Due to such important social functions, the bell acquired the value of the state symbol, became part of the national self-consciousness. The loss of the bell spoke about the loss of independence, was a sign of trouble and grief. And when in 1510, Vasily Sh, the Grand Duke Moscow, sent to the defeated Pskov Diak Dolmatov with the command to take away their elder bell in Pskov, - those "strike in the ground, could not give him from tears and cordual tags against his answer. Only I did not let tears, others, the babies sucking the malko. And then in Pskov there is crying and a wedding in all houses, each other is embarrassed. And the bell of the eternal for the Holy Trinity and starting Pskovichi, on the bell, looking, poster on the oath of Stainer to their will. .. "

The bell was surrounded in Russia wonderful legends and treated beliefs. It was believed, for example, that he silents in captivity, on a foreign trade: "Prince Alexander (Vasilyevich Suzdalsky) from Volodimer Eternal Bell of the Holy Mother of God drove into Suzdal, and the bell began to call, IKO was in Volodymere; and the form Alexander, Yako grabbed the Holy Virgin , and commanded his packs to carry to the Volodimer and put it in his place, and the packs to be the voice of the eyaco and before Godigor. "

It was this tradition that A.I. Herzen, calling the "bell" free Russian newspaper, which he published in London, sculptor M.O. Mikeshin, who took the profile of the bell as the basis of the Millennium Monument of Russia in Novgorod. The image of the bell can also be found in the rich bronze burrow, looking for this monument at the very foundation and representing the gallery of the most prominent figures of Russian history. In the group of "military people and heroes" a figure of the only woman is noticeable - this is Marfa Gauretskaya, the widow of the Novgorod Postener, who headed in the 70s Hu Hu century energetic, but the unsuccessful struggle for the independence of Novgorod from the Moscow king. With tears in the eyes, dropping his head and crossed on his chest, Marfa-Posalman stands over a broken idle bell, a symbol of lost Novgorod liberty.

Early Russian bells, small weight, were placed either between two pillars, or between the post and the temple wall; From above over them could be constructed. With an increase in the weight of the bells and their quantity at the temple, all their assembly began to place in a multi-year structure, which was no longer on the ground, and not the wall of the temple. The chronicle reports that in 1515, with the restructuring of the church of the Nativity of the Vasily Ivanovich, "Prince Vasily Ivanovich ... Pethe was put at the top, and in the old (church) was on Earth." At about the same time, the type of bell tower, standing apart from the temple on its own foundation. The earliest of the well-known examples of this type is the three-tiered three-role bells of the Pokrovsky Cathedral on the Ravy (more famous as the temple of Vasily blissful), not preserved to this day.

Original structures peculiar only to ancient Russia and

nee having analogues in the West, were the Churches of "Like under the bells". The first temple of this type is the Wooden Church of John the Districties, erected in the Moscow Kremlin in 1329. The earliest of the preserved examples is the spiritual church in the Trinity-Sergius Lavra, built in 1476. The bells here were placed in the niches of the drum, carrying the church chapter stretched up, and in the niches of lower, framed by the arches in the form of traditional Russian kokoshnikov.

At the beginning of the XVI century, a new version of this type appears - the Table-like Church "False under the bells". The exact date of his appearance is 1508, when a new one, stone - the one, was navigated to change the old temple of John the Dolleynik. The three-story octahedral pillar has on every face of each tier, but one niche for the bell. Inside it there is a small church, so the bell tower itself, as some believe it is impossible to call it. But the main appointment of Ivan the great built it Ivan W saw, in all likelihood, not in this. He conceived him as a triumphal column. For a niche above the main entrance, the sovereign was overpowering a giant at the time of the 450-powder bell, and in the niches of the next tier placed the captive bells Tver, Pskov, Novgorod ... The new trophy bells were added to them later - Smolensky, Korsunsky ... then Rostov , Danilovsky, Marynsky, cast for those distant from Moscow churches and monasteries, but those who were here instead of broken and damaged - as "representatives" of all lands of a huge country.

