Flemish Symphonic Music since 1950

Contemporary Music in Flanders
Flemish Symphonic Music since 1950
historical overview, discussion of selected works and inventory
Edited by Mark Delaere and Joris Compeers
CONTENT
PREFACE
5
MATRIX
9
A. HISTORICAL OVERVIEW
Some trends in symphonic music in Flanders since 1950
by Steven Vande Moortele
© 2006 MATRIX – New Music Documentation Centre (Leuven, Belgium) - www.matrix.mu
edition: Mark Delaere, Joris Compeers, Veronique Verspeurt
production: Joris Compeers
translation: Stratton Bull
lay-out: Compagnie Maandacht
print: Acco (Leuven, Belgium)
The compilation cd is an initiative of the Flanders Music Centre
Music selection by Peter Swinnen
Produced and mastered by Michel Hoedemakers, Luc Brewaeys & VRT
p & c FMC 2006/03
With the support of:
Flanders Music Centre (Muziekcentrum Vlaanderen) - www.flandersmusic.be
D/2006/10.184/1
ISBN 90-77717-03-X
11
B. DISCUSSION OF SELECTED WORKS
BAEYENS AUGUST L.: Symphony No. 4 (1951-1952)
by Kristof Boucquet
21
BREWAEYS LUC: Symphony No. 8 (2004)
by Mark Delaere
23
BUCKINX BOUDEWIJN: Mooi Weer (2001)
by Jan Christiaens
25
HENDERICKX WIM: Le Visioni di Paura (1990)
by Maarten Beirens
27
KERSTERS WILLEM: Symphony No. 2 (1963)
by Jochem Valkenburg
29
POOT MARCEL: Symphony No. 6 (1978)
by Dirk Moelants
33
VAN LANDEGHEM JAN: Concerto per pianoforte ed orchestra (2001-2002)
by Maarten Quanten
36
C. INVENTORY
Alphabetical Inventory of Flemish Symphonic Music since 1950
Chronological Inventory of Flemish Symphonic Music since 1950
41
82
LIST OF PUBLISHERS AND RECORD COMPANIES
125
TRACK LIST CD
128
3
PREFACE
This is the third volume in a series documenting contemporary music since 1950
from Flanders. The first volume on Flemish string quartets was published in 2004,
the second on piano music in 2005. Future volumes will cover ensemble music,
vocal music and electronic music.
With this series, MATRIX is meeting the criteria of its core activity: the documentation
of contemporary music in general and Flemish contemporary music in particular
(for more on MATRIX, go to www.matrix.mu). To this end, MATRIX has built up an
extensive collection of scores, CDs, books and periodicals. This collection is the
starting point for educational activities such as, for instance, courses on new music,
concert introductions or workshops for music teachers and conductors. The collection
also forms the basis for this publication, which aims to make an inventory of all
symphonic music written in Flanders since 1950.
The inventory is preceded by a major essay in which the most important stylistic
characteristics of the Flemish symphonic repertoire since 1950 are considered.
This is followed by short articles on several representative works.
We should like to emphasise the fact that the selection of works for discussion is
not based on a judgement of their merits. The chosen orchestral works are naturally
compositions of high artistic quality, but this may be said of many other Flemish
symphonic works. The aim of the discussions of the works is rather to illustrate
the stylistic diversity of this repertoire and to allow composers from different generations
to be considered. As an additional criterion, no works from composers presented in
the previous volumes on string quartets and piano music have been selected for
the short articles. The short articles on symphonies by Boudewijn Buckinx and
Luc Brewaeys are two exceptions to this additional criterion. This is not only
motivated by the central position of the symphonic genre in both composers’ oeuvre,
but also by the fact that their works represent opposite tendencies at the outer
extremes of Flemish symphonic music that should not be lacking in a publication
such as this one.
5
For budgetary reasons, a decision has been made not to provide a Dutch version
of this text. Flemings are world citizens with a perfect understanding of English.
The same cannot be said of all world citizens’ grasp of Dutch. An English version
thus offers a much wider international reach.
We are very grateful to the composers for their additions and corrections to the
inventory of works. Steven Vande Moortele provided us with a wonderful essay,
and we also thank the authors of the short discussions of the works for taking
part on a voluntary basis. A word of thanks goes out to the Flanders Music Centre
(Muziekcentrum Vlaanderen) for financing the translation of the texts; and for
the production of a CD of fragments from representative symphonic works.
Documentation in word and sound is, after all, that much stronger.
In order to promote Flemish contemporary music, the book and CD will be distributed
free of charge to orchestras, concert organisers, music festivals and other interested
parties both in Flanders and abroad.
MARK DELAERE
JORIS COMPEERS
7
MATRIX
MATRIX: new music documentation centre
Over a few short years, MATRIX, with its library of 20,000 scores, has grown
to become an important collection of music composed since 1950. Music from
Flanders forms the core of this collection but placing this Flemish repertoire in
an international context is equally important. Thus a search for Boulez’ Structures
in the online catalogue easily leads to a survey of all the works written in Flanders
and elsewhere for the same scoring (two pianos). The collection is the point of
departure for two other areas of activity: musical heritage and educational activities.
For the former MATRIX has undertaken a collaboration with the Flemish musical
heritage centre Resonant and with ComAV. Conscious of the fact that today’s
composition can be tomorrow’s threatened heritage, a pro-active heritage policy
has been adopted, involving both conservation and drawing up an inventory.
The Flanders Music Centre, an organization with a governmental mandate to
promote all Flemish music (from jazz, pop and classical to folk music), draws on
the resources of MATRIX for its documentation of contemporary classical Flemish
music. In 2004, MATRIX initiated its Contemporary Music in Flanders publication
series, in which Flemish music since 1950 is being exhaustively inventoried by genre.
