at Ghent. The carillon of forty-eight bells; the lit- tle chamber in the tower; the machinery, like a huge barrel-organ, with keys like a musical instrument for the carillonneur ; the view from the tower; the singing of swallows with the chimes; the fresh morning air; the mist in the horizon; the red roofs far below; the canal, like a silver clasp, linking the city with the sea, how much to remember!" The poem, of which "Carillon" is the first part, was probably begun there, his editor says, and finished later when he was again at Bruges on his return home. More than any other literary utterance its verses have drawn English-speaking travellers to this unique music. How wonderfully his genius gives the scene at night, when silence perfects the sound of the bells. 66 CARILLON In the ancient town of Bruges, In the quaint old Flemish city, As the evening shades descended, Low and loud and sweetly blended, Low at times and loud at times, And changing like a poet's rhymes, Rang the beautiful wild chimes From the belfry in the market Of the ancient town of Bruges. Then, with deep sonorous clangor Calmly answering their sweet anger, When the wrangling bells had ended, Slowly struck the clock eleven, And, from out the silent heaven, Silence on the town descended. Silence, silence everywhere, On the earth and in the air, Save that footsteps here and there Of some burgher home returning, By the street lamps faintly burning, For a moment woke the echoes Of the ancient town of Bruges. But amid my broken slumbers Still I heard those magic numbers, As they loud proclaimed the flight And stolen marches of the night; THE LOW COUNTRIES 67 Till their chimes in sweet collision Mingled with each wandering vision, Mingled with the fortune-telling Gipsy-bands of dreams and fancies, Which amid the waste expanses Of the silent land of trances Have their solitary dwelling; All else seemed asleep in Bruges, In the quaint old Flemish city. And I thought how like these chimes Are the poet's airy rhymes, All his rhymes and roundelays, His conceits, and songs, and ditties, From the belfry of his brain, Scattered downward, though in vain, On the roofs and stones of cities! For by night the drowsy ear Under its curtains cannot hear, And by day men go their ways, Hearing the music as they pass, But deeming it no more, alas! Than the hollow sound of brass. Yet, perchance a sleepless wight, Lodging at some humble inn In the narrow lanes of life, When the dusk and hush of night Shut out the incessant din Of daylight and its toil and strife, 68 CARILLONS OF May listen with a calm delight To the poet's melodies, Till he hears, or dreams he hears, Intermingled with the song, Thoughts that he has cherished long; Hears amid the chime and singing The bells of his own village ringing, And wakes, and finds his slumberous eyes Wet with most delicious tears. Thus dreamed I, as by night I lay In Bruges, at the Fleur de Ble, Listening with a wild delight To the chimes that, through the night, Rang their changes from the belfry Of that quaint old Flemish city. The Fleur de Ble has disappeared and few know even where it was. Searching recently, I had the good fortune to discover its site, now occupied by the theatre of the city. Looking over the trees of the gardens to the south, one sees the belfry high above all and hears, often undisturbed by other sounds, its music. The evening sky at our first arrival in Bruges was rosy with a sunset glow which lingered until nearly midnight. As we took a BRUGES: THE BELLS This shows bells equipped with many hammers to allow quick repetition of the same note in automatic play BELGIUM AND HOLLAND 69 late supper we could hear at frequent inter- vals the agreeable jangling of distant bells and, after finishing our meal, we went out into the dusky street. Then the mystery and the music enticed us forth. As we wandered through the windings of the narrow echoing streets, rfow a flourish, now an irregular snatch of song, was wafted to us. The notes came so clear that at every turn we looked to see the belfry. Thus led by the carillon's music, we at length came out in a great moonlit square. Here all was silent except for the steps of an infrequent passer and the hum of faint music and voices issuing from the row of estaminets that form the north side of the Groote Markt From somewhere came the plaintive notes of a zither, the only distinguishable sound. At the foot of the monument in the centre of the square, we waited for the hour. Presently a ripple and then a burst of tune, inaccurate of tone and time, but mysteriously beautiful, coming from the dark tower and floating into every nook of the silent city. The tune over, 70 TOWER MUSIC IN a deep bell struck ten and we turned home- ward. Since that summer, Bruges has suffered an awakening, which though it may have given satisfaction to the inhabitants, has, alas, de- stroyed a certain repose charming to trav- ellers. Electric cars now pass through the Groote Markt and "Bruges en avant" has be- come the slogan of "Bruges la morte." But with these innovations, the carillon has not been neglected and, happily, the greatest of bell-masters, Josef Denyn, was summoned to give his advice. Under his supervision, dur- ing the winter of 1913-14 the keyboard was reconstructed, springs were placed behind the clappers of the bells, and adjustments were made which greatly increase the ability of the carillonneur to produce effects befitting the fame of the belfry. The carillon consists of 47 bells made by Joris Dumery of Antwerp in 1743, his bells succeeding those destroyed by fire in 1741. Mr. Starmer in 1905 describes the Bruges THE LOW COUNTRIES 71 carillon as consisting of four octaves G to G with low A flat and B flat missing. Mr. Denyn after recently improving it said: "The big bell, the do of the keyboard, is an A going towards A flat. Its tone is nearly one whole tone higher than that of 'Salvator,' the base of the carillon at Mech- lin. In its principal accord, do, the Bruges carillon is not quite in tune; it is entirely out of tune in the octaves of mi. "According to the disposition of bells and keyboard, I do not play as easily as at Mechlin, for at Bruges the small bells are distant about ten metres from the key- board. This hinders securing responsive connections, and so the firmness of the playing suffers. But the keyboard itself is now the most perfect anywhere. What a pity that the mellow-toned bells are not all quite in tune. As to the smaller bells, I much prefer my Mechlin ones. They may be somewhat harsher of sound, but surely they are more silvery (i.e. brilliant) and I think I can get better effects with them." So this quaint old Flemish city is rising from its sleep of almost three hundred years. And if we should climb the belfry, we should hear in daytime now sounds of a greater ac- tivity than aroused Longfellow from his mus- ing there more than half a century ago. As 72 we read the later verses of "The Belfry of Bruges," its pictures conceived as he stood on the lofty balcony near the bells, it is not alone his own visions that become real. His art pro- duces in us also a reflective mood and other scenes and events in history associated with bell tower after bell tower in the Low Coun- tries come to mind. THE BELFRY OF BRUGES In the market-place of Bruges stands the belfry old and brown ; Thrice consumed and thrice rebuilded, still it watches o'er the town. As the summer morn was breaking, on that lofty tower I stood, And the world threw off the darkness, like the weeds of widowhood. Thick with towns and hamlets studded, and with streams and vapours grey, Like a shield embossed with silver, round and vast the landscape lay. At my feet the city slumbered. From its chimneys, here and there, Wreaths of snow-white smoke, ascending, vanished, ghost- like, into air. Not a sound rose from the city at that early morning hour, But I heard a heart of iron beating in the ancient tower. From their nests beneath the rafters sang the swallows wild and high; And the world, beneath me sleeping, seemed more distant than the sky. Then most musical and solemn, bringing back the olden times, With their strange, unearthly changes rang the melan- choly chimes, Like the psalms from some old cloister, when the nuns sing in the choir; And the great bell tolled among them, like the chanting of a friar. Visions of the days departed, shadowy phantoms filled my brain; They who live in history only, seemed to walk the earth again. I beheld the Flemish weavers, with Namur and Juliers bold, Marching homeward from the bloody battle of the Spurs of Gold; 74 TOWER MUSIC Saw the fight at Minnewater, saw the White Hoods moving west, Saw great Artevelde victorious scale the Golden Dragon's nest. And again the whiskered Spaniard all the land with terror smote ; And again the wild alarum sounded from the tocsin's throat ; Till the bell of Ghent responded o'er lagoon and dike of sand, "I am Roland! I am Roland! there is victory in the land!" Then the sound of drums aroused me. The awakened city's roar Chased the phantoms I had summoned back into their graves once more. Hours had passed away like minutes; and, before I was aware, Lo! the shadow of the belfry crossed the sun-illumined square. CHAPTER V "Le campane di questi paesi servono per musica; hanno una temperatura soave ed una consonanza armonica." GIORGIO GIORGI THE word carillon is hardly used in the land where carillons thrive. In Holland the usual name for the in- strument is klokkenspel (literally, bellplay), while in Belgium it is beiaard. The bell- master is known as klokkenist or klokken- speler (with many variations) and beiaardier. The corresponding verbs, bespelen, beiaarden, and carillonner, refer to clavier play only. Carillon, at first quatrillon, is of course adopted from the French and comes, accord- ing to Littre, from medieval Latin quadril- lionem. Thus the name of the carillon is traced to the four diatonic bells which made up the tintinnabulum of the twelfth century. More definitely, however, the instrument as 75 76 CARILLONS OF we know it, had its origin in a mechanical arrangement of sets of small bells in connec- tion with the clocks which in the fifteenth cen- tury came to be an essential part of the muni- cipal towers of the Low Countries. This mechanism, striking the small bells just be- fore the hour, announced that the heavy hour bell was about to sound. It was not long be- fore more than four bells were used, and as the number increased, the mechanism was ar- ranged to play a little tune. Thus we reach the 8 or 10 bells of the Flemish "voorslag" or "forestroke," obviously so called from its play before the hour. To possess a "voorslag" was an indication of municipal progress and the principal Flemish towns were soon thus equipped. Owing to this periodic playing, which before long preceded the strokes of the half-hour as well, bell music came to be a distinctive feature of the Low Countries. As prosperity increased and as taste devel- oped, still more satisfactory musical effects were sought. Bells were added to the "voor- EDAM: THE BELL TOWER BELGIUM AND HOLLAND 77 slag"; all the intervals of the chromatic scale were supplied; and the barrel of the playing device was enlarged until each quarter hour had its share of notes, and the hour tunes lasted a minute or more. This music was something that everyone could enjoy without stopping work. He did not go to it; it came to him. It suited both his industrious disposition and his reposeful temperament. The clavier or manual keyboard was com- ing into use with chromatic stringed instru- ments. What more natural than that it should be used, in addition to the automatic playing mechanism up to this time solely employed, with sets of bells that had all the semitones? Nor was it strange that to meet the require- ments of the constantly greater number of bells, and their increased weight, a pedal key- board should soon be invented to supplement the manual. It is not known when the great chromatic expansion occurred, nor can we tell where claviers, in connection with bells, first appeared. It seems to have been a grad- 78 TOWER MUSIC IN ual development, an outgrowth of the love of the people for a music which, as it decorated the passing of time, welcomed all, the high and the low, the artist and the artisan, the man in his shop, the woman at her home, as participants in the pleasure it could give. The researches of Dr. van Doorslaer as to the origin and development of the art admi- rably cover the early days of the Belgian field. Concerning later times and Dutch bells, in- formation has been gained from many other sources. Jan van Leiden, a Carmelite prior, writing in the early part of the fifteenth century about the abbey of Egmond in Holland, says that a certain Franco, abbot there from 1 182 to 1206, had a "klokkespel" made for the gateway. Whatever truth there may be in this tale, which has been mentioned by Gregoir and others, nothing has been discovered to show how many bells there were at Egmond or that they were chromatic or how they were played. The first trustworthy information is found THE LOW COUNTRIES 79 toward the end of the fourteenth century when great clocks began to be placed in the towers of the Low Countries. Middleburg had a clock in 1371; Mechlin got one for Saint Rombold's tower in 1372; and Ghent, one for the belfry in 1376. There are many reasons for believing that even thus early the striking of the hour was preceded by a "voor- slag" on the little bells called then in Flemish, "appeelkens." Records of Mons, 1382, Tour- nai, 1392, and Ghent, 1412, mention such bells. It is at this same period that the custom of sounding bells as a part of the celebration of joyous events was established. This kind of playing is mentioned in the municipal ac- counts of Mechlin in 1373. The use of the little bells extended during the fifteenth cen- tury and various names were applied to them. Aalst obtained some "appeelkens" in 1460 and Oudenaarde got three in 1496, spoken of as "clocxkins." These primitive chimes continued to be used during the fifteenth century and it was 80 CARILLONS OF not until the beginning of the sixteenth that they had been developed sufficiently to give a tune with variations. Van der Straeten tells of some bells which in 1501 at Oudenaarde played the motives of the "Veni Sancte Spi- ritus" and of the "Peccatores." He also gives a quotation which proves that the clavier was already in use there in 1510. Gregoir states that Oudenaarde had "un jeu de cloches" in 1409, Antwerp in 1430, Lou- vain in 1434, and Lier in 1495, and asso- ciates these with the claim for the first caril- lon, but he mentions no authority for these dates nor does he define "un jeu de cloches." In all probability these bells were what have been mentioned as "clocxkins." Louvain, we know, had 8 bells in 1525; Oudenburg 10, in 1539; and Ghent 16, in 1543. In the northern part of the Netherlands progress was only slightly slower. Hoorn had 10 bells in 1528 and Alkmaar 11, in 1541. Both Leiden and Groningen had carillons in 1577, and Gouda in 1578. Arnemuiden by OUDENAARDE: THE TOWN HALL TOWER SKETCH BY JEAN BAES BELGIUM AND HOLLAND 81 1583 possessed 19 bells and those at Utrecht were already widely known in 1586. With the further enlargement of carillons came the invention of the pedal keyboard. This was in use at Mechlin in 1583, and prob- ably the improvement was made elsewhere at about the same period. The drum or cylin- der for automatic play was originally of wood and at this period of iron. Jan Cal of Nime- guen first used copper in a drum which he placed in the Nieuwe Kerk at Delft in 1663. Since the adoption of the pedal keyboard, carillons have undergone changes only in the improvement of the details of their mechan- ism and in the increase of the number of their bells. Thus upon the basis of a few bells giving simple songs in connection with the striking mechanism of great clocks, we see developed in a century, a noble musical instrument, well fitted for its lofty place in municipal towers, enduring through hundreds of years, and giv- ing delight to thousands. 82 TOWER MUSIC IN As to the requirements of a good instrument to-day, I quote Josef Denyn : "A carillon to give satisfaction, however played, must have as a minimum 28 bells with the bass bell of not less than 550 pounds. It should have its bells hung in right lines, the big ones, if possible, somewhat more inclosed than the smaller, with the bell loft 200 or 300 feet high. Towers with open tops, lanterns, in which the bells hang in circles, picturesque as they may be, cannot possess mechanically perfect carillons, for the connection between keyboard and bells is not direct enough and there is, therefore, a loss of the control needed to produce delicate effects. This is a marked fault in numerous Belgian and Dutch carillons." The Denyn improvements, which have been the contribution of both father and son, Adolf and Josef, have been specially directed to se- curing a fine adjustment of the connections to the clapper by means of guide wires and springs and to keeping each clapper in exact position with relation to the sound bow of its bell. No Dutch carillon yet has these im- provements, though several towns have re- cently taken counsel of Mr. Denyn in the mat- ter and are likely to follow his advice. Among 83 these are the towns of Nimeguen, Zutfen, and Arnhem; and the carillonneur at Gouda, Mr. van Zuylen, has publicly advocated these improvements, which have already been made in all the larger Belgian carillons. From the sixteenth to the eighteenth cen- tury, carillons were often treated as spoils of war, and especial havoc was wrought at the end of that period when the French invaders suppressed the abbeys. Bells captured in war were sometimes recast into cannon or carried away as trophies, or again they were ransomed as a town's most prized possession. When a city bought a carillon it was for- mally welcomed on its arrival by burgomaster and people, and amid rejoicings, the bells were consecrated with elaborate ceremony. Men and women of noble rank stood sponsors. Carillons then were in fact esteemed an essen- tial part of the useful equipment as well as of the artistic adornment of a progressive Netherlandish city. Item after item in old rec- ords show how important a place they occu- 84 CARILLONS OF pied. Their care, their proper playing, their enlargement, were constantly under discus- sion. Even the referendum was employed to decide questions relating to them. Towns were rivals for preeminence in the carillon art and bell-masters and bell-makers were esteemed citizens of great consequence. Barbiere in "La Capitulation * * * d'An- vers," 1585, tells us that one lot of 59 bells was carried off from Brussels to Spain, of which "32 formed a harmony like an organ and could be played by means of a clavier." When Louis XIV captured Mons in 1691, a formal treaty was concluded between the council on the one part and Marshal d'Hu- mieres on the other for the ransom of the carillon. The bells were thus saved at that time, but during the French invasion in 1793, all were taken but one. This was in accord- ance with the decree of the National Conven- tion at Paris on July 23, 1793, "That there shall be left only one bell in each parish church; that all the others shall be placed at Mo.vs: THE BELFRY SKETCH BY JEAN BAES BELGIUM AND HOLLAND 85 the disposition of the Executive Council which shall provide for taking them to the nearest foundry that they may be there made into cannon." During the siege of Maastricht in 1676, cannon balls having struck the Town Hall, the council ordered that the bells should be dismounted in order that "the carillon, much praised by the musicians of this time may not be destroyed." Brussels had a carillon ruined in the bombardment of 1695, but the magis- trates concluded to buy a new one in 1711;, for, as they said, "It is for the honour of a court town like Brussels to have as one of its'orna- ments a perfect carillon which can serve not only for the satisfaction of the townspeople but also to give diversion to strangers who are often attracted to a town by the harmony of a carillon, which thus both adds to the town's renown