Bells as a musical instrument

The bell and the bell - the oldest and to this day are widespread self-spinning shock musical instruments. Their initial function is signal. Immediately consider that these are two different tools, and the criterion of their differences are not size, but the spatial consolidation in one place (post, bell tower, belfry) and the ability to enter similar tools. Our attention will be focused on the bell, as well as on an independent instrument of a more complex order - the selection of bells, fixed on the belfry. The bells we will consider as the ancestor of the bell, widespread to the present and the foundation of a set of other independent instruments (hammer bells, triangle, etc.).

The evolution of the bell was determined initially a search for the optimal variant of the signal tool - its optimal shape, material and method of manufacture. Later, the desire for the beauty of the sound appeared. I must say that not everyone, the peoples, this search was connected with the bell. Many nations as the main signal tools used various types of drums or winds so that all these so many unrestricted tools were originally relative to the function.

Before finding your classic look, the bell passed a long-lasting evolution and selection, separated from related tools (bells, kimvalov, gongs, bells, bubrels, beat and cradle). The general trends were an increase in the weight of the bells. However, the development of bells has long made a special track: they have established themselves as an independent instrument (for appointment and expectation), and therefore they cannot be considered as "small bells". Thus, the bells are not only the nearest predecessors of the bell, but also its contemporaries who are not displaced from everybody with their more powerful fellows. The general qualities of these tools are the form and material from which they are manufactured, differences in the amount, existence and appointment.

The modern form of the bell was found far from immediately. There were tetrahedral, cylindrical, hemispherical, barrel-shaped bells (i) .1 The search in the form of the form led to the emergence of an independent variety of signal idiophones, direct precursors of the bells in Russia - Bil and Klepal, who came to us from Byzantium. Bila and riveted - metal or wooden boards of various shapes and thicknesses, which, like bells, suspended or worn in their hands. The sound was removed by a special hammer. Their form was diverse: rectangular, arcuate, secluded, round, ring, propeller with different thicknesses in different parts (from which the height of the sound depended). There is no fundamental difference between Bil and Klepal. In different sources, both those and others appear as wooden, as metal. But the material could be different.

The sound of Bila did not differ in great force, but due to rhythmic diversity and the ability to increase and lower it, hitting in different places with different strengths, "riveting" (as the ringing was called in Biot and Klepalo) were very expressive (see example

The bells that appeared later, not everywhere finally displaced Bila. They liked their sound more, for example, the Old Believers, which attracted that he was not paving too far. Therefore, Bil did not refuse, creating an even greater variety of sound with the simultaneous use of these tools.

No less complex and durable were searching in the field of material and the method of manufacturing the bell. Although metal bells appeared already in the early bronze age, experiments with each other were continued with each other. There were bells (no longer bells) wooden, glass, porcelain, stone, clay. For metal cast bells, the alloy that gives the most beautiful, strong and long sound is not immediately found. Sound quality and long. The time of operation depended on the characteristics of the casting technology not only the bell itself, but also its language, as well as on the method of its suspension.

The bell is a tool with a certain base tone height, often very veiled overtones, which gave it to some authors in the past, to the tools without a certain height. This feature is to carry out the main tone of a complex and rich overtone nearby - one of the main qualities that distinguish the bell and put it into a separate, intermediate position between the tools with a certain height and so-called pshes "(with an indefinite height of the sound).

At various times, various connoisseurs put forward in many ways the requirements for the bell acoustics. So the Master of Hemeni from Tsutpfene (HUU century) believed that a good bell should have three octaves, two quints and a large or small policy. (Immediately we note the possibility of small flares in the bell spectrum, which will still have to return). British loovers have sought the lower overtones of the harmonic spectrum, but also with a small, and not a large prison. It was its British who was noted as a sign that distinguishes the bell from other tools. D.Rogal-Levitsky states the permissibility not only both of the colors, but also pure quarts. The real overtone rows, cited in various sources, show that the single rule did not exist, the bells on the timbre were very individual. Consequently, we can remove only the most common patterns, once and for all by refusing to attempt to establish a single immutable rules.