The (bilingual) website comprises some 100 information files on contemporary
Flemish composers providing extensive analyses of a selection of their works.
The educational activities are geared to music-school teachers, children, young
people, band and choir conductors and the wider audience, all of whom are offered
a chance to increase their awareness of contemporary (Flemish) music through
workshops, productions, lectures and concert introductions.
The establishing of MATRIX vzw, a non-profit organisation, has been made possible
by Cera, an organisation that supports social and cultural projects in their start-up
phase. MATRIX also enjoys the support of K.U.Leuven, the City of Leuven,
and the Province of Flemish Brabant.
Address
Minderbroedersstraat 48, B-3000 Leuven
Tel.: +32 (0)16 33 20 43
Fax.: +32 (0)16 33 20 40
[email protected]
www.matrix.mu
9
SOME TRENDS IN SYMPHONIC MUSIC IN FLANDERS SINCE 1950
A. Historical Overview
In taking on symphonic music, a composer may feel more seriously limited by
a number of external factors peculiar to that medium than he or she would in
composing other kinds of instrumental music. Given the large apparatus it requires,
the performance of symphonic music obviously has considerable financial implications,
so that in actual practice, it is most often composed on commission. And since
a symphonic composition generally has some kind of representational function for
the commissioner, its composer is not merely accountable for the intrinsic quality
of the music but also for responsibly spending large amounts of other people’s money.
Symphonic music is also heavily loaded with the burden of tradition, more than,
for instance, piano music, ensemble music or even music for string quartet.
While the element of tradition is clearly very important for the latter genre as well,
the generic tradition of the string quartet is essentially a tradition of innovation and
of writing for a limited circle of connoisseurs. Symphonic music, by contrast, operates
within a tradition of monumentality, and is expected to address a large and relatively
heterogeneous audience.
Somewhat surprisingly, these limitations have not prevented Flemish composers
since 1950 from showing a remarkable interest in writing for symphonic orchestra.
The list at the end of this volume mentions more than 800 titles1. Admittedly,
the definition of what is considered to be symphonic music is taken rather broadly.
Apart from symphonic music in the strict sense – works scored for full symphonic
orchestra, as well as compositions for orchestra with chorus and/or vocal or
instrumental soloists, and explicitly called ‘symphony’ in the title or the subtitle –
it also includes concertante works in which one or several instrumental soloists are
accompanied by a symphonic orchestra, and music for one or several vocal soloists
(singers or speakers) with orchestra. Not included are works for staged music-theatre,
choral music with orchestra (with the exception of choral symphonies)
and music for chamber, string or wind orchestra.
Quantitative evolutions
Figure 1 shows in percentages the share of purely symphonic compositions,
concertante compositions, and compositions with vocal soloists in the total number
of symphonic compositions per decade. The purely symphonic works are clearly
in the majority, and apart from a temporary decline in the 1990s, their share shows
a steady increase. The share of compositions for vocal soloist with orchestral accompaniment decreases up to and including the 1980s – with a rather dramatic decline
between the 1970s and 1980s. From the 1990s onwards, it seems to recover again.
1
10
It goes without saying that this list cannot guarantee absolute comprehensiveness. As a consequence, the quantitative analysis
in the following paragraphs is less concerned with absolute numbers than with broad proportions and general evolutions.
11
The same pattern reveals itself even more clearly in figure 3. This graph disregards
year-to-year differences, showing the average number of symphonic works per year
for each group of five years from 1950 through 2004. The average number of new
compositions gradually decreases from twenty-four in the early 1950s to a low-point
of a mere eight in the first half of the 1980s. In the second half of the 1980s, the average
suddenly doubles to sixteen, and in the subsequent five-year periods it remains at a
relatively constant level.
80
70
60
50
40
works with vocal soloists
concertante compositions
symphonic works
30
20
10
25
0
1950-59
1960-69
1970-79
1980-89
1990-99
2000-05
20
figure 1
15
10
It is more interesting to examine the general quantitative evolutions in the production of symphonic music in Flanders since 1950. Figure 2 shows the number of newly
composed symphonic works per year. Apart from the often important year-to-year
differences, which single out some years as considerably richer in new symphonic
repertoire than others, the graph clearly shows that from the 1950s through the
early 1980s the overall tendency is a decreasing number of new symphonic works
per year. From the mid-1980s, the general tendency is an increase.
30
25
20
15
10
55
0
‘50
figure 2
12
‘55
‘60
‘65
‘70
‘75
‘80
‘85
‘90
‘95
‘00
‘05
55
0
‘50-’54
‘55-’59
‘60-’64
‘65-’69
‘70-’74
‘75-’79
‘80-’84
‘85-’89
‘90-’94
‘95-’99
‘00-’04
figure 3
This tendency is mirrored in the production of compositions that explicitly bear
the generic designation of ‘symphony’ (or ‘sinfonietta’) in their title or subtitle.
In the 1950s 29 new symphonies were composed – some 14% of the total production
of symphonic music – in the 1960s 27 (almost 19%), 14 in the 1970s (14%), 17 in the
1980s (14%), 30 in the 1990s (more than 17%) and 25 since 2000 (almost 17%).
