2017.03.04 1pm Opening Concert, Geert D’hollander Original Carillon Music Old and New Two World Premieres Two Hebrew Melodies (1934) Rosario Scalero (1870-1954) “Al HaRishonim” & “Sukkoth” “Moonflower Faeries” (2016) Joey Brink (b. 1988) A Jewel From the 18 th Century “Ceciliana” (before 1746) Iohannes de Gruijtters (1709-1772) Improvisation From “The Wellesley Carillon Studies” (2014) Geert D’hollander (b. 1965) - A Melancholic Song (duet, performed with Anna Kasprzycka) - The Search - Take Seven - Campainhas Brasileiros (duet, performed with Anna Kasprzycka) 2017.03.04 3pm The Treblemakers – Janet Tebbel and Lisa Lonie Duet Recital “The Treblemakers” From “Appalachian Spring” Aaron Copeland (1900-1990) Variations on a Shaker Hymn Arr. Adolph Rots & Auke de Boer How Tweet It Is: Music Inspired by Birds “Le Coucou” Claude Daquin (1694-1772) Arr. Beverly Buchanan Theme from “Angry Birds” Ari Pulkinnen (b. 1982) Arr. Janet Tebbel Souvenirs from Russia From “Romeo and Juliet” Serge Prokofiev (1891-1953)
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2017.03.04 1pm Opening Concert, Geert D’hollander
Original Carillon Music Old and New
Two World Premieres Two Hebrew Melodies (1934) Rosario Scalero (1870-1954)
“Al HaRishonim” & “Sukkoth” “Moonflower Faeries” (2016) Joey Brink (b. 1988) A Jewel From the 18th Century “Ceciliana” (before 1746) Iohannes de Gruijtters (1709-1772) Improvisation From “The Wellesley Carillon Studies” (2014) Geert D’hollander (b. 1965) - A Melancholic Song (duet, performed with Anna Kasprzycka) - The Search - Take Seven - Campainhas Brasileiros (duet, performed with Anna Kasprzycka)
2017.03.04 3pm The Treblemakers – Janet Tebbel and Lisa Lonie
Duet Recital “The Treblemakers”
From “Appalachian Spring” Aaron Copeland (1900-1990) Variations on a Shaker Hymn Arr. Adolph Rots & Auke de Boer
How Tweet It Is: Music Inspired by Birds
“Le Coucou” Claude Daquin (1694-1772)
Arr. Beverly Buchanan
Theme from “Angry Birds” Ari Pulkinnen (b. 1982)
Arr. Janet Tebbel
Souvenirs from Russia
From “Romeo and Juliet” Serge Prokofiev (1891-1953)
“Montagues and Capulets” Arr. P. Burgess
Prelude Op. 12, No. 7 (“The Harp”) Arr. William De Turk
The Magic of Leroy Anderson (1908-1975)
“Blue Tango” Arr. The Treblemakers
“Jazz Pizzicato” Arr. Adolph Rots & Auke de Boer
“Fiddle Faddle” Arr. Adolph Rots & Auke de Boer
From the opening low bell to the spirited “Simple Gifts” melody, this is a true celebration.
Daquin was organist for Louis XIV and is known for his collections of noels for organ. This piece
“The Cuckoo” is from a collection of harpsichord pieces.
Can you imagine playing the video game (which catapults images of round, brightly colored
birds at various structures which are protecting pigs!) with these high energy melodies playing?
Composed in 1935 for the Kirov Ballet performing at the Bolshoi Theatre, the premiere of
“Romeo and Juliet” was delayed by Soviet officials who disliked the happy ending (contrary to
Shakespeare’s tragic ending).
An early work for piano, Prokofiev wrote his “Harp Prelude” during his piano studies at the St.
Petersburg Conservatory. He later added organ into his curriculum there in order to avoid
conscription into the Army.
In 1951 “Blue Tango” became the first instrumental recording to sell 1 million copies.
