The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-01-24
Many of the Famous Towers Whose
Bells Delighted Visitors Destroyed
by Necessities of War

In which the keys are played from the
wrist and the elbow. Scales and ar
peggios are accomplished by 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
fac, that on the large bells the har-
monte tones are prominent and, when
sounded together, frequently interfere
with each other in disagreeable man
ner. This is not the case with the
smaller bells, as their harmonic tones
are too high in the scale of sound to
dis rcss the ear Chords are most salts
factory when played arpegGlando ana
scale passages can be rendered with
great rapidly and are most effective.
When playing in three or more parts,
however. the greatest care Is necessary
as to the disposition of the different
notes of the chords. the best effects be
ing obtained 10y keeping a wide interval
between the low note and the note next
above II. All degrees Of Crescendu and of
dimnucndu are puss bile. Vibration of the
bells does not Ions persist, 50 that, apart
from the fact that the effcStual dlmping
OF bells is practically an utility
when carillons are played 10y an expert
performer, there is no real necessity for
such a thing. with smaller bells the
sound is SO quickly etfaced that when
the effect of sustained chords is de
sired it is obtained by rapid tremu-
lando, much as in pianororte playing.
To sum up: In the first method, that
Of automatic cylinder play, the outer
surface of the bell is struck 10y a ham
mer actuated by cylinder which
operates in connection with the tower
clock. In the second method. that Of
keyboard play, the inside of the bell is
struck by the clapper actuated 10y
carillonneur.
But enough for the present of the
mechanism OF the bells, and the in
tricacy of their play. Above us, sur
mounting the topmoSt spire of Clients
helfry, is the gilded copper dragon which
has looked down upon many stirring
scenes in Flemish history. There Is
legend that the Crusaders brought this
dragon from Constantinople to crown
the belfry of Bruges and that there it
remained untll Aftt\tlde, VICTORIOUS
carried it priced trophy To Client.
where it was again set high above bells
As we mediate and gaze upon the vast
eNpanse before descending to the Place
Saint Bavon, there comes wildly to
mind that day when it's said Charles
w. standing where We stand. and be-
holding the splendid panorama. an
swercd Alva's cruel suggestion that the
city should be destroyed, with "Combien
faudrait-n de peauX dEspagne pour
faire un Cant de cette grandeur"
An Antwerp friend to whom we had
described the charm of the Dutch CARL
Ions and of those We had heard in Bel
GUM, 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 heard Mr.. Denyn. Watt"
We felt that he spoke with judgment
and knowledge, for he had been at the
great contest in 1910 at Mechlin, where
carillonneurs of the two countries had