Consider the qualitative composition of the overtone rows of the bells, the most harmonious from the point of view of Sarajev. As already mentioned, with all the inconsistency of the acoustic demand for the bell in different sources, they all indicate the need for a consonant combination of the lower overtones. And Sarazhev condant combinations gives an explicit preference. Twenty-eight bells, having a combination of quint and quarts at the bottom of the spectrum, entered these three groups (and there were thirty-one among the studied saradgev bells). In these groups, they were distributed as follows: i - 15; 2-3; 3 - 10. Nine of the twelve cases of the prison (large and small) after the quints and quarts are attributed to the zonarem to the "good or" attractional "bells. In the same way, the analysis convinces that those bells in which there are separate harmonic overtones in the spectra, fragments of harmonic spectra Preferably those in which the frequencies are not multiplicated by the frequency of the main tone. It is very price for octave at the bottom of the spectrum, then descending follows the quint. Quart, Triton and small septim clearly do not have an advantage over all other possible intervals.

So, despite the presence of non-harmonic overtones, according to K.K. Sarajev, spectrum (or, as he called, "the" individuality ") of the bell did not constitute an indefinite mixing of the harmonic.

Noted often by listeners and researchers dissonant sound. Solokol, essentially, for this tool is not so; This is a characteristic feature that defines the basic laws of the art of the stall.

Classical harmony teaches that the terrent structure of the chord has an rationale in nature. But why is the sound only with a harmonic spectrum? After all, the auditory experience is not limited to them. And whether the complication of harmony in the process of development (in particular is the complication of the composition of the composition of the chord, including the sound of the bells in the process of development (in particular, the complication of the composition of the composition of the chord), including the sound of the bell?

An equally important expressive agent of the bell, rather than the timbre, is a rhythm. He was the main means of updating the sound of the bell, as the absolute height and the timbre could only vary in the artist.

In the bells of the Russian type the last four centuries, the sound was removed by a shock of the back of the bell. For a clock bell, it was possible to sound removal with a hammer. The bells in ancient Russia swatched, and when moving the wall of the bell in contact with the tongue. In the XX century, electronic bells began to use in England, where the sound is born with an electronic vibrator.

The classic Russian tongue ringer technique has formed as the weight of the bells and gave a new direction to this art. Over time, the method of the ringing of the bell star was very firmly forgotten, although it was stored in some (mostly Western) regions. In the Pskov-Pechersk Monastery, both types of stall technique are still jointly applied. In England, there is its own technique of the ring, in which the bell is not just swing, but makes a full turn around its axis.

With the help of only one bell, a wide variety of signals of cult, magical, socio-political, domestic purpose was achieved. The signaling ties addressed to everyone and everyone, with all their diversity they should have been and fairly simple for perception.

The gradual complication of the signals stimulated the development of expressive means of the stall, which, in turn, expanded the instrument capabilities. They noticed, for example, that the ringing of two bells is richer than one. When, after the overthrow of the Tatar-Mongolian yoke, the flowering of colocolty and construction art came, the bells became consciously combined into the seals. With their appearance, not only the possibilities of applied stalls were expanded, but the emotional impact increased immeasurably: the stons were truly artistic and could perform not only informative, but also a purely estigic function.

The birth of a newly new, compared with a separate bell, tools should be attributed by the time the bell, too heavy to keep it in hand, began to hang on a post or wooden goats. Since there are two and more bells on the collapse of the pillar, they noticed that the ringing was richer on two bells than on one: it is possible not only to encode a larger number of signals, but also make their sound more beautiful. With a compound in a single complex of several bells, the question arose about the coordination of their sound.

Tubular bells

Wide distribution in our time received orchestral, or tubular, bells. These are a series of vertically suspended on a frame of long, fairly thin steel pipes located in a chromatic sequence so that the first row pipes make sounds corresponding to the White Piano keys, and the second - black in the total range from C1 to F2 (American and English models) or from F to F2 (tools produced by European continental firms). They hit the top edge of the corresponding pipe with a wooden hammer with a rubber gasket. Possible sequences of individual sounds, "double" notes, chords - with the help of another artist, as well as Glissando.

