Thanks to...
This instrument was purchased by the Foundation Concertgebouworkest thanks to the generous support of our Swiss Global Friends.
Herman and the orchestra bells
In the series 'Musicians on their instrument': Herman Rieken on the ten orchestra bells - manifactured by Koninklijke Eijsbouts, Asten - acquired in 2012 and 2014.
The bells are special to me…
I often used to go to Switzerland on holiday to hike in the mountains. I remember the sound of cowbells and church bells, which always seemed to be coming from somewhere. Mahler incorporated this effect in many of his symphonies. What could be nicer than receiving such a gift from our Swiss Friends?
I’m proud of the instruments…
The Royal Concertgebouw Orchestra is the leader when it comes to the use of church bells in the symphonic repertoire. I think there’s also something profound about the fact that these bells will outlive all of us.
Playing them…
When you play the bells, you can just imagine yourself inside a church tower. The sound is very intense, and when things get loud, we really do have to wear earplugs. The clappers are quite heavy. Each bell has its own specific clapper depending on the weight and size of the bell. If the bell is fitted with a clapper that’s too light, it will produce too many overtones rather than the fundamental tone.
When they’re not being played…
The bells take up a lot of space, so we store them at Gruijter & Co. together with other large instruments like the Mahler timpanum, the Hammer (used in Mahler’s Symphony No. 6), the wind machine and the cowbells tuned in three octaves.
Practising on the church bells…
We can’t prepare for upcoming concerts at home on the big percussion instruments. Fortunately, though, we can use the soundproof studio in the basement of the Concertgebouw. Plus all the percussionists live in Amsterdam, where the bells are put out one week in advance so we can practise.
During the concert…
The bells are so big that it’s crucial to have an efficient arrangement onstage. Otherwise we’d have to do far too much walking around during the concert. Often, as in Berlioz’s Symphonie fantastique, we play the bells in the corridor offstage. Because of the distance, though, you really have to anticipate the sound of the orchestra!