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32 3 1 2 4 0 Content Flanders MUSIC in classical — Christine Dysers Music fromFlanders—Christine A GlobalPerspectiveonContemporary — Mannaerts &Pieter Demuyt Bart to historically informedexperience— From historically informedper mance — at thefuture—RudyTambuyser From ancienttraditionto lively look — À laflamande Perspectives onEarlyMusicinFlanders To considerandtocommemorate

} Christine Dysers , Mannaerts &Pieter Demuyt Bart Rudy Tambuyser, } Discover ouronlinespecial new musictoday + essaysonearlyand a selectedoverview www.classics.flandersartsinstitute.be by

3 Rudy Tambuyser — To consider and to commemorate. 4 developed, considered and studied.developed, considered ithasalsobeen and savoured; been used, created Since time immemorial, musichasnot only it. to as listening aplace music hasgained inFlemishsociety asprominent how, knowing and practicing it isremarkable the over years, retrospect, Inhistorical itself. is asoldthe region music attaches to that Flanders The importance alivelyto look at the future From ancient tradition commemorate. and to To consider Rudy T biography. Virsaladze’s editions) andEliso German andBritish magazine (Dutch, include Pianist writing activities Current journalist. music freelance teacher, singerand He isamathematics andsinging. theory music physics, studied Rudy Tambuyser ambuyser

How this came about is a far-reaching question. It may well be related to geographical conditions. Flanders is flat and centrally located, with a fairly mild climate. So it is no coincidence that it has seen its share of conflict. People live close together, enjoy the good life and have to suffer rather drizzly weather now and then: excellent reasons for a To consider thriving social life. The region’s historic function as a crossroads “Having to brought in a wide range of different influences and and to a sort of genetic wanderlust. Having to deal with deal with several several languages and significant traffic encouraged inventiveness and an unmistakable feeling for languages and what state-of-the-art might mean, either literally significant traffic commemorate. or figuratively. The crossroads function facilitated an early humanistic disposition, a tendency toward encouraged From ancient tradition intellectual curiosity and contemplation. inventiveness and to a lively look at the future It is not too far fetched to assume that this his- an unmistakable torical-geological-sociological cocktail lay at the feeling for what basis of the evolution and status of classical music in Flanders. The long tradition of gathering to- state - of - the - art gether, eating, drinking, and communicating, se- riously or otherwise, and – thus – making music might mean, continues to leave its traces in what is, however either literally you look at it, a remarkable preoccupation with music that still exists in Flanders today. or figuratively.”

Bart De Baere, the curator of the Museum of Con­temporary Art Antwerp (M HKA) and a progressive voice where we might not expect to find one, once said the following about the visual arts in Flanders: “In our country, we make art the way other countries make wine. It is something we have done for centuries. [...] The story began in the late Middle Ages, when well-organised workshops exported illuminated manuscripts, altar pieces and tapestries from our cities to all corners of Europe. Artists such as Van Eyck and later Rubens and Van Dyck worked for the most powerful courts of their time. Much of this history remains preserved in our churches, castles and museums. Young people growing up in historic cities such as Bruges, Ghent, Antwerp, Mechelen, Leuven or Brussels see testimonies to a rich artistic tradition everywhere. That can put ideas into the heads of young people who are sensitive to them.” Rudy Tambuyser — To consider and to commemorate. 6 to this day. A clear example is the role conductor of day. the the is example Aclear to this field work their who havethis continued in pioneers significant ( Practice Historically as toreferred somewhat more modestly Informed –today practice performance authentic promoting music’ arose, movement ‘early the as 1960s, known late early 1950s the and In order day. of the the are thinking structured and study careful which in domains very music, ‘new’ the music and ‘early’ realm: musical of the more extremes to the the all applies this that dental music. it Nor does seem coinci of classical realm of the disciplines most diverse the esteem in high havesembles earned composers and en musicians, Flemish that it not does seem illogical case, any In text. but topic not of tois this the listen, willingness and generated publicity –alaudable great that genre time that music emerged during popular that reason good with It was ethic. progressive scientific, almost its with seldommusic was flamboyant, The witnesses. and to users its than itself more to attention art with and resonance limited with avant-garde fate of everywhere, the the prove thereafter would as albeit, activity, compositional regarded highly experienced once again Flanders 1950sFrom onward, the inspiration. its than for craftsmanship its –or, say, composers its one might more than musicians performing Second World more the for its known War,even was until Flanders and periods Romantic and classical to the Baroque Later, the from able was to develop subsequent generations. in inspiration and talent southern which within framework formal the establishing thus of particular, Italy, in courts went to work powerful at the They schools. cathedral at our composers and vocalists as trained Ockeghem) and Obrecht and to Willaert (from to Josquin Dufay polyphonists Flemish the that Ages Middle the late in specifically It well. was as Flanders to music in perfectly words apply These Herreweghe Vocale well as being a guest conductor with international orchestras, he orchestras, international conductor aguest with being as well as instruments: and on morerepertoire modern efforts research his focused also recent has Herreweghe In decades, centuries. 21st Earlymusic , thus helping determine the sound of Bach in the 20th and and 20th the of Bach sound in the determine helping , thus HIP . In 1970, Ghent. In he choir the founded ). It is no exaggeration to state that Flanders produced Flanders to state that It no exaggeration is Collegium Philippe - - focusing on new music. Its founding member on new music. founding Its focusing involved productions in regularly it also is orchestra, period atop quality being anew generation: besides ushered in leading their ensemble ensemble their leading and fellow traveller traveller fellow and friend good to step his asmall it only is From Immerseel, Jos van work. Jacobs, good but the to up afew, name Bart keeping and are Wouter Naessens, Dekoninck Bart Bernolet, Korneel musicians: talented richly many producing Schroyens), still icon is Raymond music work choir we early, of not must the pioneering the forget (although father founding the called be rightfully might Van of which Immereseel harpsichordists, early of school Flemish the Incidentally, musicians. chamber and soloists one leading of Flanders’ He remains In the time before Anima Eterna was founded, the cellist cellist the founded, was Eterna before Anima time the In features. stylistic and instruments original with possible as far as them performing to is say: which repertoire, and modern Romantic classical, off dusting begun and 1987, to expanded play concertos Bach. since by It has –in surname own of his translation aplayful is name the orchestra Anima Eterna (now Eterna Anima orchestra Roel Dieltiens Roel Winne, De Jan Jacobs, René player viol conductor of honorary the also is their ensemble ensemble their request of Gustav Leonhardt. Leonhardt. ofrequest Gustav Over the last fifteen years, it has been has it years, fifteen last the Over Agsteribbe pianist and conductor and pianist harpsichordist, renowned the teacher, Agsteribbe’s composer. conductor, and a also he is work aharpsichordist as his from the same artistic lineage. Oboist Oboist lineage. artistic same the from work, comes most lauded vocal of the other conductors and of opera Even earlier pioneers Even were the earlier Wieland is no stranger to such versatility: besides besides to such versatility: no stranger is who began his career as countertenor and is countertenor and as career his who began also worked in various groups before establishing before establishing groups worked various in also was a valued partner for Van Immerseel. for Van Immerseel. partner avalued was Il Gardellino Il Gardellino and flautist flautist and al a Nevel Van Paul Jos van Immerseel van Jos La Petite Bande in the mid-1980s. the in Barthold Kuijken Anima Eterna Brugge Eterna Anima Antwerp Symphony Orchestra). Symphony Antwerp , the founder of the famous famous founder of the , the , originally established at the at the established , originally B’Rock brothers (violinist (violinist brothers Marcel Ponseele Marcel ), who are still courageously courageously still ), who are founded the the founded in particular that has has that particular in Frank ) – ) – and flautist flautist and “It isno Sigiswald,

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7 Rudy Tambuyser — To consider and to commemorate. 8 Huelgas Ensemble Huelgas gamba or mediaeval viol player viol or mediaeval gamba da Ostend-based viola the Ages, Middle on the focusing Likewise styles. and traditions other with engages regularly Graindelavoix that means musicological as well as phenomenological and anthropological are interests Schmelzer’s that music. fact The product: mediaeval export famous field undeveloped Flanders’ most oncewhatof was fairly Torna, – more flamboyant thus –and experimentally-minded and holistic encounter much younger, the more we also realm, vocal the In repertoire. Renaissance and Mediaeval in specialists leading to one world’s be continues of the and orientation vocal astrong has Equally open-minded is the vocal and instrumental ensemble instrumental and vocal the is open-minded Equally international ensemble, ensemble, international highly 2010, own his Since led has he Enflorese. Rosa La and Punica amember and of ensembles Mala such as of Graindelavoix, partner anthropologist anthropologist its work and philosophy. workits and role in important an plays groups contemporary with collaboration and cultures other with one. Dialogue artistic apurely than act conscious socially and amore music is of ahumanist making which for group poly-stylistic and interdisciplinary into a highly grown Graindelavoix formed in 1996 on the basis of HIP basis on the 1996 in formed “All earlymusic jr Schmelzer. Björn of expression.” without newforms stays alive discipline no artistic was oncenew, and , directed by the vocalist, musicologist and and musicologist vocalist, the by , directed . Given Van Nevel’s field study,theof ensemble ClubMediéval Thomas Baeté Thomas They mainly focus on the still still on the focus mainly They . principles, but now now but principles, is a regular musical musical aregular is Zefiro Zefiro and a sought-after soloist and ensemble and soloist player, asought-after and and tist and composer composer and tist clarinet with Sally, X-Legged group but legendary nonetheless ing no longer of exist the aforerunner also was Maximalist! ductions. co-pro of music in deal agreat have forth brought they musicians, Bockstal, Bockstal, Bl!ndman company her Teresa and Keersmaeker Anne De choreographer the For example, of new music. ambassadors known best Flanders’ still who are for those groundwork the laid lifespan but powerful Povera, brief its and but Arte not by least about everything, just by inspired was group The to minimalism. areaction as Brussels in eighties the in founded Maximalist!, group legendary the is practice of present-day exploration performance for an point starting A good artistic vanguard. the represented in also is Flanders that it not is sense, surprising HIP that observation astute Péter once of made expression. new Eötvös the forms without alive stays discipline once music was new, early no artistic and All Another offshoot of Maximalist! is the renowned renowned the is Maximalist! of offshoot Another to boot. line-up ahybrid with drums, and brass strings, sax, quartets: of four amusic lab is consisting Bl!ndman Van Nevel) music Memelsdorff). (withPedro Today, or mediaeval (Bach’s Baroque Paul (with music),involving organ Renaissance for example), soundtracks projects to remarkable film improvised (around crossover productions via avant-gardism, it pure from taken summary in their own right. Big names include the oboist include the names Big right. own their in summary this mentioned be in shouldalso musicians Ictus of afew the Quite halls. concert and Romitelli…), musicians foreign Aperghis, Reich, (including composers leading many with relationship aprivileged maintains founded as a saxophone quartet by by asaxophone quartet as founded Society difficult to fit it into any category at all. at any category tofit it into difficult not does music, but matter, it that since is classical as categorised led, since its conception in the late 1980s by late by 1980s the in conception its since led, Also from Brussels, but of an entirely different nature, is nature, different but entirely of an Brussels, from Also talents. programming and conceptual great with guitarist a gifted N , a wonderfully ‘meta’ brass band that cannot absolutely be cannot that ‘meta’ band brass , awonderfully e w music w – the exclamation mark is a tribute to Maximalist! – was –was to Maximalist! atribute is mark exclamation –the a soloist with Antwerp Symphony Orchestra until recently recently until Orchestra Symphony Antwerp with a soloist Rosas Peter Peter Vermeersch; come from this scene – although they are not are they scene –although come this from is also ‘a sort of avant-garde’. ‘a sort also is this In Eric Sleichim today he directs the the he today directs George-Elie Octors. Octors. George-Elie in 1988 in Ictus Tom Pauwels, Tom . Its path has has path Its ensemble, ensemble, Flat Earth Piet VanPiet Het It It - - -