The sound of tubular bells is a light, solemn, very rich overtones, with a long-fading, peculiarly detonating ("floating") exhaust. To dry out the echoes (if necessary), there is a common "damper" for all pipes, referred to by pressing pedals: CON PEDALE - Sound muted, Senza Pedale - Open sound. Here are excerpts from the "serenade" for clarinet, violin, double bass, drums and piano A.Shnitka - Soli on bells. In this work, the drummer performs the function of the conductor, and the sound of the bells is an important organizing start. They are also used bells in a "concert for violin with orchestra No. 2"

Examples of using natural bells

As examples of the use of natural bells, you can point out the Cantatant of Sviridov "Wooden Rus", in which one CIS bell in its "poem of Memienne's Memory" used four bells (C, E, E1, A1). Karl ORF in "Carmina Burana" along with tubular bells also uses three (F, C2, F2) natural. In the eleventh symphony, D. D. Shostakovich used bells C1, G1, B1, H1.

Also to the bells in their works, such composers as E. Denisov "Sun Incans" (see Appendix 3), V. Lyutoslav "Three Pooms Henri Misho" (see Appendix 4), O. Messian, "Et Exspocto Resurrectionem Mortuorum "For the orchestra of wooden and copper fooling tools and metal drums (see Appendix 5) and many others, this topic can be developed, but already in other work.

3. Bells as a musical instrument

The bell and the bell - the oldest and to this day are widespread self-spinning shock musical instruments. Their initial function is signal. Immediately consider that these are two different tools, and the criterion of their differences are not size, but the spatial consolidation in one place (post, bell tower, belfry) and the ability to enter similar tools. Our attention will be focused on the bell, as well as on an independent instrument of a more complex order - the selection of bells, fixed on the belfry. The bells we will consider as the ancestor of the bell, widespread to the present and the foundation of a plurality of other independent instruments.

The evolution of the bell was determined initially a search for the optimal variant of the signal tool - its optimal shape, material and method of manufacture. Later, the desire for the beauty of the sound appeared. I must say that not everyone, the peoples, this search was connected with the bell. Many peoples as the main signal tools used different types of drums or winds. So all these so many unresponsive tools were originally relative to the function.

Before finding your classic look, the bell passed a long-lasting evolution and selection, separated from related tools (bells, kimvalov, gongs, bells, bubrels, beat and cradle). The general trends were an increase in the weight of the bells. However, the development of bells has long made a special track: they have established themselves as an independent instrument (for appointment and expectation), and therefore they cannot be considered as "small bells". Thus, the bells are not only the nearest predecessors of the bell, but also its contemporaries who are not displaced from everybody with their more powerful fellows. The general qualities of these tools are the form and material from which they are manufactured, differences in the amount, existence and appointment.

The modern form of the bell was found far from immediately. There were tetrahedral, cylindrical, hemispherical, barrel-shaped bells. The search in the form of the form led to the emergence of an independent variety of signal idiophones, direct precursors of the bells in Russia - Bil and Klelel, who came to us from Byzantium. Bila and riveted - metal or wooden boards of various shapes and thicknesses, which, like bells, suspended or worn in their hands. The sound was removed by a special hammer. Their form was diverse: rectangular, arcuate, secluded, round, ring, propeller with different thicknesses in different parts (from which the height of the sound depended). There is no fundamental difference between Bil and Klepal. In different sources, both those and others appear as wooden, as metal. But the material could be different.

The bells that appeared later, not everywhere finally displaced Bila. They liked their sound more, for example, the Old Believers, which attracted that he was not paving too far. Therefore, Bil did not refuse, creating an even greater variety of sound with the simultaneous use of these tools. [2 p.118]

The bell is a tool with a certain base tone height, often very veiled overtones, which gave it to some authors in the past, to the tools without a certain height. This feature is the main tone vessel with a complex and rich overtone nearby - one of the main qualities that distinguish the bell and put it into a separate, intermediate position between the tools with a certain height sound and so-called noise (with an indefinite height of the sound).

An equally important expressive agent of the bell, rather than the timbre, is a rhythm. He was the main means of updating the sound of the bell, as the absolute height and the timbre could only vary in the artist.

In the bells of the Russian type the last four centuries, the sound was removed by a shock of the back of the bell. For a clock bell, it was possible to sound removal with a hammer. The bells in ancient Russia swatched, and when moving the wall of the bell in contact with the tongue. In the XX century, electronic bells began to use in England, where the sound is born with an electronic vibrator.

