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1873 erlitt Vieuxtemps einen Schlaganfall, durch Andante mit seinem anrührenden a-Moll-Thema. Einer DDD den sein rechter Arm gelähmt blieb. 1875 übernahm Modulation nach A-Dur folgt eine C-Dur-Melodie aus Wieniawski seine Violinklassen; doch trotz seiner Grétrys Oper Lucile – eine Anspielung, der das Konzert Romantic Violin Concertos 8.557016 Behinderung war ihm das Komponieren nach wie vor seinen Beinamen verdankt. Ein kurzes Allegro con fuoco möglich, und mit der Zeit konnte er sich auch wieder in a-Moll beschließt das Konzert. kammermusikalisch betätigen, jedenfalls im privaten Das Violinkonzert Nr. 6 G-Dur op. 47 und das Rahmen. 1879, nachdem eine erfolgreiche Fortsetzung Violinkonzert Nr. 7 a-Moll op. 49 entstanden in VIEUXTEMPS seiner Karriere sich endgültig als aussichtslos Vieuxtemps letztem Lebensjahr, das er im algerischen herausgestellt hatte, zog er zu seiner Tochter und seinem Mustapha Supérieur verbrachte. Diese Werke lagen ihm Schwiegersohn nach Algerien. Dort setzte er zwar seine sehr am Herzen, aber er kam nicht mehr dazu, die letzten Violin Concertos Nos. 5, 6 and 7 kompositorische Arbeit fort, litt aber unter dem Revisionen auszuführen, da es ihm nicht vergönnt war, Umstand, dass er seine Arbeiten nicht mehr selbst diese Kompositionen zu hören, deren Aufführung durch Misha Keylin, Violin spielen konnte und sich auch keine Eugène Isaÿe geplant war. Das sechste Konzert widmete Aufführungsgelegenheiten ergaben. Er starb im Juni er der tschechischen Violinistin Wilma Normand- Slovak Radio Symphony Orchestra • Andrew Mogrelia 1881. Neruda, das siebente Jenö Hubay; beide Künstler hatten Vieuxtemps war ohne Zweifel einer der größten ihn in Algerien besucht. Arnhem Philharmonic Orchestra • Takuo Yuasa Geigenvirtuosen seiner Zeit. In seiner Kunst vereinigten Das erste dieser beiden letzten Konzerte beginnt mit sich technische Vollendung und hohe Musikalität. Er gilt einem verkürzten Sonatenformsatz mit einer Exposition als Repräsentant der belgisch-französischen Schule in für das Orchester und den Solisten, wobei letzterem das der Nachfolge de Bériots. Zu seinen Schülern und lyrische Material anvertraut ist. Der zweite Satz ist eine künstlerischen Erben zählen u.a. Eugène Isaÿe, Jenö sanfte Pastorale, der ein Intermezzo folgt, in dem der Hubay und Leopold Auer. charakteristische Siciliano-Tanzrhythmus im Das fünfte seiner vollendeten Konzerte, das Violinkonzert a-Moll op. 37, schrieb Vieuxtemps zusammengesetzten 12/8-Takt vom Soloinstrument zwischen 1858 und 1859 für Hubert Léonard, der ein gespielt wird, während die Orchesterbegleitung im Wettbewerbsstück für das Brüsseler Konservatorium einfachen Vierertakt gestaltet ist – ein ungewöhnliches benötigte. Das Konzert gefiel Léonard und Leopold Auer Experiment mit kontrastierenden Rhythmen. Das auf Anhieb. Die drei Sätze des Werks sind so Konzert endet mit einem Rondo, dessen reizendes miteinander verknüpft, dass der Eindruck eines einzigen Hauptthema einer heiteren Oper entstammen könnte. erweiterten Satzes entsteht. Der erste Satz beginnt mit Das siebente Konzert ist im Solopart vielleicht ein einer Orchesterexposition, die drei kontrastierende wenig virtuoser gestaltet. Der mit einer kurzen Themen vorstellt; danach folgt der dramatische Einsatz Orcherstereinleitung beginnende erste Satz enthält zwei des Solisten, der zu einem lyrischen Thema führt. Ein Themen in der traditionellen Sonatensatzform, die zweites Thema des Soloinstruments, in C-Dur, enthält jeweils in e-Moll und A-Dur in der Reprise zurückkehren weiteres lyrisches Material, das während seiner und zu einer brillanten Coda führen. Der langsame Satz, Wiederholung im Orchester vom Solisten begleitet wird. der die passende Überschrift Mélancolie trägt, steht in a- Die erweiterte Durchführung bietet Gelegenheit zu Moll. Ein Tarantella-Thema eröffnet den Finalsatz, dem solistischer Virtuosität, bevor eine Kadenz erreicht wird; sich ein spanisch anmutendes Thema anschließt, das von ihr gibt es zwei Originalfassungen. Die zweite, hier vom Orchester als Echo beantwortet wird. eingespielte Fassung bearbeitet das bereits vorgestellte Material auf kontrapunktische Art. Eine kurze Keith Anderson Moderato-Überleitung führt zu dem gesanglichen Deutsche Fassung: Bernd Delfs

