To some degree, the sheer physical effort necessary prevented the carillonneur from fully concentrating on the dynamics and subtleties of his performance. Obviously, early seventeenth-century carillons were difficult to play, and they demanded considerable strength. The return spring (left side) pulls back the clapper to its original position immediately after the stroke. The clapper is pulled to the sound bow, thereby striking the bell. The downward movement of the key (below) is transferred into a lateral one by the tumbler at right angles to each other. To the left is a scheme of a bell connected with a bell-crank or tumbler (right side). Jo Haazen, Director of the Koninklijke Beiaardschool "Jef Denyn" and stadsbeiaardier of Mechelen, plays the new carillon in the Saint Rombouts tower. Van Eyck required the help of colleagues and craftsmen due to his blindness.Ĭlick here to listen to Demonstration of virtuoso hand-playing: Naturally, the great master of all things relating to the carillon was Jacob van Eyck, who inspected and fitted several carillons. The most famous carillon makers in the seventeenth century were Juriaan Sprakel in Zutphen (he fit the Hemony carillon in the Dom tower in Utrecht, 1664) and his cousin Willem as well as Jan van Call in Nijmegen, who erected the automatic chiming system in the Nieuwe Kerk in Delft. Thus, the most successful carillon makers were highly regarded for their expertise in this field. Included the correct "trimming" for a proper interplay of the system as well as the connection of the hammers to the drum for the automatic chiming. The proper connection of clappers to the keyboard Their work was fundamental for a general harmonious sound of the carillon and a comfortable playing. The entire mechanical system was constructed by carillon makers and not by the bell founders. Joos Verschuere Reynvaan, Muzijkaal Kunst-Woordenboek Amsterdam, 1795. The playing action should sensitive enough to play with a minimum of effort and allow him to control dynamics and phrasing by variation of touch.Įngraving of a baton keyboard, showing positions of the bells above Although the keys are played with a closed fist, the carillonneur does not "pound" or "beat" the keys. Each key is connected to a bell by means of a system of wires.
#Bell pedals which is right and left manual
This causes the corresponding manual keys above to be pulled down. In addition, one to two octaves of pedal keys (similar to the organ pedal) for the heavy bass bells are present. These keys are depressed by the carillonneur's closed fist. Similar to a piano, the carillon keyboard has short chromatic keys above the larger diatonic ones but the carillon keys are wooden levers, rounded at the playing end. Hand playing is done with a keyboard called baton keyboard or stokkenklavier. Although the traditional carillon keyboard shares some similarities with other keyboard instruments, its playing technique is unique.
0 kommentar(er)
