From other publishers .....

01. Two Pieces after Caspar David Friedrich
03. …but the willow drank too much
04. Verses
American Carillon Music Editions,
268 Winding Creek Dr., Naperville, Ilinois 60565, U.S.A. (See the website)

05. Woodland Echoes (3 pieces)
08. A Passage of Time (3 pieces)
11. Passing Thought no. 1 (Newsletter insert)
12. Passing Thought no. 2 (Newsletter insert)
13. Passing Thought no. 3 (Newsletter insert)
The British Carillon Society (See the website)

14-19. The Seasons on Pfaueninsel (Peacock Island), Berlin (6 pieces)
Available in October 2005 from Jeffery Bossin, Carillonneur Berlin
<campanax@snafu.de>

Catalogue ..... Number of works to date ..... 34
The story of how Skilbeck came to compose for carillon follows this list.
Detailed technical descriptions of the works may be found after the story.

2009
Scotch Snap
2008
Anniversary Celebration
Passing Thought no. 11....... I intend to make a set of fourteen "Passing Thought" pieces - all for two-octave carillon.
Passing Thought no. 10
Passing Thought no. 9
2007
Passing Thought no. 8
Passing Thought no. 7
Passing Thought no. 6
Passing Thought no. 5
Passing Thought no. 4
Passing Thought no. 3
Passing Thought no. 2
Passing Thought no. 1
2005
Tidal Estuary
2004
The Seasons on Pfaueninsel, Berlin
1. Eintritt (Entrance) 2. Autumn Branches
3. Winter Bells 4. Spring: the Fountain and Castle Ruins
5. Summer: the Rose Garden 6. Abschied (Departure)
2002
Woodland Echoes
1. Stream 2. Pond 3. Cuckoo
A Passage of Time
1. Sunset 2. Nocturne 3. Daybreak
2001
Blizzard
2000
An Arctic Tale
Turmoil
1997
The Passion, Play and Placidity of Water
With optional (amplified) Tenor Saxophone
1996
….but the willow drank too much
Verses
1995
Two Pieces after Caspar David Friedrich
1. Der Einsame Baum (The Lonely Tree)
2. Waldinneres bei Mondschein (Inside the Forest by Moonlight)
1994
Intercalations revised in 1996

The story of how Skilbeck came to compose for carillon .....

It was aged 19 that Skilbeck wrote an organ piece entitled Carillon. This had been inspired by, some years previously, having been shown the “carillon” (technically, automatic chimes) in the tower of one of the Bournemouth churches where he was a choirboy – St Mark’s, Talbot Village.
Showing a continuing attraction to bell-like sounds (and not the only pieces to do so), works of 1976 – Legend for flute and piano, and Seven Jewels for flute and ‘cello – make reference to that piece. From seeing pictures of carillon claviers, Skilbeck later realised that it was not just the organ possessing a pedalboard, and this increased his desire to know more about the carillon.
In 1994, through a chance meeting in Switzerland with Peter and Jutta Avianus from Berlin, and later, a discovery of the carillon in that city’s Tiergarten, Anthony Skilbeck was introduced to the American Carillonneur Berlin, Jeffrey Bossin, who gave him a generous amount of encouragement and guidance on how to write for the instrument. As a result 34 works have so far been produced, most of these having been premiered by Mr. Bossin, some of which he has selected for performances in places other than Berlin – Kiel, the U.S.A. and Barcelona. In 2001, John R. Knox, composer and Honorary Secretary/Newsletter Editor of the British Carillon Society brought the works to the attention of American publishers 1, with the result that four of the pieces are now in print. He also commissioned Skilbeck to write three new pieces for two-octave carillon (A Passage of Time, which he premiered at The Church of Our Lady of the Rosary and St. Therese of Lisieux, Saltley, Birmingham in October 2002.) and recommended that the British Carillon Society follow suit, leading to the composition (for three-octave carillons) of three further pieces (Woodland Echoes). Both sets are now published by the B.C.S., the second one as part of a monograph on the composer.

Detailed technical descriptions of the works .....

Alternative pedal notes are given for pitches not found on some carillons. Compass information takes c as that one octave below middle c, which is represented by the sign c’. All the pieces may be played on instruments tuned in either equal or mean-tone temperaments.

Scotch Snap 2009 ............................ Tech. & descriptive details yet to be added.

Anniversary Celebration 2008 ...... Tech. & descriptive details yet to be added.

Passing Thought no. 11 2008 ....... Tech. & descriptive details of "P. Thought" pieces (all 2-octs.) yet to be added.