9 Rudy Tambuyser — To consider and to commemorate. 10 Het Het de Paris. national conductor Opéra at the aguest and ballets Covent and Garden Birmingham of the director HERMES combines the Kessels disciplines. and genres styles, other with to crossover productions avant-garde 1960s 1950s and ofclassic the the call field its frommight of what workoneconsiderably expanded few years. This is the avant-garde in its most light-hearted, spirited spirited most light-hearted, its avant-garde in the is This years. few for first its of ChampdAction auspices worked the which under ChampdAction Collectief. the courageous and frankly incomparable guitar quartet quartet guitar incomparable frankly and courageous the find we Netherlands, the and Ghent Antwerp, between Somewhere beyond. and 1950,music since Flanders in on art focused are activities educational and centre documentation directors (alongside the cellist (alongside cellist the directors ensembl e. One the of artistic its inspires mindset adventurous multidisciplinary, whose caricaturist century 19th legendary to the Still in Antwerp, the pianist and conductor and pianist the Antwerp, in Still homebase. figurative and literal company’s in partnership with with partnership in 2010, since Sint-Niklaas in musicians Academy for young Summer co-produced a it world has and premieres, countless performed has Ensemble Nadar inclinations. state-of-the-art ensemble’s the oriented composer composer oriented and composerand Contemporary music is also well represented in Antwerp. represented in well also music is Contemporary absolute an standard. sets that recording a as praised and been rediscovered a somewhat older –has project of Schoenberg’s Lunaire Pierrot recording its Diapason, French magazine leading to the of absolute Thanks world class. become – itensemble amore has then, flexible – Since expandable 1998. in point astarting as School Second Viennese took the that bond formed at its creation with the cultural centre centre cultural the with bond at creation formed its strong the maintains ChampdAction art.’ audio and projects music for new music, multidisciplinary company ‘production a itself it music, today calls exclusively on contemporary focused directed the the directed Nadar Ensemble Nadar ensemble with a hectic international career as the musical musical the as career international ahectic ensemble with This group emerged from a chamber music quintet music quintet a chamber emerged from group This HERMESensemble was founded in 1988 by the strongly electronics- strongly the 1988 by in founded was tfn Prins Stefan eg Verstockt. Serge Matrix centre for new music new for centre Matrix was founded in 2006: its name is a tribute atribute is name its 2006: in founded was , which immediately gives an idea of an gives immediately , which Pieter Matthynssens Pieter since 1999. Over the years, it has it has years, 1999.since the Over While the ensemble initially initially ensemble the While on Kessels Koen in Leuven, whose whose Leuven, in ) is the engineer engineer the ) is deSingel – already – already Zwerm, , the the , has has performers. The description that Logos gives of his mission, as as mission, of his gives Logos that description The performers. of virtuoso music from emancipation for the struggle arelentless in engaged constantly thinker, progressive musical unconditional and less to his fellow pianist fellow pianist to his less no applies This for 20 years. over feature been afixed music has One of Deforce’s regular musical partners is is partners musical One of Deforce’s regular Niblock. Phil and Curran Alvin Barrett, Richard including for him, have written Various composers ago. years many solo course hedistinctive took off on a more trends adeveloper of as artistic but also aperformer as – not only it is the home it the of is the why one is reason which obstinacy, downright and contrariness room for more has when itGhent comes to always originality, Boesmans, Philippe Coppens Claude Prins Stefan newcomers like intellectual from musicians, of range wide avery worked Zwerm has form. inclusive with and ofidWle Raes Godfried-Willem cellist the scenenew is Flemish music the in figure important very Another by such people as the pianist, composer and professional intellectual intellectual professional and composer pianist, the as such people by Pawlowski Coppens. Monnaie in Brussels, the musicologist Herman Sabbe and Sabbe and Herman musicologist the Brussels, in Monnaie as well as Lucien Goethals, Meester and De Louis Rosseau, Norbert Goeyvaerts, Karel such as masters of deceased names illustrious to the linked closely are Music). Electronic institutions and Both for Psycho-Acoustics (Institute IPEM the with along onwards 1960s Ghent avant-garde the from in electronic the shaped which Group, Spectra the after ensemble The named is led Rathé. by and conductor and composer composer and conductor In Ghent, we find the Ghent, we find In Bach to from Bartók. repertoire, traditional in active very Boulez). also and is Michiels Incidentally, Kurtág Ligeti, (including repertoire classical becoming gradually now is avant-garde on that the music, focuses latest contemporary to dedicated the who, being however, than rather Conservatory Arne Deforce. and and to the guitar legend Fred Frith and rockers rockers and legend Fred Frith guitar to the Rudy Trouvé and Alvin Curran. His work in contemporary contemporary work in His Curran. Alvin and today the in-house composer at De Munt/La at Munt/La De composer in-house the today Once linked to both Ictus and ChampdAction ChampdAction and Ictus to both Once linked , an ingenious builder of musical automata of musical builder ingenious , an Logos Foundation, Logos Spectra Filip Rathé Jan Michiels Jan . ensemble and the late Alvaro Guimaraes Guimaraes late Alvaro the and , a professor at the Brussels Brussels at the , aprofessor founded by founded , founded by the pianist, pianist, the by founded Daan Vandewalle, eg Verstockt Serge

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11 Rudy Tambuyser — To consider and to commemorate. 12 with with students, his Among name. to his for piano Préludes of Debussy’s orchestrations ensemble brilliant piecesand unforgettable symphonies, nine with composer, symphonic greatest independently of developments in America. in developments of independently latter, of the variant original ahighly with up He came minimalism. A Ghent at resident Ghent professor and Conservatory, education. music to much time devoting also Orchestra, Symphony Antwerp and HERMESensemble worked He works. with other has closely among theatre, musical and music for orchestra Hindustani by inspired ragas his with for madehimself aname aformer life, in percussionist is also still active. Posman is a self-proclaimed pos(t)-mannerist and pos(t)-mannerist and aself-proclaimed is Posman active. still also is the professional banner high. His colleague colleague His high. banner professional the A radically different figure is the doyen of the Limburg scene, Limburg thethe doyen is of figure different A radically cohort. doubt memberwithout aprominent Brussels of the but outlook in more is traditional Conservatory, head of Brussels Luc Van Hove, Frans Geysen D’Haene Raphaël Brewaeys Luc faces. to somewhat younger old hands and names established from Flanders, in composers most prominent the list will Here we performed. be before it can music’‘New written be must music.” contemporary to related activities other and research technological composition, performances, concerts, production, music new of means by arts audio-related and music new of promotion the for organization professional unique Flanders’ is Logos Foundation “The no needs explanation: it assertive, is as precise Posman Conservatory, Conservatory, as as here astudent He way of by of name tribute. such was masters his couples mastery with fine intuition. fine with couples mastery voice who original mentioned be ahighly here as should certainly nr Laporte, André Roland Roland Coryn C ompos cannot be compared to anything or anyone. He studied or He anyone. studied to anything compared be cannot , with a history of composing in both serial music and music and serial both in of composing ahistory , with died in December 2015, but we cannot fail to include December 2015, in fail died but we cannot a long-serving teacher of composition at the teacher at the of composition along-serving is still an established name: a constructivist holding holding aconstructivist name: established an still is e , a former professor of music theory and retired retired and of music, aformer professor theory rs Iannis Xenakis and Franco Donatoni and our our and Donatoni Franco and Xenakis Iannis , the doyen of modern Flemish choral music, who choral doyen of Flemish , the modern i Henderickx Wim neis a Parys van Annelies Antwerp Lucien , a , a

Speaking of choral music, we cannot ignore ignore music, we cannot of choral Speaking her place heart. in musicbut holds aspecial choral for ensemble, genres all virtually Vermote in list. written has this aplace on earned notes certainly who has with magician invincible The much younger pianist, conductor, composer and singer pianist, muchThe younger heartfelt. are clever they as as are that contributions makes regularly but history, he also throughout repertoire of choral connoisseur agreat and Leuven in Institute and foremost conductor,choir a Lemmens the first is professor at composer with a strongly phenomenological approach and interest, interest, and approach phenomenological strongly a with composer son of the composer composer son of the Philippe Boesmans Philippe Defoort Kris VanIngelgem Maarten Petra Vermote. composer and guitarist mention the Ghent in we also must Whilst vocal music. love on and for emphasis unmistakable an with composed, often he has to texts whose Blake, of William connoisseur and fan a great of Flanders’ leading organists. leading of Flanders’ musician can be, and and be, can musician acontemporary as universal as who is electronics live with improviser and composer, technologist pianist, mentioned engineer, above, an by orchestration and composition into ‘classical’ Evans). of Gil later He was initiated lineage artistic (in the composer and acelebrated pianist became jazz recorder player, once He was aclassical but direction. Two more names immediately spring to mind: to mind: Two spring immediately more names Roland Coryn and Luc van Hove, as well as Hove, as well van Luc as and Coryn Roland whose founder and inspirer inspirer and founder whose ChampdAction, from emerge regularly soundsmiths Interesting Singing our of Time The novel Powers’ on Richard based opera to his forward looking we are inactivity, Conservations / Conversations. cycle the and Walked Doors into Woman Who The opera the being achievements to date most outstanding his composers, comes from a completely different different completely a from comes She studied with masters such as the aforementioned the such as masters with She studied . Today, one he leading is of our Kristiaan Kristiaan van Ingelgem, is particularly fond of vocal music. He is the fond music. He the of vocal is particularly is tfn a Eycken, Van Stefan Serge Verstockt Serge . After a period of forced aperiod After who has long been one who has was mentioned above. above. mentioned was Kurt Bikkembergs. Kurt a musicologist and and musicologist a FrankNuyts Stefan Prins, Stefan

