1. Hear the Bells (2.5+a)
2. Fugue in C (3+d)
3. Fantasia (3.5)

This Fugue is "traditional" in that it falls into a three-part form (with introduction): Exposition, Modulatory Development, Conclusion with Stretto. The Subject tonally derives from the opening three notes.

The Countersubject is free, but is composed of short elements from the theme and introduction.

Dynamic markings are relatively few. The fugal theme may be in relief throughout, depending on the performer's choice. The approach to the final cadence should be very deliberate.

I ascribed Fantasia to this work because of its diverse thematic elements and the use of passages given over to the unique capabilities of the carillon.

A dynamic annunciatory fanfare and repeated chords inaugurate the "A" section. Their counterpart provides solacing, descending melodies.

The clangorous chords of "B" engender an extended chantlike melody, which is repeated. Fragments of A and B lead to a brief "C" (m. 112) promising a dynamic conclusion to the work. At the close, C must convey an out-of-mind Skryabinesque exaltation of the music and the bells.

—John Diercks