Carillons in eastern Noord-Brabant: Identity and tradition in post-war carillon building

Abstract

After the Second World War, many new carillons were built in the eastern part of Noord-Brabant. This thesis discusses the factors that contributed to this resurgence of carillon building, based on research on the historical identity and meaning of bells and carillons. In history, bells have carried a vast array of (emotional) meanings for communities. After the Second World War, when many Dutch bells and carillons were destroyed by the Nazi regime, there was a large demand for new bells. This coincided with a renewed interest in carillons which started before the war. Under the influence of nineteenth-century romanticism and (post-)First World War rhetoric in Belgium, the United States and Canada, the carillon was strongly politicized and gained an idealized image of folklore, tradition, political unity, nostalgia and as being central to the identity of the Low Countries. Directly after the Second World War, the bell founders Petit & Fritsen in Aarle-Rixtel and Eijsbouts in Asten started successful projects of casting new bells and carillons. At the same time, the invention of the electro-magnetic tape mechanism meant a fast and relatively cheap way to build small, standalone automatic carillons. This thesis argues that these elements, further enhanced by the continuing view of bells and bell music as symbols for harmony and unity, which then carried over in the choice for largely nostalgic and traditional repertory being played on these instruments, constitute the main factors for the resurgence of the carillon. The new instruments were not built for new ideas but were nostalgic symbols keeping tradition and peace in the towns and villages of Noord-Brabant.