Composed in 1938, “Jazz Pizzicato” was Anderson’s first hit when performed by the Boston
Pops under the baton of Arthur Fiedler. Famous for its pizzicato middle section, “Fiddle Faddle”
is based on the nursery rhyme “Three Blind Mice”. It was a great favorite of the audiences at
the Boston Pops.
2017.03.05 1 pm Frans Haagen
Famous Opera Melodies
From “Le nozze di Figaro” Wolfgang A. Mozart (1756-1791) “Voi che sapete”
“Nabucco” Medley Giuseppe Verdi (1813-1901)
From “Carmen Suite No. 1” Georges Bizet (1838-1875) Prelude Aragonaise Intermezzo Séguidille Les Dragons d’Alcala Les Toréadors
This program contains some of the best-known arias and melodies from popular operas.
Besides Le nozze di Figaro, Mozart wrote another 21 operas, including all-time classics like
“Don Giovanni” and “The Magic Flute”.
Verdi’s “Chorus of the Hebrew Slaves” from the opera Nabucco is undoubtedly the best-known
number. This famous melody is woven throughout the medley.
Finally, you will enjoy “Carmen Suite No. 1” which was put together by Ernest Guiraud, Bizet’s
best friend, after he passed away in 1875.
2017.03.05 3pm The Treblemakers – Janet Tebbel and Lisa Lonie
Duet Recital
“The Treblemakers”
The Music from Carmen Georges Bizet (1838-1875)
Overture Arr. C. van Eyndhoven
“Habanera”
Two New Carillon Compositions Boudewijn Zwart (b. 1962)
“Sunrise”
“Sunset”
Stay Calm and Jingle On
“Dance of the Sugar Plum Fairy” Peter Ilyich Tchaikovsky (1840-1893)
Arr. The Treblemakers
“Good Christian Men” In Dulci Jubilo
Arr. Kimberly Strepka & The Treblemakers
“Sleigh Ride” Leroy Anderson (1908-1975)
Arr. Stems Up & The Treblemakers
Malagueña Ernesto Lecuona (1895-1963)
Arr. F. DellaPenna
“Carmen”, the “opera-comique”, was premiered in 1875 in Paris. Although not initially well-
received, the aria “Habanera” is one of the best known of all operatic operas.
Composed in 2016 in celebration of the Yale Guild of Carillonneurs 50th Anniversary, “Sunrise” –
“Sunset” are lovely impressionistic pieces. Zwart is the carillonneur of 11 Dutch cities.
“Dance of the Sugar Plum Fairy” (from “The Nutcracker”), made use of the “celesta”, a bell-like
instrument played from a keyboard. Here it is on real bells!
A lovely Irish-style melody is soon joined by “Good Christian Men Rejoice and Joy to the
World”. The low bells play Irish drum rhythms and drones.
Anderson wrote “Sleigh Ride” in 1948, the lyrics “Just hear those sleigh bells jingling, Ring ting
tingling too,
Come on, it's lovely weather for a sleigh ride together with you.” were added later. In this
arrangement, listen for a few snippets of other Christmas carols towards the end!
Lecuona was a prize-winning Cuban pianist who defined Cuban music by uniting the Spanish-
European musical tradition with African rhythms. Upon hearing “Malagueña”, Ravel exclaimed
that the melody is better than his own “Bolero”!
