GUIDELINES FOR CARILLON CONCERT PROGRAMS
by Jeffrey Bossin, Berlin Carillonneur
possible so that they could obtain copies from a library, music shop or publisher. Its content
and organization should help to maintain the listener's interest. Although the following
guidelines refer to programs written in English, most of them can be applied to programs
written in any language. And though local traditions, circumstances, and tastes may make it
only possible or desireable to adopt a few of them, it is hoped these guidelines may
stimulate some carillonneurs to give more accurate information on their programs and
provide them with useful examples of how to do so.
1. Titles
a. All titles should be given exactly and in full.
Example: From Three Nocturnes (1959)
NOCTURNE I Wouter Paap (not: NOCTURNE Wouter Paap)
Local and popular corruptions as well as new titles coined by the arranger should be avoided.
Example: CAPRICCIO IN G MINOR* George Frideric Handel
(not: CARILLON CAPRICE)
*Arranged for carillon by Nicolas Mortimer
b. The titles of vocal pieces transcribed for carillon should be given in full. This usually
involves citing the beginning of the text.
Example: From Cantata No. 60 "O Ewigkeit, du Donnerwort" BWV 147
CHORUS "ES IST GENUG"* Johann Sebastian Bach
*Arranged for carillon by John Mortimer
c. In the case of composite works all movements played should be listed.
Example: SONATINA I (1963) Wouter Paap
Allegro giocoso/Andante sostenuto/Allegretto amabile
d. In the case of medlies and potpourris all melodies played and the names of their
composers should be listed.
Example: BERLIN MEDLEY Hans Kirchhoff
Der Berliner liebt Musike (Paul Woitschach)/Glühwürmchen-Idyll (Paul Lincke)
Die Holzauktion (Otto Teich)/Das macht die Berliner Luft (Paul Lincke)
e. Sources of movements from individual compositions and opus numbers should be listed
and the BWV, KV, and K numbers of compositions by Bach, Mozart, and Scarlatti
respectively be given.
Example: From Suite II for carillon (1951)
TOCCATA OCTOFONICA Henk Badings
From "Album für die Jugend" Op. 68
KLEINE STUDIE* Robert Schumann
From Suite No. 1 for Violoncello in G major, BMV 1007
PRELUDE* Johann Sebastian Bach
*Arranged for carillon by William Smith
f. All titles in foreign languages except those in Latin should be translated into the language
of the country where the recital is being given.
Example: Songs from Lithuania
ALL IS QUIET* Juozas Gruodis
PRELUDE NO. 5 IN D MINOR (18th cent.) Matthias van den Gheyn
(not the Dutch term PRELUDIUM)
*Arranged for carillon by William Smith
Titles in
English, French, German, and Italian as foreign languages may be given
in the
original language.
Example: From "Ma Mère l'Oye"
PAVANE DE LA BELLE AU BOIS DORMANT* Maurice Ravel
From "Album für die Jugend" Op. 68
KLEINE STUDIE* Robert Schumann
*Arranged for carillon by William Smith
If in any given country the title of a particular foreign work is however commonly known in
translation, then that form should be used, even if stylistic consistency is sacrificed (See
3b).
Example: From the opera "The Magic Flute" KV 620
ARIA "EIN MÄDCHEN ODER WEIBCHEN"* Wolfgang Amadeus Mozart
From "Scenes of Childhood" Op. 15
REVERIE* Robert Schumann
*Arranged for carillon by John Mortimer
An optional translation may be added in parentheses to titles given in a foreign language.
Example: From the opera "Der Freischütz"
JÄGERCHOR (HUNTSMEN'S CHORUS) Carl Maria von Weber
Simple, one word generic titles such as prelude, etude, symphony, aria, ect. should be given
in the language used for them in the country where the recital is being given, for example if
they are in Italian and the Italian form is used in a non-Italian speaking country, then it
should be retained. However, if the language of the country where the recital is being
given uses another form, then this indigenous form should be used, especially when
retaining the original could give the impression that the title has been misspelled because
of the similarity between the two forms.
Example: From Suite I (1943)
PRELUDE (not PRELUDIUM) Henk Badings
From the opera "The Magic Flute" KV 620
ARIA "EIN MÄDCHEN ODER WEIBCHEN"* Wolfgang Amadeus Mozart
(not ARIE)
*Arranged for carillon by William Smith
Generic titles whose meaning is clear and which do not resemble misspelled versions may
be given in the original language if they belong to a group of titles different from the
corresponding forms in the language of the country where the recital is being given or are
longer or more complex.
Example: From "Six Compositions for Carillon" (1932)
PRELUDIO/CANZONE/ETUDE Gian-Carlo Menotti
PRELUDIO E ARIOSO (1977) Henk Badings
CAPRICHO ÁRABE for guitar* Francesc Tárrega
*Arranged for carillon by William Smith
g. The keys of pieces with generic titles such as symphonies, concerti, suites, and sonatas,
of single movements taken from them, and of baroque and classical dances should be listed.
In the case of transcriptions the key in which the piece was originally composed and not
that of the transcription should be given.