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13 Rudy Tambuyser — To consider and to commemorate. 14 “ Partly supported byawidespread supported Partly and abroad. stagesathome to professional musicians regularly maketheirway education system( artistic and highlyaccessiblepart-time at the highest level by the aforementioned quintet level aforementioned quintet the by highest at the represented is music. of This chamber tradition arich has Flanders view. one here abird’s-eye of is them, every of not mentioning risk the At at home abroad. and stages way to professional their make regularly ( system education artistic part-time accessible highly and awidespread by supported Partly well. as area that in to offer plenty has Flanders repertoire. more traditional regular, the new of music course is brand ancient and Between its range. its considerably but expanded has centuries, 20th early and late 19th of the French repertoire the chamber out with started Oxalys plays, music it the and of Europe). of spirit its terms Capital In Cultural the was when Antwerp for Flanders, year cultural magical 1993, arather Frederik Neyrinck, Frederik Neyrinck, composer and pianist to mention the –we like would exhaustive be cannot list this that aware but fully not –and least Last whisky. on fine authority an incidentally is –and worked Tokyo and in lived 2000 who has since Collectief, is the larger ensemble larger the is Collectief, Het with associated historically and Brussels, from Likewise many collaborations and commissions he has in the pipeline. pipeline. the in he has commissions and collaborations many the by witnessed as of success, deal mentioned agreat above. With colleagues his than instrumentation and means more traditional somewhat acomposer, he uses As Vienna. in working and living Re p e rtoir who recently returned to Ghent after many years years many to Ghent after returned who recently e ” Oxalys Oxalys DKO DKO ), well-trained musicians musicians well-trained ), (incidentally founded in in founded (incidentally ), well-trained Het Collectief Het . Antwerp ensemble Antwerp another. Among them are the excellent the soloists are them another. Among one way or Solisti have I with worked significance ofplayers any woodwind Most Flemish recent in years. theatre musical with involved been intensely has and to name premieres its many has It style. every at home virtually is in that formation a woodwind The The music extensively. of chamber genre royal the decided to explore repertoires, other all played almost having after YannickVandevelde clarinettist and ensembles) other many and Orchestra Symphony Antwerp (oboe; Ictus, also see I Solisti the is recent ensemble oldA very nonetheless hands members whose are Dieltjens and chamber music. He forms a duo with his brother brother his music. a duo He chamber with forms and Orchestra) Symphony pieces(atconcertos to orchestral Antwerp from to horn clarinet, avant-garde modern on the basset on the music baroque from everything he plays discipline: his in musicians one most well-rounded of and the member of Het Collectief of the late 20th century in particular. in century lateof 20th the repertoire great on the It focuses recent in years. course impressive his own own his led has and musician, ateacher chamber Orchestra). and He also is National Belgian Monnaie, (De Munt/La soloist orchestral an An exception to that rule is is rule exception to that An 1704. Collegium Prague of the company legend Elisso Virsaladze. legend Elisso When it comes to the piano, we will certainly mention certainly it we will comes piano, toWhen the clarinettist clarinettist mention the we surely must players, it comes toWhen wind generation. of his pianists respected great Maria João Pires. Another very talented near-contemporary is is near-contemporary talented very Another João Pires. Maria great aprotege of the himself call He can competitions. in participating without pianists successful who are musicians rare one of those Goeyvaerts String Trio, String Goeyvaerts Taurus String Quartet , the brainchild of top bassoonist brainchild , the Roeland HendrikxEnsemble Roeland , and is without adoubt without and one most remarkable is of, and the oln Hendrikx Roeland Terra Nova , who has even been praised by the living piano piano living the by even, who been praised has : four seasoned chamber musicians who, musicians chamber seasoned : four based in Sint-Niklaas, has charted an an charted has Sint-Niklaas, in based and more recently often found in the the in found often more recently and , who enjoys widespread respect as as respect widespread , who enjoys Benjamin Dieltjens Benjamin Vlad WeverberghVlad for several years. several for Francis Pollet, , once a founding , once afounding Piet Van Bockstal Bockstal Van Piet – founder of the –founder of the was originally originally was Julien Libeer Thomas ,

15 Rudy Tambuyser — To consider and to commemorate. 16 mention the especially exquisite and popular soprano soprano popular and exquisite especially mention the also us Let Conservatory. Antwerp teaches at the who furthermore (IOA) and promoting Flemish music as one of its tasks, but over the years but over years one the music of as tasks, its Flemish promoting and premiering the with service, broadcasting national product of the we find the tenor tenor the find we earlier, ageneration more than alittle and less alittle Respectively is is it, call vibe’, ‘Antwerp we might as of this representative Another recent in years. pianos historic interested in have and been increasingly accompanists fervent also are pianists formidable soprano soprano formidable Mechelen chamber music duo with the excellent violinist excellent the violinist music duochamber with Incidentally, singing is not the sole purview of famous soloists: the the soloists: of famous sole not purview is the singing Incidentally, bent. of a also vocal are flute and harp viola, the Vlaams Radiokoor Vlaams mentioned we former: have the already taught who have frequently names, more notmust established the forget we generation, younger of the on exponents emphasis this all With older are years A few Guy Joosten Liesbeth Devos, soprano the name certainly we must of some renown. First, vocalists to Flemish us brings This the rest of his family, and and family, of rest his the The ‘vocal instrumental’ ensemble instrumental’ ‘vocal The singers. lieder and Kuijken baritone baritone Kende a Kerckhove van working on a great career. Also much in demand is the soprano soprano the is demand much in career. on Also a great working Nes), van Jard lateof Dutch contralto the wisely slowly and who is would be difficult to ignore the career of thecareer tenor of the ignore to difficult be would It well. amention as who deserve soloists vocal male are There incidentally, form the aptly named aptly the form incidentally, authority on Schumann and Brahms and a fantastic accompanist afantastic and Brahms and on Schumann authority Nikolaas Kende in Ghent that is headed by the international opera director director opera international headed is the Ghent by that in and a professor at Antwerp Conservatory. He forms a a He forms Conservatory. at Antwerp aprofessor and is above all interested in historic pianos, in keeping with with keeping in pianos, historic interested in aboveis all Werner van Mechelen van Werner , who is omnipresent on the international baroque scene. baroque international on the omnipresent , who is . , the laureate of the of laureate the , the a very versatile singer in terms of styles and genres, genres, and of styles terms in singer versatile a very , the son of the Hungarian-Belgian doyen Hungarian-Belgian son of the , the Yves Saelens has a cast-iron reputation. Historically it was a a it was Historically acast-iron reputation. has Lore Binon Lore ioa Callot Nicolas Jozef de Beenhouwer de Jozef Ilse Eerens and the still active international bass- international active still the and . Both are dedicated opera, concert concert opera, dedicated are . Both and a somewhat Debussian trio of trio asomewhat Debussian and Pianoduo Callot-Blondeel. Pianoduo International Opera Academy Academy Opera International eu Blanche Revue and (for many years the protégée the (for years many ua Blondeel Lucas Jolente DeMaeyer.Jolente is an international international an is Jan Michiels Jan , around the the around , Reinoud Van Reinoud Hendrickje Levente Levente , who, who, , Both Both ; Piet . former radio orchestra that is still linked to the former radio choir choir former radio to the linked still is that orchestra former radio unforgettable trumpet player trumpet unforgettable We Orchestra. not must Symphony to forget mention the Radio Bavarian the in plays often also and Philharmonic, Vienna of the the strictly historically inspired historically strictly the hinterland; Flemish the serving as well as Brugge Concertgebouw and Antwerp in major venuesBijloke, plays deSingel which such as Dieltjens. His fellow clarinettist fellow clarinettist His Dieltjens. Benjamin We clarinettist mentioned the haveorchestras. already somewhat hidden in are musicians great of afew our Quite of Brussels. Conservatory Royal the teacher ever at violin youngest the 2010 was in and Competition Music International Elisabeth Queen took second the place in is the violinist violinist the is others Jozef Beenhouwer and De Michiels, of Jan partner A regular international violin soloists includes includes soloists violin international of music scene.multitude The Flemish the on figure significant Orchestra Orchestra R (las Radiokoor) (Vlaams VRK is director appointed recently Its repertoire. traditional increasingly on an taken it has This brings us to the Flemish orchestras. Besides the the Besides orchestras. Flemish to the us brings This excellent background. do work their the somewhat in usually who players, of school excellent brass entire Flemish an represents remember. we can back as far Here, as he since Orchestra Symphony The harpist harpist The impressive. downright is orchestras British and German Immerseel smaller smaller Flagey building in Ixelles in Brussels; the Brussels; in Ixelles in building Flagey Belgium of Orchestra chamber orchestra orchestra chamber of course Antwerp; the the Antwerp; central in Hall completely recently renovatedthe Elisabeth Queen for clarinettists: for clarinettists: good particularly is air Flemish the Ensemble Apparently Modern. amember and of Orchestra Chamber renowned Mahler of the Casco Philharmonic Antwerp Symphony Orchestra AntwerpSymphony , in permanent residence at Concertgebouw Brugge; the the residence Brugge; permanent at Concertgebouw , in led by Kristiina Poska, resident at Muziekcentrum De De resident Poska, at Muziekcentrum led Kristiina by Anneleen Lenaerts Anneleen Brussels Philharmonic Brussels Guido De Neve De Guido Annelien Van Wauwe Le Concert Olympique Bart VanBart Reyn and and , housed in the legendary boat-shaped legendary the in , housed La Monnaie Symphony Orchestra Symphony Monnaie La under under Manu Mellaerts, , for decades an unconventional but unconventional , for decades an Anima Eterna Brugge Eterna Anima has become a permanent member become apermanent has Jaan Bossier Benjamin Haemhout . ’s early career with many major major many with ’s career early under Stéphane Denève – the the – Denève Stéphane under osf Ivanov, Yossif led by Elim Chan, based at based Chan, led Elim by under a soloist in La Monnaie Monnaie La in asoloist is a founding member afounding is lnes Symphony Flanders Jan Caeyers who in 2005 2005 who in under under s. , there is is there , National and the the and Jos van Jos