and also increases its business." Old records of Ath, Belgium, give popular votes upon many details of carillon adminis- tration. Items in the accounts of Mechlin in 86 TOWER MUSIC IN 1682 show that a quarter cask of Rhine wine, and red ribbons for the clappers and other accompaniments were bought for the fetes which took place when the 33 bells of Notre Dame were christened. A list is also given of the god-fathers and god-mothers, together with the elaborate names they bestowed on each bell. These bells were seized by the French in 1798 and were sent "pour aug- menter la pate des canons de Creuzot." When the drum of the new carillon of Bruges was to be installed in 1746, the people themselves drew it through the streets to the belfry, and the second of February, when it first played, was made a general holiday. John V of Portugal visited the Nether- lands about 1730 and was so delighted with carillon music that he determined to have a set of bells for his sumptuous palace then building at Mafra. The price having been ascertained, it was guardedly suggested by his treasurer that the cost was great. This im- plied criticism is said to have so offended the THE LOW COUNTRIES 87 self-esteem of the monarch that he replied : "Nao julguei que era tao barato; quero dois" "I did not think it would be so cheap; I wish two." And these he got, for two carillons of 48 bells each, played by clavier and clock- work are still in use at Mafra. CHAPTER VI "Ik verhef myn toon in 't zing en A en den A ems t el en het Y, Op den geest van Hemony" VoNDEL TWO brothers attract our attention as picturesque figures in the Nether- lands in the golden age of carillon making. Their genius and skill have made the name of Hemony particularly distin- guished in the art. Of Frans, the elder, Von- del, the great Netherlandish poet, expressed his admiration in verse, singing "of one who so skilfully founds his bells that their notes charm our ear and make us wish to dance a bell-dance on the airy tower-galleries." Of Pieter, the younger brother, we know through correspondence lately discovered and through his other writings, that he was one of the active spirits of his day, warm in friendship and keen in controversy. The Hemonys were natives of Lorraine, but 88 BELGIUM AND HOLLAND 89 early established themselves at Zutfen. While of moderate education, they were excellent craftsmen, producing bells of peculiar beauty of form and decoration, and possessed a mar- vellous faculty for tuning bells. The corre- spondence of Pieter written in a mongrel tongue, half Teutonic and half French, shows that they were men of great business acumen and that the product of their foundries was sought throughout their own and other coun- tries. It is their bells that remain predom- inant in the towers of the Low Countries to- day. Frans Hemony lived from 1597 to 1667 and Pieter from 1619 to 1680. It is interest- ing to notice their contemporaries in the Netherlands. Such consideration will indi- cate that the carillon was the manifestation in music of the spirit of a people who at the same time were showing great genius in many other directions. Rembrandt, ver Meer, Rubens, van Dyck, Frans Hals, and Pieter de Hooch all lived at this period. Likewise Lieven de Kay, the master builder, 90 TOWER MUSIC IN and Visscher, the famous engraver, and Von- del, the dramatist and poet. Tromp and de Ruyter were winning their naval victories, and Grotius was writing his great works on international law. The brothers Hemony made their first caril- lon in 1645 for the Winehouse tower at Zut- fen, and it was so satisfactory that the city authorities issued the following testimonial: "We, the Burgomaster, Schepens, and Councillors of the city of Zutfen, hereby certify, witness, and declare for the honest truth : that as an Ornament to the city as well as for the Benefit of the citizens we have deemed it proper and useful to have a carillon made for the Winehouse tower, standing on the market square, for which purpose presented themselves the Worthy and Skilful Master Founders Frans and Pieter Hemony, brothers, * * * to whom we let the contract for the same; the largest bell, which is used for striking the hour, weighing more than four thousand pounds, and the other bells, to the number of 26, in proportion. Which hour and playing bells by impartial Masters, invited thereto by us, have been declared to be not only good, but sur- passing in tone and resonance all other carillons in the vicinity, so that we are well pleased therewith and here- with thank the aforesaid Masters for their work in casting and furnishing the said bells." ZUTFEN: THE WINE HOUSE TOWER AND MARKET S< TARE THE LOW COUNTRIES 91 The reputation of the Hemonys spread rap- idly and many towns bought carillons o* them. In 1654 Frans removed to Amsterdam where he was received with great consideration. The regents knowing his honesty and talent assigned to him without cost a building site for a foundry on the Keizergracht. At the same time they intrusted him with the making of carillons for five towers. After his brother's death, Pieter Hemony, who had moved to Amsterdam in 1664, con- ducted the foundry alone. Of this brother we know much from his correspondence with his friend de Loose, prior of the Benedictine Ab- bey of Eename near Aalst in Belgium. We find Hemony writing to the abbot, with ref- erence to making a carillon for Cambrai, that he is not well enough to follow longer his vo- cation; he has, however, three carillons made in advance, of which one is like that he has furnished Eename but with a half-tone extra, that is to say, one more bell; it has 28 bells; the price is 1400 ducatons. He adds: "The 92 CARILLONS OF other two are greater; one has 32 bells, weighs 6150 pounds, price 2000 ducatons; the other also 32 bells, but weighs 8350 pounds; price 2520 ducatons. To reach me it suffices to place upon the letter: To Pieter Hemony, city founder of bells and of cannons." One of these carillons was subsequently sold to Mech- lin. The following years he writes : 1677. "After the bells now making have been tuned and shipped, I am resolved to dismiss my workmen and live in repose * * * having worked 44 years at found- ing with my own hands." 1678. "I do not hope to regain my health, but that gives me no sorrow for I am resigned to the goodness of God. I know that one must die sooner or later. I desire no other thing now but to pass the rest of my days in tranquillity and in being able to render service to my friends, among whom Your Reverence holds the first place." The contrasts in the character of Pieter Hemony are reflected in the nature of his work. He was profoundly religious, having a chapel in his house, where he heard mass every day; and, as is shown by his booklet on the uselessness of C sharp and D sharp in the BELGIUM AND HOLLAND 93 bass of carillons, a good fighter for his musi- cal opinions. While he was making carillons at Amsterdam, he was at the same time cast- ing cannons at Zutfen. Thus while Louis XIV was warring against the Low Countries, this master founder was busy forging mighty engines of destruction to gain victories and gigantic instruments of music to celebrate them. During 35 years the Hemonys made scores of carillons, the total value of which van der Straeten says was surely more than three mill- ions of francs, an enormous sum for the time. In a letter of 1677 or 1678 to Dr. Booth of Utrecht, Pieter Hemony says: "I understand that you are curious to know how many carillons we have made and where. I therefore send you a specified statement thereof, marked in the margin with the letters F P, that is, Frans and Pieter, the two letters before an entry indicating that both of us together worked on the carillon and a single letter showing that only one of us worked on it." Then follows a list of 47 carillons aggregating 790,000 pounds ; and though several known to 94 TOWER MUSIC IN have been made by the Hemonys are omitted, the list indicates that the figures mentioned by van der Straeten must include the value not only of the bells but of the drums and the rest of the mechanism connected with the bells. A large majority of the bells of Holland are of the manufacture of the Hemonys; in Belgium, most of the present bells of Mechlin and of Antwerp are by them; while outside the Netherlands they supplied carillons to Stockholm, Hamburg, Mainz, and Darm- stadt Another name greatly honoured in carillon making is that of van den Gheyn. At the middle of the sixteenth century, Willem, born in Holland, conducted a foundry at Mechlin, and already for a hundred years van den Gheyns had been bell makers. Later we find the names of Jan, Pieter, another Pieter, and another Jan, and still later, Andreas. The family has successively carried on work at Mechlin (1566-1629), St. Trond and Tirle- THE LOW COUNTRIES 95 mont (1629-1790), and Louvain (1790-1914), Felix van Aerschodt being the present repre- sentative of the famous family of founders. Dr. van Doorslaer, Mechlin, has published an interesting sketch of the van den Gheyns. From their foundry came the bells of Nime- guen, Nykerk, Louvain (S. Gertrude's), and Schiedam, and most of the bells of the nine- teenth century come from the workshop of the van Aerschodts. Many carillons have been increased by them and they have fur- nished complete carillons to Ypres, Courtrai, and Cattistock in England. Dumery (or du Mery) is a name also famous in carillon founding and one that ap- pears on many bells. The head of the family Joris (or Georges) was born at Antwerp in 1699 and his work was continued by his sons, Willem and Jacob, the latter dying at Bruges in 1836. The greatest Dumery carillon is that in the belfry of Bruges, made in 1743. A family early celebrated for bell making, is that of Waghevens. The first of that name 96 CARILLONS OF was Hendrik (or Henri) who in 1462, was a bell founder, probably at Mechlin. His sons, Simon, Pierre, and Georges, succeeded him. In the next generation, Jacques, Medard, and Jean were founders, and in the next genera- tion was another Medard. No large set of their making now exists but single bells by them are found at Mechlin, Tournai and sev- eral other towns. Dr. van Doorslaer's "Les Waghevens" is a classic in bell literature. Yet another skilled carillon founder is Mel- chior de Haze. An admirer described him in verse as "skilled in all arts, but especially to be honoured for having known how to make life a joy by means of his carillons." Born about 1630 at Antwerp, he became a pupil of the Hemonys and was one of their successors, surviving the younger brother by a score of years. His best bells are at the Hague. J. Petit with his son Alexis, carried on a bell making establishment, which had already existed for a century, at Someren in the latter part of the eighteenth century. The foundry BELGIUM AND HOLLAND 97 was moved to Aarle-Rixtel by his grandson, Hendrik Petit, and he had as his successor his nephew, Hendrik Fritsen. The firm now bears the name of Petit and Fritsen Many other names are associated with caril- lon making, among them that of Mammes (or Mammertus) Fremy of Amsterdam, a nephew and pupil of the Hemonys, who in 1687 made the bells at Leeuwarden. Of him Pieter Hemony wrote to his friend the prior in 1677, "He is now able to found such bells as Your Reverence desires; I hope in time he will learn also to tune well ; as for me, I can now only direct the work and do tuning." Others are G. Witlockx of Antwerp, who in 1715 made a noted carillon for Ath, consumed in 1817; Noorden and de Grave, makers of the bells of Middleburg and Louvain (S. Peter) ; and J. N. Derk of Hoorn, who in 1757 made a carillon for S. Petersburg. The best-known carillon founders of the present day are Felix van Aerschodt of Louvain, of whom mention has already been made, and John Taylor and 98 TOWER MUSIC IN Company of Loughborough, England, whose carillons in the towers at Appingedam, Flush- ing, and Eindhoven have gained the highest commendation. The recitals in contracts with founders of the early days indicate that the purchase of a carillon was an affair of great moment. One old contract referred to in the accounts of Am- sterdam for 1643, that for the first carillon of the Wester Kerk, was made with J. A. Leegh- water, the famous engineer who first proposed the drainage of the Haarlemmer Meer and wrote on the subject a book which passed through several editions. The following story, told by Schaepkens with reference to Maastricht, shows the usual procedure fol- lowed in obtaining a new set of bells: "In May 1668 the council, considering that the arse- nal of the town contained a quantity of bronze resolved to have founded a carillon which should serve the clock in the tower then building. The burgomaster Conincx made report in July of a conference he had had at Am- sterdam with Frans Hemony and communicated the con- ditions of the proposed contract, which were read and THE LOW COUNTRIES 99 approved by the council. The founder engaged to fur- nish 28 attuned bells such as he had recently deliv- ered to the town of Diest. Before acceptance of the bells the burgomaster was to have them examined and ap- proved at Amsterdam by musicians of his own choice. The founder was to pay the cost of transporting the bells to Dordrecht and from there the cost of transportation was to be borne by Maastricht. The founder was to receive as much old metal as the new bells should weigh and for the making and the hand-work Maastricht was to pay him the sum of 3,300 florins in three payments, the first, three months after the delivery, and the second and third, at the expiration of the second and third years. Maastricht delivered by boat at Amsterdam bells of the old belfry to the amount of 6270 pounds and 1 100 pounds of lions of bronze which had ornamented the balcony of the old Town Hall. The same boatman carried back to Maastricht the new carillon. On its arrival, the bur- gomaster honoured it by a ceremonious banquet and fes- tivity." This was the carillon that was temporarily taken down during the siege of 1676. In 1682 Mammertus Fremy engaged to de- liver 27 bells to the Hague. But he failed to make performance and a new contract was made with Melchior de Haze, who in 1686 agreed to make for the Hague a carillon equal 100 CARILLONS OF to the best in Amsterdam. When the bells were delivered, certain experts held that they did not conform to the contract and Quiryn van Blankenburgh, who figured in the con- troversy about the bass bells at Gouda, made a report commenting separately upon nearly every one of the bells. His criticism ex- hausted the vocabulary of deficiency. The bells of the first octave were disagreeable in sound and were in discord with each other; the next few bells were wavy but might do; the C next above was false and dull; the C sharp was shrill and dead; the D and D sharp were dull ; the E was sharp ; and beyond this came a bell "no more musical than a drug- gist's mortar;" the bells of the next octave were fair in comparison with the others. He says of the following A: "Dull. In travelling through Leiden, I noticed that the dock-mas- ter's bell at the boat landing at the Hague gate was very clear and of the same tone as this A and therefore, might well be exchanged for it." To only one of the smallest bells does BELGIUM AND HOLLAND 101 he give praise, describing it as "een zeer mooi en helder klokje." But in spite of all this criticism, the bells were accepted and are heard today at the Hague. When Brussels decided to get a new caril- lon in 1711, the magistrates asked de Haze to furnish it. G. Witlockx protested, saying in his petition to the council, that he had had great experience and was able to make bells of which Europe did not possess the like; that Holland even had bought of him; that he was employing 25 workmen and the country should be interested in protecting the arts practiced therein; and he appealed to the king that a foreign master should not be preferred to him. But his plea for protection to home industries was of no avail and the contract was made with de Haze. Witlockx was, however, more successful in an encounter with Ath. This town had had a carillon since 1520, and the council, desiring to give it "un cachet plus musical encore," determined in 1715 to purchase a new one. 102 TOWER MUSIC IN When Witlockx delivered the bells, a contro- versy arose as to whether they formed the "concert irreprochable" he had promised. A committee of experts from Liege, Lille, Cam- brai, Mons, Hal, and Aalst was called in and gave its decision against the town. Appar- ently the council was still obdurate, for on January 8, 1718, the sovereign council of the Empire commanded it to pay Witlockx the price fixed by the contract. Of the Middleburg clock and carillon, the latter bought in 1714, we have a very full ac- count in the pamphlet of F. A. Hoefer. The costs are calculated to have been: Rebuilding the tower . . . 78,037 florins The bells 49,322 The clockwork 4,728 The playing mechanism 26,731 " Total 158,818 Danzig was not satisfied with the bells it had bought of Derk in 1737 and sent 18 of them back to Hoorn. The carillonneur who accompanied them had pitch pipes giving the MlDDLEBURG: "LANGE JAN," THE ABBEY TOWER, IN WINTER THE LOW COUNTRIES 103 notes of the bells left at home. By filing, cut- ting, and recasting, the 18 were made satis- factory in tone, and after signing a certificate to that effect, he took back the bells to Dan- zig. This carillon was considered the finest in Germany until its destruction by fire in 1911. Perhaps the most interesting contract be- cause of its exacting specifications was one from which the following is quoted : "This day, the 19th June 1751, have met together the burgomasters and knights of Oudenaarde of the first part, and Jean Baptiste Joseph Barbieux, son of Fran- c,ois, and FranQois Bernard Joseph Flincon, son of Simon, master bell founders living in the town of Tournai of the second part: "And this Witnesseth: That the said master founders engage to found a new carillon of which all the bells shall be altogether and each in itself sonorous, harmo- nious, melodious, true, solid, good, beautiful, and well finished, and respectively in relation the one to the other, well proportioned, and of a proper and agreeable accord as determined by the best taste and rules of music." The contract called for 35 bells fitted and adjusted to the clockwork; also for a drum 104 CARILLONS OF and 2000 new pins ; also for a new keyboard. The largest of the bells was to weigh 1500 pounds and the entire carillon about 6000 pounds. But the bells did not conform to the rigorous conditions, and the carillon was re- jected. The cost of bell-metal today is about the same as it was in England and in the Nether- lands in the seventeenth and eighteenth cen- turies. In the time of the Hemonys, a tuned bell sold for from 30 to 40 cents a pound, the metal itself costing from 15 to 20 cents a pound. Notwithstanding Longfellow's "heart of iron" and Poe's "golden molten bells" and the "silver bells" of many poets, the only metals used in founding bells of the most per- fect timbre are copper and tin. The addition of gold, silver, antimony, bismuth, or any other metal impairs the quality of tone. The proportion of tin used is from 21% to 25%. A recent chemical analysis by Dr. Euwes of some of the Hemony bells in the Zuider Kerk at Amsterdam shows that the alloy used con- BELGIUM AND HOLLAND 105 sists exclusively of copper and tin, but not in fixed proportions. John Taylor and Company have been good enough to write me (June, 1914) : "The present price of bells averages about Is. 3d. per pound net, tuned and finished at our works, exclusive of packing. This is for all bells of 200 pounds weight and heavier ; for bells of less than 200 pounds, the cost is 3d. per pound more, i.e., at the present time about Is. 6d. per pound. s. d. "Thus the cost of a carillon of 42 bells with largest of 9,260 pounds weight, (4,200 kilos.) and total weight about 47,000 pounds, all cast of the purest metal, of the best tone and in perfect tune, with true harmonics (45,600 at Is. 3d. and 1,400 at Is. 6d.) would be about 2955 "The cost of the requisite clappers, fit- tings, clavier (keyboard) and all necessary connections for the 42 bells, also frame- work, of our best make throughout, fitted here, complete, ready for fixing, and marked to take to pieces, would be about 700 "Automatic carillon machine, including drum, hammers, wires, and springs, the whole fitted up complete 810 "Total . . 