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 For Carillon  Solo

 New publication available now

 An Album for the Carillon

in   TWO  VOLUMES

For Carillonneurs, Keyboard Players, Harpists &  Music Lovers
For Beverly Buchanan, Carillonneur, Christ Church Cranbrook  (1964-1988)
And in memory of  Thomas More Storke  (1876-1971)
[Carillon Donor, University of  California, Santa  Barbara]

*
Volume  I
( 38  pages of music )

Table of Contents

Three Verses on            America  (3  pages)

Quodlibet & Aria on         *  Brother James’ Air, Mit Freuden Zart, & St. James  (5  pages)

Three Verses on            Bunessan  (“Morning has broken”)   (2  pages)

Hymn, Toccatina & Variation on            Deus Tuorum Militum

Reflections & Prayer on            Finlandia  [J. Sibelius]   (3  pages)

Rondo on            “Forty Years On” (The Harrow School Song) (3  pages)

Rondo on            “Gaudeamus  Igitur”  (4  pages)

Fanfare on         *  Gloria & Air & Fugato on Personent Hodie (5  pages)

Variations on             Greensleeves  (6  pages)

Variations on            Hermas   (3  pages)

Afterword

*

Volume  II 
( 36  pages of music )

Table of Contents

Three Verses on            Jerusalem   (3  pages)

Four Verses on            Land of Rest  (3  pages)

An Arrangement of            Larghetto [G.F. Handel, Xerxes] (2  pages)

Sonata on            Marion and The Ashgrove (5  pages)

Two Verses on            National Hymn   (2  pages)

Reverie on             From The New World  [A. Dvorak] (3 pages)

Three Verses on             Pomp and Circumstance [E. Elgar] (4  pages)

Chorale Prelude on        *  Rosa Mystica  (3  pages)

Fanfare on             Saint Anne (3  pages)

Three Verses on             Simple Gifts  (4  pages)

National Anthem – Hymn on            The Star-Spangled Banner (3  pages)

Afterword

*
Notes

          An Album for the Carillon  includes settings of some familiar and not-so-familiar hymn tunes and traditional songs, along with transcriptions of five exerpts from the classics (Elgar, Dvorak, Handel, Parry, and Sibelius).  This new publication includes all of the contents of the loose-leaf edition dating from 2003, augmented by several subsequent settings of one kind or another.

Many of the scores in this collection were prepared for Cranbrook-Kingswood Schools graduation ceremonies at Christ Church Cranbrook in 2000, while numerous others have been added to encompass Christmas and other celebrated holidays, occasions and seasons. Three settings that originally appeard as A Jamesian Suite have found their way into An Album for the Carillon; they set six different hymn tunes in varied styles and are starred [*] in the Table of Contents.  Some movements in the album are more extended than others and offer greater technical challenges, notably the Variations  on  Greensleeves,  Quodlibet  and  Aria  on  Brother  James’  Air,  Mit  Freuden  Zart  and  St. James, and the Sonata on Marion and The Ashgrove.  The three verses on Deus Tuorum Militum and the New World Reverie are the two most recent additions, prepared in celebration of this new edition. In many cases, individual component sections from some of the larger settings can easily be extracted from their context in order to meet individualized performance needs and limitations in timing.

N.B.  *  In some instances, lower bass pedal notes and bells available only on larger carillons have been included, with their alternative octave pitches notated (in parentheses) for standard instruments. Performers will wish to make careful choices between optional notes and octave substitutions for some instruments, with an eye and ear to providing smooth inner and outer voicings; where no alternative pitch has been provided, a rest should be substituted.  *  Tempo markings are of  a  general  nature  and will allow great adaptability from one performance and instrument to another.  * Please note that whenever a grace note appears, it is intended – more often than not – to be sounded on the main beat to which it is attached; when used in conjunction with a vertical wavy arpeggiation line, a grace note, when present, should lead the arpeggiation or tremolo; the performer will ultimately determine the most appropriate choice from one instance to another between open-handed rolled chords and alternating fist keyboard arpeggiations.

Copyright © 2009  Ennis Fruhauf
All rights reserved

 

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