17 ensembles specialised in contemporary music 18 music. It is organised by music. It organised is a festival of standard repertoire that does not, however, does that back go repertoire of standard a festival acoustics; MA Festival MA Polyphoniae Laus Bozar Queen Elisabeth Hall conductorThe composer and that houses the houses that concerts. Many these are bundled under the name name the under bundled are these Many concerts. organise also which number of festivals, high arelatively has Flanders programme. own its but not does organise Orchestra Symphony Antwerp the houses which Antwerp, in hall congress by by Storme Festival International Festival Brugge called called map, on the festival of the edition Kortrijk putFonteyne the programming: own do their generally Flanders in concerthalls largest The place asuitable given tobe resound. ideally and organised properly be also must beauty musical that All music. conductor, of film not for recordings least guest amuch and sought-after of Philadelphia Orchestra Chamber of the director musical at Ghent aprofessor he is Conservatory, seasonal programme as well. as programme seasonal HIP –with Church St Augustine’s prestigious the in programme seasonal but ambitious small relatively In Leuven, we find we find Leuven, In recent in decades. spotlight into the star international afuture many brought has which it, with associated competition for the known well especially is festival The festival. music arenowned early also and Festival of Flanders branch Bruges Vox group the is vocal of the Luminis), manager the as known offer a programme of international favourites in collaboration with with in collaboration favourites international of programme a offer borders. national beyond the far brand astrong still al uadn Flagey, Dujardin; Paul O Wilde Westen and and , with , with ; n rga De Bijloke deSingel (Blauwe Zaal) (Blauwe deSingel , under the artistic leadership of leadership artistic the , under Klara is eon Vanacker Jeroen

Bozar e legendary Studio 4, world famous for its flawless for flawless world its 4, famous Studio legendary , the public classical radio station. Incidentally, Incidentally, station. radio classical public the , rs in Antwerp is a well-regarded festival of early of early festival awell-regarded is Antwerp in in Ghent, led by in and now led by by led now and , mentioned above, in the new the in above, mentioned , Festival 20/21 Festival at the at the and the the and led by AMUZ Klara Festival Klara ete o Fn At i Brussels in Arts Fine for Centre Dirk Bross Dirk still at the helm. An exception is exception is helm. An at the still and led by and in Antwerp, now led by Antwerp, in ils Ledure Gilles (programmed by by (programmed as the standard approach to approach its standard the as Geert Riem Geert Tom Vangheluwe é must be mentioned be é must here; , led by Tomas Bisschop Tomas at Demuyt Bart and and , also in Brussels, Brussels, in , also Flanders Flanders Festival

Elisabeth Center Center Elisabeth Concertgebouw Concertgebouw Joost Fonteyne Joost . Pieter Bergé Pieter Flanders Flanders , with a a , with Hendrik (also led led ), ), , ,

conductor and lawyer conductor lawyer and by by for music education now directed organisation based intention, it includes the itintention, includes the that explicit With festival. a contemporary befits as breeding-ground, artistic to alab be and aims also which into the more ambitious, much acclaimed much acclaimed more ambitious, into the Orchestra) National Belgian the with (also abassoonist Flanders Festival, under the name name the under Festival, Flanders of Mechelen the edition in reigns of insanity exalted form Another centre? city historic venues the in one at day different in concerts 60 event an comprising characterise at the at the concerts season impressive perennially the are there Limburg In grown under the artistic management of management artistic the under grown Tongeren, in have originating festival little a modest wacky slightly the with begins Musica Riet Jaeken and 1900 year beyond the and musicologist musicologist and Dierickx Beirens Institute rechristened rechristened reinvented was and Limburg, in Biezen, also Alden Landcommanderij of the setting beautiful the Music in of Day Early festival one-day glorious particularly The for itself. speaks of which name In Ghent, In Alba Nova is an initiative run by by run initiative Nova an is Alba music. new and future on the explicitly focuses reinvented festival music, but the early by inspired still and festival one-day a Nova still is Alba Hague. The in Conservatoire Royal exclusively – focused on children, we find the we find on children, exclusively –focused have something to do with that, although the festival director director festival the although that, to do with have something legend it moon – –as has the to extinguish once tried inhabitants It based is and pianist in the style and spirit of Claude Coppens. The Orpheus Orpheus The of Claude Coppens. spirit and style the in pianist and Esther Ursem Esther CCHA at the time, the composer, conceptualist, pianist pianist composer, conceptualist, the time, at the which is comprised almost exclusively of premieres. almost comprised is which may also play arole. may also at the other end of the educational spectrum. end educational other of the at the Flanders Flanders Festival Ghent for the last five years. The Basilica Concerts, Concerts, The Basilica five years. last for the

(Hasselt Cultural Centre), programmed by by Centre), programmed Cultural (Hasselt in Ghent city centre and directed by the the by directed and centre Ghent city in la Nova Alba . Whereas Musica is mainly –but not mainly is Musica . Whereas Paul Craenen Paul Peter Dejans Peter in 2014 by the director of director the by 2014 in Pressure Cooking FestivalCooking Pressure Transit , who now teaches at the the at teaches now who , Odegand led by , a three-day event led by , athree-day Musica and by by and Lunalia Veerle Simoens Bob Permentier , the Limburg- the , – or how else should we we should else how or – . Maybe the city whose whose city the . Maybe Luc Vaes,Luc B-Classic Orpheus , the the , a musicologist musicologist a traditionally ,

“Flanders Maarten Maarten borders.” national far beyondthe brand strong Festival, stilla name Flanders under the are bundled Many these concerts. organise which also of festivals, high number has arelatively Jelle

19 ensembles specialised in contemporary music 20 abroad. In that context, we might mention context, we might that abroad. In after sought also is expertise alone. Our Flanders music in classical organise and do not programme Flemish but the not least, Last Peter de Caluwe. intendant under house opera Brussels renowned internationally invariably presents outstanding artists, artists, outstanding presents invariably embarras de choix. de embarras from a delightful suffer all. notstill We definitely is this that assured reader, dear but rest have to leave where things, is we will this And arts. visual to the we have text, returned of this subject the to circle: contrary full us brings turn somewhat brusque last, This 2020. in opening Arkansas, Bentonville, in space Momentary, anew arts of The director the – became year that in of Europe capital cultural the as city Frisian the celebrating festivities –the 2018 Leeuwarden of director artistic the as stint his 2016 and in Festival Sydney fourth houses in Ghent and Antwerp –and Ghent Antwerp and in houses in Munich from 2021 onwards; onwards; 2021 from Munich in Staatsoper Bayerische the leading be will de and Lyon Opéra the Van Looy is also co-director of co-director also is Van Looy known. Institute is home to the very unique unique home is very to the Institute children. It is the brainchild of music theatre director director of music theatre brainchild It the is children. Looy, to the great vocal productions of productions vocal great to the counterpoint more a smaller, agile provides that company production In relation to educational projects, we must also mention we also must projects, to relation educational In Netherlands. the and Flanders in universities with collaboration in performers for musical programme Compagnie the Utrecht Early Music Festival; Early Utrecht the whose highly original, interactive, child-sized festival that that festival child-sized interactive, original, highly whose , the production company that creates shows for that company production , the

Xavier Vandamme, Xavier and and Opera Vlaanderen Opera uikhae Transparant Muziektheater docARTES Lieven Bertels, Lieven BIG e utL Monnaie Munt/La De BANG Serge Dorny Serge , a veritable doctoral doctoral veritable a is certainly the best best the certainly is who manages who manages – with opera opera –with who after his his who after Wouter VanWouter , who leads leads who , Zonzo – the the – , a , a

Laus Polyphoniae. the earlymusicfestival Antwerp) and curator of FestivalAMUZ (Flanders of director and artistic he hasbeengeneral Park Abbey. Since2009 inLeuven’sHeritage Countries Musical Valorization ofLow of Excellenceforthe – International Centre Foundationthe Alamire of and generaldirector ofLeuven, University at the musical heritage innovation managerof issenior Demuyt Bart historicallyto informed experience From historically informed performance E Perspectives F arly landers. twentieth century. half of the the first from inmusic keen interest he also hasa chant, and aPhDonGregorian zation inearlymusic Besides hisspeciali­ Leuven andBerlin. and philosophyin musicology He studied ofLeuven). (University FoundationAlamire atCoordination the Research member staff is Mannaerts Pieter Bart Demuyt&PieterMannaerts attracts the biggestaudiences aswell. attracts –and the one thatclassical programming segment in it isnow the most performed often classical repertoire, and romantic the standard alongside that connoisseurs: onlyappealed to 1980s, when early musicwasaniche repertoire The situation haschanged since the 1970sor Early musicisbiginFlanders.

M in usic in

on on

21 Bart Demuyt & Pie ter Mannaerts — Perspectives on Early Music in Flanders. 22 “ Although‘early music’wasinitially significantly over the last thirty years. significantly overthe last thirty this description has changed Baroque, Middle Agesup toandincludingthe ofthe understood tomean therepertoire the authenticity movement asan haveidentified otherauthors content, over thedebate from as possible.Aside itasprecisely orrecreating authenticity’ inthespiritof‘historical against, forand especially witharguments informedperformance, of historically andwhys aboutthehows been written practice).Much has performance informed is‘HIP(P)’(historically performance forthiskindof term The standard ‘early music’internationally. underthebannerof manner andbrought informed inahistorically performed periodsis and earlytwentieth century oftheclassical, romantic repertoire often,the andmore More years. thirty has changed significantly overthelast thisdescription including theBaroque, and upto oftheMiddleAges repertoire meanthe to was initiallyunderstood Although‘earlyantigua) itis. music’ (musique ancienne,musicaantiquamúsica early musicandfrüheMusik)or‘ancient’ such as (interms how‘early’ exactly gointo be.Nordoweneedto it needto andneitherdoes here, defined indetail What ‘early exactly music’iscannotbe deSingel, andFlagey. Brugge,deBijloke, Concertgebouw halls:AMUZ,BOZAR, major concert the classical musiconoffer at allthe –of mainstay – if nottheabsolute part Festival Antwerp, itisnowasignificant later, LausPolyphoniae –Flanders FestivalFlanders Brugesand, somewhat suchfestivals asMusicaAntiqua – the exclusive domainofafewspecialised be earlymusicusedto hand: whereas Supply anddemandhavegonehandin economic phenomenon. sociologicalor aesthetic, academic, 1 www.flandersartsinstitute.be/music. at ofthisessay unabridged version 1950 and2000canbefoundinthe between inFlanders performance informed development ofhistorically ofthe overview An extensive forthenearfuture. a fewpredictions andrisk tendencies afewcurrent situate the earlymusicmovement inFlanders, of recent history briefly considerthe We senseoftheterms. in thebroad will informedperformance and historically Below, ‘early music’ wewillusetheterms the1950s. from serialists compositionsofthe the electronic informedmanner–oreven historically Beethoven, Mahler, orStravinskyina Dufay, perform this kindcanbeusedto of Anapproach wascreated. question about it)at thetime whentheworkin (orwhat practice weknow customary aswellpossibleto that responds practice the aimforaperformance as informedperformance historically wewillunderstand In thistext, 16 October 2020). 16 October on https://idemdatabase.org (consulted is availableinVan derKlis1991and 2007. the for Netherlands historiography An extensive Tambuyser 2009. (undated), Vanderweerdt Taes (undated), 2013,6-15;alsoBaeten see early musicinFlanders, to introduction Simoens &Nuchelmans 2011.For aconcise 1982, &Simoens 2018,Harnoncourt Demuyt Cnop 2019,De Vossee among others: 2010, For asynthesis, see Sabbe1996,60-68.For HIP, 1 ”