4465 0" 106 TOWER MUSIC IN They also inform me that the cost of a caril- lon similar to that at Appingedam (two oc- taves chromatic and weighing 4,500 pounds), complete as above, would be 908. Felix van Aerschodt, for a carillon of 42 bells, weighing 39,600 pounds, but with the bass bell of the same weight as above, and including keyboard and automatic playing mechanism, gives a price of 130,000 francs. He adds: "My prices are based on the current price of the bell metals. At present I estimate 3 francs per kilogram for bells of from 200 to 8,000 kilograms. For bells of less than 200 kilograms in weight, the price increases up to 5 francs per kilogram for the smallest bells." In the United States, well-known founders, such as the Meneely Bell Company of Troy, N. Y., and Meneely and Company of Water- vliet, N. Y., have not yet made carillons, which require small bells, though their chimes are found in many American cities. The Hemonys, the van den Gheyns and the Dumerys were the great founders of former THE LOW COUNTRIES 107 times. Hemony's bells, generally speaking are the best; they are bright, clear, and true epic in character. Van den Gheyn's bells are similar. Dumery's are velvety, soft, and true elegiac in character. Bells neither improve nor retrograde unless cracks develop. While modern music accepts certain combinations as chords not allowed by earlier musicians, nevertheless the modern ear seems more sensitive and exacting as to cor- rectness of pitch. Carillons today by makers such as van Aerschodt at Louvain, and Tay- lor at Loughborough, are even more perfect than those of former times. In broad terms the pitch, or note, of bells is determined by diameter. Their timbre, or quality of sound, is affected by their general shape, the thickness of their various parts, to- gether with the alloy of which they are made. Their volume, or possible loudness of sound, depends chiefly upon their size and weight. The pitch can be lowered by lengthening the bottom diameter, and raised by shortening 108 CARILLONS OF such diameter, just as lengthening or shorten- ing a violin string, the stress being the same, lowers or raises its pitch. Change of diameter can be made, but of course within very mod- erate limits, by filing or turning off the inside at the bottom swell thus lengthening the in- side diameter, or by cutting off a slight por- tion of the rim, thus shortening the diameter. In answer to my inquiry about tuning, Mr. van Aerschodt tells me: "The pitch can be heightened to the extent of 8 vibra- tions by cutting off at the rim and can be lowered to the extent of 12 vibrations by cutting the metal away from the interior at its sound bow without impairing its sonority. I cast a dozen small bells for a particular pitch I desire and choose the best one. The larger bells I make by exact formulae based upon the records of my ancestors, the van den Gheyns." In this connection, a thesis entitled "Ex- perimented onderzoek van klokken van F. Hemony," which gained for Mr. A. Vas Nunes the degree of doctor at the University of Amsterdam, deserves consideration. In his investigation, he listened to the bells of the AMSTERDAM View from the Palace bell-level toward the South Church PHOTOGRAPH BY W. (.',. RtCE, }R. BELGIUM AND HOLLAND 109 Zuider Kerk at Amsterdam with special ref- erence to the overtones which determine the timbre, as was shown half a century ago by Helmholz. The harmonics or overtones of a bell are not what is usually understood by that term. They all are principal notes dependent upon the various curves of the bell. In a let- ter of 1653 Frans Hemony declares that a bell should give forth three octaves (the middle one being the strike note), two fifths, and the major and minor thirds. The theory of tun- ing employed by the best English bell makers, that formulated by Mr. W. W. Starmer, has been summarized as follows: "1. A bell must be in tune with itself before it can possibly be in tune with others. "2. Every bell has at least five tones (and in some instances more), which can be most accurately tuned. "3. These principal tones are: strike-note, nominal (above), and hum-note (below), which three should be perfect octaves with each other, and the tierce (minor third), and the quint (perfect fifth) between the strike- note and the nominal. All these must be in perfect tune with each other. "4. The timbre of a bell depends: (a) on the con- 110 TOWER MUSIC sonance of its component tones; (b) on the relative inten- sities of the various tones, which in their turn are de- pendent upon the minute accuracy of sharply-defined height, width, and thickness proportions. These again must be so adjusted as to admit of the several tones being perfectly tuned without upsetting the ratio between the thickness proportions and other dimensions of the bell." At Loughborough there is a carillon of 40 small bells made by John Taylor and Com- pany, which hangs in their foundry tower. These bells have been tuned according to the foregoing principles and are probably the most accurate set of bells in the world. The result is especially noteworthy because small bells are admittedly very difficult to tune. As we consider the science of tuning we are inevitably led to agree with van der Straeten that: "A good bell is not made by chance but is the result of a wise combination of quali- ties and thought, and a fine carillon is as pre- cious as a violin by Stradivarius." CHAPTER VII "Die wahre Musik ist allein fur's Ohr." GOETHE A PECULIAR charm of carillon music is due to the invisibility of the player. The element of mystery is in the notes that float down from the tower and while we know that there is a performer, his movements do not distract us from completely giving our- selves up to the enjoyment of the sounds. To Stevenson, we have seen, perception of the charm came as he floated on an inland river; to another voyager it was as he sailed at even- ing on the North Sea: "It was when cruising in a fishing boat off the coast that I first heard the keyboard carillon and guessed that a living artist and not a mere mechanical con- trivance was making music (which indeed seemed the moonlight, made audible) in his far-off unseen tower beyond the darkling sea levels and the white glimmering fog-drifts." ill 112 CARILLONS OF Carillons have a peculiar association with the water, for not only do many of them con- stantly sound over it, but the Dutch and the Flemish are by nature oversea traders. The carillonneur, too, climbing his tower in fair weather and foul, affected by neither rain, sun, nor wind, is not unlike the captain on his bridge. And again, the view from the tower over the flat Netherlandish countryside has much to remind one of ocean reaches. Not a few travellers must have felt this similarity, for the Dutch landscape has the same glisten- ing reposeful beauty as has the sea in calm sunny weather. De Amicis describes such a scene : "From the top of the tower (S. Lawrence's), the whole of Rotterdam can be seen at a glance, with all its little sharp red roofs, its broad canals, its ships scattered among houses, and all about the city a vast green plain, intersected by canals bordered by trees, sprinkled with windmills and villages hidden in masses of verdure, show- ing only the tops of their steeples. When I was there, the sky was clear, and I could see the waters of the Meuse shining from the neighbourhood of Bois-le-Duc, nearly to its mouth; the steeples of Dordrecht, Leiden, Delft, the BELGIUM AND HOLLAND 113 Hague, and Gouda were visible, but neither far nor near was there a hill, a rising ground, a swell to interrupt the straight and rigid line of the horizon. It was like a green and motionless sea, where the steeples represented masts of ships at anchor. The eye roamed over that im- mense space with a sense of repose, and I felt, for the first time, that indefinable sentiment inspired by the Dutch landscape, which is neither pleasure, nor sadness, nor ennui, but a mixture of all three, and which holds one for a long time silent and motionless. "Suddenly I was startled by the sound of strange music coming from I knew not where. It was a chime of bells ringing a lively air, the silvery notes now falling slowly one by one, and now coming in groups, in strange flourishes, in trills, in sonorous chords, a quaint dancing strain, somewhat primitive, like the many-colored city, on which its notes hovered like a flock of wild birds, or like the city's natural voice, an echo of the antique life of her people, recalling the sea, the solitudes, the huts, and making one smile and sigh at the same moment. This aerial concert is repeated every hour of the day and night, in all the steeples of Holland, the tunes being national airs, or from German or Italian operas. Thus in Hol- land the passing hour sings, as if to distract the mind from sad thoughts of flying time, and its song is of coun- try, faith, and love, floating in harmony above the sordid noises of the earth." If the carillon is the outcome and the ex- pression of Dutch character, it has certainly 114 TOWER MUSIC IN also had its effect in moulding that character, so open alike to the solemnity and to the hap- piness of life. A graduate of Delft, now in a foreign land, writes of his "many memories of enchanting music heard unexpectedly in the stillness of a winter night. Many a night," he says, "my friend and I on our walks through the quiet snow-covered city have stood still and listened and had our whole trend of thought changed and lifted by this wonderful music." What is this music, which, even when played by mechanism, so inspires the listener? The tunes for the most part are national melo- dies, operatic airs, hymns, and folk songs. In some instances original compositions espe- cially written for bells are played. With few exceptions the selections are of real worth, and as the compass of the carillon is rarely less than three octaves, chromatic except at the extreme bass, there is no mutilation of the music. The hour is divided into four or eight parts THE LOW COUNTRIES 115 (for the quarters are sometimes subdivided). This eighth hour play, when it occurs, con- sists of a flourish of not over two bars. The quarter tunes before and after the hour are comparatively short and of equal length about four times as long as those at the eighths. The half-hour play is at least four times as long as that at the quarters and is followed by the striking of the next hour by a bell of higher pitch than that used at the hour itself. The play before the hour is at least twice as long as that before the half-hour. At Schiedam in 1913 the hour tune was the overture of Mozart's "Magic Flute" and the half-hour tune Mendelssohn's "Spring Song." In Flanders "Ons Vaderland" and "Arte- velde" are favourites. At Bruges in 1914 there were played at the four quarters, three tunes by Benoit, the Belgian composer, and "Het Liedje van den Smid" by Andelhof. There is played at Oudenaarde at the time of the annual archery contest of the Society of St. George "The March of the Oath of the Arch- 116 CARILLONS OF ers" and "The Song of the Oath of the Bow- men of St. George." Once as the train paused in Rotterdam, I heard "The Taking of Briel," and while we stopped at Gouda, the distant notes of "Wilhelmus van Nassouwe" reached us. When I was last in Middleburg, "Lange Jan" enchanted us each hour with Mendels- sohn's "Wedding March." These examples are illustrative of the music commonly heard today. Of ancient tunes we have records too. T. H. de Sany, carillonneur of Brussels, published in 1648 a list of the tunes that he set for periodic play on his caril- lon and that others also used. This list is in- dicative of the popular taste and of the im- portance given the automatic play in those days. For the season of Advent there was a special tune for the hour and another for the half-hour. For Christmas there were five special tunes, for Mardi Gras three, for Lent four, for the Assumption (a great feast in Bel- gium even to-day) six, for the month of May three, for S. Michael's Day two, for S. John's BELGIUM AND HOLLAND 117 Day one, for Martyrs' Day two. S. Michael is Brussels' patron saint, while the two days last mentioned were special festivals there. All three May songs were entitled "The Joy- ful May," while at least one of the Christmas tunes was a carol of which the Latin and Netherlandish words were familiar. Besides these tunes, de Sany gives a list of thirteen French, Italian, and Spanish pieces for ferial use, two of which, for instance, were always played after the death of a Duke or Duchess of Brabant. Gregoir and van der Straeten give the music of some of these. If the bell- master attended to making the many changes which this large repertory seems to imply, he must have been extremely busy and energetic. There is an element in carillon music to which, so far as I know, attention has never heretofore been given. That element is the variation in expression which results from the influence that air currents, always present more or less in the open, have in curving and deflecting sound waves. By thus apparently 118 TOWER MUSIC IN varying the volume of the tones, nature con- spires with man to make the effect of auto- matic play pleasing. The music with which the breezes are in this partnership, is in two, three, or more parts. Just as in clavier playing, it is the smaller bells which are chiefly used, and so the disturbing volume of sound characteristic of most chimes, if heard nearby, is avoided. The melody is frequently played in octaves, the bass being strong in its progression and suggestive of the harmony. Chords are in ex- tended positions; minor chords and chords of the diminished seventh are particularly effec- tive. The drum, which in revolving makes the hammers strike, at Mechlin is of gun-metal, five feet three inches in diameter, and was made in 1733-34. It must be wound twice daily and about 60,000 notes are played by it every twenty-four hours, the barrel contain- ing 1 80 longitudinal rows of holes, corre- sponding to bars or measures of music. In THE LOW COUNTRIES 119 these holes are placed the screw pins by the arrangement of which different tunes are set Tunes are set several times a year in most towns (for Easter and for S. Bavon's Day in October at Mechlin, where it takes about four days to make the change). A part of the equipment of the automatic playwork is a note-gauge or rule which fits on the barrel. Each division on this rule comes opposite an encircling row of holes, and each division is marked with the bell-note which a pin or stud set in this row will cause to sound. By the use of the rule the carillonneur knows exactly where to insert pins to produce a particular tune. There are a dozen or more different forms of pins, the difference being in the off- set, and the use of these varieties makes it pos- sible to have a hammer strike its bell at any one or even two of eight points in a measure. An English firm has recently invented a machine which keeps the hammers normally raised and ready to strike, and leaves for the pins only the very slight duty of releasing 120 CARILLONS OF them, which is accomplished by a trigger de- vice. This makes the work of the drum not only light but always virtually the same whether the stroke be on a large bell or small and whether the notes in a measure be many or few. Constancy of speed in the revolution of the drum, long aimed at by various govern- ing mechanisms, is now possible. The deli- cate trigger release permits the use of small and accurate interchangeable cylinders, and by slipping into place a duplicate cylinder, upon which new tunes are already set, a change can be made in a few minutes. Changes of caril- lon tunes may take place not once or twice a year but as frequently as may be desired. In- deed, there could be many of these cylinders ready, their use resembling that of cylinders in a phonograph. This trigger device is not applicable to clavier play, for it, like the un- successful pneumatic and electrical appli- ances, would deprive the carillonneur of the opportunity of putting any expression into his playing. The Belgian carillons, many of MECHLIN: TRANSMISSION BARS AND WIRES These connect the keys of the keyboard with the clappers BELGIUM AND HOLLAND 121 which are now so perfect in the matter of mechanism for clavier play, have none of them yet been equipped with this English improvement for drum play. The 1 80 longitudinal rows of holes at Mechlin correspond to the 180 measures played by clockwork each hour, while the 134 encircling rows correspond to the 134 ham- mers which are arranged to strike the 45 bells, some of these being equipped with as many as five hammers apiece. The 180 bars are played as follows: Before the hour 108 bars Before the half -hour 48 " At the two other quarters, 8 bars each 16 " At the four other eighths, 2 bars each 8 " Total 1 80 " Quite as indefatigible as S. Rombold's bells at Mechlin are those of many other towers. Yet what more graceful tribute is there than this which Lucas pays to one of the busiest: 122 TOWER MUSIC IN "One cannot say more for persistent chimes than this at Middleburg it is no misfortune to wake in the night!" That it is not a delight to all, however, is shown by the opinion of one old French writer, who describes this ringing of bells every seven and one-half minutes as "a kind of torture that Dante, if he had placed musi- cians in his inferno, would have certainly imagined for them." But would not even so disgruntled a critic as he have listened with happier ears had he heard carillon playing by a bell-master? One must believe so, for under the touch of such a one, this instrument gives intense pleasure in a musical form that appeals to the artistic sense of the thousands who are so fortunate as to hear it. The quali- fications of a carillonneur are much the same as those for an organist, indeed many of the best players and composers for the carillon have been organists. Fischer, writing in 1738, says to play well requires "a musician with a good knowledge of music, good hands and THE LOW COUNTRIES 123 feet, and no gout." Notwithstanding these simple requirements, such playing seems not always to have kept its high standards for we find Gregoir deploring the decadence of the art and asking "Where do you find today the carillonneur that is capable of playing varia- tions, trills, arpeggios, and fugues?" Hap- pily in our time a revival has come, and as the great competition of 1910 showed, there are many that can meet both past standards and present day requirements. And this leads to the subject of music for clavier play. Mr. Prosper Verheydcn of Antwerp has recently said: "It is easy to explain the almost entire absence of music written specially for carillon playing, for carillons differ much among themselves. According to the wealth of the cities which had them founded, the number of their bells varies from 2y 2 to over 4 octaves, and their bass bell may be either large or small. In fact, the only music written for the carillon and played with complete suc- cess is the work of carillonneurs, and of very few caril- lonneurs at that. There is the series of preludes by Matthias van den Gheyn, the bell-master of Louvain in the eighteenth century; then there is the fine suite of 124 CARILLONS OF preludes by Josef Denyn; and finally there is a sonata for the carillon by Gustaaf van Hoey, director of the School of Music at Mechlin, who was an amateur caril- lonneur at the time Adolf Denyn lavished his treasures of music upon the few who listened in his day. One finds here and there compositions 'for the carillon,' but these usually show a complete ignorance of all the peculiarities of the instrument. Even Benoit's 'Beiaardlied' ('Carillon Song') is not really written to show to advantage a set of bells." Mr. Starmer mentions also as composers for the carillon, Pothoff of Amsterdam