Passing Thought no. 10 2008

Passing Thought no. 9 2008

Passing Thought no. 8 2007

Passing Thought no. 7 2007

Passing Thought no. 6 2007

Passing Thought no. 5 2007

Passing Thought no. 4 2007

Passing Thought no. 3 2007

Passing Thought no. 2 2007

Passing Thought no. 1 2007

Tidal Estuary 2005. For grand carillon.
Duration ca. 6’. Compass of piece: G - c’’’.
The structure of the piece is a theme (with overlapping phrases) followed by eight variations. In keeping with the title, the following indications occur: low tide - calm; rising tide - flowing; fast tide - rushing; high tide - strong and massive. The grand carillon's lowest notes are particularly featured in the exposition of the theme; variation 1, and variation 8. From the start of variation 2 to the end of variation 7, the tempo gradually increases. Variation 8 is marked Tempo primo (i.e. the tempo at which the theme was played).

Tidal Estuary 2005. Arranged for four-octave carillon.
Duration ca. 5’. Compass of piece g - c’’’'.
In this 4-octave arrangement, variations 6 and 7 of the original grand carillon composition are omitted, making a piece of "theme and six variations".

The Seasons on Pfaueninsel, Berlin 2004. For grand carillon.
Commissioned by Jeffrey Bossin, Carillonneur Berlin

1. Eintritt (Entrance) 2. Autumn Branches
3. Winter Bells 4. Spring: the Fountain and Castle Ruins
5. Summer: the Rose Garden 6. Abschied (Departure)
Durations ca. 1’25”; 4’20”; 7’30”;4’30”;4’45”;1’25”
Compass of the pieces: the pieces were conceived for grand carillon, the full chromatic range used being G on the first line of the bass clef stave via middle c (c’) to g’’’’. Where necessary, versions are provided for four-octave carillons, the range used being c in the second space of the bass clef stave to c’’’’.
NB. In sections where any notes in the lower octave are missing, players of grand carillons should instead play the complete ossia given for four-octave instruments, unless an alternative specific instruction is given for the movement.

The idea of including Eintritt and Abschied movements is taken from Robert Schumann’s pianoforte work Waldszenen composed between 1848 and 1849.
The chorale Wie schon der Morgenstern appeared in Nicolai’s Freudenspiegel of 1599. Schubert set Wolfgang von Goethe’s Heidenroslein to music on 19th August, 1815.

If desired, Eintritt can precede and Abschied follow any movement receiving a separate performance.

I am indebted to Peter Avianus of Berlin for taking me to Pfaueninsel and, during the gestation period of composition, finding answers to various questions I asked.

A Passage of Time 2002. For two-octave carillon.
1. Sunset 2. Nocturne 3. Daybreak
Durations ca. 3’05”, ca. 4’ & ca. 4’40”.
Compass of pieces: c – c# omitting c# & d#.

The pieces do not necessarily have to be played as a set. “Sunset” uses quasi chorale writing to portray the vast, fast-moving vividness of a sunset, the closing bars being marked perdendosi all’ fine. “Velvety”, deciso, estatico, teneramente, distante are other indications encountered. “Nocturne” (spianato, though agitato is touched on) is written entirely on one stave. With the exception of a few two-part chords, the movement is monophonic.
“Daybreak” has three sections, portraying the subject of the title. In the middle section, the manual part is marked quasi bird-song – with something of an energetic swing, the material (with additions) being derived from the first fourteen bars of “Nocturne”. Against this, the pedal part has a metamorphosis of the closing chorale theme from “Sunset”.
The third section restates, with modifications, the opening chorale section of “Sunset” (now slower and marked con dignita). Avoiding the fall of a “sad” semitone (compare bars 16, 36 and 54 of “Sunset”) the melody concludes the triptych on a positive note.
“A Passage of Time” was written for and is dedicated to John R. Knox.

Woodland Echoes 2002. For three-octave carillon.
1. Stream 2. Pond 3. Cuckoo
Durations ca. 3’30”, ca. 4’ & ca. 4’30”.
Compass of pieces: c – c’’’ omitting c# & d#.

The pieces do not necessarily have to be played as a set. In “Stream”, the B.A.C.H. motiv (“brook” in English) occurs four times. Commencing with what was the final chord of the previous movement, “Pond” bears the instruction In reflective mood, and anguish, poignancy, regret and resignation are amongst moods explored. The B.A.C.H. motiv is heard twice.
Starting with what were the last two notes of “Pond”, the third movement’s serio introduction leads to an energico section. The middle section of “Cuckoo” comprises a single melodic line followed by a pensieroso passage in harmony. An energico fughetta (ending con strepitoso) follows, the subject being an inverted derivation of the pensieroso melody. To conclude, a variant of the introduction is heard.
Characteristically, many and varied are the time signatures used in the three movements, including 15/16, 10/8 & 1/4.
John R. Knox is the dedicatee.

Blizzard 200. For grand carillon.
Duration ca. 11’. (Elegy alone ca. 4’20”).
Compass of piece: G# (below bass clef second space) – c’’’’.
Chromatic range if alternatives and an omission are observed: c – g’’’.