Inte interdisciplinary. andmore diverse musicians isbecomingeverwider, more informed’ they coveras‘historically that althoughtherepertoire Flanders, in bedecreasing and trainingseemsto education early musicinprofessional of orvocal. Theshare instrumental usuallyeither in ensemblesthat are often international ones–andplay – involvedinnetworks increasingly scene. For musiciansare example, ontoday’s early music observed canbe tendencies A fewrecent Flanders as often as in the Netherlands. as oftenasintheNetherlands. Flanders in in Heverlee(Leuven).Itgives concerts Foundation’sAlamire House of Polyphony at the ’s-Hertogenbosch butinresidence isbasedin turn, CappellaPratensis In basedinLuxembourg. CantoLX, andhisensemble Frankto Agsteribbe applies outofVienna.Thesame operates ensemblethatbehind theCinquecento Tore isoneofthedrivingforces Denys foundedin1997.Thetenor Orchestra, oftheIndianapolisBaroque director Mahler. Kuijken istheartistic Barthold Haydnto rangesfrom whose repertoire in Paris, desChamps-Elysées Orchestre foundedthe 1991, PhilippeHerreweghe In thispoint. toillustrate sufficient international level. are Afewexamples and Belgium,obviouslyalsoat happensinFlanders This networking musiciansandensembles. between ongoinginteraction isfrequent, There ininternational networks. connected well- theseindividualsare musicians, along withthenumberofindividual havedeclined years, inrecent seems to Although thenumberofensembles anetwork. – dependsonbelongingto musiciansaswell that goesfor‘early’ inmusicians’lives–and Everything r natio T nalisatio endencies in the early mu n in Flanders today conservatories. For Sigiswald example, conservatories. at foreign andlecturers as tutors work Many Flemishmusiciansstill today. our ownconservatories VanNaessens andPeter Heyghen workat Ponseele, Bart Marcel Ewald Demeyere, early musicianssuch asJan DeWinne, the organclasses. Likewise, many earlymusic besides andmore more campusLemmens)alsoincluded Arts, (nowLUCALemmensinstituut School of andthe inBrussels, Kuijken brothers bythe in Antwerp orthose taught Van Immerseel’s classes instrumental inJos interest wasgreat there years, Intheglory and singinginthepast. training instrumental to committed strongly Brussels andLiègewere inAntwerp, Belgium, theconservatories in Here occurringinearlymusic. are itseemsthat shifts training courses, theprofessional When itcomesto P deNamur.the ChoeurdeChambre with ensemblessuch asVox Luminisor Collegiumand withthesame frequently and workregularly orB’Rock Eterna ensembles such asLesMuffatti, Anima Evennow, required. were vocalists calling onCollegiumVocale when consistently earlyyears, inits operated Bande thiswashowLaPetite example, possible. For productions instrumental makingvocal-plus- other ensembles, this initialchoice, theythenworkwith orvocal. Dependingon instrumental Vocale either –theensemblesare Collegium from thatis striking –apart thephenomenon.It demonstrate to However, mayserve asingleexample scopeofthistext. within thelimited musiciansandensembles between interplay oftheconstant overview adetailed provided It isnotpossibleto rof e ssio sic landscape al trai nal n i n g

23 Bart Demuyt & Pie ter Mannaerts — Perspectives on Early Music in Flanders. 24 in conservatories andelsewhere. in conservatories beingorganisedboth –are instruments building –including historical ininstrument that striking courses itis Furthermore, different. very are instrument and contemporary baroque instrument ofa andplayingtechnique such astheviolin,both instruments However,related. whenitcomesto closely quite are instruments the two since instrument such asthesackbut, playingahistorical of attention to amount payacertain it ispossibleto forexample, trombone, (contemporary) Withaninstrument suchtraining. asthe element instrumental into historical istheintegration ofa A newtrend States. and theUnited Kingdom intheUnited conservatories Parisandin Barcelona, in Bremen, also findflourishingearlymusiccourses inGenevaandBasel. Weconservatories to Switzerland, specificallythe shifting isincreasingly at conservatories courses ofearlymusic but thefocusinterms intheNetherlandstoday, role important thatthe maininstitutions playan still however. are TheHagueandAmsterdam bedeclining, seems to music specialists Netherlands inthetrainingofearly inBelgiumandthe conservatories ofthe The formerlycentral role inBasel. masterclasses aseriesof Schmelzer havetaught recently,More BullandBjörn Stratton at theSchola Basiliensis. Cantorum singing baroque inturn,taught Jacobs, René also workedat that conservatory. Ponseele Marcel de MusiqueParis. National Supérieur at theConservatoire practice andperformance the traverso Since that year, hehasbeenteaching inLyon until 2004. at theconservatory playerJanDeWinnetaught traverso historically important. historically was 1972onwards in TheHaguefrom Conservatoire atteacher theRoyal Kuijken’s violin positionasabaroque 2 Kuijken 1997and 2012. 2 InFrance, the Tchaikovsky, but alsoIgorStravinsky, Brahmsand 1950. ThismeansSchubert, about to ofthe1800sthrough repertoire the decadesto in recent extended of HIPhasalsobeenlogically early years the from approach The historicising ofhistoriography. forefathers oneofthe adage ofLeopoldvonRanke, thepositivist quote was–to it really “wie eseigentlich gewesen”–the way intention ofmakingthemusicsound withthe informed performance, been: foran“authentic” historically iswhat ithasalways The aimhere ishistoricising. direction The first directions. ismovingintwo trend This andrepertoires. styles between andcrossovers recreation (creative) to reconstruction (historical) from that spectrum ranges broad increasingly seeingan is approached, weare andhowit fortherepertoire As Historicism an Historicism century. thenineteenth to Middle Ages the from periods, of variousstylistic themusic into research practice-based and informedperformance historically at theKULeuven, payattention to Study ofMusicintheLowCountries Foundation,Alamire forthe theCentre ofAntwerp andthe Conservatoire forFlemishMusicatCentre theRoyal such astheStudy programmes, research ‘traditional’ since offered Moreover, that centres havelong amongotherplaces. Orpheus Institute, andthe followed at LeidenUniversity beingandhavebeen are programmes and courses the VUB).Otherdoctoral ofMusicin2007(at Doctor was thefirst Kuijken Barthold InFlanders, music. or inthearts adoctorate obtain to andmusicians forartists opportunities offering academic, is becomingmore education time,higherarts At thesame d cr d e ativity past is having a sterilising effect.” ishavingasterilising past the admiration formusical worksfrom voiced thefearthat increasing “the Back in1996,HermanSabbe heritage. the to approach creative ormore freer a ismovingtowards The secondtrend fortheinstrument. new sonatas seriesof afirst the composerwhowrote was andPietSwerts Daniel Barenboim, inthepianist an enthusiastic promoter a new, straight-strung piano.Hefound “No.1”andthen Steinway the historic of buildareplica to Maene wasinspired 4 3 Bösendorfer.historical ona and JanMichiels Bartók plays BuranawithAnimaEterna Carmina ofOrff’s aHIPperformance presented JosVan instruments, Immerseel appropriate and Brahmsonhistorically and LucDevosplayBeethoven,Schubert AnnCnop instrument; on ahistorical repertoire guitar century for nineteenth hascompiledmany programmes Smits Raphaella andCarlOrff. Béla Bartók example; the performance of Old Roman ofOldRoman theperformance example; for songs intheGruuthusemanuscript, ispossible.Takea performance the assumptions andhypotheses before many requires the notation cases where ply nodecipherablemusicalsources, sim- are there caseswhere are There at all. repertoire playcertain beableto evento necessity goingbeyondHIPisanabsolute cases, beadded:insuch needsto and creativity many situations, adoseofinterpretation In in these sources. ordetail sources ficientto alack ofavailable at timesdue be insuf butithasturnedoutto music, early to approach legitimate an entirely thespiritofHIP. to contrary HIPremains isnotnecessarily This secondtendency andconfrontation. crossovers creativity, theuseof updating, greater reinvention, transcreation, towards isatendency was unfounded. There has sinceturnedoutthat Sabbe’s fear Sabbe 1996,63. Cnop 2019,DeKeyzer 2007. 3 Inturn,Chris 4 It - we find examples in the programmes by intheprogrammes we findexamples 1970s, phenomenon. From the1950sto arecent from of oldandnewisfar orintegration for ajuxtaposition centuries. Thesearch and twenty-first thetwentieth ormusicfrom repertoire ClassicalandRomantic the typical whether music withotherrepertoire, tradition–ofcombiningearly a certain –you might evensay isatendency There O Mediéval). byPandoraor Club- songs asperformed ortheGruuthuse Antwerp Songbook, the to approach Rans’ or folkmusic(e.g. andalsograindelavoix) Organum does, music(asEnsemble tions inreligious drawon‘living’tradi- selves obligedto theEdda.Musiciansfindthem- from or Hadewych songs ofHendrikVan Veldeke Troper, theWinchester or Boethius, the byVirgil classical texts tions addedto - neumatic nota or OldHispanicchant, 5 “Early music ld a See Baeten 2014. See Baeten music.” space forearly habitually make music festivals themselves asearly that donotpresent music: evenfestivals within classical mainstream genre has becomea n d ne 5 w , or epic mediaeval poetry , orepicmediaevalpoetry