in the eighteenth century and J. A. H. Wagenaar, senior, of Utrecht in the nineteenth century, who like van den Gheyn were both organ- ists and carillonneurs. Every musical instrument possesses a char- acter of its own. To one who has heard it, this individuality is apparent in the carillon no less than in other instruments. To others, comparison may be of aid, but after all that can give only a faint idea of the carillon's character and charm. Perhaps the best con- ception will be obtained by thinking of it as resembling an organ in majesty and a piano- BELGIUM AND HOLLAND 125 forte in delicacy, but with harmonies aerial and unbounded. Like every other instrument it must be judged when well-attuned and me- chanically perfect. Awakened by the hand of a master then, this tower music seems to come from the heavens, the silvery delicacy of the higher notes being carried far upon the tide of the sonorous bass tones. To find a good place to listen to this music is always of importance to the traveller. Such a place should be at a distance of at least 500 feet from the bells and should combine quiet and an unobstructed view of the louver win- dows or the lantern of the tower. At Ant- werp such places are the courtyard of the Plantyn Museum (not accessible in the even- ing) and the square in front of the Stadhuis (noisy in the daytime) ; at Ghent one should stand in S. Baafsstraat near the entrance to the curious miniature chapel at the north side of the cathedral, and at Ypres, at the farther end of the Vandenpeereboomplaats. At Bruges, there are several excellent places, the 126 TOWER MUSIC IN belfry so dominates the city. Among these are Zilverstraat near the corner of Giststraat, and the Dyver. During evening concerts all traf- fic on this quay, as well as in the Groote Markt and the Burgplaats, is stopped. At Mechlin too, traffic is stopped in the Groote Markt. This square, the Straatje zonder Einde and the Melaan are the best places to listen there. Quiet places at Middleburg are the abbey inclosure and the garden of the Grand Hotel on the Lange Delft. At the Hague, the only secluded place is in the post office courtyard. At Haarlem, I suggest, the Vaarmersstraat; at Delft, the canal bridges behind the Nieuwe Kerk; and at Utrecht, the garden behind the police offices near the Stad- huis. For one crossing the river at Nimeguen on the old-time current ferry, there is a rare view of S. Stephen's, crowning the hill on which the city is built, and there, on the water, is preeminently the place from which to hear the bells. In not a few of these towers the carillon has THE LOW COUNTRIES 127 been played for a hundred years or more on the same day and at the same hour. There is a popular rhyme about the playing at Mechlin, which comes on three successive days. It runs like this: "Saturday for the country folk, And Monday for the city, Sunday for girls who charm the men And make themselves so pretty." Sunday concerts, whether intended as an aid to courting or not, are nearly universal in Bel- gium. Monday playing was specified in the rules governing the carillonneur of Mechlin as early as 1617, that being then the day of the town council meeting. The council now meets on another day, but tradition keeps the play on Monday noon except in the months when recitals are given Monday evening. As on Saturday at Mechlin, so in nearly every other town, a morning concert is given on the day of the market, which usually is held in the square upon which the tower looks down. Thus at Alkmaar the bells are played for the 128 CARILLONS OF cheese market, at Amersfoort for the general market, at Amsterdam for the horse market, at Arnhem for the general market, and so on. And in most other towns the carillon is played by the carillonneur at a fixed hour on the market day. Besides the times of the horse markets, the cheese markets, the butter markets, the egg markets, the grain markets, the cattle markets, the fish markets, and the miscellaneous mar- kets, when the carillon is played, there are the national holidays and the birthdays of the royal family when the bells join in the re- joicing. Also in all parts of Flanders and Holland special local days are celebrated, as at Briel, Alkmaar, and Leiden. The week of the kermis in a town of the Low Countries usually calls for special carillon playing. At Antwerp, Ypres, and other Belgian cities, ex- tra concerts are given during the week of the Feast of the Assumption and for other relig- ious festivals. In Holland, in a way corre- sponding with this festive playing, is the an- MECHLIN: THE KEYBOARD BELGIUM AND HOLLAND 129 nual month-long welcome of spring when "Meideuntjes" ("May Songs") are given, as at Middleburg, Gouda, and Utrecht. And most enjoyable of all are concerts in sum- mer evenings at Mechlin, Antwerp, Bruges, Utrecht, and several other towns. The claviers are arranged on the same prin- ciple as the manuals and pedals of the organ. The measurements given in the following de- scription are those of the instrument at Mech- lin. The manual keys are commonly of oak, round, and 24" in diameter, those in the upper row representing the black notes of the organ keyboard and projecting 3^". Those of the lower row correspond to the white notes and project 6y 2 ". The vertical movement of the keys when struck is 2^". Pedal keys are from one to one and a half octaves in compass and are so connected that these lower bells can be played either by hand or by foot. The upper row of pedals projects 4" and the lower 8*4". The pedal board is needed because large bells require more force to bring out 180 TOWER MUSIC their tones. By inverting the bass of tunes which, as written, call for such bass bells as are often omitted in order to save expense, their lack is scarcely felt. In early days simi- lar bass notes were left out of great church organs and Hemony's approval of their omis- sion in carillons has already been mentioned. CHAPTER VIII "Wie vint zick met Verplicht uw ryk vernuft te dankenf" FOOT ONE of the earliest references to caril- lonneurs occurs in the records of Am- sterdam where we find Stofrel Laur- rensz mentioned as such in 1555. As caril- lons became common, entries in the records of the town concerning the wages, allowances, an'd emoluments of carillonneurs are frequent. In Amsterdam, when carillons were bought for the City Hall and Exchange towers, they and whatever bells existed in the Jan Roon Gate were played by one van Neck, for which he received 527 florins a year; for playing in the Old Church and Mint towers, one Haver- kamp had 500 florins; and for the South Church, Herring Packers', and Montelban's towers, one van Dort received 405 florins. Pieter Pater was appointed to the office of 131 182 CARILLONS OF carillonneur at the Hague about 1670, and an admirer celebrated his elevation in a verse entitled "A High Office": "No place is there higher on land or on water ; No station is higher of council or town ; No higher position's the gift of the crown ; Than that which is held now by Heer Pieter Pater. Next his, e'en those of his Highness seem small. God bless thee, O Bell-Prince of our ancient tower! For thousands feel daily the spell of thy power; Next to Heaven thou art; in the Hague above all." Of various kinds were the employment con- tracts, and quite curious is one which was re- corded in the Registry (kept since 1303) of Oudcnaarde. It reads in this wise: "I, the undersigned Pieter Chatelet, excellent beiaard- ier, promise the guild of S. Jacob to play on the beiaard on S. Jacob's Day as long as I live, unless I am sick or out of town, for my burial costs. Done the 26 July 1681. By me P. Chatelet, 1681." Dirck Scholl, who, as we saw in an earlier chapter, was a verse-maker himself, had verses written in honour of his musical gifts by Foot BELGIUM AND HOLLAND 133 while he lived; and when he died, upon his tomb in the New Church at Delft was in- scribed: "Here lies Dirck Scholl, who for more than two and sixty years made the caril- lon in the Nieuwe Kerk to live," and follow- ing this there is mention of his work as an or- ganist. When Charles Burney came to Amsterdam in 1772, he found there a carillonneur of great fame whose playing he describes : "At noon I attended M. Pothoff, who is not young and totally blind, to the tower of the Stad-huys or town house (now the Palace), of which he is carillonneur; he has had this employment many years, having been elected to it at the age of thirteen. He had very much astonished me on the organ after all I had heard in the rest of Eu- rope; but in playing these bells his amazing dexterity raised my wonder much higher, for he executed with his two hands passages that would be very difficult to play with ten fingers; shakes, beats, swift divisions, triplets, and even arpeggios he has contrived to vanquish. "He began with a Psalm tune, with which their high Mightinesses are chiefly delighted, and which they re- quire at his hands whenever he performs, which is on Tuesdays and Fridays; he next played variations upon the Psalm tune with great fancy and even taste ; when he had performed this task, he was so obliging as to play a 184 TOWER MUSIC IN quarter of an hour extempore in such a manner as he thought would be more agreeable to me than psalmody; and in this he succeeded so well that I sometimes forgot both the difficulty and the defects of the instrument; he never played in less than three parts, making the bass and the measures constantly with the pedals. I never heard a greater variety of passages in so short a time; he pro- duced effects by the pianos and fortes and the crescendo in the shake, both as to loudness and velocity, which I did not think possible upon an instrument that seemed to require little other merit than force, in the performer." An even more famous carillonneur of the same period, whose compositions both for the carillon and for the organ are still in use, was Matthias van den Gheyn, son of Andreas van den Gheyn, the most distinguished founder of that name. In 1741, Matthias at the age of 20 became organist of S. Peter's, Louvain, and in 1745 the position of carillonneur be- came vacant. In the competition for the place that the magistrates ordered, he won a notable victory. Not only did he compose for the carillon, but "Every Sunday," Fetis tells us, "he improvised for half an hour, and his charm was such that long before he com- AMSTERDAM Carillonneur Vincent before his instrument in the Tower of the Palace, where Pothoff once played PHOTOGRAPH BY \V. G. RICE, JR. THE LOW COUNTRIES 135 menced, the Place St. Pierre and the adja- cent streets were 'encombrees par la popula- tion.' The carillon of S. Rombold's at Mechlin, generally admitted to be the finest that exists, was saved from destruction in 1792 by the diplomacy of Gerard Gommaire Haverals, the carillonneur at the time. The revolu- tionary council had decreed that the Mechlin bells should be melted and made into cannon, when Haverals by his eloquence and clever- ness persuaded the French authorities that one carillon should be preserved. Otherwise, he asked, how properly could be celebrated "la gloire de la republique?" A few years later the reaction came, and he was given a sharp reprimand by the town council because of the republican songs he had played. His be- loved bells though were safe, and so again he changed his tunes to suit changed times and endured patiently the municipal castigation. Happily his devotion and skill were so com- pelling that even political passions were sub- 136 CARILLONS OF dued and he continued as carillonneur until he died in 1841, being on the verge of four score years, and having played the bells in S. Rombold's tower continuously since he was seventeen. Fetis, in his "Biographic univer- selle des musiciens," says of him: "Haverals was a distinguished artist of his kind. A good harmonist, he executed on his bells very difficult compositions in three parts, sonatas, fantasies, and fugues. He also had a remarkable gift for improvising variations upon popular melodies." Town records commonly mention the pay of carillonneurs, but their duties were very different, and as they are not exactly specified therein, the amount of pay is not of much value for comparison. Sometimes the caril- lonneur was also organist. Sometimes he did all the work of winding and oiling the clock and drum mechanism, and again, he was paid extra for setting tunes. In early years, "two pairs of shoes" as at Tongres, "house rent" as at Amsterdam, or even eggs often formed a part of the wages. MECHLIN: THE BELLS This fhows bells hung in straight rows, the best arrangement BELGIUM AND HOLLAND 137 At Utrecht in 1588 the carillonneur had 12 Dutch pounds, 10 shillings (75 florins) each half year for which he was to play twice a week "for the recreation of the city" and to take care of the clock. He was further re- quired to teach each year one or two pupils to play, for which purpose the city provided him with a little practicing carillon. In other towns the carillonneur was required to instruct orphans in his art, as at Nivelles. Emile Fourdin describes the conditions there in 1587: "At this epoch, the service of the carillon was already perfectly organised at Nivelles. This service was con- fided to a musician who had charge of striking and sound- ing the bells and of taking care of the clock of the belfry and that of the chateau; he was also required, as much as possible, to sing in the choir with the other singers. "He received each year, for his services, the sum of 200 French pounds and six measures of wheat, besides the emoluments coming from dedications, marriages, burial services, anniversaries, and votive masses. He was forbidden to play immoral songs or improper airs ; he was required to play hymns or ecclesiastical chants, proper to a divine service. "One other condition was imposed upon the carillon- 138 TOWER MUSIC IN neur, that was to initiate in his art some child from the orphan house, designated by the magistrate. The alder- men exhibited still more their love of the art: they estab- lished at this same house a carillon composed of seventeen little and greater bells, intended to provide for the musical instruction of the children, the future carillon- ncurs." At Alkmaar in 1684 the pay was 500 guilders a year, very high for that time, but this carillonneur was evidently persuasive for he asked for and got a new carillon of 35 bells. Many thousands, the records say, were present at the first concert in 1688. At Middleburg the published records cover the period from 1592 to 1879 a d the carillonneur's pay ranges from 12 Dutch pounds (72 florins) in the first year mentioned to 350 florins in the last, with varying duties. I am informed that the compensation of the carillonneur at Antwerp today is 1800 francs, while at Mechlin, it is 2500 francs, and for special play at marriages, the Mechlin carillonneur has 50 francs. His duties are solely to play the carillon at specified times THE LOW COUNTRIES 139 and to set tunes. The oiling and winding of all the machinery and the care of the clock is the duty of his assistant, a mechanic, who aids him in keeping the adjustment perfect for the concerts. For each recital that he gives at Antwerp, the carillonneur of Mechlin re- ceives 150 francs. While the honour of being a carillonneur is great, the pay is small. He must therefore have some other occupation to supplement his salary from the town. Of the playing ability of the principal pres- ent day carillonneurs, I shall speak in the next chapter. But before coming to that, I wish to say a few words of their character and kindness to those who interest themselves in their art. It seems a frequent occurrence for carillon playing, like bell founding, to run in a family. I might mention the three generations of Tex- tors of Schiedam, who have played 123 years, the Nauwelaerts of Lier, who have played nearly one^ hundred years, Adolf and Josef Denyn of Mechlin, the Wagenaars of Utrecht, 140 CARILLONS OF and several others. The family tradition has made such men particularly proud of their art. Had it not been for the interest and courtesy of these and many other carillonneurs throughout the greater Netherlands, this book would never have been written. Who does not recall with delight some week among charming chateaux of the Loire or think often of a tour when the radiance of the stained glass of centuries past revealed itself? Who forgets his first wanderings among the Gothic cathedrals of France or fails to re- member the fortnight when medieval times lived for him again in Italian hill towns? Above the noise of a crowded street at the Hague one summer noon I heard the caril- lon of the Great Church tower. Bruges and Middleburg and Veere had just been visited. They differed much yet some common note seemed to unite all three and the Hague. How was it to be defined? In this reflective mood, again my ear caught the sound of the bells. They answered the question. It was BELGIUM AND HOLLAND 141 the tower melodies which united these places, individual as they were in other respects. Then came the thought: Why should one not see the many carillons of the Low Countries, each in its own historic place, and write them down for foreign wanderers? Why not a new kind of tour, which, by motor or on foot, by bicycle or by boat, by road or canal or rail- way, would show charms heretofore unknown to old lovers of these lands and tell new trav- ellers things not catalogued in any book? When we first became interested in Low Country bell music, we applied to the "Cen- traal Bureau voor Vreemdelingenverkeer" at the Hague. Under the shelter of that im- posing name is found an admirable organisa- tion maintained by the railways of the Nether- lands. Gratuitously it solves difficulties for the traveller, arranges his journeys, and an- swers his inquiries. Information about caril- lons, however, had never before been sought and little was forthcoming. Thereupon we set forth to find the carillonneur at the 142 TOWER MUSIC IN Hague; courteously he gave us suggestions and advised us to consult the bell-master at Gouda. So we betook ourselves to Gouda and sought out the enthusiastic Mr. van Zuylen. A friend of his, he told us, had been studying about town clocks at the public library and the week before had come upon considerable information about carillons in some old vol- umes. By the best of good fortune it turned out that we were at Gouda on one of the two days of each week when the library was open. Outside it was a deluge of rain, with a black sky. Within the library we were dry, it is true, but there were no lights. Just at closing time the book of most importance to us was discovered. We made good use of the minutes left and with a fair list of carillon towns safely recorded in our exploration note- book, we went back to the Hague. That very night the most convenient of messengers, the postcard with paid reply, entered actively into our service and was dispatched to "Den Heer Klokkenist" of the principal Dutch and Flem- THE LOW COUNTRIES 143 ish towns. That honourable title was sufficient without any personal name. By noon the next day replies began to come in. The long time old "portier" at the Hotel Ouden Doelen, so affectionately regarded by many a traveller, was immensely interested in this postcard campaign. Patriotically he had corrected and improved the Dutch before the cards went out. A morning or two later as he held up a dozen answers to his ear, as if listen- ing to their message, he greeted me with: "Hush, I hear carillons ringing all through the land." With the answers came many spe- cial invitations. Once we were asked to take coffee at the house of a carillonneur after the morning concert, and several times a bell- master volunteered (if the burgomaster gave permission) to play at some other time than the regular hour, if it would convenience us. One of the early trips we made was to Briel, where Mr. Borstlap, electrician by vocation and carillonneur by avocation, had obtained at his own suggestion special permission to 144 CARILLONS OF play for us. He and his daughter were wait- ing to welcome us when our boat arrived. To hear the carillon at an unwonted hour so startled the inhabitants