FMPNmBnr14

.
Perspectives for Carillon
  Two audio selections
Legende & Sonata
 for Carillon, Piano or Harp & etc.
 ~  available September 2022  ~
 Click  on both of the links below to access .wav  files
 (featuring Finale playback & Garritan harp sound fonts)
.
  ~  available September 2022  ~
    FMPSonataCarillon.wav       ca. 50 MB   

~  available October 2022  ~     
    FMPLegendeCarillon.wav      ca. 50 MB   

Printed music scores for these two movements are available from
The Guild of Carillonneurs in North America

 ♦ ◊ ♦

  Notes    

Compositions for carillon from Ennis Fruhauf include Triptych, Jubilate, and Perspectives (a series of thematically interrelated movements: MirrorriM, Nocturne, Abracadabra, Passacaglia, and more recent additions, Légende and Sonata [all published by the GCNA]. Other titles are: Reflections on Let There Be Light (originally published by ACME), An Album for the Carillon (a two-volume collection of numerous arrangements and settings), Elegy, A Baroque Sonata, and A Cranbrook Suite [on tap from Fruhauf Music Publications]. Along with FMP’s 2022-23 online additions to a growing list of complimentary score postings, the collection includes several Finale generated .wav files of selected carillon repertoire (making use of Garritan harp fonts), to which two new ones are being added, with scores available through the GCNA.

Légende honors Milford Myhre, long time carillonneur of the Bok Tower Gardens, GCNA mentor,  member and advisor. After a brief introduction in D minor, Légende's hymn-like tune emerges in the lower bells, accompanied by triplet arpeggiation figures and interspersed with occasional fanfare interpolations moving in parallel fourths or fifths. A contrasting theme is then introduced in treble bells, underpinned by syncopated pedalpoints, and leads into a phrase-by-phrase developmental treatment of the hymn tune, first in soprano and then in tenor and bass registers.  The contrasting or second thematic materials return and eventually lead to a full restatement of the hymn ― as heard in the beginning, but with the fanfare interpolations inclined toward the parallel key of D major.  The second theme returns briefly and is followed by an affirmative coda in D major.

Légende was awarded a shared second prize in the 2010 GCNA sponsored Johan Franco Carillon Composition Competition. The right to publish and distribute printed copies has been assigned to the Guild of Carillonneurs in North America by Ennis Fruhauf, while the composer retains all other rights to the work, including preparation of derivative works (arrangements, transcriptions, etc.) or subsequent versions for carillon.

Sonata honors John Gouwens, a GCNA colleague and friend of many years. The work is set in a traditional single-movement sonata form, with an optional repeat of the exposition. Its first thematic group is an ornamented elaboration of the opening thematic material of Mirrorrim, while its second theme appears in Abracadabra. Sonata makes considerable technical demands on the performer with its driving rhythms, occasional passages of double pedaling, and also with its almost unceasing momentum from beginning to end.
N.B. Both scores have been prepared with a minimalized approach to voicings within individual staves, i.e., there is an absence of rests to account for multiple voices when one solo voice splits into two or more voices. In all instances, the intended contrapuntal texture is clearly delineated, and the pages are considerably less cluttered without the addition of split-beat or voicing rest notations. It might also be noted that both scores will accommodate performance as duets, with a primo and secundo to divide the content between two players. Légende and Sonata were both prepared and edited for carillon by the composer, offered here in two .wav files generated by Finale’s automated playback system, and featuring a Garritan harp sound font. There are occasional additions of  con octavo basso additions in the bass lines of both scores, octave doublings to highlight certain thematic or dramatic elements as they arise in the course of performance. Regretfully, the expressive elements introduced into the .wav file from Finale's auto-playback system is not nearly as flexible or subtle as might be possible from a live human performance.

With special thanks to the Guild of Carillonneurs in North America for the unique library of publications for carillon that are being offered through their aegis and sponsorship,

Ennis Fruhauf
.
2022