25 Bart Demuyt & Pie ter Mannaerts — Perspectives on Early Music in Flanders. 26 6 the Festival inMechelen, ofFlanders such festivals City as programming. make spaceforearlymusicin their habitually as earlymusicfestivals thatfestivals themselves donotpresent within classical music: even genre Early musichasbecomeamainstream isalsoinevidenceat festivals. genres mixandcombine to The tendency saxophones. on contemporary Josquin andOckeghem, Bach andHandel worksby early music:Bl!ndmanplays perform to instruments for present-day optresolutely isto further Astep past. inthe instruments on contemporary music ensembles whoplayedbaroque havebeen today.instrumentation There of interms freedom themselves more alsoonceagainallowing are Performers by addingnewcompositions. (2016), fortheKlarafestival production Bach’s ina date StJohnPassionupto and SamirOdeh-TamimiParys brought AnneliesVan thecomposers In Flanders, Kopatchinskaja andTeodor Currentzis). cadence(Patricia ‘contemporary’ withadecidedly violin concerto ofBeethoven’sis theperformance of today. Aninternational example inthemusic theBaroque from patterns Theuns’ ensembleB.O.X, which seeks playerPieter such asthelute music, afusionofoldandnew to committed ensemblesfirmly are in 2020,there Likewise combined earlymusicwithjazz. together, Ponseele Marcel andtheoboist Luthomania bringsvariouscultures Sciarrino. PhilippeMalfeyt’s Trio polyphony withtheworkofSalvatore the HERMESensemblehascombined music; withcontemporary century) of Francesco Landini(fourteenth havecombinedthemusic Cage. Others included bothBachproductions and recently,More oneofB’Rock’s first music. early andcontemporary the AlariusEnsemble,which playedboth Taes 2013,107-108. “Performing “Performing in its programme content. programme in its andinnovationemphasis oncreation MA Festival in2005,withagreater Musica Antiqua inBruges wasrenamed shifting theiremphasis. For example, are specialisedfestivals Even themore schedule earlymusicproductions. andLeuvenalso Strombeek Roeselare, as thoseinMaasmechelen, Hasselt, such Culturalcentres programming. their earlymusicthroughout support buttheyalso a widerangeofcontent, and diversification to do commitmore FlemishBrabant orKortrijk Limburg, or videoor art.” literature with it ofor integrating theatre and dance, theatre, music such as arts in other dramatic it embedding but of manner,justified in ahistorically a work of art performing ofa matter not only early music is 6 In2014, and IndianDhrupadsingingwith music musicfortheviol combining baroque with theTunisian singerGhaliaBenali, Call toPrayer, Lischka worked Romina A Inherproduction themusic. to canlendanextradimension Clercq) (AnoukDe investigating howvisualart and literature them withhistorical connecting music, andeastern western between theborders Eynde explores playerSofie Thelute Sardinia. Vanden with folkmusictraditionsfrom combining Monteverdi music, Italian the sopranoLieselotDeWildeexplores inwhich Considerproductions music. music andoraltraditionswithearly acombination orfusionoffolk towards moving inturn,are Other ensembles, (Tamarkeyboards Halperin). of onavariety music performed orSatie’sAnthony Romaniuk), piano Kopatchinskaja, accompaniedby Bach’s Chaconneforsoloviolin(Patricia accompanimentsichord addedto harp­ improvised in Officium),afreely Ensemble andtheHilliard Garbarek deMorales(Jan polyphony ofCristóbal withthe andimprovisation instruments that combinejazz over projects ­ thecross International are examples ‘old’into music. newlife ofbreathing popularways are combinations ofvarious musicalstyles or Crossover, mixtures, juxtaposition, theirperformances. into contexts othermusical from orelements styles, other improvisation, integrate want to and experience HIPasoverlylimiting, freedom’.their ‘artistic Theyseemto movebeyondHIPandexpress need to In othersituations, musiciansfeelthe C new format isnowcalledAlbaNova. music:the andcontemporary creations theintegration ofmore towards Early MusicDayinAldenBiesenshifted rossov er Coen, PhilippeHerreweghe). Beyer, Bart B’Rock, Jean-GuihenQueyras, Chevallier, Claire Immerseel, Amandine Arias(withJosVan Concert 2, Mozart , andPartita Brandenburg Concertos En attendant,MittenimLebenThe6 French Suite, withRosas: productions AnneTeresa are there DeKeersmaeker’s form, pared-down work). Inamore layerwithinamany-layered distinctive sung byCapillaFlamencaformsa which theFranco-Flemish polyphony CdelaB(in Cherkaoui andLesballets FoibySidiLarbi scene); theproduction the earlymusic from key figures Dieltiensandnumerous Bach (withRoel includeExamples AlainPlatel’s op Iets ownright. become atraditioninits themusichas another dimensionto andthusgive new danceproductions create polyphony ormusicbyBach to Integrating years. thanthirty even more integration hasbeenhappeningfor asdanceisconcerned, this far As video art. or or ofintegrating itwithliterature anddance, musictheatre as theatre, such embedding itinotherdramatic arts manner, justified a historically butof in aworkofart ofperforming matter earlymusicisnotonlya Performing scene. inthearts interdisciplinarity agrowing wehaveobserved movement, oftheearlymusic on thehistory based fifteenyears, Over thelast Inte setting (Trabe dich, Thierlein,2014). 2012) oroptingforasemi-theatrical Ossuaires intheproduction , (for example Countries and theirownfilmproduction theLow from them withmusicalheritage combining cultures, and non-western oraltraditionsinwestern to approach adifferent (Björn Schmelzer), which take ensemblessuch asgraindelavoix are Thenthere theIslamictraditions. from 7 Demuyt &Simoens 2018;VandenhouweDemuyt 2017. rdiscipli narity 7

27 Bart Demuyt & Pie ter Mannaerts — Perspectives on Early Music in Flanders. 28 9 8 future. future. inthe doubtlessly continue andincrease interdisciplinarity, will greater towards and of therepertoire, extensions and to inapproaches creativity more and trainingdescribedabove, towards and internationalisation inensembles networking towards The tendencies Il Gardellino. for majorproductions also conducted VanPeter Heyghen,whohasrecently player andlecturer and therecorder MarnixDeCat the singerandconductor in theearlymusiclandscape,such as place prominent occupy anincreasingly generation also the‘post-pioneer’ from (2020). Anumberofindividualmusicians Institute Arts published bytheFlanders EarlyMusicinBelgium, Guide to inthenewlypublished extensively listed theensemblesare anoverview; provides onpage29 been founded. Thetable year 2000,manynewensembleshave Sincethe orensembles. organisations and popup,whetherfestivals to discipline, newinitiatives continue healthyartistic isthecaseinevery As orfolkmusic. with contemporary ownright orincombination inits music, Verborgen Muziekjes)holdspaceforearly mijn ziel?)andMuziekLOD Huisder (Het Waar theproduction (for example is Transparantpeople), Muziektheater Compagnie (annualoperaforyoung companiessuchTheatre asZonzo alchemy or the visual arts. Theybringa alchemy orthevisualarts. a Tribute toFrancescoPetrarca), religion, (Scattered Rhymes, literature with linksto often makesmusic-basedproductions bruyn’s ensembleZefiro Torna, which JurgenDe are Examples perspective. afresh lookingat earlymusicfrom are who a youngergeneration ofartists iscontinuing today,This trend with October 2020). October UCf8r5jS5_k0ak2ucVGRf5FA on16 (consulted channel, https://www.youtube.com/channel/ beseenontheThey can ensemble’s YouTube &Simoens 2018. Demuyt A vision o 8

f the near fu 11 10 playlist on Spotify inthiscontext. onSpotify playlist mention the‘BelgianEarlyMusicians’ wemight Specifically forFlanders, hugeandcomplete. is astoundingly ofavailable recordings library virtual The byOuthere. labels grouped orthoseoftherecord Tidal orSpotify, platforms suchstreaming asQobuz, using forexample of possibilities, isawiderange For there listeners, or contemporary. classical today, whetheritispop,rock, onthewayweexperiencemusic least ofoursociety, not onallaspects impact turn’hashadasignificant The ‘digital H from the source in question withmusic inquestion the source from withmusic include anMP3orrecording –to willbe inthenearfuture certainly itisnowcommonplace –orit example, For otherdatabases. into integrated beingincreasingly are that recordings itisstriking research, When itcomesto Ancienne). deMusique Européen REMA (Réseau onearlymusicmadeby of podcasts An international istheseries example sometimes just three orfourminutes. three sometimes just basedon, as themadrigaltheywere as long makesmallvideoproductions to BramOllieuz thevideoartist approached playerFlorisDeRycker,led bythelute delviejoMundo, The ensembleRatas behind. havenotbeenfar multimedia art The integration ofvisual, videoand was madecenturies ago. that andfortheworkofart performance forauthentic withrespect but always to earlymusic, commitmentdifferent and live music (Mozart). and livemusic(Mozart). exhibition which hemergedvisualart, Brugge(2005)in the Concertgebouw Walter Verdin fulfilledacommissionfor e remaradio-eu (consulted on 14 October 2020). on14 October (consulted remaradio-eu https://www.rema-eemn.net/projects/ 2020). on 12October (consulted 2fNzGWVKLQYcdenLsmeSEK https://open.spotify.com/playlist/ ritag e i 11 t n adigital world u re

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12 Ensemble Apotheosis Scherzi Musicali Quadrivium Pluto Ensemble Pluto Les Abbagliati ClubMediéval Le PavillondeMusique Bel Ayre Delle DonneConsort BachPlus Ratas delviejo Mundo Ratas B.O.X. Hildebrandt Consort Per Flauto Per Flauto a nocte temporis temporis a nocte Bach Concentus Utopia Utopia Les Buffardins Musae Jovis Musae Il Trionfo I Suonatori PoeticiI Suonatori Consort Baroque Euterpe Ensemble Isabella Edding Quartet Il Nostromo delSogno Il Nostromo Capriola DiGioia Transports Publics Transports Musica Gloria Terra NovaCollective Encantar Park Collegium Mezzaluna Le Concert d’AnversLe Concert B-Five Hathor Consort Luthomania RedHerring Ensemble T ensembles in Flanders, 2000-2020 ensembles inFlanders, able Under the name “Apotheosis Orchestra” when the ensemble performs as an orchestra. when the ensemble performs Overview ofearlymusic Overview 12

Nicolas Achten Geert VanGeert Gele Marnix DeCat Ronan Kernoa Ronan Thomas Baeté Ann Cnop Lieselot De Wilde & Peter VerhelstLieselot DeWilde&Peter Frederike Van Lindt Bart Naessens Bart Floris DeRycker Pieter Theuns Pieter Wouter Dekoninck Bart Coen Bart Reinoud VanReinoud Mechelen Ewald Demeyere Lieven Termont, Uvyn Bart Griet DeGeyter, DeKoster, Adriaan Frank Theuns Pieter DeMoor Pieter Jan Van Elsacker BeniaminoPaganini Nele Vertommen, Rodyns Bart Marie Verstraete Zweistra Ageet Paul DeClerck, Bayet, Caroline Lopez, Baptiste Steven Mariën Steven Amaryllis Dieltiens, Bart Naessens Bart Dieltiens, Amaryllis Thomas Baeté Beniamino Paganini Vlad Weverbergh Kerlijne Van Nevel, SoetkinBaptist LieselotDeWilde, Sarah Abrams, Stratton Bull Stratton Peter VanPeter Heyghen Bart Van Bart Reyn Katelijne Lanneau Katelijne Romina Lischka Romina Philippe Malfeyt Patrick Denecker Founder Korneel Bernolet