that the local news- paper the following day gave an account of our visit. Both going to and returning from this historic town, we passed through Vlaar- dingen, which happened that day to be cele- brating the centenary of the departure of the French (as did all the towns in the Kingdom at different times during 1913 and 1914), and the harbour was crowded to capacity by the great fleet come home for the occasion. From the masts flew pennants and flags ; everywhere the Dutch colours and the royal orange were in evidence. Not content with hearing one carillon, we went also to Schiedam and Delft that day. At Schiedam, Mr. Textor, whose father and grandfather have preceded him as town bell- masters, received us with great consideration. We went with him to the Old Church and up the stone stairway with whitewashed walls BELGIUM AND HOLLAND 145 into the tower room, where all the machinery was polished like a mirror. A board fastened with a padlock was inserted between the two rows of keys of the manual so that he had to unlock his instrument before he sat down to play for us. Everything, indeed, was in perfect order and showed the loving care of the old musician. At each end of the clavier was a large candle, which served to illuminate the room for his evening concerts. Our hos- pitable friend would not let us leave till we had gone to his house and drunk with him a glass of Schiedam schnaps. At Delft, the kermis was in progress and though this made hearing the bells almost im- possible, we greatly enjoyed seeing the merri- ment and eating the many kinds of waffles and poffetjes. Indeed a carillon enthusiast should ever be ready to enjoy other attractions as well as bells. Many other and longer trips followed, and with the pleasure of these excursions in mind, I offer a few suggestions as to the order in 146 TOWER MUSIC IN which the principal carillons may be heard, though in the Low Countries all the towns are so near one another, that little foreplanning is needed. The carillon region, indeed, has an area only about twice that of Wales or of the State of New Jersey. It is in form almost a right triangle with Malmedy, southeast of Liege, at its right angle, and with its hypoth- enuse, running from Boulogne to the mouth of the Ems, northeast of Groningen, along the North Sea coast-line of Belgium and Hol- land. Tours might be as follows: BELGIUM I. Landing at Antwerp ; thence to S. Nik- laas, Ghent, Bruges, Ypres, Courtrai, Oude- naarde, Aalst, Louvain, and Mechlin. HOLLAND II. Landing at Rotterdam; thence to Schie- dam, Delft, the Hague, Leiden, Haarlem, Alkmaar, Amsterdam, Utrecht, and Gouda. Another short tour could begin at Flushing THE LOW COUNTRIES 147 and include Middleburg and Veere; and in a tour in the eastern part of the country one should go to Arnhem, Zutfen, Kampen, Gro- ningen, and Appingedam. In Belgium, Tour- nai and Mons can easily be reached in a side excursion from Courtrai. The above towns contain the carillons given in the lists of the best in Chapter III and some others, and in- clude examples of bells by all the great founders. It is not supposed that it will agree with the plans of all travellers to visit these towns in the sequence here given. Ar- rangement must depend upon particular needs. A convenient programme can readily be made by consulting Appendices A and B for the days and hours of play in each place. However the tours are arranged, none is com- plete without including Mechlin on some Monday evening in June, August, or Sep- tember, when Josef Denyn gives his concerts. CHAPTER IX "Tous les maitres lancent a trovers I'espace leur melopees tendres ou plaintives, ardentes ou triomphales." N. VERSCHAVE MECHLIN'S has always been num- bered among the finest carillons. The name "beyaert" was applied to the bells of S. Rombold's tower for the first time in 1556, and in 1557 a carillonneur was appointed at a salary of 36 florins a year. In 1563 we know there were 18 bells, of which 10 were by Waghevens, 2 came from Ant- werp, and the remaining 6 had been part of the voorslag. This carillon was already fa- mous in 1575, for commissioners from Ypres came then to examine it. In 1583 some van den Gheyn bells were added and soon after that the pedal keys. During the next century bells were gradually added until there were 29. In 1679 the carillon was largely renewed, 11 of the old bells being retained and 32 new 148 YPRES: THE CLOTH HALL TOWER SKETCH BY JEAN BAES BELGIUM AND HOLLAND 149 ones purchased of Pieter Hemony, and this is essentially the carillon of today, details of which are given in Appendix D. When a vacancy occurred in the position of carillonneur for so famous a set of bells, a competition was often held in order to select the most capable person to fill it. The earliest contest of this character was in 1599, when two applicants came from Mons and one from Dixmude. But the most important one took place in 1788 when there were six entrants from various parts of Belgium and when Haverals, of whom I have already spoken, was successful. Other towns which held the art in high esteem frequently held similar con- tests. We have this somewhat embellished account by Haweis of the one at Louvain to which allusion was made in the preceding chapter: "On the 1st of July, 1745, the town of Louvain was astir at an early hour: the worthy citizens might be seen chatting eagerly at their shop doors, and the crowd of visitors who had been pouring into the town the day be- fore were gathering in busy groups in the great square of 150 TOWER MUSIC IN Louvain, which is bounded on one side by the town hall, and on the other by the church of S. Peter. Among the crowd might be observed not only many of the most emi- nent musicians in Belgium, but nobles, connoisseurs, and musical amateurs, who had assembled from all parts of the country to hear the great competition for the impor- tant post of carillonneur to the town of Louvain. "All the principal organists of the place were to com- pete : and among them a young man aged twenty- four, the organist of S. Peter's, who was descended from the great family of bell-founders in Belgium, and whose name was already well known throughout the country, Matthias van den Gheyn. "The nobility, the clergy, the magistrates, the burgo- masters in short, the powers civil and ecclesiastical, had assembled in force to give weight to the proceedings. As the hour approached, not only the great square, but all the streets leading to it, became densely thronged, and no doubt the demand for windows at Louvain, over against S. Peter's tower, was as great as the demand for balconies in the City of London on Lord Mayor's Day. "Each competitor was to play at sight the airs which were to be given to him at the time, and the same pieces were to be given to each in turn. To prevent all pos- sible collusion between the jury and the players, no pre- ludes whatever were to be permitted before the perform- ance of the pieces, nor were the judges to know who was playing at any given moment. Lots were to be cast in the strictest secrecy, and the players were to take their seats as the lots fell upon them. The names of the trial pieces have been preserved, and the curiosity of posterity may derive some satisfaction from the perusal of the fol- lowing list, highly characteristic of the musical taste of that epoch in Belgium: 'La Folie d'Hispanie,' 'La Ber- gerie,' 'Caprice,' and one 'Andante.' "M. Loret got through his task very creditably. Next to him came M. Leblancq, who completely broke down in 'La Bergerie,' being unable to read the music. M. van Driessche came third, and gave general satisfaction. M. de Laet was fourth, but he too found the difficulties of 'La Bergerie' insuperable, and gave it up in despair. Lastly came Matthias van den Gheyn ; and before he got through his task, the judges and the great assembly be- sides had probably made up their minds; there was no comparison between him and his predecessors. Loret and van Driesscher, both eminent professors, were indeed placed second, but beyond all shadow of a doubt the last competitor was the only man worthy to make carillon music for the town and neighbourhood of Louvain, and accordingly van den Gheyn was duly installed in the honourable post of carillonneur, which he held conjointly with that of organist of S. Peter's. His duties consisted in playing the bells every Sunday for the people, also on all the regular festivals of the Church, on the municipal feast-days, besides a variety of special occasions in short, whenever the town thought fit. He was bound to have his bells in tune, and forbidden to allow any one to take his place as deputy on the great occasions. His salary was small, but there were extra fees awarded him upon great occasions, and, on the whole, he doubtless found his 152 CARILLONS OF post tolerably lucrative, without being by any means a sinecure." When carillons were inaugurated, experts frequently met to pass upon the work. Gre- goir mentions one of these assemblies at Bruges in 1743 when the bells of Dumery, still famous today, were judged "the most ar- tistic and best attuned in Europe." Again at Bruges, in 1912, there was a competition for prizes for playing, which carillonneurs from many parts of Belgium entered. The mani- festation at that time of the mechanical de- fects of this instrument led to its rearrange- ment and improvement two years later, so that it is now in excellent shape. Mechlin, too, has recently been the scene of prize competitions, one on June 27, 1897, of minor importance, and one on August 21 and 22, 1910, which, according to the Musical Standard (London), was attended by 30,000 people. No other event in carillon history brought together so large a list of competi- tors. From Belgium came eight professionals BELGIUM AND HOLLAND 153 and two amateurs and from Holland five professionals and one amateur. Of the five judges, one was from England. The address of the President, Mr. Denyn, and the greater part of the report of the judges is printed in Appendix E. This report, written by Mr. Denyn, is not only a careful estimate of the merits and defects of each competitor, but em- bodies also what is virtually a treatise on the capabilities of the carillon and the rules which should govern the choice of music for playing. It is a century and a half after van den Gheyn's playing inspired the crowds at Lou- vain that we see again a master of the art (and with him many competing carillon- neurs) delighting gathered masses of the peo- ple. Of this E. B. Osborn, in a special article on "Carillon Music," gives an account, an ac- count not based on tradition, but of what he himself saw and heard: "It was not until I heard the chief bell-masters of Bel- gium and Holland playing on the great carillon at Mech- lin in August 1910 that the range and power of the key- 154 TOWER MUSIC IN board carillon were fully revealed to me. It was a fes- tival of carillon players. The King of the Belgians had offered prizes for the best executants, and throughout the two days of competition the great square of the Groote Markt was thronged with eager and attentive listeners. Mr. Denyn's recital (following the competition) was the most memorable concert I have ever heard, and was a revelation not only of his amazing virtuosity but also of the possibilities, explored and unexplored, of the art of bell music. The first piece was a stately and sonorous Prelude, which might have been written by Bach, and was Mr. Denyn's own composition, a long-meditated tribute to the occasion. Peter Benoit's "Myn Moeder- spraak" was rendered with bewitching delicacy. But per- haps the most interesting and instructive of Mr. Denyn's selections was a set of ancient French ditties made for carillons at various dates. This was really a brief and delightful history of the evolution of bell music." In general Mr. Denyn begins a concert with some brilliant piece, which immediately takes his audience captive and compels its at- tention, something perhaps by Verdi or Bach. Toward the middle of the programme come pieces which require the utmost skill, such as a sonata by Nicolai or a work of some ancient composer, like Pleyel or Kraft, which he has adapted to the carillon in a marvellous fash- THE LOW COUNTRIES 155 ion. The concert usually ends with music ex- pressing deep emotions, a stirring piece by Benoit or a tender song by Schubert. Besides the brilliant numbers, in every programme will be found one or two groups of simple airs, folk-songs or the like. Handsomely printed pamphlets giving the programme of the sum- mer evening concerts are issued in four lan- guages with illustrations and other informa- tion at Antwerp and Mechlin. Mr. Denyn's concert on July 9, 1914, at Antwerp is fairly typical : 1. Jerusalem G. VERDI 2. a) Consciencelied JEF VAN HOOF b) Bede JOHN DIJSDRICH 3. a) Lob der Thranen b) Romanze aus Rosamunde FR. SCHUBERT c) Friihllngsglaube 4. Sonate III V. NICOLAI 5. a) Myn hart is vol verlangen ~\ b) Heeft het roosje milde geuren I PETER BENOIT c) Myn Moederspraak Nor is Denyn solely a great virtuoso. He is also a rejuvenator of an ancient art. For 156 CARILLONS OF besides some forty evening concerts he gives each summer, in various places, he has at other seasons rearranged the keyboards and connections in many towers, among them Ant- werp, Louvain, Mons, and Bruges, and is often called in consultation where improve- ments are contemplated. At any time Mechlin is an interesting place, but on Monday, July i, 1912, it was particu- larly so. The city was decked with flags ; the great bells were ringing; the carillon was played by the finest players of Belgium and Holland, and for the lovers of bell music, it was a day of rejoicing. The celebration was in honour of Josef Denyn, for twenty-five years city carillonneur. All the festivities were of a national character, in which people of every rank from the King and Queen to the humblest citizen took part. During the day many gifts came to the illustrious caril- lonneur from his admirers and friends. The most touching of them all was a simple bou- quet of flowers presented by a blind woman BELGIUM AND HOLLAND 157 on behalf of the colony of laceworkers who said they wished to show their appreciation of his playing which for many years had been a solace and joy to them during their hours of labour. First of the day's proceedings was the ar- rival of the new bell from the foundry of van Aerschodt. This was set up in the Grand' Place and exhibited throughout the day. It had been subscribed for by the public and pre- sented to Mr. Denyn to be placed in the famous carillon to replace a defective bell in the upper part of the instrument. On it is a medallion portrait of Josef Denyn with this inscription in Flemish: "To the great caril- lonneur, Jef Denyn, from an admiring pub- lic." In the afternoon a carillon recital was given in honour of the occasion by the best players of Belgium and Holland. Carillonneurs Re- doute of Mons, Igodt of Ypres, van Zuylen of Gouda, Nauwelaerts, then of Lier, now of Bruges, and many others took part. This re- 158 TOWER MUSIC IN cital made evident the very great advance made in playing during the previous ten years and showed that at the present time such play- ing is of greater artistic excellence than ever before. In the evening just before eight o'clock as Mr. Denyn approached the tower door of S. Rombold's, he must have been thrilled and inspired by the immense audience numbering, so the Musical Times (London) says, between 20,000 and 40,000 people, who assembled to do him honour and to testify their good will and show their appreciation of his genius. As the hour finished striking, the carillon sounded and the great carillonneur held his immense audience spellbound with a performance of van den Gheyn's difficult third Prelude. All through the concert he played with great ex- pression and power and nothing more beauti- ful can be imagined than the exquisite treat- ment of the eighteenth century melody, "Je n'irai plus au bois" or the real life imparted to the sixteenth century dance, "La Romanesca." Immediately after the concert, a procession was formed in which all the societies of the city were represented. They marched to the accompaniment of the ringing of the great bell and the playing of national melodies on the carillon, to the Concert Hall in Merode- straat. This large room was soon filled to its utmost capacity. The chair was taken by the Burgomaster, Mr. Dessain, who was sup- ported by many officials, provincial and muni- cipal. The chairman, in opening the proceed- ings, announced amid tumultuous applause that the King had conferred upon Mr. Denyn "La Croix de Chevalier de 1'Ordre de Leo- pold" and then read a telegram of congratula- tion from the King and Queen. He pinned on Mr. Denyn the medal of the First Class for twenty-five years of distinguished service to his country. Besides this he gave him a medal from the City of Mechlin. The new bell was then formally presented and finally came the gift of the great album containing autographic notes expressing many 160 CARILLONS OF times the sentiment that it was Josef Denyn that had made his countrymen turn their at- tention again to the bell music of their fathers, and with this were bound colour sketches and brief musical compositions, the whole being a unique tribute from over a hundred well known public men, musicians, poets, and artists. When the presentation had been finished, Mr. W. W. Starmer said, on behalf of ad- mirers of bell music in foreign lands: "The great Handel is credited with the statement that the bell is the English national instrument, and centuries ago England was called the ringing isle. We love the music of the bells, but our change ringing clever as it is possesses none of the artistic merits of carillon playing, of which you are a consummate master. You know to the greatest nicety the capabilities of your instrument; your artistic perception unfailingly directs you as to the best music for it ; your executive skill, in which you have no equal, and other qualifications give you the highest position as an artist. Long may you live to maintain and excel in the best traditions of your art." This speech was received with great en- thusiasm, and Mr. Denyn, much affected by BELGIUM AND HOLLAND 161 the honours and tributes that had come to him, briefly replied. So passed a day which will ever be memorable. The fear has often been expressed that a time might come when the art which recently has blossomed so richly would again fade and its perfection in our own day remain only a memory. But happily a movement is under way which will preserve the attainments al- ready made and educate skilled players for the future. This movement has as its aim the establishment of a carillon school under the direction of Josef Denyn at Mechlin. Prop- erly equipped with means for practice and affording competent instruction, such a school should have a constant quota of students from all the carillon region and could soon furnish many well qualified players. Belgium pos- sesses five great carillons, those at Antwerp, Bruges, Ghent, Louvain (S. Peter's), and Mechlin, all with large range, perfected cla- vier, and adjustments of the most modern sort. Following them come ten others of the first 162 TOWER MUSIC IN order, instruments of smaller compass and less perfect mechanism, but capable of being made as good as any without great expense. Be- sides these, Belgium has some thirty or forty other carillons whose pleasure-giving ability, to say the least, can be greatly increased. In Holland, too, though it now contains no in- struments equal to Belgium's first five, we find great possibilities for development. Each of these carillons ought to be made an artistic force in its community, an element in the higher education of the race to whom this form of music is peculiar. There are already a score of men capable of giving excellent concerts. Most, if not all, of those now quali- fied have gained their technical skill by con- tact with or teaching by Denyn himself. Fully one hundred are needed to supply all the carillons now equipped with keyboards. The municipality of Mechlin has offered the necessary housing for the school with