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Henry Vieuxtemps (1820-1881) Henry Vieuxtemps (1820-1881) Violin Concertos Nos. 5-7 Violinkonzerte Nr. 5-7 The son of a weaver, amateur violinist and violin- that he wrote the Violin Concerto No.1 in E major, Als Sohn eines Webers, Amateurviolinisten und folgenden Jahr kehrte er dorthin zurück und trat – nach maker, Henri Vieuxtemps was born in the Belgian town Op.10I, (Naxos 8.554506). The work was heard there Geigenbauers wurde Henry Vieuxtemps 1820 in einem langwierigen Genesungsprozess von einer of Verviers in 1820 and had his first violin lessons at and at home in Brussels, before, in 1841, Vieuxtemps Verviers (Belgien) geboren. Die ersten Unterweisungen Krankeit – die er sich auf der Reise zugezogen hatte – in the age of four from his father, followed by study in his introduced it to the public in Paris, winning general auf der Violine erhielt er im Alter von vier Jahren von einer Reihe von Konzerten auf. In Russland entstand das native town with a locally respected teacher. At the age critical acclaim for a work that added a new dimension seinem Vater, bevor er seinen Unterricht bei einem neuartige Werk, das später als Violinkonzert Nr. 1 E-Dur of six he appeared as soloist in a concerto by Rode and to the current violin repertoire, which had tended rather angesehenen Lehrer in Verviers fortsetzte. Als op. 10 veröffentlicht wurde (Naxos 8.554506). Es after further success at home he embarked with his towards technically brilliant variations and fantasies on Sechsähriger trat er mit dem Vortrag eines Solokonzerts gelangte in Russland und in Brüssel zur Aufführung, father and teacher on a concert tour of the Low familiar operatic melodies. von Rode erstmals öffentlich auf, und bereits 1827 folgte bevor Vieuxtemps es 1841 dem Pariser Publikum Countries. A successful appearance in Brussels led the Concert tours continued in the following years. In seine erste Konzertreise, auf der ihn sein Vater und sein vorstellte. Mit diesem neuen Werk, das von der Kritik violinist Charles de Bériot to offer lessons there and the 1844 Vieuxtemps was in America, wooing audiences Lehrer begleiteten. Bei einem Auftritt in Brüssel hörte mitr Beifall aufgenommen wurde, erweiterte er das boy later accompanied his new teacher to Paris, making with variations on Yankee Doodle. In Vienna and ihn der Violinist Charles de Bériot und übernahm seinen gängige Violinrepertoire, das zu techisch brillanten his first concert appearance there in 1829, again in a London he appeared in Beethoven quartets and in Unterricht – zunächst in Belgien, später in Paris, wo Variationen und Fantasien über bekannte concerto by Rode. With the revolution of the following concerts there and elsewhere in Europe. In 1846, Vieuxtemps 1829 debütierte, wiederum mit einem Opernmelodien tendierte, um eine neue Dimension. year and de Bériot’s marriage and departure on tour, however, he accepted an invitation to move to St Konzert von Rode. Aufgrund der Revolution des Weitere Konzerttourneen schlossen sich in den Vieuxtemps, following his teacher’s advice, returned to Petersburg as court violinist and soloist in the Imperial folgenden Jahres und der Heirat und Abreise Bériots, der folgenden Jahren an. 1844 trat Vieuxtemps in Amerika Brussels, where he worked on his own, developing his Theatre. He remained there until 1852 and it was during selbst auf Konzerttournee ging, kehrte Vieuxtemps nach auf, wo der das Publikum mit Variationen über Yankee technique and his musical knowledge and taste, not this period that he wrote his Violin Concerto No. 4 in Brüssel zurück, wo er seine Technik perfektionierte und Doodle für sich einnahm. In Wien und London war er als least through the duets he played with de Bériot’s D minor, Op.31 (Naxos 8.554506). In a busy career, he seine allgemeine musikalische Ausbildung vorantrieb. Primarius in Beethoven-Quartetten zu hören und trat dort sister-in-law, Pauline García, later Viardot and mother continued to compose, appeared as a soloist in concerts, Mit Bériots Schwägerin Pauline, der späteren Pauline auch, ebenso wie