The popularity of the symphony as a genre among Flemish composers in the fifties
and sixties is striking and, as we shall see, characteristic of the situation of new
music in Flanders in those years. Particularly in the 1950s the genre was practiced
enthusiastically and with much confidence. It is significant, for instance, that of the
twenty-nine new symphonies written in the 1950s, no fewer than nine were symphonic
debuts: Jan Decadt (1914-95), Peter Welffens (1924-2003), Albert Delvaux (°1913),
Frédéric Devreese (°1929), Jef Maes (1905-96), Norbert Rosseau (1907-75),
Willem Kersters (1929-98), David Van de Woestijne (1915-79) and Renaat Veremans
(1894-69) all wrote their first symphonies during this decade. For seven of them,
the first experience with this prestigious genre was apparently sufficiently rewarding
to encourage them to write at least one more symphony – only Decadt and Devreese
stopped at one. Several of these debutants, moreover, are relatively young: Welffens,
Devreese and Kersters were still in their twenties when they composed their first
symphony.
13
In the 1960s the symphony starts to lose some of its topicality. Although the share
of symphonies in the total production increases, the genre is mainly practiced by
older composers. The decade witnesses only five symphonic debuts: Raoul De Smet
(°1936), Boudewijn Buckinx (°1945), Nini Bulterijs (1929-89), Lucien Goethals (°1931)
and Renier Van der Velden (1910-93). Moreover, Goethals’s Sinfonía en gris mayor
for two orchestral groups and two tapes – one of the rare examples of avant-garde
symphonic music in Flanders in those days – has nothing to do with the traditional
notion of a symphony, while Buckinx’s Symphonies 1 and 2 are juvenile works that
are completely unrelated to his later experimental and postmodern music.
The crisis of the symphony becomes more open in the 1970s, with only fourteen new
symphonies. Four composers write their first symphony – Godfried-Willem Raes
(°1952), Ludo Hulshagen (°1951), Marcel De Jonghe (°1943) and Frits Celis (°1929)
– although only the latter would continue to write symphonies. Incidentally, all of
these symphonic debuts date from the final three years of the decade, and somewhat ironically, Raes’s anti-symphony entitled The Last Symphony is the first of
them.
After this modest revival in the late 1970s, the crisis reaches a low-point in the first
half of the 1980s. From 1980 to 1985 only three new symphonies appear, and none of
them is a debut. The tide turns in 1985. Led by Luc Brewaeys (°1959), six composers
write their first symphony, the others being Carl Verbraeken (°1950), Frank Nuyts
(°1957), Jan Van der Roost (°1956), Luc Van Hove (°1957), August Verbesselt (°1919)
and Marc Verhaegen (°1943). Apart from Verbesselt, these are young composers,
and Brewaeys, Nuyts and Van Hove would evolve into the core of what might be
called a new symphonic generation in the 1990s and beyond.
The definitive revival of the symphony in Flanders has indeed been confirmed by
the evolutions since 1990. Thirty-one new symphonies were composed in the 1990s,
and since 2000 25 have already been added. Admittedly, a considerable number of
these are accounted for by the ten Unfinished Symphonies by Buckinx; nonetheless,
the resurgence is undeniable, especially when one considers the number of debuts.
From 1990, composers of such diverse aesthetic convictions as Piet Swerts (°1960),
Kurt Bikkembergs (°1963), Elias Gistelinck (°1935), Dirk Brossé (°1960), Janpieter
Biesemans (°1939), Lucien Posman (°1952), Rafaël D’Haene (°1943), Martin Valcke
(°1963), Peter Swinnen (°1965), Jean-Luc Bertel (°1955), Patrick De Clerck (°1958),
Ann Kuppens (°1964), Jean-Pierre Waelbroeck (°1954) and Jeroen D’hoe (°1968) all
started to write symphonies, or at least to call compositions symphonies. Interestingly,
the striking popularity of the term symphony as a genre-designation used by late
20th- and early 21st-century composers in Flanders is inversely proportional to the
consensus on how that genre might be defined.
In seeking an explanation for these evolutions, one might of course refer to a number
of music-historical changes (see below: Stylistic tendencies). Given the importance
of commissions for symphonic works, however, their production is at least equally
dependent on external factors.
With its policy of devoting twenty percent of its program to Belgian music, the main
commissioner of Flemish symphonic music in the 1950s was the Belgian Radio
(the so-called N.I.R. – I.N.R.), whose ‘Groot Symfonie Orkest’ and its principal
conductor Franz André gave the first performance of many new symphonic
compositions by Flemish composers2. The combined factors of the split of the
unitary radio into a Flemish and a Walloon section, the rise of popular music channels,
the success of television and the availability of high-quality recordings resulted in
a rapid decrease in the number of commissions from the late 1960s onwards.
Only from the second half of the 1980s was an alternative for this policy offered,
notably by professional symphonic orchestras such as the Flemish Radio Orchestra
and the Royal Flanders Philharmonic, each of which has regularly commissioned
new works by Flemish composers. Since the second half of the 1980s, these and
similar policies have been supported by an elaborate system of grants from the
Flemish Government.
Stylistic tendencies
As outlined above, symphonic music is not the ideal place for compositional experiments.
It hardly comes as a surprise, then, that up to the early 1980s, symphonic music in
Flanders was dominated by two rather untimely tendencies. The symphonic works
of the elder generation of composers active in the second half of the 20th century
– most of them born in the 19th – remain essentially late-Romantic or Impressionistic.
For these composers, writing for symphonic orchestra was self-evident, and
although individual differences are considerable – from the sovereign technical
refinement of Arthur Meulemans (1884-1966) and the unacademic stylistic versatility
of Robert Herberigs (1886-1974) to the more plainly Romantic style of Jef Maes and
Jef Van Hoof (1886-1959) and the blunt populism of Renaat Veremans – all of them
continued to write in a relatively unbroken late-19th or early-20th-century idiom.