heat, light, and care, while the national government has decided to grant an annual subvention THE LOW COUNTRIES 163 toward the teaching expenses. Thus has been made a provision for about one-half the esti- mated annual expense of 11,000 francs neces- sary to carry on such an enterprise. The hope is that from private sources will come gifts in the form of endowment that will supplement the support already pledged and establish the project upon a permanent basis. The scheme of instruction, including both theoretical and practical courses, has been thus outlined: The instrument, bell tones, tuning, founding, key- board system and transmission; History of bells, of foundries, of carillon development; Visits to foundries and principal carillons; Technique, arpeggios, interpretation, adapta- tion, execution, effects and programme mak- ing; and, finally, Elementary harmony, prac- tice in counterpoint and composition. There would also be provided miniature practising carillons, such as existed in the past. For one cannot shut a regular carillon up in a sound- proof room or close the openings of a tower and seclude its sound when the learner prac- 164 CARILLONS tices. The first struggles with the keys now are known to all and are disagreeable both subjectively and objectively. One young Belgian girl got her first prac- tice, so she told me, while the automatic hour play was taking place. So she came to know the feeling of the keys in action, and listeners, mystified perhaps, laid to a disordered auto- matic mechanism the confusion of sounds that resulted. This gave her but about four min- utes practice at most each hour, but it was an experience she could get in no other way with- out attracting the attention of the entire town. CHAPTER X "En die van Mechelen spant zekerlyk de kroon" ANONYMOUS AsF Antwerp friend to whom we had described the charm of the Dutch carillons and of those we had heard in Belgium, and the excellent playing of the different carillonneurs in many places, would listen with courteous interest and then, when we had finished, would look up with a smile and say, "But you have not yet heard Mr. Denyn. Wait!" We felt that he spoke with judgement and knowledge, for he had been at the great con- test in 1910 at Mechlin, where carillonneurs of the two countries had assembled, to play in turn in a two-days' contest on the bells of S. Rombold's tower, after which the King's prize had been awarded to the most accurate and most finished competitor. That outdoor scene of which he told us, the Grand' Place 165 166 TOWER MUSIC IN filled with thousands of eager listeners, some- how suggests a splendid finale of an opera. It was with unusual interest then, that we set forth for Mechlin to hear the master carillon- neur give one of his famous Monday evening concerts. Mechlin lies midway between Antwerp and Brussels and is reached by train from either city in half an hour. It was once the centre of great political and ecclesiastic activity, and is still the seat of the Primate of Belgium. Much of its charm remains and there is de- lightful repose in the old streets where many picturesque gables of the sixteenth and seven- teenth century houses, so characteristic of the Flemish Netherlands, look down upon the traveller. In the street of the Twelve Apos- tles there is a small Beguinage, and near it a lace making school where the sisters teach children to make the famous Mechlin lace. The River Dyle winds in and out through the city in a charming manner, past quaint houses and ancient quays, where verdure takes root JOSEF DENYN OF MECHLIN: THE GREAT BELL-MASTER THE LOW COUNTRIES 167 in the joints of the stones and is reflected in the peaceful water. An air of great tranquil- lity dwells in the entire city, and as if to em- phasise this and to approve it high above the red roofs and fine trees, rises the splendid square tower of S. Rombold's Cathedral, a serene and noble landmark. In a Continental European town, the con- trast between the day's occupations and the gayety of evening is marked. Animated groups of men and women, many of them bareheaded, stroll up and down the streets or stop to talk with other groups, giving a joyous tone to the entire scene. On reaching Mechlin we found unusual festivity because of the cele- bration of the Feast of the Assumption. Gay crowds filled the streets and many of the peo- ple were walking toward the Groote Markt or Grand' Place where the life of smaller Flemish cities centres. As there was yet a full hour before the con- cert, we drove to Mr. Denyn's house for the Denyns' were already our good friends and 168 CARILLONS OF taking the three youngest children in the car- riage with us, started for a short tour about the town. The children were delighted and talked incessantly. At one point they made us notice that people were bringing out chairs and placing them in rows in a park near the cathedral tower, and they explained that this was always done on the nights when "papa" played. Then one of them confided to us it was "la fete de maman"; so we drove to a flower shop to buy a few roses. All three chil- dren eagerly jumped out of the carriage and went in with us to help choose the flowers, and the shop-keeper and her husband and three friends who had stopped for an evening chat all aided and applauded our choice. Finally the coachman called in to us with much excitement that it was nearing eight o'clock, and we must at once go back, for his carriage would not be allowed to cross the Grand' Place after the eight o'clock bell in S. Rombold's tower ceased to toll. We there- fore started hastily for the Denyn house, BELGIUM AND HOLLAND 169 dropped the children bearing their flowers and drove across the square as fast as our horse would take us. We had barely turned into the Grand' Place when the carillon began to play the melody that precedes the striking of the hour. It was eight o'clock! The Groote Markt was filled with people, some standing, but most of them sitting at small tables outside cafes, and as the bells began to play, the talking and laughter grew less and last preparations were made for the enjoyment of the concert. Our carriage was the only one in sight; the coachman snapped his whip again and again until he started the horse into a run. Galloping across the great square and into a narrow street, we stopped before the entrance of a small school, the garden of which was our destination, since there the carillon could be heard to the great- est advantage. Our arrival was accomplished in the utmost haste, for the great deep bell be- gan to toll the hour as we descended from the carriage. Having left us, our coachman 170 TOWER MUSIC IN whipped his tired horse again into a gallop and dashed off into the dusk. In answer to our ring, a panel of the great door was opened by a woman who held in her left hand a large old-fashioned lantern lighted by a candle. "Bon soir, Madame et Messieurs," she said smilingly. Then in a hurried whisper she added, "II faut vous depecher" and, leading the way, quickly con- ducted us through a long paved yard into the pleasant school garden. Just as we reached it, the last stroke of eight o'clock sounded. In these northern countries the day is long even in late August, and it was still twilight. Against the southern sky, framed in by two dark trees in the foreground, rose the broad, rugged tower of S. Rombold's. High up, near the top of the tower, from a narrow open- ing shone out a faint, dull light. After the bell ceased striking, and the vi- bration of its deep and solemn tone had died away, there was silence. So long a silence it seemed, so absolute, that we wondered if it THE LOW COUNTRIES 171 ever was to be broken. Then pianissimo, from the highest, lightest bells, as if not to startle us, and from far, far above the tower, it seemed indeed as if very gently shaken from the sky itself came trills and runs that were angelic! Rapidly they grew in volume and majesty as they descended the scale until the entire heaven seemed full of music. Seated in the garden we watched the little light in the tower, where we knew the unseen carillon- neur sat at his clavier and drew the music from his keys, and yet as we watched and lis- tened, we somehow felt that the music came from somewhere far beyond the tower, far higher than that dim light, and was produced by superhuman hands. Sometimes in winter after icicles have formed, there comes a thaw, and one by one they tinkle down gently and timidly at first; then bolder in a mass they come till, like an avalanche, they crash down with a mighty roar. All of this the music sug- gested. It was low, it was loud ; it was from one bell, it was from chords of many bells; it 172 CARILLONS OF was majestic, it was simple. And every note seemed to fall from above, from such heights that the whole land heard its beauty, it was as if a great master had said: "I am no longer content to sit at my cathedral organ and give pleasure to a few hundreds only; I must give joy to thousands." So he mounts the cathedral tower, and plays his sonata, or his prelude, or his songs upon the great clavier, so that all the world may hear. With this feeling, we lis- tened that evening to van den Gheyn's "Pre- lude" and to the Andante and Allegro from Rossini's "Barbier de Seville" and to old Bel- gian and French folk songs. Here was no petty cleverness, but a splendid master-hand bringing out from his mighty instrument not alone grand, sublime effects, but also the ten- derest shades of feeling that awaken both memory and aspiration. Indeed, the tower seemed a living being, opening its lips in the mysterious night to pour out a great and noble message of song to all mankind. As the hour passed, daylight died, but the BELGIUM AND HOLLAND 173 tower grew more distinct in the light of the full moon rising over the trees. We had pro- grammes which we passed in silence to one an- other, and if there was occasion to speak, we spoke in whispers. It seemed that if we moved or spoke aloud, the tower, the far away light, and the music might all vanish. Noth- ing we had ever experienced had been like this. Sometimes the sounds were so low that we found ourselves bending forward to hear them. They seemed to come from an infinite distance, so faint and delicate were they. Then at other times, great chords, in the vol- ume of many organs, burst forth rapturously! The concert ended promptly at nine with the national air of Belgium. Directly after this the great bell slowly, solemnly struck the hour. Leaving the quiet garden, we walked back to the square where all was liveliness again. At the foot of the tower we waited for Mr. Denyn. He soon appeared at its door in hap- piest mood, and leaving his lantern for the 174 TOWER MUSIC IN watchman who spends the whole night in the tower to keep guard over the sleeping city, he joined us, giving us the friendliest of greet- ings in French. As he dons for his work, which is far more strenuous than is the play- ing of any other musical instrument, a special costume kept in the tower room, he came out looking neat and cool and ready to enjoy with his friends the remainder of the evening. In- vited by him, we went to the Cheval d'Or, a little cafe nearby. Here we came upon a scene of much gayety, one which was in marked contrast to the quietness of the sur- roundings in which we had spent the last hour. As we entered, many rose in honour of Mr. Denyn, and coming forward grasped his hand and expressed in Flemish their delight in his playing. He invited us to sit down with him, and to have coffee or beer. As we sat to- gether, after the greetings of the crowd were over, he spoke at length and with enthusiasm of the powerful influence music had in pro- moting a nation's happiness. And he said that THE LOW COUNTRIES 175 in giving these concerts which thousands en- joy, he felt he was contributing something to the education of the people. But the time for our return to Antwerp drew near and so, with mysteriously moving thoughts of the past, awakened by his music, and with feelings of aspiration, we parted from this large-hearted, simple man, the master bell-master. APPENDICES APPENDIX A LIST OF CARILLONS IN HOLLAND IN this list, which is intended to include all the carillons existing (together with sev- eral that have been destroyed) in the Koninkryk der Nederlanden, the towns are arranged in alphabetic order, according to their Netherlandish (and therefore true) names. Following the name of the town is the province in which it is situated, likewise in Dutch. Next comes the building in the tower of which the bells hang. Churches have usually two names, as Groote Kerk or Sint Laurenskerk (at Alkmaar and at Rot- terdam), but I have used only the more famil- iar. Then is given the number of bells com- posing the carillon (usually excluding bells not playable from the clavier) with the name of their founder and the date of their casting. 179 180 APPENDICES Finally come the name of the bell-master and the time when he plays. In this connec- tion, it may be remarked that the carillonneur is nearly always glad to play at other times, but in most towns the permission of the burgo- master or the town council is required ; so ar- rangement must be made beforehand. Be- sides the weekly playings noted, there are concerts on some or all of the royal birthdays April 19 (Prince Henry), April 30 (Prin- cess Juliana), August 2 (Queen Emma), and August 31 (Queen Wilhelmina) and in dis- tricts predominantly Roman Catholic (Lim- burg and Noord Brabant) on certain festivals, such as Shrove Tuesday and Mid-Lent. Also I would call attention to the special music in many towns during the month of May. Not only is there additional concert play at this season, but the tunes selected are chiefly mei- deuntjes or May ditties, expressing the pop- ular rejoicing that winter has departed and that spring has come. The phrase among the best indicates that the APPENDICES 181 carillon to which it refers is included in the list given in Chapter III. From the gallery of every tower, however low, in these flat nether lands, one beholds a panorama of great beauty, of animation in the towns, and of repose in the country. It would be monotonous to praise a view in every para- graph; yet all the views deserve praise, for the ascent of these towers never fails to re- ward one with a prospect both inspiring and restful. Alkmaar, N. Holland; Waag (weigh-house) ; 35 bells weighing 14,300 pounds by de Haze, 1687; played on Friday and Saturday, 12-1, also on October 8th, the anniversary of the lifting of the siege of Alkmaar, which was maintained by 16,000 Spaniards under Alva in 1573. At each stroke of the hour, two mounted knights rush out on a small platform below the tower clock, meet, pass, and disappear again. The first concert on this caril- lon was heard by an audience of many thousands on the afternoon of August 28, 1688. Alkmaar is the largest cheese market in the Netherlands. The playing during the trading Friday mornings adds a pleasing touch to the animated and unique scene presented by the picturesque square, full of piled-up orange cheeses and crowds of spectators and merchants. The porters of the cheese- 182 APPENDICES trays, who dress in white except for the colored ribbons of their straw hats (a different color for each of the five porters' guilds), seem to trot along with their heavy burdens in step with the music. The tower may be climbed (tickets fl. 0.25, obtainable only at the Stadhuis), and from the balcony is a fine view from North Sea to South Sea (Zuider Zee), while within the tower, the carillonneur will play for you your choice of his reper- tory. This instrument is rather crude, but the bell-mas- ter is very obliging. There was formerly a carillon of 32 bells by Son- neman, 1692, in the tower of the Groote Kerk. Amersfoort, Utrecht; Onze Lieve Vrouwe Kerk; 33 bells weighing over 20,000 pounds by F. Hemony, 1658; Friday, 10-11, and Wednesday evening, 8-9. The tower in which the bells hang is called by Baedecker "the finest Gothic pyramid in the country." Amsterdam, N. Holland, has five Hemony carillons. That in the Paleis is among the best. In all five towers the bells are hung in circles and may be seen from the street. The carillon in the royal palace consists of 37 bells by F. and P. Hemony, 1664, arranged in two tiers, the upper consisting of the largest bell (of 6,160 pounds) encircled by the eight next in size and the lower consist- ing of the remainder. The keyboard is only about twelve feet below the bells. This arrangement and the good con- dition of the mechanism enables the carillonneur, J. Vin- cent, to produce effects almost as fine as those of good Belgian players. Concerts are on Monday, 12-1, and on AMERSFOORT: THE TOWER OF OUR LADY Affectionately called " The Mother and Child" because of the small spire carried by the tower as if in its arms APPENDICES 183 royal birthdays, 8-9, 12-1, and 4-5, and on summer evenings, as announced from time to time in newspapers. The tower of the Zuider Kerk contains 35 bells, 32 by F. and P. Hemony in 1656 and weighing 19,500 pounds. The three highest bells, founded by N. Noorden in 1700, can be played only by clavier. Concerts are occasional. In the Oude Kerk are 37 bells by F. Hemony, 1659. Occasional concerts. The Western Kerk contains a carillon by the same founder dated 1657-8. These bells replaced a set made by J. A. Leeghwater, the engineer who first proposed draining the Haarlemmer Meer, which were put in place in 1643. The Munttoren also contains a carillon. Furthermore, in the Ryks Museum is a small carillon which comes from Arnemuiden, Zeeland, where it used to hang in the church tower. Of its bells, 14 are by van den Gheyn (dated from 1552 to 1583) and the other 10 have been made by recasting old fragments. It plays quaint Dutch melodies on the whole and half hour. Appingedam, Groningen; church; 25 light and ac- curate bells by Taylor, 1911; concerts by the church or- ganist, Jaeger, only on festival days. This carillon was purchased with the unclaimed deposits of the church sav- ings bank. The largest bell bears the inscription "Dit klokkenspel is een geschenk van de Spaarbank van het Oud-Diakengezelschap." Arnhem, Gelderland ; Groote Kerk ; 35 bells weighing 25,143 pounds by F. and P. Hemony; Friday, 10:15- 10:45; among the best and soon likely to be improved, 184 APPENDICES for Arnhem has recently consulted Denyn with the idea of improving the keyboard and playing mechanism. Bergen-op-Zoom, N. Brabant. Here was formerly a carillon of 19 bells by J. ter Stege, but it was destroyed in war. Breda, N. Brabant; 40 bells founded in 1723; Tues- day and Friday, 10-11. Briel, Z. Holland; S. Catherinaskerk ; 22 bells by F. and P. Hemony, 1661, and 1 inferior one of 1883. The instrument is far from perfect; concerts are given the first Monday of each month by W. Borstlap. The bells are played also on April 1, the anniversary of the taking of the town by the "Water Beggars" in 1572, the first act of the Dutch war for independence from Spain, and on December 1, the anniversary of the de- parture of the only other foreign master the city ever had, for Napoleonic domination ended on December 1, 1813. The carillon tower has long been a watch tower and is equipped with a telephone connecting it with the nearby coast defenses. Culemborg (Kuilenburg), Gelderland. Delft, Z. Holland; Nieuwe Kerk, tower 375 feet high, 40 bells by F. Hemony, 1663; J. A. de Zwaan (also bell-master at the Hague) ; Tuesday, 6-7 P.M. in summer, 12-1 in winter; Thursday and Saturday, 12-1; among the best. Pleasant places in which to hear the bells are the Nieuwe Langendyk, the garden of the van Meerten house (now a delightful museum), and the court of the Prinsenhof, the building in which William the Silent was murdered. Ver Meer's famous "View of APPENDICES 185 Delft" in the Mauritshuis at the Hague shows the bell tower of the New Church in bright sunlight in the mid- dle distance. Deventer, Overyssel; Groote Kerk; 34 bells, 25 by F. and P. Hemony in 1646, and 9 of 1694; F. Harbrink; Tuesday and Thursday, 9:30-10:30. Doesburg, Gelderland; church; 23 (?) bells, light and pleasing, by F. and P. Hemony. Edam, N. Holland; Onze Lieve Vrouwe Kerk. This carillon by P. van den Gheyn, 1561, is being renovated. It was formerly played and probably will be, when again in use, on Saturday from 1 1 to 12. Eindhoven, N. Brabant; Stadhuis; 25 bells by Tay- lor, 1914. Enkhuizen, N. Holland; Zuidertoren; light bells by P. Hemony, 1677 (?) ; Wednesday, 11-12, April to Oc- tober. Also Drommedaristoren ; carillon by F. and P. He- mony, now under repair. Flushing see Vlissingen. Goes, Zeeland; Groote Kerk; 40 bells; H. Vissers plays on Tuesday, 12-1. These bells are attributed va- riously to A. J. van den Gheyn, Jansz, and J. Petit. Gorinchem, Z. Holland; Groote Kerk; 25 bells by de Haze, 1682; Monday, 12-1. Gouda, Z. Holland; Groote Kerk (in which is the finest stained glass in the country) ; 37 bells, 32 by P. Hemony, 1677; G. van Zuylen; Thursday and Saturday, 10:15-11; among the best. Mr. van Zuylen is most courteous and is an enthusiastic carillonneur. On the up- 186 APPENDICES rights near the keyboard arc painted the names and dates of service of preceding bell-masters. The bells here are arranged in the usual Dutch fashion, in circles and ex- posed to the weather. The lower tier consists of two concentric rings, the 18 smallest bells surrounded by the 8 largest; while above are the other 11, also hung in a circle. "Wilhelmus van Nassauwe" is always the hour tune. During May the carillonneur gives additional con- certs Sunday, Tuesday, Thursday, and Saturday from 6 to 7 in the evening. 