2017.03.05 6pm Koen Cosaert
Sunset Recital
Belgian Romantic Music
Prelude in C major Staf Nees (1901-1965)
Fantasia on Themes from the Byzantine Rite Gaston Feremans (1907-1964)
Overture to “Die Fledermaus” Johann Strauss Jr. (1825-1899)
(The Bat) Arr. Rachel Perfecto
2017.03.06 1pm Koen Cosaert
Music from Venice
From “Motetta trium vocum” (Antonio Gardano, Venice 1543) Adriaen
Willaert
Ricercar in G (ca. 1490-1562)
Concerto IV in G, Op.2 No.8 Tomaso Albinoni
(“del Signor Albinoni, appropriato all’Organo da J.G.Walther”) (1671-1751)
Allegro
Adagio
Allegro
From “Canzone villanesche alla napolitana” (Girolamo Scotto, Venice 1544) Adriaen
Willaert
“Madonna mia fame” (ca. 1490-
1562)
“O dolce vita mia”
“Vecchie letrose”
Concerto V in G, Op. 2 No. 10 Tomaso
Albinoni
(“del Signor Albinoni, appropriato all’Organo da J.G.Walther”) (1671-1751)
Allegro
Adagio
Allegro
All arrangements by the performer
2017.03.06 3 pm Frans Haagen
New Music Inspired by Old Music
Confrontation
Allemande (Johann S. Bach) >< Allemande (G. D’hollander)
Sarabande (Johann S. Bach) >< Sarabande (G. D’hollander)
Bourree (Johann S. Bach) >< Bourree (G. D’hollander)
Bach’s music is from his 3rd Suite for Cello, D’hollander’s music is from his 3rd Suite for Carillon,
2014, inspired by Bach’s 3rd Suite for Cello.
Figments Gary White (b. 1937)
Figments (1983) is based on quotations from Fugue No. 24 of the Well-Tempered Clavier, Book I.
Confrontation
Dr. Bull’s Juel (Fitzwilliam Virginal Book) John Bull (1562-1628)
Fantasy – Variations on “Dr. Bull’s Juel” (1993) Ronald Barnes (1927-1997)
The suites for cello by Johann Sebastian Bach are among the greatest works ever written for
cello. Although written monophonic, the overall impression is polyphonic. This technique is
achieved by making use of different voices played in sequence, and by using chords and
arpeggios. This impression might also be described as “imaginary polyphony.”
The city of Kampen (The Netherlands) developed a rich and vibrant carillon culture over the
years. A good example of the city’s cultural achievement is the number of original carillon
compositions that have been commissioned. Several new works were premiered the last
decade and in 2014, Geert D'hollander was asked to compose a new carillon work inspired by
an existing composition. The result was his "Simple Suite No. III for Carillon", inspired by the
“Suite No. III for Cello Solo” by Bach. "Simple" in this case doesn’t mean "easy to do", but rather
"simple compared with the unsurpassed masterpiece that Bach wrote". This composition is an
homage to Bach and refers to Bach's cello suite in different ways: it has the same musical
movements, dances and moreover often uses the same themes and rhythms, but in a modern
jacket.
2017.03.07 1pm Ellen Dickinson Original Carillon Compositions
Invocation Joey Brink (b. 1988)
Songs of Hope: A Tapestry of African-American Spirituals Ellen Dickinson (b. 1975)
Nocturne Frank Steijns (b. 1970)
Anzac Echoes Geert D'hollander (b. 1965)
High Street Strut David H. Connell (b. 1960) Sunshine & Rainbows Here Comes the Sun George Harrison (1943-2001)
Arr. Ellen Dickinson Over the Rainbow Harold Arlen (1905-1986)
Arr. Todd Fair 2017.03.07 3pm Koen Cosaert
Music from the Americas
Two Original Works for Carillon
Concerto Grosso Ronald Barnes (1927-1997)
Allegro
Grave e recitando-Andante Espressivo
Allegro comodamente
Prelude and Pastorale John Courter (1941-2010)
Three Carillon Arrangements
Rio Sena Astor Piazzolla (1921-1992)
Extasis Arr. Florian Cosaert
El Mundo de los Dos (Cancion –Tango)
2017.03.08 1pm Lisa Lonie
Westminster Robert Byrnes (1949-2004)
Pass the Popcorn! (arr. Lisa Lonie)
The Feather Song (from Forrest Gump) * Alan Silvestri (b. 1950)
Two Hornpipes (from Pirates of the Caribbean)* Hans Zimmer (b. 1957)
Castle on a Could (from Les Miserables)* Claude-Michel Schönberg (b. 1944)
Selections from The Twilight Suite Frank DellaPenna (b. 1951)
Dance of the Fireflies
Star Gazing
Michael Meets Mozart* Jon Schmidt (b. 1966)
Arr. L. Lonie
* Live carillon with electronics
Westminster was written by colleague Bob Byrnes, carillonneur of the University of Northern
Iowa at Cedar Falls, and is based on a famous clock chime from St. Stephan’s tower in London.