The classic Russian tongue ringer technique has formed as the weight of the bells and gave a new direction to this art. Over time, the method of the ringing of the bell star was very firmly forgotten, although it was stored in some (mostly Western) regions.

In the Pskov-Pechersk Monastery, both types of stall technique are still jointly applied. In England, there is its own technique of the ring, in which the bell is not just swing, but makes a full turn around its axis.

With the help of only one bell, a wide variety of signals of cult, magical, socio-political, domestic purpose was achieved. The signaling ties addressed to everyone and everyone, with all their diversity they should have been and fairly simple for perception.

The gradual complication of the signals stimulated the development of expressive means of the stall, which, in turn, expanded the instrument capabilities. They noticed, for example, that the ringing of two bells is richer than one.

When, after the overthrow of the Tatar-Mongolian yoke, the flowering of colocolty and construction art came, the bells became consciously combined into the seals. With their appearance, not only the possibilities of applied stons were expanded, but the emotional impact increased immeasurably: the stons became truly artistic and could not fulfill an informative, but also a purely aesthetic function.

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(As a rule, cast from the so-called bell bronze), a sound source having a dome-shaped form and, usually, a tongue hitting from the inside of the wall. There are also known bells without a language, for which they beat the hammer or a log outside.

The bells are used in religious purposes (the call of believers on the prayer, the expression of the solemn moments of worship) and in music. It is known to use the bells for social and political purposes (as a Nabat, for the convening of citizens to the meeting (veche)).

Classic bell as a musical instrument

The bells of medium sizes and are included for a long time in the category of shock musical instruments having a certain sound. Bells are different values \u200b\u200band all buildings. Than the bell more, the lower it is the system. Each bell makes only one sound. A party for medium-sized bells is written in a bass key, for bells of small sizes - in a violin one. The bells of the mid-size sounds the octava above the written notes.

The use of lower-level bells is impossible, due to their size and weight, which would be prevented by their room on stage or pop. So, for sound to the 1st octave, it would be necessary to be a bell weighing 2862 kg, and for octave sound lower in the Church of St. Paul in London was used a bell weighing 22900 kg. There is nothing to say about lower sounds. They would require a Novgorod bell (31,000 kg), Moscow (70,500 kg) or king bells (350800 kg). In the 4th act of opera "Huguenotes", Meyerber applied the lowest bells for Nabatha, emitting the sounds of the FI 1-th octave and to the 2nd. The bells are used in symphonic and opera orchestras for the sake of special effects associated with the plot. One batch for bells is written in the score from 1 to 3, the construction of which is indicated at the beginning of the score. The sounds of medium-sized bells are solemn.

From the end of the XIX, the theaters began to use bell-caps (timbras) from cast bronze with rather thin walls, not so bulky and emitting lower sounds than a set of ordinary theatrical bells.

In the XX century No classic bells are used to simulate bell tower, but so-called orchestral, in the form of long tubes. See bells (musical instrument).

Karillon is called a musical instrument from specially selected and built bells. In Belgium, Holland, Carillons are known from the 9th century, (although the very first found on the territory of modern China and dates back to the V century BC! Despite this, they only spread throughout Europe in the XV century. So what is this for quite Ancient and mysterious tool ???

Carillon consists of a bells of at least 23, and the largest today consists of 77!)

The main elements of the Karillon design is the performing work (with manuals and a pedal keyboard as an organ) and a set of bells.

Keys - levers of manuals and pedals through the block of blocks are connected to the bells of bells with cables, which when playing them leads to move, hitting the edge of the bell.

The oldest and generally accepted Carillon is the tool of the XV century, located on the bell tower of the Cathedral of St. Rombuts in Medelek in Flanders (Belgium).