Example: SONATA IN G MAJOR K 391* Domenico Scarlatti
*Arranged for carillon by John Mortimer
h. The numbers of pieces from collections such as de Gruytters should be listed.
Example: From the carillon book of Joannes de Gruytters, Antwerp 1746
MINUET IN G MAJOR NO. 180* Jan Thomas Baustetter
*Arranged for carillon by William Smith
i. Transcriptions should name the original setting where this would not normally be clear (as
it would be in the case of a symphony).
Example: From Partita III for Violin in E major, BWV 1006
PRELUDE* Johann Sebastian Bach
From "Two Elegiac Melodies" for orchestra, Op. 34
LAST SPRING* Edvard Grieg
*Arranged for carillon by William Smith
In the case of well-known piano works and piano works by composers such as Chopin and
Scarlatti who have written mostly for the keyboard it is not necessary to list them as being
"for piano".
Example: From "Scenes of Childhood" Op. 15
REVERIE* Robert Schumann
*Arranged for carillon by Francis Jones
j. Special attention should be paid to capitalization. In all titles the first letter of the first
word should be capitalized as well as in English titles the first letters of all words except
internal conjunctions, prepositions, and articles, in French and German titles the first
letters of all nouns and proper nouns and in Italian titles the first letter of all proper nouns.
Example: From "Ma Mère l'Oye"
PAVANE DE LA BELLE AU BOIS DORMANT* Maurice Ravel
Carillon Duet
THE STARS AND STRIPES FOREVER* John Phillip Sousa
Primo: William Smith/Secundo: Joy Francis
From "Album für die Jugend" Op. 68
NACHKLÄNGE AUS DEM THEATER* Robert Schumann
*Arranged for carillon by John Mortimer
In English the first letters of words such as "major" and "minor" belonging to supplementary
descriptions are however not capitalized. Terms such as "musical" and "opera" are
only capitalized if they are part of the general heading of a section of pieces.
Example: I.
Music from Operas
From "Der Freischütz"
JÄGERCHOR (HUNTSMEN'S CHORUS)* Carl Maria von Weber
From "The Magic Flute" KV 620
ARIA "EIN MÄDCHEN ODER WEIBCHEN"* Wolfgang Amadeus Mozart
*Arranged for carillon by John Mortimer
However, generic terms such as cantata, musical, and opera belonging to supplementary
descriptions rather than forming a part of the title itself (as in the third of the following
three examples) aren't capitalized if they are part of the individual heading of a single piece
or group of pieces forming part of a section.
Example: From the opera "Der Freischütz"
JÄGERCHOR (HUNTSMEN'S CHORUS)* Carl Maria von Weber
From the cantata "O Ewigkeit, du Donnerwort" BWV 147
CHORUS "ES IST GENUG"* Johann Sebastian Bach
*Arranged for carillon by John Mortimer
k. All titles in antiquated spellings should be given in modern spelling as they may
otherwise be thought to contain spelling or typing errors.
Example: From "Pièces de Clavecin, premier Ordre"
LA BOURBONNAISE* François Couperin
(not: LA BOURBONNOISE)
*Arranged for carillon by John Mortimer
Titles in the language of the country where the recital is being played may be given in
antiquated spellings, provided the title is well known, contains several words in the old
style spelling or uses antiquated grammar.
Example: SONG "YE WINDS TO WHOME COLLIN COMPLAINS"* George Frideric Handel
*Arranged for carillon by John Mortimer
l. Titles of works from which individual movements or pieces are derived and titles
consisting of a name or of a quoted text preceded by a generic term such as suite, sonata,
aria, musical, ect. are put in quotation marks or italics The titles of the pieces performed
and those consisting only of a generic term however are not put in quotation marks or
italics.
Example: From "Album für die Jugend" Op. 68
KLEINE STUDIE* Robert Schumann (not "KLEINE STUDIE")
From Cantata No. 60 "O Ewigkeit, du Donnerwort" BWV 147
CHORUS "ES IST GENUG"* Johann Sebastian Bach
From the musical "Lady, Be Good!"
LADY, BE GOOD!* George Gershwin
From Suite No. 1 for Violoncello in G major, BMV 1007 (not "Suite No. 1")
PRELUDE* Johann Sebastian Bach
*Arranged for carillon by Tom Smith
m. The dates of composition of all original works for carillon should be given. If the exact
date of a work is unknown the century may be cited in its place.
Example: IMAGE NR. 2 (1959) Émilien Allard
PRELUDE NO. 6 IN G MINOR (18th cent.) Matthias van den Gheyn
n. The countries of derivation of foreign folksongs should be listed.
Example: MUSS I DENN* (Folksong from Germany)
*Arranged for carillon by Francis Jones
2. Names
a. Because they are little known, composer's and performer's names should be always listed
in full. In works requiring more than one player the names of all the performers and their
instruments should be given.