The Westminster theme is augmented by numerous dynamic and yet melodic chords, with the
familiar chime tune never far away.
Electronic Accompaniment Tracks
Combining the carillon with other instruments isn’t a new phenomenon. It’s not unusual to hear
the instrument alongside brass, piano, xylophone, marimba, drums, etc. But, performing
alongside musicians creates a unique problem: how to get the instruments up towers stairs? Not
easy! Furthermore, placing them on the ground with the carillonneur 50+ feet above creates
unsurmountable sound delays. The alternative: use pre-recorded audio tracks – a creative twist
with a centuries old instrument!
The carillonneur listens to the recordings via headphones/speakers while playing. The selections
presented today were inspired by the work of Frank DellaPenna, creator of Cast in Bronze, a
traveling production show featuring the carillon (on wheels) performed with audio tracks.
The compositions of Frank DellaPenna have a style all their own. He sets to music life's daily
routines, emotions, or in this case the flittering of fireflies and gazing at the heavens on a starry
night. Mr. DellaPenna is the creator and principal carillonneur for the musical act Cast in
Bronze (CastInBronze.net), which combines the beauty of the carillon with pre-recorded
musical tracks. The two traveling carillons which make-up Cast in Bronze can be heard primarily
at renaissance fairs through the United States.
Michael Meets Mozart is a mash up inspired by Michael Jackson, Mozart and U2. Pianist Jon
Schmidt and cellist Steven Sharp Nelson (a.k.a. The Piano Guys) combine 100 electric cello
tracks, piano, mouth percussion, beat box, and kick drum in a piece that “is the sound of
classical music climbing out of its grave” (reviewer Eric Raymond). Carillonneur Lisa Lonie
compliments the track with the percussive sound of carillon bells.
2017.03.08 3pm Ellen Dickinson Original Carillon Compositions
“Bagatelle” John Knox (b. 1932) “Roister-Doister”
“Tree Sparrow's Sun Salutation” Linda Dzuris
“Nocturne” Joey Brink (b. 1988)
“Almanac” Aaron David Miller (b. 1972)
Spring Summer Autumn Winter Sesamuppets Arr. Sally Slade Warner “Green” (Kermit's Song) Joe Raposo “The Rainbow Connection” Paul Williams and Kenneth Ascher 2017.03.09 1 pm Frans Haagen
Carillon and Electronics
“Square Prayer” x Renske Vrolijk (b. 1965) “Melodie d’Amour”, Op. 600 Hans Engelmann (1872-1914) (Love melody) Arr. Frans Haagen “Tristezza” x Ad Wammes (b. 1953)
”Songe d’Amour Après le Bal”, Op. 356 Alphons Czibulka (1842-1894)
(Love’s Dream after the Ball) arr. Frans Haagen “Cities Change the Songs of Birds” x Jacob ter Veldhuis (b. 1951) “Love Means” x Jacob ter Veldhuis
x (carillon and electronics) Square Prayer is originally composed for carillon and soundtrack. Although the carillon is a versatile instrument, it is much larger and heavier than a vibraphone, and it is extremely sonorous. Many European carillons are placed in church towers and next to market squares. This gives them an intermediary function between the divine, liturgical, spiritual world and the more down to earth secular, struggle to survive and trading world. Square Prayer steps in this joint and bridges these two worlds giving a mixed bag experiences: the profane world of churches and the secular world of market squares. On the soundtrack, Latin texts are sung that suggest liturgy, but are profane market lingo. Hidden are the sounds of coins. The structure of Tristezza (A-B-A) is inspired by the famous Funeral March (Piano Sonata No. 2) by Frederic Chopin. And, just like Chopin’s march, Tristezza is also a funeral march. The sad, dark coloured A part is dominated by a slow march rhythm. The psalm-like B part brings in lyrical devotion. As a side effect of the world urbanization, birds start to sing differently. In large cities for example they mimic police sirens and car horns. This data formed the basis for Cities Change the Congs of Birds. Love Means is based on the liveliest expression of men, an expression which serves nothing else then just having pleasure: to laugh. The sound bites (laughing people) are taken from the American media. 2017.03.09 3pm Lisa Lonie
Campanella II Edward Nassor (b. 1957)
“Rock the Bok!” (arr. Lisa Lonie)
Game of Thrones* Ramin Djawadi (b. 1974)
Best Day of My Life* American Authors: Dave Rublin (b. 1986), Matt Sanchez
(b. 1986)
Zac Barnett (b. 1986), and James A.