The recognized capital of carillon music is the Belgian city of Mechelen (Mechelen, or Malin, as it is called in French, from the French name of this city in Russia and the expression "raspberry ringing"). The most prestigious international competition is held in Mechelen, who is the name of the Belgian Queen - the Queen Fabiola, here are the most representative festivals and concerts of bell music, as well as scientific conferences dedicated to theoretical problems of this art. There are 4 large carillons in Mechelen, which include 197 bells. Three of them are placed in the bells of urban cathedrals, the fourth - mobile - installed on a wooden platform with wheels, it is rolled out on the square during the holidays. This Carillon includes the oldest bell of Mehelen, cast back in 1480. Interestingly, the karillion setting is still happening in the old manner - not on the tuning, but for the sound of violin.
The Royal School of Carillon is found in Mechelen, which was founded in 1922 and called "Denin" - by the name of its founder and the first director. Here you will comprehend the art of playing Karille musicians from many countries of the world. In 1992, students from Russia arrived here for the first time. Training of carillioners pass individual, and its full course lasts six years. Another School of Games on Karillon is located in Netherlands in Utrecht.

The first carillons, which date approximately the V century BC, were discovered by archaeologists in China (in 1978, during excavations, a set of 65 bells range was found in the province of 5 octave, dated by the V century BC).

In Europe (Northern France and the Netherlands), Carillons are known from the XV century. At the beginning, the sets of bells appeared on the tower clock (at the end of the XIV century), but then acquired and independent value as a musical instrument. In the old chronicles, the first mention of the execution of "ringtones on the bells" dates back to 1478. It was then that in the city of Dunkirk, a set of bells was tested, on which Jan Van Bevere (Jan Van Bevere), even musical chords reproduced surprise and pleasure. Yana Van Bever is also called the inventor of the keyboard for the bell game. From the same chronicles, it is known that in 1481, a certain two, Dwaas played on bells in Aalst, and in 1487 - Eliseus (Eliseus) in Antwerp. However, it is not known what kind of bells managed the musicians, most likely, these were the so-called glockenspiel (Glockenspiel - literally: bell game) with a small set of bells. In 1510, a tool with musical roller and nine bells from Audenaard is mentioned (Oudenaarde). In 50 years, even a mobile carillon appeared. Further development of the tool went upward increasing the number of bells. The same bells on the towers were practically used to play through the keyboard (as a carillon) and for mechanical ringing (like chimes).

It is impossible not to admit that the carillon is a very expensive tool, so it was difficult to expect his widespread. However, the rapid development of the North Sea region and large shopping cities gave the financial basis for the development of a carillon case in the XVI - the first half of the XVII century. Carillons were built in the cities of Adenand, Liewen, Terdon, Ghent. The number of bells in carillons gradually increased, the keyboard was improved, which significantly facilitated the work of the Carillioner. Burned by carillons of Mechelen and Amsterdam (and not alone!), Then Delft. In the second half of the XVII century, carillons of the works of Brothers Franz and Peter Chemoni used special fame in Holland. In the literature there is information that the first well-tuned carillon with a keyboard and a coherent sound of 51 bells was built by them in 1652 in Holland.
Renaissance for carillons came at the end of the XIX century. Then the concerts were particularly popular, which gave the Summer Evenings, Denin (Jef Denyn) on the famous Carillon of the Mekhlensky Cathedral. (Now carillon concerts in Mechelen are held on Saturday, Sunday and Monday, this has long been a city tradition.) He showed interest in Carillons and America, learning about them ... from the press. The 2nd world war prevented the flourishing of the carillon business. But the carillons were not forgotten.

For all the time about 6 thousand carillons were built. Most of them died during wars ... Now there are about 900 carillons in the world. The biggest of them (by weight: 102 tons of bronze!) Is located in New York in the Riverside Church of the Rockefeller Memorial. It consists of 74 bells, the largest bell has a 3.5 meter in diameter and weighs 20.5 tons. But this is only the third carillon of the world by the number of bells. A tool having the most Bells - 77 - Located in Bloomfield Hills, USA; It follows Karillon Halle (Halle), Germany having 76 bells.
In the Netherlands there are more than 180 carillons (only in one Amsterdam 7, not counting the mobile), in Belgium - their about 90, in France - 53, in Germany - 35, in the United States - at least 157 ... Mobile carillons in the world at least 157 ... 13.
In Russia, the first Carillon appeared thanks to Peter I, who ordered two mechanical chimes in Holland and Carillon in 35 bells. But the Dutch Carillon was able to sing only a quarter of a century later. This happened in St. Petersburg on the bell tower of the Peter and Paul Cathedral. Unfortunately, this Carillon died in a fire in 1756. In fact, Peter has improved carillons, so for example, one of three cast carillons had glass bells, they say that they were crystal among them, which were crashed as a result of hostilities. The rest (cast out of copper) died in a fire. But this information, more specific, I did not find on the Internet ...
Empress Elizabeth Petrovna ordered a new tool consisting of 38 bells. He was installed in 1776, but in 1856 the Carillon was upset, and in the 1858th partially dismantled: the keyboard and part of the bells were removed. After the revolution, the Carillon was practically destroyed.

