Evening star., 1947-08-26
Convention of CoriIIonneurs
Fills Luray's Air With Music


tiest hills in Virginia, and no setting
could be lovelier for the resonance
of blended bells.
Ten years after Col Northcott gave
him his operating" license. Mr.
Chapman is a confirmed carillion-
neur. AS the novice might suspect,
there is a force greater than man
that pulls him up those 108. steps
almost daily.
"Yes, there is something that
impels me, almost drives me to the
bells" said the man who plays in
the clouds. 1t is a tug more relent-
less than he feels who plays the
organ.
Critics Are Silent.
The neighbors are very kind. If
they don't like the bells, they don't
say so. And there are many people
who do not like the bells.
Matter of fact, there are three
kinds of reaction to the bells" said
the man who keeps ringing them.
There are people who love them
Immediately; those who are rather
cool at first, but later warm up to
them, and a third class who hates
them and never changes. The first
group is in a minority
There is something haunting
about a first addition. The bells, to
be perfect, must have five distinct
LONESOME strike or fundamental
note and four overtones. The re-
suit may be one of discordance to
some ears, but this "out-of tune"
effect is the magical quality that
can make addicts out of some listen
ers.
Right now there are less than go
carillons in North America. but the
Guildsmen patiently point out that
the first one did not arrive in
Canada before 1922. Some 400 years
before that, they were ringing in the
low countries of Europe. But 100
years before 1900, there was hiatus
when the special art of bell-tuning
Gruelling to Play.
Carlton playing is no boys play.
Besides its demands for real musical
skill, it is wearing physically and
emotionally. A 45-minute concert
often leaves the carillonneur spent.
He must strike the oaken levers
with the heels of his hands and even
a leather padding worn by most
artists does not eliminate all dis
tress.
Some players wear no protection
on their hands-only callouses and
gristle as a kind of individualistic
trademark of their profession.
Each carillonneur has his own
style. Some, like Mr.. Chapman,
believe in simplicity, striking not
more than three or four notes in
a chord, when eight are possible,
and keeping the tones low. Others
have a flare for frills, tremolos and
crescendoes. This type makes it a
little tougher on the neighbors who
40 nOI care 1OT DellS.
individuality in Music.
One thing that makes for inter-
esting listening at a carillonneur
is the individuality of
performance. Since the business
is so limited. no manuscripts are
published, and each player must
arrange his own music.
One of the best in this line is
Percival Price, professor of music
composition at the University OF
Michigan, and head man of that
schools carlton. Mr.. Price called
the first Guild meeting in 1886
while he was Dominion carillonneur
of Canada at Ottawa.
He is among the most gifted artists
at the convention and bears the
added distinction Of being the first
carrillonneur in both Canada and
the United States.
Among the other early arrivals
were Sidney F. Giles, assistant at
Michigan; Herman Dresher, Simcoe,
Ontario, Canada; Kamiel Lefevere,
Guild president and players OF the
country's largest carlton at River
side Drive Church, New York; Frank
l.. Johnson, st. Paul's College, Con-
cord, N. H.; Ernest Parsons, st.
Peters Church, Morristown, N. j.;
Ray Wingate, Alfred IN. " Uni
versity, and Melvin C. Corbett, st.
James Church, Danbury, Conn.