Shelly (b. 1983)
Ho Hey* The Lumineers: Weley Schultz (b. 1982) & Jeremy
Fraites (b. 1987)
Rediscovered Carillon Works of Gian Carlo Menotti (1933) A World Premiere!
Preludio Gian Carlo Menotti (1911-2007)
Rustic Dance
Pastorale
From “Tribute Suite” Frank DellaPenna (b. 1951)
Bronze Magic
Christmas Afterglow
Carol of the Bells* Matt Riley (b. 1982)
Arr. L. Lonie
* Live carillon with electronics
The Menotti Premiere:
Between 1931-33, three young, aspiring Curtis Music School (Philadelphia) composition
students - Samuel Barber, Nino Rota, and Gian-Carlo Menotti - spent their winters here at the
Bok Tower Gardens as composers in residence. As part of their curriculum at Curtis, they
studied campanology, carillon composition and performance under Anton Brees, carillonneur at
Bok Tower. Several of their carillon compositions were published in the 30s and some were
not. Fast forward to the summer of 2016…
While Ms. Lonie was conducting research at the Curtis music library, the staff pulled several
binders of carillon music composed by these musicians. In the Menotti file, Lisa found three
curious works which turned out not only to be unpublished, but unknown to carillon world.
Now, after more than 80 years Ms. Lonie is privileged to premiere these pieces for the first time
on the very instrument for which they were written.
Although these composers would eventually reach international acclaim (Barber for his Adagio
for Strings; Rota for countless movie scores, and Menotti for operas such as Amahl and the
Night Visitors), they would never compose for, nor return to, the carillon beyond the three
winter visits to Lake Wales.
The arrangement of Carol of the Bells is a result of collaboration between Ms. Lonie and
Minnesota composer, Matt Riley. As a composer, arranger, orchestrator, and producer, Matt
has worked for radio and TV commercials, scored music for documentary films, and has worked
in charting and orchestration for TV shows including NBC's The Voice. He has arranged,
produced and orchestrated hundreds of songs for churches and recording artists. His
arrangements have been heard in theaters, churches, schools and performed by orchestras –
and now the carillon - in the Americas, Europe, Africa, Asia and Australia.
2017.03.10 1pm Frans Haagen
“Suite, a Set of Dances”
Old and New
“Sixt Set of Lessons” (1732) Richard Jones (ca. 1680 – 1744) Allemande Arr. Arie Abbenes Sarabande Brisk Air Menuet Gavotte “Around D” (2016) Geert D’hollander (b. 1965) Two Waltzes Ernesto Nazareth (1863-1934) “Turbilhão de beijos” Arr. Frans Haagen “ResignaCão” Three Spanish Dances (World Premiere) Alice Gomez (b. 1960) Rumba Bulerias Alegria
“Diabolus in Musica”, “Spielerei” and “Simple Suite No. III” are some of the works that Geert
D’hollander composed as a commission by the city of Kampen (The Netherlands). His most
recent work for the city is constructed around the repetitive tone D in the bass –hence the title:
“Around D”. Although it’s not a real dance, one can feel the lighthearted, jazzy, almost dancing
energy and pulse.
It is followed by two relaxed waltzes by the Brazilian composer Ernesto Nazareth, who classifies
his own music as “Brazilian Tangos”. His compositions are in between classical and popular
music and were very popular in the early 1900’s.