The Royal School of Carillon in Mechelen created the international project "Restoration of Petropavlovsky Carillon", the inspirer and the main "driving force" of which Yo Haazen became

The current source of the school. This man himself personally took the revival of Karilon art in the present St. Petersburg and put a lot of effort so that a new carillon appeared there. In the implementation of this dream, he left for a long 12 years, he himself personally sought sponsors for this business. And one of the most first responded such sponsors was the Belgian Queen Paola Margarita Maria Anthony.
The project helped to find more than 350 sponsors, and as a result shortly before its 300th anniversary, St. Petersburg received a wonderful gift - a new carillon of 51 bells, the total weight of which is 15 tons. The largest bell weighs 3075 kg, the smallest - 10 kg. Casting, installation and configuration of the Carillon was carried out by the Royal Foundry "Petit and Fritzen" ("Petit and Fritsen", Netherlands). The first carillon concert on a new tool took place in St. Petersburg on September 15, 2001.
Now on the bell tower of the Peter and Paul Cathedral, three levels of the ring: New Flemish Carillon, 18 preserved bells of the old Dutch carillon of the XVIII century (they will "work" as a chimes) and an Orthodox bell from 22 bells, just 91 bells!

On August 2, 2007, Yo Haazen himself personally gave a concert within the framework of the International Festival "Soul Bells", held in the Petropavlovsk Fortress of St. Petersburg. Many people were lucky enough not only to hear an interesting program performed by a wonderful musician, but also in detail to inspect the new Carillon of the Petropavlovsky Cathedral and the surviving bells of old tools in detail on his bell tower. After his speech, Professor Haazen kindly spoke to the audience and told no little interesting curious things, those who came to this concert was very sorry that this concert completed the program of speeches, and Yo Haazen soon leaving St. Petersburg soon.
To his 300th anniversary, St. Petersburg received another Carillon - on the Cross Island. This is the 27-meter arch-bells, on which 23 carillon bells are installed with automatic control from the computer and 18 Russian non-automatic bells. The author of the project Arch-beznoze Moscow Architect Igor Gunst. Carillon bells for her are also cast by the company "Petit and Fritzen". According to the plan of the creators, spiritual and secular music will sound here, as well as Russian bell tongues.
Yesterday's Speech (30.11 2011) Yo Haazen on TV channel Culture brought us a stunning news - for our country a new surprise is preparing: in the very near future, we will have a mobile carillon !!! And who knows perhaps his raspberry stons will deal with divine sounds throughout our immense homeland !!!

But in the latest achievement of carillion buildings is the design of the original mobile carillon of a musician from the Netherlands of Budymna Zvart, Carillioner Amsterdam.
Such a carillon was manufactured in 2003 and consists of 50 bells weighing from 8 to 300 kg, the total weight of which is about three tons. The bells are compactly placed on a special trailer. The trailer is small and can move even a passenger car. Moreover, this carillon can, if necessary, can be divided into three parts and, thus, relatively easily delivered to any room.

Some of the first concerts on this Karillon B. Zvart gave during the Music Festival in Dresden (Germany) from May 19 to June 15, 2003. Concerts took place at the open areas of the city. The concert program was very diverse, in particular, the works of I.S. were performed. Baha, Mozart, Vivaldi, Korelli, Schubert and glitch, as well as improvisation on the topics of the Netherlands People's Music and the Melodies of Russian People's Songs ...
Carillon "went down" from the tower to the ground and became closer to people. And since not every city has a stationary tool, Mobile Carillon is an opportunity to hear bell tower almost anywhere ...
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