Meet australias youngest carillonists

Meet australias youngest carillonists

At a young age, I began playing in the Austrians’ carillon. The first time I ever saw it was with my parents. I’d watched them try to memorize and interpret the o바카라ld notes and the strange rhythms of the sound they played. Then when I left for college in the late 1990s, I played again to a small group of fellow carillonists, some of them also students at college.

At first I was astonished. I assumed that everyone had played for years in unison. That’s how it was, so I just played it, not wanting it to go away. I never thought of music as something one did for fun: It seemed more interesting to listen to someone perform. To me, there had to be more to it.

This year, I will be recording the world’s most famous carillon for the International Carillon Association, then we’apronxll all바카라 gather together to perform it for years and years. I know that every person is the youngest carillonist in the world, and this may seem unfair, but there is something special about listening to one person sing the sound of the carillon.

What about your career?

It’s been a while since I’ve done work. At age 46, the carillonist I’ve worked with for 15 years is now 76 years old. It is truly amazing to see all these faces. All the things that came with the job, and the hours that I’ve spent working, I’ll miss dearly, but the most interesting thing to me is playing with this instrument again. In the evenings at the end of the day, I’ll often sit beside a speaker at home, and the music will begin to take over my hearing.

You’ve heard, and played, the entire sound of the carillon, but it’s not exactly as you think. It has a distinct, organic sound, unlike most modern carillon recordings.

What I’m trying to do now, as with most carillonists, is to write music that captures its essence. A good thing to do with an instrument is to listen to it attentively and try to get every detail as accurately as I can and make it the best representation of its full-dimensional potential. The more carefully I do this, the better. As an example, I’m also writing about carillon music for a new album by Carl Zimmer, the conductor who wrote for the Wagner carillon’s orchestral score.

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