The same can be said about Alice Gomez’ compositions. Her multi-cultural origin (Mexican,
Indian and Latino) influences her carillon compositions strongly. Today you will hear the
premiere of her latest composition for carillon commissioned by the city of Kampen: “Three
Spanish Dances”. “Rumba” literally means party, “Buleria” is a cheerful Flamenco dance, and
“Alegria” means lighthearted and gay!
2017.03.10 3pm Koen Cosaert
Baroque music from Paris
Sinfonie de Fanfare. Rondeau de Première Suite Jean-Joseph Mouret (1682-1738)
Arr. Koen Cosaert
From “Les Fêtes Venitiennes. Suite I” André Campra (1660-1744)
Procession Arr. Ronald Barnes
Air des Espagnols
Air pour le suite du carnival
La Bohemienne
Chaconne
From “Pièces de Clavecin” Louis Couperin (1626-1661)
Passacaglia in g minor Arr. Koen Cosaert
From “Dardanus” : Airs de ballet Jean Philippe Rameau (1683-1764)
Entréé Arr. Arie Abbenes
Tambourin I & II
Air vif
Rondeau du Sommeil
Rigaudon
2017.03.10 7:30 pm Frans Haagen
Moonlight Recital
Carillon and electronics “Tempo di mare” Ad Wammes (b. 1953) Original Carillon Compositions Asteroids (1991) Gary White (b. 1937) Arabesque (1983) Renee Pieper (b. 1955) Carillon Arrangements Adagio (from Piano Concerto 23 KV488) Wolfgang A. Mozart (1756-1791) Arr. Klaas de Haan Evening Idylle Gustav Lange (1830-1889) Arr. Bernard Winsemius Solveig’s Craddle Song Edvard Grieg (1843-1907) Arr. Leen ‘t Hart Carillon and electronics Nadiya Ad Wammes (b. 1953)
Tonight's concert begins and ends with a work for carillon and electronics by the Dutch
composer Ad Wammes. The very essence of "Tempo di mare" is, in fact, the tempo. The work
consists of three parts, which fluently flow from one to another. The first part has numerous
rhythmic shifts and therefore seems to accelerate. a sudden quick delay flows into the second
part with its tranquil wave power. Via a slow acceleration is the virtuoso third part towards
ends with the soothing sound of the Sea (sound of the ocean-drums). The middle part of the
program is first of all from two original Carillon. An asteroid hit is a rocky chunk piece that flies
in an orbit around the Sun.
“Nadiya” (Indian River) follows the road that a river. First there is the mountain source, then
the River, and then-after a long way – there is finally the sea. At the structure of “Nadiya,” the
composer has to guide the way tempo in Indian music is used. This is because typically start at a
leisurely pace, followed by a doubling of that pace, then-after a certain time – showing a
doubling of that doubling follows (4 x as fast so as the beginning tempo). Closed with the
beginning pace. This is translated into a rarefied musical Impressionist beginning (source), after
which a tabla pattern, the ' Kayeda ' pattern in this case, the beginning of the river marks.
2017.03.11 1pm Ellen Dickinson Two Carillon Compositions
“Two Impressions” (for carillon) Ulla Laage (b. 1949) “Pure Imagination” Leslie Bricusse and Anthony Newley
Arr. Jennifer Lory-Moran
2017.03.12 3pm Closing Concert Geert D’hollander
Original Carillon Music Old and New
Two World Premieres Two Choral Preludes (1932) Rosario Scalero (1870-1954)
“Jesu meine Freude” & “Christ lag in Todesbanden” “Icosido” (2017) Julie Zhu (b. 1990) A Carillon Composition from the 19th Century Prelude No. 9 in A Minor “Maestoso Agitato” Johannes Volckerick (1815-1895) Two Compositions by the Performer Variations on a Theme by John Knox (2014) - Theme
- Arabesque - Vocalise (Homage to Sergei Rachmaninoff) - Bolero-Cancion “Cumulus” (2015, for carillon duet, performed with Anna Kasprzycka)