2007-2018 2010 2010 2010 2010 2010 2010 2020 2010 2020 2010 2017 2017 2009 2016 2015 2007 2015 2007 2015 2007 2015 2007 2013 2007 2012 2006 2012 2006 2012 2003 2012 2003 2012 2001 2011 2011 Year

29 “The useofhigh-tech equipmentenablesus

depth and farmore precisely.” and itshistorical contextinfargreater to explore thehistorical source material B art Demuyt & Pie ter Mannaerts — Perspectives on Early Music in Flanders. 30 Integrated Database forEarlyMusic). Database Integrated thoseinthe forexample manuscripts, (bywhich wemeandigitised databases that hasbeenmadeavailableinvisual Such organisations – often linked to Such –oftenlinked organisations important. is becomingincreasingly Versailles deMusiqueBaroque Centre BruZaneinVeniceCentre andthe NovainLisbon,the Universidade Musical)atSociologia eEstética the de deEstudos the CESEM(Centro FoundationAlamire at theKULeuven, such ofcentres asthe the role research, traditional orhigh-tech applications, Whether indigital McGillUniversity). previously Tompianist Beghin(OrpheusInstitute, bythe isbeingconducted - research precisely. Similar-artistic more and far depth greater infar context historical andits material source the historical explore equipment thusenables usto Theuseofhigh-tech music inquestion. ofthe acoustics the originallyintended further, permittingconclusions about goeseven composition. Theanalysis andmusical material ofits in terms amanuscript analyse it possibleto of Voices SoundLab–makes Alamire –suchtechnology asthat at theLibrary Advanced replica. anexact construct to butalsomakesitpossible the material instrument dating –enablesexact of –such asahistorical objects historical technology.by digital of Theanalysis andenabled supported is increasingly itself available.Theresearch material makingthesource to not limited (early) musicisclearly into research to technology The contribution ofdigital 13

example. recent amore Speculum Musurgica)are (DIORAMATIZED #02and#03, RudiKnoops by theBelgianartist Theseriesofinstallations the work. and thevisitor between an interaction Thiscreates the40speakers. between canmove visitors Spem inalium,where basedonThomas Janet Cardiff, Tallis’ (2001)bytheCanadianartist Motet Part Forty istheinstallation An example a newwayofexperiencingthismusic. of insearch years, polyphony inrecent havetackled and multimediaartists Severalinstallation and afterwards. before framing themusicalperformance withapplause the traditionalconcert of rejection anincreasing towards forsometime– has beenunderway We –that witnessingatendency are inform T stage. centre taking increasingly are new technologies andtheapplianceof interdisciplinarity thefocusisclearly elsewhere: future, Alamire Foundation).Today andinthe ofthe Music inFacsimileandtheJournal of Foundation, theseriesLeuvenLibrary early music(inthecaseofAlamire andotherpublications on facsimiles published transcriptions, to contributed ofpublications:creation musicologists and ofconferences organisation the focused ontraditionalresearch, such organisations In thepast, often ininternational partnerships. onenhancement projects, also take but research, fundamental conduct –donotonly institutions research owards ane e d d e xp e w, h en ri istorically c e the experience takes precedence. precedence. the experiencetakes in which byHIE,anapproach permeated will beoneinwhich HIPisincreasingly come we willfollowinthedecadesto andtheone fiftyyears over thepast deeply.more Thepath wehavetravelled workofart penetrating thehistorical forinnovativeis searching of ways involved curiosity, everyone and artistic journey. a constant Drivenbyhistorical remains authentic formofperformance In conclusion, foran the search inasingle venue. reproduced spacesmight be historical different in even imaginablethat performances Itis performed. on therepertoire hall, depending even intheconcert DameinParis), (such asthoseofNotre acoustics orlost historical recreate willmakeitpossibleto of research theresults Inthelongterm, acoustics. willbeequippedwithvariable future Ideally, venuesofthe theperformance about. bringthem to budgets the necessary willrequire experiences ofaworkart sound. Clearly such historical “integral” closely aspossible,visuallywellin experienceas thehistorical approximate will parameters butallsensory aspect theauditory notjust new concept, Inthis informed experience”ofmusic. encompassing conceptofa“historically anew, comeevercloser to able to all- and acoustically. Thismeanswewill be spacevisually a(historical) recreate itispossibleto With AR,forexample, world interact. andreal (AR),inwhich thevirtual Reality space,butalsoAugmented virtual experiencehappensina the entire (VR),inwhich reality virtual integrates notonly ‘experientialCurrent art’ 13 (consulted on 16 October 2020). on16October (consulted https://idemdatabase.org

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31 Christine Dysers — À la flamande. 32 repetition. repetition. ofmusical aesthetics composition andthe in contemporary with specialinterests music, 21st-century focuses on20th-and Herwork analysis. andmusic theory, musicology, aesthetic between intersection atis situated the Christine’s research Scholar in2021. as aFulbright Visiting University Princeton at Department be joiningtheMusic of Londonandwill City, from University holds aPhDinMusic Dysers Christine Christine D Contemporary Music Flanders from A Global on Perspective À la ysers fl amande of performers and composers. performers of withan excitingyounggeneration circuit and festival concert well-established combininga new musiccreation, of inthe internationalcentral field role Today, up an undeniably takes Flanders creativity. musical for ground a fertile as who once againemphasised Flanders and LucienGoethals, Goeyvaerts as Karel such usinnovators brought Modernity romanticism. late periodto early Baroque the Flemishmusicspanningfull of from archives rediscovering currently world are the across from centuries, researchers during the seventeenth and eighteenth globaltrends more into upsurge dissipated While itmayseemasthough thiscreative the trends. newestmusical to the continent their audiences introduce to Countries,Low who travelledallacross the from and performers composers highlytrained of –agroup polyfonists’ innovations the ‘Flemish of so-called on the musical (and eyes ears) had its seventeenth century, the whole Europe of the early to From the MiddleAges late international creativity. musical hubof For hasbeenan centuries, Flanders

what a concert is, can,orshouldbe. is, what aconcert the traditionalconventions around that challengeproductions ordisrupt also towards identifiestendency a article anddance.Finally,as video,theatre, the such forms, art different from elements or, putdifferently,to thecombination of multi-mediality, towards is acuriosity the field emergingfrom ongoing trend thesecond that, to Closely connected the traditionalboundariesofgenre. dialogueandcollaboration across to openness isanincreased field. Thefirst music in theFlemishcontemporary tendencies broad identifies three article the total, thefield. In emerging from currently which are trends overarching tracesomeofthe aimsto the article Rather,of judgement onvalue ormerit. anddoesnotimplyanykind exhaustive isnot inthistext listed practitioners and composers festivals, halls, concert the field, ofensembles, theselection in active currently some oftheplayers highlights Whilethearticle audiences. and institutions, programmers, ofpractitioners, network a widespread inandthrough a unifiedfield. Itexists isnot musicinFlanders Contemporary hybrids. andevenpop/rock film music, composition, the fieldsofexperimental encompassing amultitudeofvoicesfrom keptbroad, as afieldisnecessarily music or‘new’ contemporary constitutes thedefinitionofwhat aresult, As thefield.and ideasthat emerge from attitudes, trends, ofcurrent diversity theenormous itcelebrates Instead, ‘Flemish’aesthetic. an overarching identify doesnotaimto thearticle ones, regional specificnational or fostering of instead international musicaltrends largelyreflects music inFlanders fieldofcontemporary thebroad As inFlanders. ofnewmusiccreation state focusesonthepresent This article neo-classical composition,ambient between their workonthethreshold international attentionreceived for player Mattias DeCraenehaveall and saxophone Wouterpianist Dewit, Double bassplayerNilsVermeulen, composition. andcontemporary noise improvisation that hoverbetween with productions hall theclassical concert to music, symbolofrock is perhapstheultimate amplifiedguitar,electronically which ZWERMtransposes the quartet guitar Electric andnoisemusic. improvisation, composition, the boundariesbetween Guy, TheThird explores percussion-duo and theguitar- Brussels-based group, composer JóhannJóhannsson.Another Icelandicfilm for theSullenandlate ambient musicduo A WingedVictory theircollaborations with through least notinthe international reputation, Echo hasgainedanimpressive Collective time, afewyears’ Injust classical genres. classicalbridges between andnon- build musicians explicitlyaimsto ofyoung unambiguous: thiscollective classically’.create, is Themessage ‘collaborate, simplyreads for instance, Hermant, andMargaret by NeilLeiter Brussels-based Echo founded Collective, ofthe Themissionstatement genre. and traditional boundariesofstyle the across exciting newpartnerships found opennessispavingthewayfor hazy,becoming increasingly thisnew- theedgesoffieldare . As court tour field ofmusicalexperimentalism music andisdissipating adynamic into traditionalassociations with‘art’ its ‘new music’isslowlymovingawayfrom Theconceptof is clearly emerging. musicalgenres collaboration across dialogueand opennessto an increased the Flemishnewmusicscene,where in strongly ofBelgiumresonates motto unity!”. through “Strength Thenational a Hyp n d multi-m d e r-co nne e ctivity diality