in anderen europäischen Städten, als of the violinist Paul Viardot. A year younger than gave lessons and took part in chamber music recitals. In Garcia, Mutter des Geigers Paul Viardot, trat er als Duo Konzertsolist auf. 1846 ging er als Hofviolinist nach St. Vieuxtemps, she was a piano pupil of Liszt, although, particular, he added a more classical dimension to auf. Pauline war ein Jahr jünger als er und studierte Petersburg; dort blieb er bis 1852, und in dieser Periode like her sister, she made her later career as a singer. A violin repertoire. Beethoven’s Violin Concerto was Klavier bei Franz Liszt. Später machte sie jedoch – schrieb er sein Violinkonzert Nr. 4 d-Moll op. 31 (Naxos concert tour of Germany in 1833 brought friendship now part of his repertoire, and he also gave a ebenso wie ihre Schwester – als Sängerin Karriere. 8.554506). Neben seiner kompositorischen und with the violinist-composer Louis Spohr and in Vienna performance of Mendelssohn’s Violin Concerto, which Während einer Konzertreise durch Deutschland im Jahre pädagogischen Beschäftigung betätigte er sich weiterhin acquaintance with those who had worked with was still a novelty. With Anton Rubinstein he was able 1833 freundete sich Vieuxtemps mit Louis Spohr an, und als Konzertsolist und in Kammermusikensembles. Vor Beethoven, whose Violin Concerto he performed in to play Beethoven’s Violin Sonatas and appeared in Wien machte der die Bekanntschaft von allem gelang es ihm, dem Violinrepertoire eine eher Vienna in March 1834, after a mere two weeks of together with him in concerts in Paris, after leaving Musikerkollegen, die noch mit Beethoven klassisch orientierte Richtung zu geben, indem er nicht study. In Leipzig he was acclaimed by Schumann, who Russia in 1852 to resume a largely peripatetic career as zusammengearbeitet hatten, dessen Violinkonzert er im nur Beethovens Konzert, sondern auch Mendelssohns e- compared the boy to Paganini, whom he met in London a virtuoso. He was eventually prevailed upon to accept März 1834 nach nur zweiwöchigem Studium aufführte. moll-Konzert aufführte, das noch immer als Neuheit galt. in 1834. In Paris once more he took composition a teaching position at the Brussels Conservatoire, In Leipzig erntete er das Lob Robert Schumanns, der ihn Gemeinsam mit Anton Rubinstein spielte er Beethovens lessons from Antonín Reicha, who directed his where his own teacher de Bériot had taught, followed mit Paganini verglich; noch im selben Jahr lernte Violinsonaten und trat mit dem russischen Pianisten in attention to the composition of concertos, resulting in by Hubert Léonard, settling in Brussels again in 1871, Vieuxtemps den berühmten Virtuosen in London Konzerten in Paris auf, nachdem er Russland 1852 the Violin Concerto in F sharp minor, Op.19, of 1836, but continuing to give concerts. persönlich kennen. Nach Paris zurückgekehrt, nahm er verlassen hatte, um sich wieder seiner Tätigkeit als later published as Violin Concerto No. 2 (Naxos It was in 1873 that Vieuxtemps suffered a stroke Kompositionsunterricht bei Antonín Reicha, der sein reisender Virtuose zu widmen. Schließlich ließ er sich 8.554114). that paralysed his right arm. He moved to Paris and his Interesse auf die Komposition von Violinkonzerten überreden, eine Lehrtätigkeit am Brüsseler Vieuxtemps made his first visit to Russia in 1837, violin class was taken over in 1875 by Wieniawski. lenkte. Das Ergebnis war das Violinkonzert fis-Moll op. Konservatorium zu übernehmen, wo bereits sein Lehrer returning there the following year and appearing in Composition was still possible and gradually he found 19 von 1836, das später als Violinkonzert Nr. 2 de Bériot unterrichtet hatte, dem Hubert Léonard concerts, after prolonged recuperation from an illness himself able to play chamber music again, at least in veröffentlicht wurde (Naxos 8.554114). nachgefolgt war. So kehrte er 1871 nach Brüssel zurück, contracted in the course of the journey. It was in Russia private. In 1879, finally giving up any hope of resuming 1837 reiste Vieuxtemps erstmals nach Russland. Im gab aber auch weiterhin Konzerte.