In spite of the prestige some of these composers acquired, their historical significance
for the development of symphonic music in Flanders in the second half of the 20th
century is limited, especially as the Romantic and Impressionistic tendencies
gradually died out with them. The real lingua franca of Flemish composers of symphonic
music between 1950 and 1985 can best be described as a moderate pre-war modernism –
a style that, although more up-to-date than that of the elder generation, still had
known its international heyday one or several generations before. This lingua franca
usually contained elements referring to Stravinsky, Bartók, Hindemith and NeoClassicism, with – more rarely – some atonality, as well as prudent attempts at
twelve-tone techniques.
In the first half of the 20th century, a group of pioneering composers born around
1900, including August L. Baeyens (1895-1966), Karel Albert (1901-87), Jef Van Durme
(1907-65) and also Marcel Poot (1901-88) had introduced these novel tendencies in
Flanders. After the Second World War, they largely kept to the same track.
2
14
See, for a detailed discussion of the orchestras, the classical music policies and the music library of the Belgian Radio up to 1960:
Mark Delaere, Pieter Mannaerts, Kristin van den Buys, and Veronique Verspeurt, Het geheugen van de geluidsfabriek.
De Vlaamse symfonische muziek in de voormalige muziekbibliotheek van de openbare omroep, Leuven, 2004.
15
Having become part of the musical establishment during the 1950s and 1960s,
however, these former enfants terribles clearly tended to take the edges off their
style. As a result, the emphasis in their works shifts from modernism to moderation.
It comes as no surprise, then, that after 1950, several of them practice the large
symphonic genres with more confidence than they had done in the first half of the
20th century. Baeyens, for instance, wrote five of his eight symphonies after 1950,
Van Durme four of six, and Poot even five of seven.
At least equally important to the landscape of symphonic music in Flanders in the
third quarter of the 20th century was a generation of composers born in the 1920s.
Although born at about the same time as the leading figures of the international
post-war avant-garde, they still decided, as budding composers shortly after the
Second World War, to restrict themselves to the use of technical and expressive
means already available roughly about the time of their birth. The most prolific
symphonists of this generation are Victor Legley (1915-94), Peter Cabus (1923-2000),
and Willem Kersters. A typical example of their work is Cabus’s Third Symphony
from 1961. Its first two movements, a Bartókian Presto ostinato and a neo-Classical
Theme with Variations, have a strong bitonal flavor. Its equally neo-Classical finale,
by contrast, is in a barely concealed D major, with clear stylistic reminiscences of
Stravinsky’s Symphony in C.
•••
In the course of the 1980s, a new crop of composers, many of them born after the
Second World War, took the lead. Their arrival on the musical scene initiated a shift
in the direction of two new stylistic tendencies, each of which is, nonetheless, related
to one of the aforementioned tendencies. A first group of composers adopted an
emphatically eclectic attitude. From moderate pre-war modernism to a generalised
eclecticism is a small step, of course. The liberty of drawing on a very heterogeneous
arsenal of styles, techniques, and vocabularies within one and the same composition
has even been called an essential characteristic of Flemish music since 1950.
Still, a number of composers apply this liberty in a more systematic way than others.
Their compositional projects aim at a reconciliation of the tradition of Western art
music with a limited number of specific elements that originate outside this tradition.
Elias Gistelinck (°1935) and Marc Matthys (°1956) both incorporate elements from
jazz into their symphonic music. Gistelinck, whose early work Ndessé ou blues for
narrator, jazz trio, jazz orchestra and symphonic orchestra (1969) represents one of
the first serious attempts in Flanders to integrate jazz and symphonic music, is the
more edgy personality of the two. His later music often tends toward a kind of new
simplicity, and the relentless repetition of lamenting melodies over a simple obstinate
accompaniment that pervades his First Symphony (1991) is seldom comforting. Matthys,
by contrast, generally adopts a more agreeable idiom of light, accessible jazz in a
symphonic jacket, as is the case in his Contrasts for flute, vibraphone, jazz trio and
orchestra (1992).
16
A broader eclecticist is the commercially very successful Dirk Brossé (°1960).
The basis of his symphonic style is the film-music adaptation of a 19th-century
Romantic idiom transplanted back to symphonic music. This is most readily apparent
in the suite from the score he wrote for the film Daens (1995) as well as from his
Flanders International Film Festival Overture written that same year. Elsewhere,
as in his symphonies Artesia and the Birth of Music (1995 and 1997), this cinematic
style is spiced with heterogeneous elements from jazz, light and ethnic music, and
occasionally also some novel techniques from contemporary art music.
An altogether different personality is Wim Henderickx (°1962). His work is strongly
influenced by non-Western cultures and musical traditions, especially from SouthAsia and Africa. Henderickx deals with these influences in a very subtle way, integrating
them into his Western idiom to such an extent that they are often unrecognisable as
foreign influences – apart, that is, from the often cheerfully excessive use of exotic
percussion instruments. Henderickx’s best symphonic compositions are his three
Ragas: Raga I for percussion and orchestra (1996) – a transcription of an original
composition for percussion and two pianos – Raga II for orchestra (1995) and Raga III
for viola and orchestra (1995). All three Ragas display a similar overall formal
organisation: a slow first section, a fast second section, and a slow conclusion.
As their titles suggest, they incorporate elements from classical Indian music, which
manifest themselves not only in the use of Indian modes (ragas) for the pitch organisation
and recurring patterns (talas) for the rhythmic organisation, but also on a more
spiritual level.