33 Christine Dysers — À la flamande. 34 “The concept“The of tout court.” experimentalism field of musical into adynamic is dissipating music‘art’ and associations with traditional away its from movingslowly music’‘new is success. Whatsuccess. isnew, however, isthe musical experiment withcommercial been leadingthewayincombining have likeWimMertens artists 1980s, is notbyanymeansnovel. Sincethe classicalbetween andpopulargenres theboundaries music that blurs andminimalist atmospheric, melodious, of thepopularity Ofcourse, music. classical composition andpopular between theborders similarly navigate beingnoticedasthey De Maeyerare such asValentin Hadjadjand Hannes composers In theworldoffilmmusic, musicandelectronica. post-minimal soundscapes that lingerbetween withtheirmelancholic Europe toured has MiaPrce) based keyboardist ofAntwerp- while Miaux(thealter-ego jazzimprovisation, music andfree continue to play a leading role inthis playaleadingrole continue to and NadarEnsemble ChampdAction, suchcollectives asBl!ndman,Ictus, them.Ensemblesand to elements which haveclear dramaturgical and staged, elaborately which are musicproductions to usually translates become acentral notioninthefield. This has disciplines, artistic different from taken combination ofelements Multi-mediality, orthe visual arts. dance,andthe the worldsoftheatre, from and collaboration withartists dialogue open andcurioustowards beincreasingly to have alsoproven in theFlemishfieldofnewmusic severalplayers that, to Closely related international audiencetoday. an reach what itmeansto in re-thinking action take to musicsector commercial music;urgingthenon- and promoting ofsharing traditionalways industry’s onthe putting somewelcomepressure is services social mediaandstreaming of time, however, therisingimportance Atthesame forthefuture. perspectives andtheworld, offerexciting Flanders andbetween musicalgenres between globe. Such hyper-connectivity, both the across newaudiencesfrom reaching successfully andensemblesare artists theseFlemish blurring, increasingly musicare as ‘classical’ and‘popular’ what wastraditionally understood theboundariesbetween on Spotify.As than17millionstreams more reached media,whilehismusichas mainstream beenpicked up by hashardly instance, for of Hasselt-basedWouter Dewit, Themusic the radarwithinindustry. under timestaying while at thesame have foundanimmenseglobalfollowing age ofsharingandliking,someartists Inan here. cannot beunderestimated as Spotify,BandcampandevenYouTube such services andstreaming internet ofthe global audience.Theimportance anincreasingly of musiciansreaches inwhichways generation thiscurrent lab for young creators which focuseson lab foryoungcreators a Ensemble; theChampdAction.LAbO, andSpectra byIctus co-founded which was Ghent, / School ofArts Conservatory Music at theRoyal inContemporary Master Advanced Theseincludethese ensembles. the musiclaunched by for contemporary themanyeducational programmes from younger Flemishensembleshavegrown for theear’. severalofthese Infact, make‘theatre outto explicitlysets Genk, and inLeuven,Hasselt, simultaneously based company HetNieuwstedelijk, Musictheatre individual aesthetic. adistinctly timemaintaining same whileat the productions, their recent of centre atmulti-mediality thevery vocal ensembleHYOID allplacing are duoTwoand percussion and Envelopes, Quatuor MP4,harpsichord quartet string Ensembles such astheBrussels-based generation ofmusicians andcomposers. onayounger impact leaving aprofound isalso creation interdisciplinary towards This ongoingtendency on embodiedmusiccognition. at whichcentre Ghent focuses University Music (IPEM),aresearch and Electronic forPsychoacoustics and theInstitute the world’s orchestra, robotic largest as theLogosFoundation, which houses such institutions spaces andresearch bycreative music isalsowidelyexplored and technology between cross-over The possibilities ofnoveltechnologies. of ‘music’ byexploringthecreative concept thevery keep redefining andNadarEnsemble ChampdAction Anne Teresa De Keersmaeker. Meanwhile, choreographer company builtaround dance thecontemporary with Rosas, alliance creative deepenits continues to and Toneelgroep Ictus Amsterdam, Transparantwith Muziektheater incollaboration productions theatre with severallarge-scalemusic theworld While Bl!ndmanistouring exploration. kind ofinterdisciplinary The list goeson. The list commissions. and artist projects aseriesofcommunity through society new musicandcontemporary between the interrelationships explores InTongeren, localnujazz. to B-Classic Toeareg soundsfrom adventurous rock aneclectic mixof globe, programming the across musicfrom experimental Muziek­­Cactus InBruges, of jazzandpop/rock. forms experimental composition to andcontemporary soundart from ranging practices, of contemporary platform forawiderange interregional organiser WildeWesten abroad offers andfestival concert InKortrijk, circuits. ­ side ofthetraditionalmetro much aliveout­ New musicisalsovery label)runbyKRAAK. (andrecord circuit concert as welltheexperimental platform SoundinMotion, production Q-02, theAntwerp-based sound art musicand workspace forexperimental theBrussels-based are programming musicintheir explicitly oncontemporary Musica.FocusingTRANSIT andArs more such musicfestivals, as contemporary specialised halls alsohost concert Several ofthese in theirprogramming. music showcasecontemporary regularly Antwerp) andDeMunt (Brussels) (Ghent/ as OperaBalletVlaanderen aswelloperahousessuch Ghent, STUK,andHandelsbeurs Bijloke, Miry, Brugge,deSingel, de as Concertgebouw halls such concert Flanders, All across O aimedat youngcomposers. programmes training developed complementary Times Academy,HERMESEnsemblehas such asTheTimes andThe projects with MATRIX With NewMusicCentre. which runsincollaborationonwards, theageoffourteen musicians from Academy, asummercampforyoung andtheNadarSummer technologies; andtheuseofnew interdisciplinarity ut of t he box (black) centrum focuseson politan politan

35 Christine Dysers — À la flamande. 36 * in alotofthesemodels. isacrucial factor Audience participation new spacesformusicalexperimentation. openup literally andquite audiences, andtheir ofboththeperformers roles setupsradicallychallenge the concert in people’s Thesenovel livingrooms. perform ofBrugesto thecity out across by fanning tradition oftheSchubertiade ontheeighteenth-century modern twist a literally,bit too whentheyprovided Bruggeperhapsa in Concertgebouw ‘residency’ the ideaoftheirartistic in2018,theensembletook project of Sint-Niklaas. WiththeirHomejacking open aironthecentral market square in beperformed to hot airballoons, compose aworkforensembleandfour German composerMichael Maierhofto In2012,theycommissionedthe format. that challenge thetraditionalconcert in developing productions beexperts to city. haveproven NadarEnsembletoo theleftandright banksofthe connects Anna’sSt. Tunnel, anunderpasswhich inAntwerp’s concerts informal andfree organiseaseriesof to ChampdAction upwithhisbrainchild teamed Verstockt composerSerge In theearly2010s, of sorts. aminifestival into concept hasgrown andthe somewhat ofa cultstatus, LiquidRoomserieshasgained Ictus’ Today,eclectic setofperformances. an wanderbetween freely to invited inwhich theaudienceis events stage –large,multi- Liquid Roomconcerts launched theirso-called first when Ictus 2000s, thelate can betracedback to unconventional Thistrend spaces. more theirworkin perform hall behindto traditional black boxthat istheconcert leavethe artists andmore seen more however, years, In recent has Flanders live-streamed to their headphones. The theirheadphones. to live-streamed workwas ofthetrombone performance whilea theirneighbourhoods, around walk afifteen-minute meeting andtake dialinonaZoom to invited were Audience members (2007) fortrombone. work FITTINGinSIDE participatory Prins’ ofStefan performance virtual NadarEnsembleorganiseda stop, afull putto wasmomentarily circuit concert In atimewhentheregular itself. reinvent continuously andto strong stand to Flemishnewmusichasproven crisis, Eveninthemiddleofaglobal resilience. isthat of the fieldduringpandemic, that emergedfrom trend apparent most For,author isoptimistic. perhapsthe However, music. the of contemporary leave apermanent markon thefield thatchances thepandemicwill are predict, to hard of COVID-19are economic andsocio-culturalimpacts Whiletheexact shields. and protective measures, lockdowns, socialdistancing by it wassodramatically disrupted be’,‘used to lifeasweknew before butasnapshotofhowthings course, of is, thisarticle global pandemic, Written ofanongoing inthemidst P to buildon. finding commonground thancollaborating and important more nothingis one butsevengovernments, For, is. Flanders that hasnot inacountry newmusicfieldin Belgian thecurrent andinherently howtypically highlights also dialogueandconversation towards thecontinuing inclination extent, acertain world.pluralistic Upto in anultra-globalisedandinherently life contemporary upto holds amirror musicscene the Flemishcontemporary mediality, andaudienceparticipation, hyper-connectivity, multi- towards theseemergingtendencies Through ostlud e force to be reckoned with. bereckoned to force isa Flanders newmusicfrom the future: wayinto makingits andresiliently today strong Standing in timesofglobalcrisis. innovation creative even urge towards its scene, which could notsuppress than truefortheFlemishnewmusic one’s more Thishasproven truenature. kan”), meaningthat onecannotconceal waarhetnietgaan “hetbloedkruipt (NL: itcannotgo” bloodtravelswhere “the that goes isasaying In Flemish,there global thanever. allovertheworldandismore from audiences isnow reaching Flanders from one wayoranother, music contemporary in overtheinternet bedisseminated to andcontinueof theseinitiatives were all almost lockdown. As the coronavirus months of new musicduringtheweirds theFlemishfieldof that emerged from initiatives ofthemanyartistic selection of theirownhome.Thisisbutasmall thecomfort from perform anyone to for commissioned small-scalescores (PIY) Scores and , inwhich theycollected ItYourselfonline exhibitiontitledPerform Kynde, MayaVerlaakLars an curated with Danishcomposerandsoundartist onFacebook. Together posts frequent bythecomposervia disseminated were theirwindow,the worldasseenthrough engagemusicallywith to performers the which invite These graphicscores, for LookingouttheWindow (Eyepieces). a newcompositioncycle calledScores based composerDavidHelbich started YorkerThe New . Meanwhile,Brussels- for inanarticle music criticAlexRoss audience andwasevenpicked upby aglobal attentionevent from received “Through “Through world.” pluralistic inherently and globalised life in an ultra- contemporary a mirror up to music scene holds contemporary Flemishthe participation, and audience multi-mediality, connectivity, towards hyper- tendencies these emerging

37 new guides ! 38 Discover ournewguides to classical musicinBelgium to

Brussels, November2020 Brussels, Institute Arts Flanders Ann Overbergh Publisher — With of thesupport Foundationand Alamire MATRIXAnn Eysermans, Many thanksto Princen +DeRoy Design Helen White Translation Anneliese Geerts Coninx Stef Editing Dysers Christine Mannaerts Pieter & Demuyt Bart Rudy Tambuyser Authors Colophon < image

Ann Eysermans - “PHOSPHORA” (42x30) (2010)

Phosphora is a phosphorescent graphic score (‘glow in the dark’). The score is part of a PhD research “P - TRAINS (Astrin Phosphora)” (2010-2014). In Phosphora we see the graphical representation of the phosphorescence process, surrounded by train and music signs. The composer provides the performer with a maximum of freedom in interpreting the score. Flanders Arts Institute is an interface organisation and expertise centre for the arts from Flanders and Brussels. The organisation caters to both national and international professional arts audiences. The institute is the contact point for foreign art professionals in search of information on visual and performing arts and on music in Flanders. To increase the awareness and visibility of the Flemish arts scene on an international level we stimulate and help develop international collaboration, communication and exchange between artists, art professionals and policy- makers. With this, we are aiming to build sustainable international relations and to encourage and support exchange and cooperation on an international scale.