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Return to: Voices from the past
1.
WHEN, WHERE, and HOW did you get started in handbells?
In the spring of 1974, my church, St. Mark’s United Methodist in San Diego, hosted Patty Marquart’s Peace Ringers from Orange 1st United Methodist Church. Many of us were enthralled by the music and the instrument, and before long the $1600.00 was raised for a three octave set of our own. Our choir director, Lucille Mayer started two groups in October. She had the bells laid out in "keyboard" order for the director, with the bass bells to her left, which was "backwards" to the ringers. A year later I started directing the beginning groups to fill in the vacancies, especially in the youth choir. By that time we had the "keyboard" reversed. In 1977 a fourth octave was added for $1095.00, and in 1979 the fifth octave for $1400.00. By 1978 I was directing all the choirs, and the youth group, The Jubilee Ringers, was attended Festival in Fresno, and both this choir and the adult choir, The Carillon Choir, gave concerts in the San Diego area.
2.
WHAT FORMAL MUSICAL TRAINING did you have prior to working with handbells?
I majored in Music History and Theory at University of California, Riverside, although I opted for marriage and children instead of a college degree. Fortunately, I was able to study harmony, composition and conducting. All of my handbell training was through workshops, Festivals and Conferences, almost all sponsored by AGEHR. I greatly admire Patty Marquart and Ginny Fleming and learned an incredible amount from these two pioneers. I was also able to learn from Don Allured at an early stage in ringing, and his standards and techniques are still the basis for my bell ringing.
3.
WHAT is your favorite handbell composition, and WHY is this work meaningful to you?
At one of my first workshops in the late-1970s, a list of all the handbell music that had been published was passed out, and it was only three pages long! My early favorite was "Bell Jubilee" by Ellen Jane Lorenz. The Jubilee Ringers were named after the song, and it became our signature tune. At our first Festival in 1978 we memorized and processed to the delightful melody. I always cry when I hear "Jubilate for Bells" by Douglas Wagner, not just because it’s a terrific handbell/organ duet, but because I had it played at my daughter’s wedding, with Karen Zerlaut directing the bells and Ginny Fleming on tympani! I have to say now that my favorite is Kevin McChesney’s "PDQ Bells", which he wrote in memory of my husband, Carl Levorsen, "who loved the enthusiasm of handbell ringers and their music".
4.
WHAT ADVICE would you give to someone who is just starting to work with handbells?
Develop a critical ear. Attend every concert and workshop that you can. See if you can attend another director's rehearsal. Strive for musicality, not perfection. Learn the difference between a challenging piece and a frustrating piece of music. Ring as often as you can so you can appreciate "the other side of the table". Learn how to TEACH the ringers, and you will learn and grow with them.
5.
HOW LONG have you been a member, and WHAT has The AGEHR meant to you?
I became a member in 1974 with my church. AGEHR has meant more to me than I can put into words. The organization, especially Area XII, has helped me develop as a ringer, a director, and a person. Bell people are the nicest people in the world, and I treasure the friends I have because of this organization.
6.
WHAT POSITION(S) have you held in The AGEHR, and WHEN did you serve in each position?
District Representative for San Diego 1978-1980
Secretary 1980-1982
Treasurer 1982-1986
Chairman-Elect 1986-1988
Chairman 1988-1990
Past Chairman 1990-1992
Regional Coordinator (the same thing as the old District Rep) 1992-1994
Conference Chairman for the San Diego Conference. 1994-1996
7.
The Twelfth Tone XV:1
WHAT FUTURE do you see for handbells? More to the point, WHAT do you think MUST HAPPEN in order to elevate handbell ringing to the level of public support and recognition enjoyed by community orchestras, choral ensembles, and the like? At any level, we must produce MUSIC. It is thrilling that we have groups like SONOS, Campanile, the Raleigh Ringers, Strikepoint, Velocity, and many others that excite and educate audiences to the special tone of handbells, through such an incredible variety of musical styles. I once thanked Campanile for bringing jazz to so many people. SONOS is breaking new ground in the classical music world and commissioning works for handbells and orchestra. Who could have envisioned this in 1974? We were struggling with the right notes at the right time, more or less! Now that the bar has been raised, the beginners should be able to learn more quickly and rise to a higher level. We must all be musicians, not "just bell ringers". - Diane Levorsen |