In spite of the use of heterogeneous materials, communication by means of a coherent
musical grammar remains a central concern of these composers, especially in their
symphonic music. In many cases, the use of elements from outside contemporary
Western art music is intended to enable or improve that communication in the first
place. This is not the case with a group of composers that have been termed postmodernists, the most prominent among which is Boudewijn Buckinx. Alienating
musical clichés mainly from the 19th-century tradition, Buckinx deliberately adopts
a stylistic and grammatical inconsistency in order to question the self-evident and
create a sense of unease. This becomes most readily apparent from his series of ten
Onvoltooide Symfonieën (Unfinished symphonies) – from 0 to 9, not all of them for
symphonic orchestra, some with instrumental soloists, and the ninth unavoidably
a choral symphony. These unfinished symphonies are really anti-symphonies, manifestly
expressing a disbelief in the potential of the symphonic genre to communicate
the grand ideas it has often been associated with.
More important to the revival of symphonic music in Flanders from the second half
of the 1980s onwards are a number of composers whose works can be described
as neo-Romantic. The most important exponents of this group are Luc Van Hove
(°1957), Piet Swerts (°1960), and Jeroen D’hoe (°1968), as well as the slightly older
Rafaël D’haene (°1943). For each of these composers, the use of an orchestra is
essential, and it comes as no surprise that they handle it with impressive sovereignty.
As with many of their contemporaries, their work is eclectic, drawing freely on
the expressive and technical arsenal of almost two centuries of music history.
17
Yet in the work of these neo-Romanticists, eclecticism serves a higher purpose:
it is an attempt to restore certain aspects of the 19th-century symphonic tradition
that have disappeared in the course of the development of 20th-century Western
art music. As a consequence, their aesthetic position is even further removed from
postmodernism than that of their colleagues discussed in the previous paragraphs.
Without exception, they strive for a synthesis, a unity in the best 19th-century tradition.
In this respect, it is somewhat ironic that many of these composers refer to Gustav
Mahler – the composer in whose work the dream of unity definitively shatters into
pieces – as their example.
In spite of the general similarities between D’haene, Van Hove, Swerts and D’hoe,
there are a number of important differences as well. A first distinction is material.
Van Hove and D’hoe draw on a multitude of compositional techniques from the middle
of the 19th century until today. Often, they show a clear predilection for specific
techniques from the second half of the 20th century. D’haene, by contrast, usually
restricts his stylistic and technical arsenal, and seldom writes passages one could
not also imagine to have been written by, say, Alban Berg, of whose Altenberglieder
D’haene’s Sonette an Orpheus (1987) are particularly reminiscent. Apart from this
– and this is a second distinction – D’haene also seems to be primarily interested in
the expressive potential of the 19th-century tradition. The same is true of Swerts,
as becomes evident from the latter’s very Mahlerian second symphony Morgenrot
(2000).
Although the expressive aspect obviously plays a role in Van Hove’s and D’hoe’s
works as well, their main interest is in the recuperation of the constructive aspects
of the 19th-century tradition, which should allow the composition of large-scale
forms. Van Hove often deliberately adopts a 19th-century rhetoric that enables every
fragment of the composition to define its own formal function. Transitions, expansions,
conclusions and recapitulations are always recognisable as such and find their
place in larger formal constructions, such as the sonata-form first movement of
the Second Symphony (1997). In its entirety, this symphony is a remarkably organic
composition, all pitch material being derived from the fortissimo chord heard at its
very beginning.
D’hoe’s mature style fully emerges in his Festival Anthem from 2001. The alternation
of toccata-like fragments and lyrical melodies, based on the permutation of short
motives; the partially undetermined sonic fields and the brilliant instrumentation;
the strongly directed climaxes and the superposition of heterogeneous material in
a manner reminiscent of Charles Ives; and the ambitious yet clear large-scale form
– these are the hallmarks of his immediately recognisable and obviously Americaninspired orchestral language.
•••
Generally speaking, Flemish composers of the more radical kinds of new music
– serialism, postserialism, spectralism, new complexity and experimental music
– have maintained a rather problematic relationship with symphonic music. They
seldom feel at ease with the representational character of the symphonic orchestra
or with its seemingly unavoidable associations to the 19th-century tradition.
18
It is hardly surprising, then, that these composers flourished far more in the alternative
circuit of more flexible specialised ensembles.
Admittedly, the three main exponents of serialism and postserialism in Flanders
– Karel Goeyvaerts (1923-1993), Lucien Goethals and Claude Coppens (°1936) –
all regularly wrote for symphonic orchestra, and their symphonic works echo every
recent international tendency: generalised serialism, emancipation of the physical
space, electronic music (especially in Goethals’s works), aleatory, repetitive and neotonal
elements. Particularly Goeyvaerts – the icon of new music in Flanders – wrote for
orchestra throughout his career, and an overview of his symphonic output reads
as a concise history of Western art music since 1950: the pre-serial (Second) Violin
Concerto from 1950 with its fateful belated premiere at the 1952 Darmstadt Ferienkurse
and the group serialism of Diafonie (1957); the 1962 Zomerspelen (Summer games)
for three orchestral groups and the aleatory Al naar Gelang (Depending on) for five
orchestral groups from 1970-71; the repetitive and additive Litanie III (1980) and the
neotonal Opbouw (Build-up, 1991), the orchestral satellite work to his magnum opus
Aquarius. It is telling, however, that none of these symphonic works ranks among
Goeyvaerts’s best, as becomes clear when Diafonie is compared to Nummer 2 for
thirteen instruments, Litanie III to the far more intense Litanie I for piano,
and Opbouw to the string quartet De Zeven Zegels (The seven seals).
