Bells at the OSM

A few bells are often all that is needed to augment a performance: two (G and C) for Berlioz’s Symphonie fantastique, one (E♭) for “The Great Gate of Kyiv” in Mussorgsky’s Pictures at an Exhibition, and three (F♯, A, and B) for Mahler’s Ninth Symphony, for example. The OSM’s first two bells, tuned to G and C, were heard for the first time at the Maison symphonique on September 18 and 19, 2024, in performances of Hector Berlioz’s Symphonie fantastique, as well as in its World Premiere of an OSM commission La Chapelle to composer Michael Oesterle, conducted by Rafael Payare.

Serge Desgagnés, principal percussionist of the OSM since 1997, was appointed as the orchestral carillonneur. Tasked by the OSM with evaluating the world’s leading foundries, he led a rigorous selection process that resulted in choosing the Royal Eijsbouts Foundry in the Netherlands. Established in 1872, the company initially gained renown casting bells for the Royal Concertgebouw Orchestra before building an international clientele among major orchestras.

Carillon bells are very much like the bells installed in church towers and civic buildings, but they are devoid of clappers inside. They are placed on special stands, and the percussionist produces their sound by striking them with metal mallets, with varying degrees of force. The bells are designed to emit a very specific pitch, and they blend subtly with the Orchestra.

Some scores—such as Berlioz’s Symphonie fantastique—contain only a few notes assigned to bells, but the effect is well worth the effort! That’s why, in November, the OSM will tour Europe with two of its new bells (G and C) in tow, adding 451 kilos to its total luggage weight. This means some extra precautions and exertions for just a few bars of music, but the effect is astounding!