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Arnhem Philharmonic Orchestra his career in Brussels, he moved to Algeria, where his The Violin Concerto No. 6 in G major, Op.47, and daughter and son-in-law had settled. Here he continued the Violin Concerto in A minor, Op.49, belong to the The Arnhem Philharmonic Orchestra, established in 1889, is based in Arnhem, capital of the province of to compose, although frustrated by his inability to play last year of Vieuxtemps’ life, spent at Mustapha Guelderland in the Netherlands. Conductors, including Carl von Garaguly from 1959 to 1970 and Yoav Talmi what he had written or, in general, to hear it played. He Supérieur in Algeria. He set some store by these works, from 1974 to 1980, played a large rôle in the artistic development of the orchestra, followed by Guido Ajmone- died in June 1881. although he was unable to make any final revisions that Marsan, Georges Octors and Elyakum Shapirra. In the meantime, the orchestra has gained a great deal of attention, Vieuxtemps was undoubtedly one of the greatest might have been possible had he been able to hear the nationally as well as internationally, through a series of acclaimed broadcasts and television appearances, violinists of his time, combining superb technical hoped for performance by Eugène Ysaÿe. He dedicated recordings and concert-tours. With the start of the jubilee season 1989-1990 Roberto Benzi was engaged as command with deeper musical understanding. He may the sixth concerto to the Czech violinist Wilma principal conductor and artistic adviser. The orchestra now employs some 88 musicians. be seen as representative of the Franco-Belgian school Normand-Neruda and the seventh to Jenö Hubay, both of players, the successor of de Bériot, while those who of whom were among his visitors in Algeria. The first were taught by him or fell under his direct influence of the two makes use of an unusual four-movement Takuo Yuasa include his pupil Eugène Ysaÿe, Jenö Hubay and form. It opens with an abridged sonata-form movement, Leopold Auer. with an exposition for the orchestra and for the soloist, The Japanese conductor Takuo Yuasa has become increasingly well known throughout the world. He has held The fifth of Vieuxtemps’ completed violin the latter entrusted with the expected lyrical material. positions as Principal Conductor of the Gumma Symphony Orchestra in Japan and Principal Guest Conductor of concertos, the Concerto in A minor, Op.37, was written The second movement is a gentle Pastorale, followed the BBC Scottish Orchestra and is Principal Guest Conductor of the Ulster Orchestra in Belfast. Born in Osaka, in 1858 and 1859 for Hubert Léonard at the Brussels by an Intermezzo in which the characteristic Siciliano where he studied piano, cello, flute and clarinet as a child, he continued his education at the University of Conservatoire, who wanted the work as a competition rhythm is given to the soloist in 12/8 compound metre, Cincinatti, going on to a study of conducting under Hans Swarowsky and Igor Markevitch at the Vienna piece. The work was much admired by Léonard and by while the orchestra is in simple quadruple metre, an Musikhochschule and with Franco Ferrara in Siena. Since winning a Special Award at the Fitelberg International the legendary Leopold Auer. The three movements are unusual experiment in contrasting rhythms. The Competition in Katowice, Takuo Yuasa has regularly conducted the major orchestras there, while continuing his joined together to make what is virtually a single concerto ends with a final Rondo, its charming principal association with the principal orchestras in Japan. Recent engagements have brought appearances from Hong extended movement. The first movement starts with an melody almost something from lighter operatic Kong to Trondheim, concerts with the London Philharmonic and Hallé Orchestras, with the National Symphony orchestral exposition, introducing three contrasting repertoire. Orchestra of Ireland, the Bournemouth Symphony Orchestra and many others throughout Europe. themes, before the dramatic entry of the soloist, who The seventh concerto makes marginally greater proceeds to a lyrical theme. A second theme for the demands on virtuosity. The first movement, briefly soloist, in C major, offers a further lyrical element, introduced by the orchestra, offers the two themes of which the soloist accompanies, during its repetition by traditional sonata form, which return in recapitulation in the orchestra. The extended development brings further E minor and A major respectively, leading to a brilliant opportunities for virtuosity, before the cadenza, of coda. The slow movement, with the apt title Mélancolie, which Vieuxtemps offers two versions. The second of is in A minor. It leads to a final movement with an these, played here, makes contrapuntal use of elements opening Tarantella theme, followed by a theme of already heard, in an inventive display. There is a brief Spanish implication, echoed in its orchestral Moderato link to the lyrical Adagio, with its moving A accompaniment. minor theme. A modulation to A major leads to a C major melody from Grétry’s opera Lucile, an allusion that earned the work its nickname. There follows the short A minor Allegro con fuoco, with which the concerto ends. Keith Anderson