A certain mistrust of the symphonic orchestra is equally apparent from the work
lists of most younger radical composers. Many of them have never written for the
symphonic orchestra at all, and otherwise so audacious personalities such as Serge
Verstockt (°1957) and Stephan Van Eycken (°1975) only exceptionally ventured into
writing a symphonic work. In fact, each of them completed only one symphonic
composition, with an attempt by Van Eycken to write a second one in 2004 significantly ending in failure. Of the experimental group around Godfried-Willem Raes,
the young Sebastian Bradt (°1979) is the only one who regularly – and successfully
– yields to the seductions of the orchestral medium.
The single radical composer in Flanders whose boldness does not recoil before
the orchestra is Luc Brewaeys (°1959). On the contrary: Brewaeys loves the orchestra
and its countless sonic possibilities. His First Symphony ..., e poi c’era... (1985)
formed the upbeat to the revival of Flemish symphonic music, and in the otherwise
predominantly tame musical landscape of the early 1980s in Flanders, the international
orientation of his firstling must have startled many. It is a completely athematic
composition that occupies an intermediary position between French spectralism
and the musique concrete instrumentale of Helmut Lachenmann. The alternation
of sections subtly exploring and manipulating the harmonic spectrum and more
exuberant fierce passages characteristic of this symphony would remain a constant
in Brewaeys’s symphonic music. If anything, the fact that a composer like Brewaeys
decided to continue his First Symphony with an impressive symphonic series –
as of early 2006, he is working on a Ninth – forms the most eloquent proof that
symphonic music in Flanders is alive, and that it has a future.
[STEVEN VANDE MOORTELE]
19
AUGUST L. BAEYENS (1895-1966)
Symphony No. 4 (1951-1952)
1. Moderato
2. Allegro
3. Andante cantabile
4. Allegro deciso
B. Discussion of Selected Works
On 1 May 1952, in the city of Antwerp, August L. Baeyens put the finishing touches
to his Fourth Symphony, a work dedicated to Roger Avermaete. Both the date and
the place are significant, as is evident from the short text that precedes the score:
“The tumult of one day, the hush of another; the harbour, the city; the wailing of
a ship’s siren in the night; the river; the stately passage of ocean-going vessels;
bustling crowds; celebration, mourning; parades, demonstrations; a quiet song
of a lonely person and above all this Thanatos’s imperative, calm security.”
Although this description should not be considered as the programme of the
Fourth Symphony, certain segments of the composition can easily be associated
with elements from this depiction. A quote from Michel de Montaigne, also
included in the score, can be related to the many march-like passages in the work:
“[...] encores faut-il marcher de nos jambes. Et au plus eslevé throne du monde
si ne sommes assis que sus nostre cul.” In any case, even on a purely musical
level, without reference to the verbal expressions on the first page of the score,
this work exudes a strong sense of social commitment. The Fourth Symphony
is a large-scale composition in four movements with a total duration of more than
eighty minutes. The work employs the standard scoring for symphony orchestra,
with the inclusion of two harps as most notable feature.
The first movement (Moderato, bb. 1-365) opens with an introductory segment,
consisting of expressive, often dissonant combinations of ethereal melodic lines,
supported by a pedal note (b-flat) in the timpani. After a lively transitional passage,
announced by a rhythmic ostinato figure in the cello and double bass (b. 79),
a ‘siren-like’ trill figure in the piccolo and flute in bar 137 introduces a segment
with a march-like, almost ‘mechanical’ quality, culminating in a powerful C major
chord for the whole orchestra. The central section, starting from bar 199, bears
a completely different character: after a meditative, isolated melodic line for
the solo violin, all the instrumental groups gradually build to an orchestral climax
(bb. 270-290). The tempo primo in bar 290 marks the return of the opening melodic
figures and the pedal in the timpani (this time on g-flat), followed by reminiscences
of motifs and melodies from the earlier segments of the first movement.
The second movement (Allegro, bb. 366-899) has a more exuberant and joyful
character, as if to express a festive mood. In contrast with the expressive
dissonances of the first movement, the harmony has a stronger diatonic, almost
modal quality, with many open fifths and fourths.
20
21
The striking appearance of harps and trumpets gives the opening segment of this
movement an impressionistic touch. In bar 568, the strings establish a pedal on
c-sharp (marcato) in repeated tremolos, as preparation for the march segment
that begins with the syncopated ostinato figure in bar 717. Unlike the ferocious,
mechanical march from the first movement, here a grim tone is avoided by the
re-emergence of motifs from the opening segment of this movement. To confirm
its more joyful character, a broad, chorale-like melody appears in the low strings
and winds, in combination with the return of the pedal note c-sharp in bar 812.
After a short, powerful drum-roll in the timpani (b. 873), this segment breaks off
abruptly, as if the image of the ‘festive parade’ was nothing more than a short-lived
vision, gradually dissolving over the final 26 bars of this second movement.
The third movement (Andante Cantabile, bb. 900-1285) consists of a central
scherzo section (with prominent pizzicatos in the strings), enclosed by two slow
sections. These outer sections give expression to a more melancholy mood.
Both in its formal structure and in its details, this movement is dominated by the
principle of mirror-symmetry: the soloistic horn melody (bb. 939-961), supported
by a rocking pattern in the strings, is mirrored, after the central scherzo, by the
solo melody of the oboe (bb. 1254-1285), this time accompanied by the arpeggio
figures in the harps.