Example: SARABANDE (1952) Ronald Barnes (not: R. Barnes)
Carillon Duet
THE STARS AND STRIPES FOREVER* John Phillip Sousa
Primo: William Smith/Secundo: Joy Francis
*Arranged for carillon by Joy Francis
b. Composer's names can be followed by the year of their birth and death. In this case the
dates of original carillon compositions may be omittted. However, if the dates of all original
carillon compositions are provided the years of the composers´ birth and death can be
omitted as the time periods during which most classical composers such as Bach and Mozart
lived are generally known or can be easily found in a music lexicon.
Example: SARABANDE Ronald Barnes (1927-1997)
FÜR ELISE* Ludwig van Beethoven (1770-1827)
or
SARABANDE (1952) Ronald Barnes
FÜR ELISE* Ludwig van Beethoven
*Arranged for carillon by Joy Francis
c. Names of arrangers should be listed and given in full. To avoid repetitions mark the
corresponding works with a symbol and list the arranger's name once at the bottom of the
program.
Example: GNOSSIENNE I* Erik Satie
FÜR ELISE ** Ludwig van Beethoven
From "Album für die Jugend" Op. 68
NACHKLÄNGE AUS DEM THEATER* Robert Schumann
Arranged for carillon by
*William Smith **Joy Francis
3. Form
a. All information should be doublechecked to make certain it is complete and correct.
Example: Jef Denyn (not: Jef Denijn, as commonly misspelled).
George Frideric Handel (not: George Frederic Handel)
b. Stylistic consistency should be observed. If for example the title of any one work in a
particular foreign language is given in translation then all titles in that language should be
translated. If the dates of a particular composer's birth and death are given then they should
be listed for all composers.
c. To insure that they are easily readable, programs should be typed or printed and not
hand-written.
4. Additional guidelines for programs submitted by guest carillonneurs
a. Guest carillonneurs should submit their programs only in typed form or as a computer
file.
b. Guest carillonneurs should list English, French, German, Italian, and Latin titles in the
original language. A translation into English or the language of the country where the recital
is being given may be added at the request of the host. Titles in less common languages
(Dutch, Spanish, Eastern European, Oriental, and Scandinavian languages for example)
should be given in the language of the country where the recital is being played or in
English.
c. Guest carillonneurs can list the times of all pieces in order to give an accurate idea of the
length of their concert (The times will not be listed on the programs, however).
Example: FOR CARILLON (1987) László Dubrovay (5'40")
HEMONY-SUITE (1952) Albert de Klerk (7'15")
Prelude/Etude/Siciliano/Toccata
5. Optional suggestions regarding program content
In order to avoid the character of an arbitrarily organized amateur program characterized by
an abrupt change of style, content, genre, period, and mood with every piece, the author
suggests organizing programs along thematic lines so that the listener can become better
acquainted with a particular style by experiencing various aspects of it displayed in a
succession of different pieces. In programs featuring works with different styles and genres,
this involves organizing them into blocks of two or more pieces with a similiar content, i.e.
two or
more folksongs, transcriptions of classical works, carillon pieces, ect.
Monothematic programs based on the music of a particular genre, century or period, the
works of a particular composer, the music of a particular country, ect. can be also organized
into blocks based on various categories. A program of music from a particular century or
period can group pieces according to their composers or countries of origin, a program of the
works of a particular composer can group pieces according to genre or in the case of
transcriptions, according to the original setting, a program of the works of a particular
country
can group pieces according to genre, period or composer.
As listeners are usually subject to the continuous distractions of outdoor surroundings,
rarely have the opportunity to watch the carillonneur while he is playing, and may have to
stand for long periods during the concert, the author would also like to recommend that, in
order to maintain the listener's interest, the pieces are ordered to insure frequent changes
of character and tempo and that the pauses between them are kept short. A fast and
brilliant work which will catch the listener's attention or a piece composed to begin a concert
or a group of pieces, such as a prelude or overture, will make a good opening to a concert
while one with a strong ending will lend the close an appropriate sense of finality. The time
of day of a concert and the season during which it takes place should also be given due
consideration. For example, the content of an evening concert can be more meditative in
character and die away on a gentle note. Songs and works celebrating the time of year as
well as pieces based on the chorales and hymns marking the current religious festival make
a welcome and appropriate addition to any program.
Sample Program
I.
Carillon Music from the Netherlands
SUITE III (1953) Henk Badings
Prelude/Scherzo/Air/Passacaglia
II.
Popular Songs from Germany
MUSS I DENN* Folksong from Swabia
LILI MARLEEN** Norbert Schultze
III.
Classical Music from Germany
From Partita III for Violin in E major, BWV 1006
PRELUDE* Johann Sebastian Bach
From "Scenes of Childhood" Op. 15
REVERIE*** Robert Schumann
IV.
Music for the Carillon in Berlin-Tiergarten
From Russia
COMPOSITION FOR CARILLON (1995) Sergey Tossin
From England
From "Two Pieces for Carillon after Caspar David Friedrich" (1995)
WALDINNERES BEI MONDSCHEIN Anthony Skilbeck
From the USA
BERLIN FIREWORKS MUSIC/solo version (1987) Richard Felciano
Arranged for carillon by
*Tim Brown
**Susan Grace ***Jim Goldsmith