's Gravenhage (den Haag), Z. Holland; Groote Kerk; 37 bells by de Haze, 1686; J. A. de Zwaan, the organist of the church and a master musician; Monday and Friday, 12-1 ; among the best. In this Great Church in the Hague, Queen Wilhelmina was married while the carillon rang joyfully above her. The best view of the tower of this church is from across the Vyver, which, says E. V. Lucas, "is a jewel set in the midst (of the Hague), beautiful by day and beautiful by night, with fascinating reflections in it at both times, and a special gift for the transmission of (the sound of) bells in a country where bells are really honoured." There is a detailed account of this carillon, entitled "Het Klokkenspel van den Haagschen Sint-Jacobstoren," by W. P. H. Jansen. Groningen, Groningen; Martinikerk; 37 bells, 31 by F. Hemony, 1662; 5 by P. Hemony, 1671, and 1 by A. van den Gheyn, 1788; H. P. Steenhuis; Tuesday, 10:30- 11 and Friday, 1-1:30; among the best. There are also 3 bells antedating the carillon, but able to be connected with it; these were cast by H. von Trier in 1578. This ENKHUIXEN: THE DROMEDARY TOWER APPENDICES 187 carillon is silent during Holy Week. The tower in which it hangs is the station of a watch-man, who every quarter hour during the night blows trumpet notes to the four points of the compass to indicate that he is on duty. If he descries a fire, he telephones the fire department. C. P. L. Rutgers has written a pamphlet about this carillon. A carillon in the Aakerk was destroyed by lightning in 1671. Haarlem, N. Holland; Groote Kerk, 35 bells weigh- ing 19,500 pounds by F. Hemony, 1660-4; H. W. Hof- meester; Monday and Friday, 12-12:30; among the best. This church contains a famous old organ, which is usu- ally played on Tuesday from 1 to 2 and on Thursday between 2 and 3. The Hague see 's Gravenhage. Hasselt (?), Overyssel; F. Hemony, 1662-4 (?). Hattem, Overyssel; 22 bells. Helmond, N. Brabant; Stadhuis; automatic play only. This carillon, hidden in 1795 to save it from the French, was originally in Postel Abbey in Limburg, Belgium. 's Hertogenbosch (Bois-le-Duc), N. Brabant; S. Janskerk; 40 bells; van Aerschodt, 1874; Wednesday, 11-12. Also Stadhuis; 23 bells; F. and P. Hemony; Wednes- day, 9-10. Heusden, N. Brabant; Stadhuis; small carillon played Tuesday, 11-12. Hoorn, N. Holland. The Groote Kerk once con- 188 APPENDICES tained 32 bells by P. Hemony, 1670, which were de- stroyed by fire. Hulst, Zeeland. A carillon of 28 bells by P. Hemony, 1669 (?), formerly was played Monday (market day), "Maar, helas, in het jaar 1876 is de toren en ook het klokkenspel vernietigd," the "horloge-naker" of the city writes me. Kampen, Overyssel; Nieuwet'n; 35 bells; F. Hemony, 1662; H. J. Dieter; Monday, 11-12, and Friday, 6-7. Leeuwarden, Friesland ; Stadhuis ; 33 bells by Fremy, 1687-9. The carillon hung in the New Tower till 1884 when, the tower becoming dangerous, it was taken down. It will soon be put up again in the tower of the Town Hall. Leiden, Z. Holland; Stadhuis; 39 bells, 29 by P. Hemony, and 10 by Fremy in 1680; R. H. T. van Leeuwen; Wednesday and Saturday, 10:15-11, and Mon- day evening, 8:30-9:30. Also on October 3, when the inhabitants eat a special dish made of chopped carrots and meats to celebrate the relief of Leiden, besieged by the Spaniards for a year ending October 3, 1574. After mounting the fine perron of this Town Hall and so reaching the floor on which are the rooms adorned with magnificent old tapestries, it is a short climb up an elec- trically lighted stairway to the bell-master's room. The ceiling of this room is supported by mortised beams ra- diating from the centre and decorated with white stars on a blue ground. An attractive spot in which to hear the bells is by the little dolphin fountain behind the Town Hall. Unfortunately the playing of the fountain (Sat- APPENDICES 189 urday, 3-6) and the playing of the carillon do not coincide. Lochem, Gelderland; Reformed Church; 29 bells, which are not played by clockwork, and by clavier only on great holidays. These bells were given to the town by an individual (G. Naeff). Maastricht, Limburg; Stadhuis, 28 bells by F. and P. Hemony, 1664-8; J. Muller; Saturday, 12-1. Also S. Servaaskerk; 40 bells by van den Gheyn, 1767. Formerly there was a carillon of 40 bells in Onze Lieve Vrouwe Kerk. Middelburg,*Zeeland; "Lange Jan," the tower of the Abdy (Abbey) ; 43 bells by N. Noorden and J. A. de Grave, 1714-5, of which 41 are used; J. Morks; Thurs- day, 12-1, and in May, Friday, 7-8 A.M. and 6-7 P.M. Among the best and much the busiest of carillons. It plays for nearly two minutes before the hour, a minute before the half, a few measures at the quarters, and some notes every seven and a half minutes, besides a warn- ing ripple before each quarter hour. The butter and egg market-place, crowded with peasants in costume at the market hour (Thursday noon), is perhaps the most inter- esting place to hear the bells. They blend with the ac- tivity of the marketing most agreeably. In quiet places, too, like the Abbey yard or the secluded garden of the Grand Hotel, Lange Jan's bells are welcome compan- ions. A detailed study of this carillon is embodied in F. A. Hoeffer's "De Klokkenspellen van Middelburg." Middelstum, Groningen; church; 23 bells by F. He- mony, 1661-2; since 1857 played by clockwork and at present only by that method. Van der Aa, writing in 190 APPENDICES 1851, says the bells were played Wednesday between 11 and 12 and Sunday before service. This is the only in- stance I have found of Sunday play within the Kingdom of the Netherlands, while in Belgium it is nearly universal. Monnikendam, N. Holland; 33 (?) bells by P. van den Gheyn. Nykerk, Gelderland; Oude Kerk; 28 ( ?) bells by van den Gheyn; Monday, 9-10. In this church are tombs of van Rensselaers and van Curlers, families from which came early colonists of New York. Nymegen (Nimwegen), Gelderland; Groote Kerk; 40 bells by van den Gheyn, 1597; W. de Vries; Monday and Thursday, 11:30-12; among the best. From the river, the branch of the Rhine called the Waal, the caril- lon tower appears as the apex of this city, built on a hill. The ideal place in which to hear the bells is on the river. Oudewater, Utrecht; Friday, 10-11. Purmerend, N. Holland. Formerly there was a caril- lon of 31 (?) bells by F. and P. Hemony. Rhenen, Utrecht. The very graceful tower of S. Cunera, in which was the carillon, was struck by lightning in September, 1897, and completely destroyed. The new tower is an exact copy of the old, but contains no bells. Rotterdam, Z. Holland; Groote Kerk; 39 bells, weighing 35,000 pounds; F. Hemony, 1660; W. C. de Lange; Tuesday and Saturday, 11-12. Also Beurs (Exchange); F. Hemony, 1660; played only by clockwork. This set of bells was made for the Stadhuis and hung there till 1829. Schiedam, Z. Holland; Oude Kerk; 41 bells, of APPENDICES 191 which 28 arc used, by A. J. van den Gheyn, 1786; H. J. P. Textor; Friday, 11-12, and occasionally summer eve- nings, 9-10. The 3 heaviest bells, used respectively as a church bell, an hour bell, and a half-hour bell are not connected with the keyboard, nor are the 10 lightest bells because of their unsatisfactory timbre. There are four weights here to be wound up daily : one for the hour bell ; one for the half-hour bell, which as everywhere in the Netherlands is higher in tone than the hour bell and strikes the hour next to come (instead of a single stroke) ; a third for the cylinder which plays the bells each quar- ter hour ; and the last for the clock itself. The cylinder has 112 rows of holes in which pins may be inserted. Of these, 72 "measures" play before the hour, 32 before the half-hour, and 4 at each of the intervening quarters. The bell-master is an interesting man and interested in his carillon, for both his father and his father's father were city carillonneurs of Schiedam. These three Tex- tors have held the position successively since 1791 and the present one takes proud care of his laboratory. The stairway up the tower, a short climb, is spick with white- washed walls and supplied with a taut rope hand-grip, while the tower room is a model of Dutch order and lustrous cleanness. The cylinder, and indeed all the ma- chinery, is polished like the engines of an ocean liner and the cylinder pins, accurately sorted, glisten in their allot- ted compartments, while Heer Textor himself is a very hearty and obliging host. Altogether this is one of the most satisfactory towers to climb, though the bells cannot be given as high a rank as those in many other places. 192 APPENDICES Schoonhoven, Z. Holland; a small carillon, very pretty and light, made from cannon by O. van Noort; van Rossum, carillonneur. Sittard, Limburg. F. A. Hoeffer has written a pamphlet on these bells. Sneek, Friesland ; S. Maartenstoren ; 26 bells by Borchard and Eckhof, 1771; J. Lindema; Tuesday and Friday, 12-12:30. Tholen, Zeeland; Stadhuis; automatic play only. Tilburg (?), N. Brabant. Utrecht, Utrecht; Dom; 42 bells weighing 32,000 pounds, chiefly by F. and P. Hemony, 1663; J. A. H. Wagenaar; Saturday, 11-12, and in May, Monday, Tues- day, Thursday, and Friday, 7-7 :30 A.M. ; among the best. The clavier of this instrument is connected with more bells than any other in the country and the carillonneur is very skilful in using them. The tower, 338 feet high, stands apart from the Cathedral, since the collapse of the nave in 1674. Stairs of 458 steps lead to the bell- master's cabin and from this height a splendid view of the surrounding country is obtained. The best place in which to listen to the bells is the garden behind the Stadhuis. There is a carillon of 23 bells by F. and P. Hemony in the Claaskerk (Church of S. Nicholas or Santa Clous'). This plays only by machinery, but has excellent bells. There once was and still may be another carillon by the brothers Hemony in the Jacobskerk. Veere, Zeeland; Stadhuis; 36 bells chiefly by P. and A. van den Gheyn, 1736. VEERE: THE TOWN HALL APPENDICES 193 In the Groote Kerk was once another carillon which belonged to the church. Vlissingen, Zealand; Groote Kerk; 33 bells by Tay- lor, 1914; among the best; one of the three new carillons of the same English make, the others being at Appinge- dam and Eindhoven. This carillon was played for the first time on April 30, 1914, Princess Juliana's fifth birthday, as a surprise to the people of Flushing. The mechanism is wound by electricity and the face of the clock is thus lighted at night. The old tower of the Great Church, burned September 5, 1911, contained 35 bells by P. van den Gheyn, 1770. Weesp, N. Holland; 29 bells by P. Hemony, 1676; J. W. Bovenkerk plays on royal birthdays, 8-9 A.M. Ysselmonde, Z. Holland ; R. G. Crevecoeur, carillon- neur; Wednesday, 11-12. Zalt Bommel, Gelderland; S. Maartenskerk; 33(?) bells by F. Hemony, 1663 ( ?) ; Tuesday, 11-12. Zierikzee, Zeeland; Stadhuis; 14 bells by P. van den Gheyn, 1550-5; S. Klimmerboorn ; Thursday, 12-1. This is the oldest and smallest carillon still played by a caril- lonneur. Zutfen, Gelderland; Wynhuis; 32 bells, 26 by F. and P. Hemony, 1645; Thursday, 10:15-10:45. Zutfen, like its neighbours, Arnhem and Nimeguen, has recently con- sulted Mr. Denyn about improving the mechanism of its carillon. These are the earliest bells of the Hemonys. Zwolle, Overyssel. F. A. Hoefer has written a pamphlet on the bells of Zwolle. * Middelburg ; Taylor substituted 3 bells, 1897. APPENDIX B LIST OF CARILLONS IN BELGIUM MOST of the remarks at the head of the preceding list apply quite as much to the following. Out of re- gard to the fact that carillons are a Nether- landish institution, an expression of art pecul- iar to the Low Country branch of the Teutonic race, I have arranged these Belgian towns alphabetically according to their names in the Flemish rather than the French language. Since the latter, however, is frequently more familiar to the foreigner, and is the official language of Belgium, and in some form the popular language of nearly half the people, the French name also is given whenever it is different. These two names in each case seem a sufficient identification without any mention of the province. Otherwise the arrangement of information is the same as in the preced- ing list 194 APPENDICES 195 As has been often pointed out in the body of this book, the best carillons of Belgium are generally superior, not in the bells but in the machinery for playing them, to the best ones of her northern neighbour. The superiority, therefore, is likely to be temporary; but for the present, Belgium has a very considerable advantage. Owing to this greater perfection of the carillon as an instrument, concerts in the quiet of evening take a more prominent place in Flanders than in Holland and are constantly becoming more popular. Unfortunately my information about Bel- gium is so far from complete, that I have been able in many cases to note merely the name of the town where there is a carillon. I en- deavour, however, to make at least this much mention of every carillon in the country. It will be noticed that the great majority are in the northern half of Belgium, that being the portion where the people are Netherlandish in race and language. The whole country, however, has the bond of a common church, 196 APPENDICES which strikingly differentiates the Kingdom of Belgium from the Kingdom of the Nether- lands. But it must be remembered that the carillons, whether in Protestant or Roman Catholic churches, are always municipal, not ecclesiastic, property. Aalst, Alost; belfry; 38 bells, some by Joris Dumery and some by F. van Aerschodt ; K. de Mette, carillonneur. Antoing, small carillon; automatic play only. Antwerpen, Anvers; cathedral, 47 bells, 36 by F. and P. Hemony, 1655-8, 3 by Joris Dumery, 1767, the 7 smallest by F. van Aerschodt, 1904, and one, the "bour- don," or heaviest bell, bearing a rhymed inscription show- ing it was founded by Jan and Willem Hoerken in 1459; Gustaaf Brees; Friday, 11:30-12:30, and during the summer, Monday and Thursday evenings, 9-10; among the best, ranking almost as high as Bruges and Mechlin. Of these evening concerts about half are given by Mr. Brees and the remainder by bell-masters of other Bel- gian towns. An attractive illustrated booklet, giving the programmes for the whole series, is published each spring by the City Information Bureau, Meir 60. The cathedral tower, which Napoleon likened to Mech- lin lace, contains also 26 bells ordered by ecclesiastical authorities from the Hemonys in 1654. These bells, however, are not now used. Another carillon was de- stroyed when the tower of the S. Andrieskerk fell in ANTWERP: THE CATHEDRAL SPIRE View at Sunrise, looking over the Place Verte PHOTOGRAPH BY H. L. P. RICE APPENDICES 197 1755, and two others, in the S. Michaelsabdy and the S. Jacobskerk, were destroyed during the French dominion. Antwerpen-Kiel; 28 bells; new. Audenarde see Oudenaarde. Bergen, Mons; belfry; 44 bells, 21 by de la Paix, 1673 he made 35 but 14 have been refounded 10 by Chevresson, Simon, and Duforest, 1761, 6 by Drouot, Hubert, and Bastien, 1821, and the 7 smallest by van Aerschodt, 1894; Fernand Redoute; Sunday 12-12:30, and in July, August, and September, Monday evening, 8-9 ; among the best. Details of this carillon and descrip- tions of all the bells, past and present, of this town are contained in "Notice Historique sur les cloches at les carillons de Mons," by A. de Behault de Dornon. Binche; small carillon; automatic play only. Borgerhout; Stadhuis; 35 bells by Beullens, now be- ing repaired ; E. Steenockers. Brugge, Bruges; Halletoren or belfry; 47 bells by Joris Dumery, 1743, which replaced 38 bells by F. He- mony, 1662, destroyed in 1741; Antony Nauwelaerts; from September 15 to June 15, Sunday, Wednesday, and Saturday, 11:15-12, and from June 15 to September 15, Saturday, 11:15-12, and Monday and Wednesday eve- nings, 9-10; among the best, ranking second only to Mechlin. Mr. Nauwelaerts comes from a family which has supplied the carillonneurs of Lier for about a cen- tury. Besides the regular concerts just mentioned, he gives, at the request of "Die Roya," a society for the pro- motion of the coming of travellers, several special con- certs, usually Thursday evening from 9-10. The pro- 198 APPENDICES grammes of these are published in a pamphlet, "Indicateur Bruges," while those of the regular concerts appear in local newspapers. During the evening concerts the cir- culation of vehicles in the Groote Markt and in neigh- bouring streets is forbidden. The mechanism has just been put in perfect order and the bells are very fine. Further details are given in Chapter IV of this book and in Gaillard, "Le carillon de Bruges." Brussel, Bruxelles. In 1541 there were 9 carillons, but none of these has survived to the present, and Brus- sels now has no carillon. Chimay; small carillon; automatic play only. Courtrai see Kortryk. Dendermonde, Termonde; Stadhuis; 40 bells by A. van den Gheyn and others; E. Loret; Sunday 9-9:30, Monday, 11:30-12. [Reported destroyed, 1914.] Diest; S. Sulpiciuskerk ; 37 bells, chiefly by P. Hemony, 1671; F. de Roy; Wednesday, 11-12. Diksmuide or Dixmude; S. Niklaaskerk; 32 bells in poor condition; E. Vermeersch; Sunday and Monday, 11:30-12. [Reported destroyed, 1914.] Dinant; small carillon; automatic play only. Doornyk, Tournai; belfry; 42 bells by Waghevens and others; Roger; played only "par ordre de 1'hotel de ville" ; among the best. Also S. Brice; 27 bells; never played. There were at one time 11 carillons in this town. See Desmonts' "Les cloches de Tournai." Edingen or Einghen, Enghien; 31 bells by J. van den Gheyn and G. Dumery; automatic play only. APPE 3 S 3 3 l-H s.? p S ^ O 2 E as ^ * 3 = = . 