LUC BREWAEYS (1959)
Symphony No. 8 (2004)
By his own admission, in this symphony Luc Brewaeys strived for an orgy of sound
analogous to the one in Beethoven’s Symphony No. 8. He set out to write a fourmovement work of which only the first two movements were played at the première
on 6 March 2004. The composer still intends to write a short scherzo (2’30”)
and a finale (6’-7’), precluding any comparison with another eighth symphony.
Schubert’s so-called ‘Unfinished’ Symphony has two movements as well, which
on closer inspection are seen to form a perfectly self-contained symphonic whole.
This could be said also of the first two movements of Brewaeys’ Eighth Symphony.
Although with their total length of 13’22” these movements do not correspond to
the large sound apparatus at hand nor to the usual (durational) conventions of the
genre, the work is nevertheless complete in its ‘unfinished’ form, presenting a
wide and self-contained symphonic arch. The two movements share the same
expressive register (respectively a funeral march and a funeral song) and the composer
will have to summon up all his imaginative power and a strong sense of form to
successfully add a scherzo and a finale.
The fourth movement (Allegro deciso, bb. 1286-1698) opens with a glissando motif
in the violins that, as a signal-theme or ‘motto’, reappears a number of times in
this movement. The movement gains its ‘deciso’ character from the frequent
dotted rhythms and trill figures, while the percussion now for the first time
becomes more prominent. In bar 1599 the melodic lines from the opening segment
of the first movement return, together with the moderato tempo marking, thus
applying the principle of mirror-symmetry on the highest structural level.
In bar 1648, a soloistic oboe introduces a final melody, accompanied by a gently
rocking pattern in the harps and violins (as if to suggest the calm of a slowly
passing river). This oboe concludes the work with an isolated b-flat, the opening
pitch from the timpani in the first movement, thus giving the symphony a sense
of tonal closure.
[KRISTOF BOUCQUET]
music example 1
22
23
The group of five horns dominates the musical argument in both movements.
In the slow introduction to the first movement, this group opens the composition
with a semitone trill on a, which despite the many distortions forms the central
pitch. In bars 9-10 however, the descending glissando a-f played by the kettledrum
defines the actual tonal centre (see music example 1, brass/percussion/harps only).
As the work progresses, it becomes indeed increasingly clear that f together with
a, c and e-flat form the stable harmonic basis of the first movement. It is common
knowledge that Beethoven’s Eighth is also ‘in F’ (major). On the level of harmonic
organization, there is a successful combination of a large number of dense chords
that together create a rich harmonic vocabulary, and a static dwelling on f,
for which the different chords seem to create a spectral colouring. After the slow
introduction the texture remains as yet fragmented, with in succession a melody in
the first two horns doubled in 3/5-parallels by two piccolos, a continuation of this
melody in the two piccolos, a short repetition of the trill figure from the introduction
and a duet for contra-bassoon and tuba. This serves to define the extremes of the
range, with the horn group nestled in between. The first appearance of the funeral
march is in bar 54 but continuing interruptions (including a passage for solo trumpet
and elements from the introduction) prevent it from stabilising definitively.
This stabilisation begins only at bar 105, with a harmonic-metrical pattern of ten
bars (harps, tom-tom, vibraphone and gongs) and a second pattern in a different cyclical
rhythm (piano, tubular bells, suspended cymbal). These patterns are repeated as
an ostinato until the final bar. An impressive orchestral climax builds above them,
with the horn group repeatedly initiating melodic waves in spiral form that rise to
an ever higher tessitura, with an increase of intensity caused by the systematic
addition of instrument groups and with a staggering crescendo. In the final bars
this crescendo reaches its climax in the percussion group. A reference to the
conclusion of the funeral march from Webern’s Six Pieces for Large Orchestra op.
6 is not out of the question, although the poignant crescendo in Webern’s work is
an exception for him while it is the rule for Brewaeys, and although the percussion
group is here accompanied by the horns repeating the trill figures from the beginning
of the symphony.
The second movement has two sections, the first of which takes over the tempo
of the slow introduction (crotchet = 48) to the first movement, as well as a good
deal of its thematic and orchestral material. In the second section, (crotchet = 60)
the horns, trombones and violas play a beautiful chorale, as taut as a Stravinsky
chorale, accompanied by sustained sounds in the rest of the orchestra (the winds
of which have replaced their instruments by pitched bottles). This delicate orchestration and the severe beauty of the chorale lend this movement, as the preceding
one, a strong sense of ritual.
[MARK DELAERE]
24
BOUDEWIJN BUCKINX (1945)
Mooi Weer – 2001
music example 2
In “Mooi Weer” (2001) Boudewijn Buckinx sets out to communicate with the listener
in a simple manner, for “if you want to say something, it’s best to speak plainly”
(B. Buckinx, De kleine pomo of de muziekgeschiedenis van het postmodernisme
- The little pomo, or the music history of postmodernism, Alamire, 1994, p. 41).
In his music Buckinx tells a story that aims more at honesty than originality, more
at euphony than complexity. In Mooi Weer (Fair weather) this narrative concept
leads to a very traditional scoring, a fairly transparent segmentation of form and
a postmodern stylistic concept.
Apart from several inventive combinations of instruments, such as tom-tom,
celeste and harp from bar 58, Buckinx’s instrumentation shows little of the thirst
for innovation evident in the work of many contemporary composers. Instruments
are grouped in a traditional way: the woodwinds, the brass and the strings usually
function as separate entities. The traditional functions also emerge unscathed:
melodic solo voices are by definition accorded to the oboe, the flute or the trumpet.
Moreover, Buckinx creates a clear logic in the structuring of the texture.
Mooi Weer is, true to its title, the musical equivalent of a dark sky clearing up,
ending with the sun shining in the firmament. The work begins in a dark register
(with bass clarinet, English horn, harp and double bass) with a sparse texture.