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Misha Keylin Slovak Radio Symphony Orchestra

Since his stunning Carnegie Hall début at the age of eleven, Russian-born violinist The Slovak Radio Symphony Orchestra was founded in 1929 as the first professional musical ensemble fulfilling Misha Keylin has continued to win worldwide praise for his exuberant musicality the needs of radio broadcasting in Slovakia. The first conductors placed particular emphasis on contemporary that combines keen interpretive insight, virtuosic technique and a rare tonal Slovak music in their programmes, resulting in a close connection with leading Slovak composers, including beauty. Noted for a wide range of repertoire, Keylin has attracted particular Alexander Moyzes, Eugen Suchon, Ján Cikker and others. The original ensemble was gradually enlarged and from attention with his world-première series of the complete seven Vieuxtemps violin 1942, thanks to Alexander Moyzes, the then Director of Music in Slovak Radio, regular symphony concerts were concertos for Naxos. The recordings have won numerous international press given, broadcast live by Slovak Radio. From 1943 to 1946 the Yugoslavian Kresimir Baranovic was the chief accolades and awards, including the “Critic’s Choice” by both The New York conductor of the orchestra, to which he made a vital contribution. His successors were Ludovít Rajter, Ladislav Times and Gramophone. Slovák, Václav Jirásek, Otakar Trhlík, Bystrík ReÏucha and Ondrej Lenárd, whose succesful performances and Now an American citizen, Misha Keylin has performed in over forty recordings from 1977 to 1990 helped the orchestra to establish itself as an internationally known concert ensemble. countries spanning five continents and collaborated with such distinguished His successor Róbert Stankovsky continued this work, until his unexpected death at the age of 36. The orchestra conductors as Benzi, Bradshaw, Hoffman, Inbal, Jordania, Komatsu, Schneider, has benefited from working with a number of distinguished conductors. With the current chief conductor Charles Weigle, Weil and Yuasa. Overseas, Keylin’s orchestral appearances have Olivieri-Munroe, who took the position in 2001, regular concert performances at the Slovak Radio concert hall in included the St Petersburg Philharmonic, Leipzig Chamber Orchestra, Marseille Bratislava have continued. Through its broadcasts and recordings the orchestra has also become a part of concert Philharmonic, NDR Philharmonic of Hannover, Israel Sinfonietta, Bologna life abroad, with successful tours to Austria, Italy, Germany, The Netherlands, France, Bulgaria, Spain, Japan and Philharmonic, Amadeus Chamber Orchestra, Brandenburg Philharmonic and the Malta. Philharmonic Orchestra of Chile; in addition, he has performed with the National Symphony Orchestras of Ukraine, Latvia, Colombia, Costa Rica and other noted Photo: Steve J. Sherman ensembles. In the United States, performances have included major venues in Andrew Mogrelia New York, Los Angeles, Chicago, Washington D.C., Seattle, Indianapolis, Portland, Atlanta, Denver and San Francisco. Andrew Mogrelia has a varied conducting career on the concert platform, in the recording studio and extensive Born in St Petersburg in 1970, Keylin began musical studies with his mother when he was six years old. At experience of working with major dance companies since studying at the Royal College of Music in London and nine, he emigrated to the United States and was immediately accepted as a student by the legendary Dorothy DeLay at Tanglewood. In Britain he has conducted concerts in London’s Royal Festival Hall and Barbican, Glasgow at The Juilliard School. After winning the coveted Waldo Mayo Award (New York’s “Best Young Performer of the Royal Concert Hall and Symphony Hall in Birmingham with many major orchestras including the Philharmonia, Year”), Keylin went on to capture top prizes at the prestigious Hanover (Germany), Paganini (Italy), Sarasate Royal Philharmonic, BBC Symphony, and BBC Scottish Orchestras, the BBC National Orchestra of Wales, Royal (Spain) and Viña del Mar (Chile) international competitions. Misha Keylin currently resides in New York and his Scottish National, Ulster and RTE Orchestras in Ireland, City of London Sinfonia and Birmingham Contemporary website is www.keylin.com Music Group. European engagements have included concerts with the Residentie Orchestra and the Dutch Radio Symphony in Holland, the Slovak Radio Symphony, Slovak Philharmonic, Brno Philharmonic, Prague Chamber Soloists, the Virtuosi di Praga and Ko‰ice Philharmonic in eastern Europe. In Australasia he has conducted the Queensland and West Australian Symphony Orchestras and taken the Hong Kong Philharmonic to China. Andrew Mogrelia has an extensive discography for Naxos and Marco Polo. He has worked with many dance companies, including English National Ballet, Dutch National Ballet, Netherlands Dance Theatre, Birmingham Royal Ballet, Finnish National Ballet, Norwegian National Ballet, West Australian Ballet and American Ballet Theater. From 1992 to 2002 he was Conductor-in-Residence at Birmingham Conservatoire (the University of Central England), where he conducted the orchestra in public concerts each season. The wide-ranging repertoire of these programmes included several world premières. He has also conducted at the Royal College of Music in London, the National Youth Orchestra of Great Britain and the Irish National Youth Orchestra.