1 ' i . ."1 * -, t h -! k_ * *S% d 1 _ f , ! ;l 218 APPENDICES been rendered simply and with the required expression, with a few notes for accompaniment. Bells primarily ask for melody and many carillonneurs did not bear this in mind. Through misconception on the part of the players of the place which the carillon must hold as a musical in- strument, the selection of the pieces was not always all that could be desired. For instance, we found one caril- lonneur played the "Marche Solennelle" by Mailly. This piece was written for the organ and to do it full justice it requires a number of organ-stops which of course the carillon has not. The bells have their own peculiar char- acter and so the melody of the trio in this march, written with organ bass accompaniment, was smothered when played on a carillon. The compass of the keyboard, too, must be taken into account. In the same march, for instance, it is impos- sible to find room for the second motive on the keyboard of the carillon. This is a reason why this piece should not be selected, for should one absolutely desire to play it, he has personally to make variations, which in a com- petition is not acceptable. In the competition we are re- viewing this piece was played by one of the most skilled competitors and yet notwithstanding his skill, the piece was badly maimed. Indeed it could not have been other- wise. But what is a jury to do, when on the other hand a piece is played of perhaps less general value but better adapted to the bells, and played perfectly, with expression and rhythm, and not requiring intricate tricks which truly rob it of its character ? APPENDICES 219 In a carillon competition, perhaps more than in any other, the selection of the piece by the competitor is of the greatest importance, for the reason that the purpose of such a competition is to promote the art, the rapidly growing art of carillon playing. Therefore, it will not do for the competitor to present only the pieces that prove his skill; he should also choose such pieces as will help to make the art of carillon playing more appreciated. Manual skill is certainly an important element, but the artistic interpretation is the greatest, the best, the most necessary feature. The selection of the pieces is of even greater impor- tance as from another point of view the jury has the right to suppose that the competitor will thereby indi- cate his natural talent, his power, and his own concep- tion of the art. Pieces of his own choice therefore are more advantageous to the competitor, and it is surprising that some made their selections with so little discrimina- tion. The Jury greatly regrets that so little use was made of our great stock of Flemish anthems, old and new. These themes specially are much better suited for the carillon than portions of the "Cavalleria Rusticana," "Mignon," "Tannhauser," etc. OBLIGATORY PIECES In a competition the pieces designated by the jury are of still greater importance than the pieces of the com- petitor's selection. These latter indicate his taste and the height at which he rates his own skill. The obliga- tory piece however allows a much more correct opinion 220 APPENDICES to be formed of the capacity of the carillonneur, of the quality of his performance and of his technical skill (virtuosity), for here he no longer can show off his own much practiced pieces, but has to conquer within a lim- ited time the same difficulties that his fellow competitors have to meet. The higher rank is therefore awarded to him who gives the best performance of the obligatory pieces, and who at the same time makes no unpardonable faults in the music and performance of the pieces of his own selection. The first day "Het Lied der Vlamingen" ("The Song of the Flemings") by P. Benoit was the test number. The competitors received this song with piano accom- paniment only. It was specially stated in the competi- tion rules that the accompaniment could be altered as long as it did not change the peculiar character of the piece. This was a very precious hint, which however, many did not follow. Most of the competitors have let themselves be deceived by the accompaniment, and only one (Mr. Rolliers) was able to exhibit a personal inter- pretation of the accompaniment, which, independent of the melody, made the rhythm much more powerful. The "Andante Cantabile," the test piece for the com- petition of honour, was well played by nearly all the com- petitors. However, according to the rules of the com- petition, this piece had to be played exactly as it was writ- ten and all indications for retarding and accelerating the time had to be strictly followed. Not all the performers kept this in view. With the "Poco animate" the vari- ous competitors were allowed to choose from three ac- APPENDICES 221 companiments. Some were apparently of opinion that to select the most difficult accompaniment would lead to victory. These must have been disappointed. Certainly it would have given them an advantage if, in so doing, they had not retarded the time, weakened the rhythm and rendered their play unduly heavy. Let us now criticise the various performances. GENERAL COMPETITION FIRST AWARD: Mr. Jules van de Plas, carillonneur of the S. Gertrude's Church at Louvain. This com- petitor has given a good performance of "Het Lied der Vlamingen." He succeeded well in playing the melody in octaves which made it very clear. The time, however, was too slow. He certainly found it not easy to choose and couple motives from "Les cloches de Corneville" by Planquette. The performance of the very intricate "Fugue" of his own composition and of the very difficult Fifth Prelude by J. S. Bach, was a revelation. None of the pieces played at the competition were so difficult as these. The almost perfect interpretation of these pieces commanded the highest appreciation. It far exceeded the expectation of the members of the Jury, who with the score before them, were fully aware of the enormous skill required. SECOND AWARD: Mr. A. Rolliers, municipal carillon- neur of S. Niklaas. This competitor was the only one who has found the suitable accompaniment for the obli- gatory piece referred to above. His was far the best interpretation of that powerful song. Also "Brise des 222 APPENDICES Nuits" and "Myn Vryer is een Kerelken" ("My Lover is a Fellow") were exquisitely played and with great sen- timent. The choice of these pieces was certainly modest, but the performance of these simple songs with exceeding beauty, showed how wise a choice was made. THIRD AWARD: Mr. Fernand Redoute, municipal caril- lonneur of Mons, has a very firm stroke on the key- board. The obligatory piece was well played ; but he did not take notice of the rest after every organpoint. Ta- gliafico's "Romance" was not played in the proper time and was given without the contrasts which make it me- lodious. The fantazia of "Tannhauser" (a bad selection as stated above) was played with great skill. Generally his performance was marked by proper sentiment. FOURTH AWARD: Mr. K. de Mette, municipal caril- lonneur at Aalst * * *; FIFTH AWARD: Mr. A. Schynkel, municipal carillonneur at Oudenaarde * * * ; and SIXTH AWARD: Mr. Em. Verrees, carillonneur of Turnhout * * *. * * * COMPETITION OF HONOUR PRIZE OF THE KING: Mr. A. Rolliers, municipal carillonneur of S. Niklaas. All the pieces played by this gentleman bore the stamp of correctness, seriousness, and true sentiment. The beautiful fantasia of "Les Cloches de Corneville," and "The Song of the Blacksmith" were faultless and exquisite. In the "Andante Cantabile" he succeeded very well, and the "Poco animate" was excel- lently performed. He had the prudence to select the APPENDICES 223 most simple accompaniment and the only criticism that we can make is that the retard of the variation was played somewhat quickly. His delicacy, his taste, his correct- ness, the beautiful and pure interpretation of all his pieces, gave him the King's award by a unanimous vote. PRIZE OF THE MECHLIN ATTRACTIONS: Mr. J. Re- doute, municipal carillonneur of Mons, performed the "Andante Cantabile" somewhat slowly but with much sentiment, though the retards were a little premature. "Les Pecheurs de Perles" by Bizet, was perfectly per- formed and with sincere sentiment. It was a pity that he missed an important note at the concluding chro- matic scale. "La Voix des Chenes" demands a more lively performance and this competitor should have tried to put more contrasts in it, which would have improved the whole. Mr. Redoute should specially practice classic exercises in order to develop more technical skill. If he does this, the Walloon country will have in him a very competent carillonneur. COMPETITORS FROM HOLLAND In this report, we have purposely left the Dutch competitors until the last as we want to devote a sepa- rate division to them. These competitors have a quite different style of in- terpretation. The influence of the ever developing art of carillon playing in Flanders has had no effect on them. In Holland the use of springs behind the clap- pers is unknown. This mechanical deficiency makes it 224 APPENDICES impossible for a carillonneur to produce a satisfactory sustained tone. We hope that this lack will be remedied in the Dutch carillons in the near future. Messrs, van Zuylen of Gouda and de Lange of Rotterdam distin- guished themselves particularly, and Messrs, de Vries, Wagenaar, Mens, and Diedrich (the latter's perform- ance may be looked upon as very deserving, taking into account his advanced age), fought their battle admira- bly, especially if one considers the fact that they had very little practice on the Mechlin keyboard. One must particularly admire their spirit as, notwith- standing they were conscious that their fight was a for- lorn hope, they held on and did their part to make the competition a success. Their experience here may give to them and their principals an important suggestion for improvement in the equipment of their carillons. The way which they have to go, now lies wide open for them. We hope that they will take that way with all the cour- age they have shown at Mechlin for the greater glory of carillon playing, and in order that this may truly become an art in the greater Netherlands. Jos. DENYN, Municipal Carillonneur of Mechlin. W. W. STARMER, Member of the Royal Academy of Music, London. G. VAN DOORSLAER, Carillon-historian of Mechlin. J. A. DE ZWAAN, Organ-professor at the Con- servatory at the Hague and Municipal Caril- lonneur of Delft. CYR. VERELST, Manager of the Municipal Music Academy, Mechlin. APPENDIX F ENGLISH BELLS AND CHANGE RINGING AND OTHER NOTES MR. W. W. STARMER in an ad- dress in 1905 says: "English bells are very heavy compared with those used for the same purpose on the continent. Melodies played on such (continental) bells are more satisfactory than when played on heavier bells; the pitch of the notes under the former conditions being so much higher that there is no interference between the tones." Discussing the Exeter Peal Mr. W. Hamp- son remarks: "It must be understood that there are carillons and chimes of much heavier weight, but this is the greatest set of bells to be rung in full swing in what we may term the English fashion. In connection herewith, we may say a few words about carillons, for although we all love the grand tone of the bells rolling in full swing in our solid English fashion, and although there is no other way so well suited to produce the full power of tone from the bells, still we could wish that in one or two of our 225 226 APPENDICES towers, say perhaps in such as will not carry safely a peal in full swing, we could hear an extended carillon of bells to vie with those of the Netherlands, as at Mech- lin, Bruges, Antwerp, and elsewhere. A scale ranging from a glorious F of 7 tons through three or four chro- matic octaves up to bells of only a few pounds, and played upon by a skilled performer, would delight large numbers of musical people." And Mr. E. Denison Taylor in a letter to the London Morning Post says: "I feel sure that a large English audience (as large as are the Belgian audiences) would be attracted regularly to good bell concerts; and a series of delightful pro- grammes could be drawn up, embracing a wide range of music, from the inventions, fugues, and airs of Bach, to the best of our old English folk songs. Moreover, there is no reason why our modern writers should not pen fantasias, rondos, and even sonatas, to catch the character of the carillon." The following is condensed from Grove's Dictionary of Music and Musicians: "The word 'change,' in Change Ringing, has reference to a change from the 'usual order,' viz.: the diatonic scale, struck from the highest to the lowest bell; but in a sense, this 'usual order* is also included as one of the changes. * * * Change Ringing is the continual pro- duction of such changes without any repetition. * * APPENDICES 227 It is an interesting and engrossing art, which many per- sons in England have practised as an amusement. * From three bells six changes are derived; from four bells twenty-four changes; from five bells 120 changes, and so on until from twelve bells (the largest number ever rung in a peal) 479,001,600 changes are possible." Mr. E. B. Osborn, in the London Morning Post, July 25, 1913, writes: "Change-ringing, of course, is a comparatively modern invention. It is true we hear of guilds of bell-ringers at Westminster Abbey and other collegiate churches in pre-Reformation days. But these men, who were often clerics in minor orders, did not ring changes in the mod- ern fashion. Indeed, the universal method of hanging bells in those far-off days effectually prevented them from making the almost complete revolution, starting from an inverted position, which causes the clapper to strike the sound bow at each stroke or pull of the rope, and is the essential feature of modern change-ringing. Nor is there a scrap of historical evidence to show that the pre- Reformation guilds had any knowledge of the various methods of ringing bells in succession but in a varying order which are known to the ringers of to-day. * * * Why change-ringing should be the Englishman's fa- vourite form of bell music is, I think, easily explained. It involves much physical exertion, which tries, but need not overtax, as many muscles as are used in rowing, and is unquestionably one of the finest exercises known. * * * 228 APPENDICES Strictly speaking, change-ringing is not music at all; though when the voices of the bells used are mellow and melodious it decorates the passing time with simple, sub- tly-varied sound-patterns, and forms an acceptable obli- gato to the elemental emotions of an individual or the nation." In Great Britain and on the continent, out- side of the Low Countries, what bell ringing often comes to be is well exemplified by a peti- tion sent in October, 1913, to the church war- dens of St. Matthias Church, Richmond Hill. The petition reads: "We, the undersigned, medical men, professional and business people, lodging-house proprietors, keepers of nursing homes, and others, being much annoyed by the frequent and unnecessary ringing of this bell on Sun- days and Holy Days, earnestly request that your atten- tion be drawn to the matter. As you are aware, the bell is rung seven times on Sundays and Saints' days, commencing as early as seven and eight o'clock in the morning. As many hard workers reside within near sound of this bell their rest is much disturbed, and the frequent ringing constitute a serious nuisance. We there- fore ask you, gentlemen, kindly to discontinue the tolling at 7 and 8 a.m. and to restrict at other times the num- ber of strokes to 60, not exceeding one minute in dura- tion." APPENDICES 229 To which one of the clergy replied : "We do not ring as often or as long as we used to do and it is surprising that after fifty years this bell should now at last have become a nuisance." The preface to "A Key to the Art of Ring- ing," by William Jones, John Reeves and Thomas Blakemore, London about 1796, begins : "As an Athletic Exercise or Amusement there are few of so noble a nature, so conducive to health, and employ- ing so many faculties, both mental and corporeal, as that of the ART of RINGING." Easter Monday, 1911, on a ring of 12 bells, the tenor weighing 2700 pounds, at Ashton- under-Lyne Parish Church, Lancashire, 12 change-ringers rang the Record Length of Kent Treble Bob Maximus, 12,240 changes, in 8 hours 39 minutes! Chapter VII mentions a charm of carillon music that comes from the fact that the caril- lonneur cannot be seen. In the preface to the new Widor-Schweitzer edition of Bach's Or- gan Works, Albert Schweitzer says: 230 APPENDICES "For rightly interpreting Bach's works something else is needed, which is too frequently lost sight of. The im- pression of grandeur and sublimity must not be impaired by any externalities unpleasing to the eye. It has become the fashion to set up organs in such a way that the player is visible to the audience. This is an aesthetic aberration without parallel. Contrasted with the organ, the form of man is far too insignificant. And though the organist play never so quietly, he nevertheless moves to and fro before the hearers' vision, in sorry contrast with the majesty of the music. Anything more unedifying can scarcely be imagined than to 'see' a Bach fugue played. "Why should an undisturbed enjoyment of the grand old Master's music be reserved for the blind alone? In olden times the organist was always hidden behind the Riickpositiv. And in the modern organ, too, some ar- rangement should be made for keeping him invisible." And Goethe in Wilhelm Meister (Carlyle's translation) expresses his idea of true music in these words : "As they were about to go, Natalia stopped and said: 'There is something still which merits your attention. Observe these half-round openings aloft on both sides. Here the choir can stand concealed while singing; these iron ornaments below the cornice serve for fastening-on the tapestry, which, by order of my uncle, must be hung round at every burial. Music, particularly song, was a pleasure he could not live without : and it was one of his APPENDICES 231 peculiarities that he wished the singer not to be in view. 'In this respect,' he would say, 'they spoil us at the theatre; the music there is, as it were, subservient to the eye; it accompanies movements, not emotions. In ora- torios and concerts, the form of the musician constantly disturbs us ; true music is intended for the ear alone.' " * * * * The quotations following are from letters received from Belgium just as this book is completed: "Antwerp, August 30, 1914. You can well guess that carillon concerts are stopped at Antwerp since August 3d. Mr. Denyn played until last Monday (August 17th) at Mechlin. There were crowds of our troops in that city and everybody was glad to hear him playing 'Braban- qonne,' 'Valeureux Liegeois,' 'God Save the King,' 'The Russian Hymn,' 'The Marseillaise,' and 'De Vlaamsche Leeuw' ('The Lion of Flanders'). But now we are in a state of siege and no kind of festivity is appropriate." "Blankenberge, September 12, 1914. We were bom- barded (at Mechlin) first on Tuesday, August 25th, at 5:30 A.M. A shell shattered the wall of our garden and destroyed the rear of our house. Happily we were in the cellar in the front. After forty minutes the bom- bardment ceased and then there was fighting for two hours near the city. On Wednesday afternoon we fled to Antwerp. * * * The carillons of S. Peter's and S. Gertrude's at Louvain are gone. The carillon at 232 APPENDICES Mechlin is badly damaged, though S. Rombold's tower has withstood the shells wonderfully. The cathedral otherwise is almost destroyed." Mr. J. Vincent, carillonneur of Amster- dam, writing of the probable destruction of the Mechlin carillon, says in the Hague "Het Vaderland," September 4, 1914: "Thereby one of the best products of the bell founders Pieter and Frans Hemony is lost. The carillon of Mechlin was one of the finest in Belgium. * * * Widely known were the concerts which were given by the cele- brated Josef Denyn. Only a short time ago I had the privilege of attending one of these concerts. Hundreds of earnest listeners gathered along the quiet canals and streets of Mechlin. * * * The beautiful tower with its picturesque outline, the evening stillness, the square, the silvery tones of heavenly music, all combined to make an indelible impression upon the mind, and when, at the end, Denyn played the funeral march by Chopin, I saw many a person wipe away a tear. Unforgetable moments these. And now! * * * Poor people, poor Denyn." Cf. Q. Macdonald, "Robert Falconer" (Phila. Ed., p. 389), Antwerp carillon. Cf. Havelock Ellis, "Impressions and Comments" (N. Y. Ed., p. 18), Music of Denyn. Cf. Sir Edward Elgar, "Carillon" (London, 1914), for full orchestra and pianoforte. UNIVERSITY OF CALIFORNIA, LOS ANGELES THE UNIVERSITY LIBRARY This book is DUE on the last date stamped below g 5 1964 IBTERL1BRAR* IO m s m THREE WEEKS FROM MTT O NON-RENEWABL 8 1964 RESERVE NOV30 1976 Form L-r. 2jm-10,'4-l(2401) THE LIBRARY UNIVERSITY O^ CALIFORNIA Laorary ML 1 Hf.ff 1039 ( R36ca < ^rillons jf Belgium ; ind Holland . t L, Lf' . ^^~S ^ ' ' \1h , A 000143251 7 Music Library ML 1039 R36ca