Commencing with tremolandi “As if shivering”, this work traces what the composer imagines to be the profile of a blizzard. The clangorous climax occurs midpoint in the central Presto section, the second half of which is a palindrome of the first half.
The final section, a transcription of “Elegy on One Note” (1996) for pianoforte may be played as a separate piece. Here, it is hoped that a sound-impression of a still, snow-laden landscape will be created.
“Blizzard” is dedicated to Jeffrey Bossin.

Turmoil 2000. For grand carillon.
Duration ca. 6’15”. Compass of piece: G (or c, but eb is essential) - f#’’’.

The score bears the statements Thinking of children who have died or who are suffering because of the troubles in our time and With a frequently-changing kaleidoscope of emotions – anguish, sadness, anger…………… for the music, originally for Solo Trombone 3 was written after hearing about the murders of three children in 1993. In this transcription, intricate harmonies have been added to the single melodic line. A constantly changing time signature, with some bars containing 10, 11 and 13 beats, is a characteristic of the work. The first two notes create a motiv binding together the seven sections of unequal length.

An Arctic Tale 2000. For grand carillon.
Duration ca. 8’. Compass of piece: c - c’’’’.

Derived from the chamber ensemble work Of a Quondam Rara Avis (1999) in which, at certain times, the tubular bells are to be played with the damper pedal off (quasi carillon), this work is somewhat mercurial, no less than fifteen nuances or moods being called for. A slow, tonal-sounding theme (marked successively pensieroso, calore and teneramente) is used twice, and the B.A.C.H. motiv, heavily-disguised, is used in the Recitando opening and Coda. There is a D.S. repeat.

The Passion, Play and Placidity of Water 1997. For grand carillon.
With optional (amplified) Tenor Saxophone
Duration ca. 6.50”. Compass of piece: G (or c) - b’’’.
Saxophone compass: A - e’’

Included in the composer’s Ph.D. portfolio, the work is really a “theme with variations” and another in which the B.A.C.H. motiv is used. In the outer sections, the saxophone plays a quasi plainchant theme with the carillon in organum, evoking ancient times. The sound-picture of water playing “as if from a gentle fountain” (shades of Ravel’s Jeux d’Eau), is based on material from the early organ work, Carillon, and the “passion” section uses pedal broken clusters, representing water’s depth and anger.
The combination of carillon and saxophone was suggested by Jeffrey Bossin, and for the premiere, the saxophonist was Martin Losert. As the saxophone part is optional, the work may be played by carillon alone.

Verses 1996. For four-octave carillon.
Duration ca. 7’40”. Compass of piece: c - a’’’.

There are five “verses”, each one preceded by a recurring two-bar filigree-like passage undergoing various transformations. The work concluded with a short, but distinctive Coda. Transcribed, the work appears as the second movement of String Quartet (1998).

….but the willow drank too much 1996. For four -octave carillon.
Duration ca. 2’10”. Compass of piece: c - f#’’’.

Originally for Celtic harp and optional organ (1996), this work has a Lydian mode ambience. It was written to mark the necessary cutting down of a favourite tree in a friend’s garden.

Two Pieces after Caspar David Friedrich 1995. For four-octave carillon.
1. Der Einsame Baum (The Lonely Tree)
2. Waldinneres bei Mondschein (Inside the Forest by Moonlight)
Durations ca. 3’45” & ca. 4’45”. Compass of pieces: c - a’’’.

Written in gratitude to Peter and Jutta Avianus and after Herr Avianus had shown me the original paintings in Berlin’s Charlottenburg Palace. A sad melody, two descending semiquaver passages (like a flow of tears), and a passage of anguished consecutive sevenths are the musical ingredients of “Der Einsame”. Delicato, ipnotico e “magico” are indications given at the start of “Waldinneres”, which has a D.S. repeat section and finishes with a short, but distinctive Coda.

Intercalations 1994, revised in 1996. For four-octave carillon.
Duration ca. 10’30”. Compass of piece: c - b’’’.

Premiered in a concert (1995 – the tercentenary of Purcell’s death) celebrating the “wrapping” of the Reichstag by Christo and Jeanne-Claude and written for Jeffrey Bossin “In gratitude”.
Arrangements of Purcell’s Sinfonia from the “Bell” anthem; Strike the Viol (from “Come Ye Sons of Art”) and hymn tune Westminster Abbey are inserted between sections of a work, the outer ones of which use the B.A.C.H. motiv. “H.C.A.B.” can be found in Purcell’s hymn tune, and this, with the coincidence of events mentioned above, gave the composer the idea of including (from composers contemporary to each other) both English and German musical material. As the unwrapping of the Reichstag was to symbolise the building’s rebirth – its past consigned to the pages of history – to Skilbeck (born in the blitzed Coventry), the use of such material was to be symbolic of reconciliation.