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Misha Keylin Slovak Radio Symphony Orchestra

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8.557016 8 CMYK N AXOS The Belgian composer Henry Vieuxtemps was known in his lifetime as one of the foremost exponents of the violin in Europe, and much of his music demonstrates his own considerable abilities as a virtuoso performer, combining superb technical command with deeper musical understanding. These late

8.557016 compositions for his own instrument represent the mature voice of Vieuxtemps, with exuberant technical and rhythmic figuration combined with the more lyrical ‘singing’ qualities that characterise all his work. DDD VIEUXTEMPS: Henry 8.557016 VIEUXTEMPS Playing Time (1820-1881) 64:56 7

Violin Concerto No. 5 in A minor, ‘Grétry’, Op. 37 21:02 47313 1 Allegro non troppo - Moderato 15:34 2 Adagio 4:08 V 3 Allegro con fuoco 1:20 iolin Concertos Nos. 5, 6 and 7 20162 Violin Concerto No. 6 in G major, Op. 47 26:21 4 Allegro moderato 10:23 5 Pastorale: Andante con moto 5:17

6 Intermezzo siciliano 4:26 4

7 Rondo final: Allegretto 6:15 www.naxos.com Made in Canada Booklet notes in English h & iolin Concertos Nos. 5, 6 and 7 Violin Concerto No. 7 in A minor, Op. 49 * 17:33 g

V 8

Moderato 9:14 2003 HNH International Ltd. 9 Mélancolie 3:57 0 Allegro vivo 4:22 Misha Keylin, Violin Slovak Radio Symphony Orchestra • Andrew Mogrelia Arnhem Philharmonic Orchestra • Takuo Yuasa * For this recording Misha Keylin plays the 1715 ‘Baron Knoop’ Stradivarius. It is part of the Fulton Collection whose generous loan is gratefully acknowledged. VIEUXTEMPS:

Tracks 1-7 recorded at the Slovak Radio Concert Hall, Bratislava, Slovakia, in April 2002 8.557016 Producer: Milo‰ Betko • Engineer: Otto Nopp • Tracks 8-10 recorded at Musis Sacrem, Arnhem, Netherlands, in February 1999 • Producer: Andrew Walton (K&A Productions Ltd.) Engineer: Eleanor Thomason • Post-production: Andrew Walton • Booklet Notes: Keith Anderson

AXOS Cover Painting: Autumn in Bruges by Omer Coppens (1864-1926) (Knokke-Zoute, Belgium / Bridgeman Art Library) N