In 1978, I played my examination recital to become a carillonneur member of The Guild of Carillonneurs in North America. In those days, candidates were required to write and perform both a transcription of a piece from the classical repertoire (instrumental, usually), as well as a setting of a hymn tune or folk song. I was thrilled when I learned that the hymn-tune choice was "O Sons and Daughters of the Lord," a 15th-century French hymn well known throughout Christendom. A short, imitative introduction (where the opening phrase of the melody appears in several voices in close succession) leads to a statement of the melody, embedded in a running figure of eighth notes. After a dramatic change of key, the hymn tune is presented amidst rich chords that create a percussive effect, with the pedal accompaniment venturing often into the extended bass range of a large carillon. (This was for the University of Michigan.) The music returns to the original key and breaks into a toccata, with the melody presented in the pedals, followed, in canon, in the top voice, surrounded by vigorous 16th-note figurations. Ultimately, the concluding "Alleluia" and "Amen" phrases are presented at the same time, with the piece ending on bold, grand chords.

—John Gouwens