Over its course, the thematic material gradually shifts to a higher register,
until it is heard in the piccolo in the final bars.
25
The formal construction of Mooi Weer is relatively clear. Two thematic groups
dominate the work. The first (A, bb. 1-27) is mainly characterised by its triplet
rhythm. In the second thematic group (B, bb. 28-46), the Lydian scale on a, with
a raised fourth (creating the tritone a - d-sharp/e-flat), forms the central element
(see music example 2). These two segments with their exposition-like character
are then reprised in a slightly varied form (A’, bb. 47-73 and B’ bb. 74-92). From
bar 93, a new thematic element (C) is introduced. In this segment, which lasts until
151, Buckinx works primarily with major triads in triplet rhythm (cf. A), whereby
the duality between the scale on A major and E-flat major (Lydian fourth, cf. B)
is clearly explored. Although Buckinx here provides new thematic material,
the development of this material is chiefly dictated by procedures from the first
and second thematic groups. In this sense, this C-segment may be said to have
a developmental character. From bar 152, the recapitulation of the first thematic
group is prepared (b. 161). In this short, final section (bb. 152-178), fragments from
the first and second thematic group and from the developmental section are freely
combined with one another.
The segmentation of form in Mooi Weer is partly articulated by the tempo changes,
although these do not always coincide with the beginning of a new segment but are
often introduced in the run-up to it.
Buckinx makes no problem of employing tonal sound patterns, traditional scoring
and transparent structures in this work. It is not so much the fact that he does this,
as the fact that this is not a problem for him, that betrays his postmodernist attitude.
Buckinx has toppled from its pedestal the tyrant of progress- and innovationoriented thinking. He does not feel constrained by any sort of aesthetic principles:
for Buckinx, all of music history converges into the here-and-now. No wonder then
that he treats his listeners to fair-weather music.
[JAN CHRISTIAENS]
26
WIM HENDERICKX (1962)
Le Visioni di Paura (1990)
Wim Henderickx composed the orchestral piece Le Visioni di Paura (The Visions
of Fear) in 1990 for the Nieuw Belgisch Kamerorkest, which commissioned it.
Although this is one of Henderickx’s earliest efforts for the orchestra, a medium
he would subsequently explore in more ambitious works – most notably the three
Ragas – Le Visioni di Paura displays a sense of structural clarity and a tight control
of the available array of playing techniques and effects, taking this piece beyond
the level of a mere exercise of a young composer mastering the orchestral medium.
As the composer indicates in the score, this piece is inspired by the vision of Hell
depicted on the right panel of The Garden of Earthly Delights by Hiëronimus Bosch.
The lively tangle of creatures that crowds Bosch’s painting may account for the
remarkably large variety of compact musical episodes in Henderickx’ rather short
(ca. 13’) composition. However, the slow tempi and the pervading sense of stasis
(harmonically as well as rhetorically) seem far removed from the visceral activity
of Bosch’s Hell, warning against a too simple interpretation of this composition
as essentially programmatic. Instead, Henderickx appears to provide the listener
with a general impression of the feelings summoned by the painting – the fear that
the title hints at - although the link with the painting may be even more far-reaching
than that. Bosch’s Hell, when ‘read’ from top to bottom, is clearly divided into four
separate zones. Considering the four sections of this composition as a reflection
of this arrangement seems a plausible hypothesis, which would imply that for
Henderickx the structural aspects are by no means inferior to the programmatic
content.
The four movements of this work are marked A through D and follow each other
attacca. Within each movement, several short sections can be discerned, standing
out because they introduce different musical material and often also different
tempi. Movements A, B and D feature a binary division into sections, whereas in
movement C no less than seven distinct sections can be found. However, despite
the obvious quick succession of short musical fragments, it is possible to discern
three major categories or types of musical material that appear in different shapes
throughout the composition. These are (1) a static field of held chords or tones,
often coloured by alternative playing techniques, (2) rubato-like melodic lines
consisting of modular motifs, mostly in a contrapuntal and even canonic texture,
and (3) rhythmic patterns of tutti chords. These three types should not be understood as thematic material but rather as abstract musical categories, that in spite
of the large variety of musical elements grants this composition a sense of unity.
Indeed, the structure of the piece contains a cyclic closedness, where the end of
movement D corresponds to the beginning of the work; likewise, within movement
A the end returns to the material from the beginning.
27
The most prominent feature of the work is the profusion of playing techniques
and musical textures. Each section can be said to have its own character, which
is reflected in the musical (harmonic, rhythmic and/or melodic) properties of
the material, often combined with particular alternative playing techniques.
Thus, glissandi and random notes, microtones, harmonics and multiphonics
appear in the course of the work. In that respect, the exploration of different musical
and technical possibilities in each section suggests that trying out different aspects of
orchestral technique may have been one of the composer’s main concerns. There
is much less variety on the harmonic level. Henderickx explores a modernist harmonic language that contains a considerable amount of chromaticism, both in the
modes used (such as the c-sharp - e - f - f-sharp - g - a-flat - b - c mode that produces the first melodic material on p. 4 of the score) as well as in the chords that
often consist of chromatic complements. An example of the latter appears already
as early as the opening measures, where the chords in the first violins (f - g - c
and g - a - e-flat) are combined with their chromatic complements in the second
violins (c-sharp - f-sharp - g-sharp and a-flat - b-flat - d, respectively).
There is no hell without a devil. It may therefore come as no surprise that the familiar
‘diabolus in musica’ – the augmented fourth or diminished fifth – occupies a
prominent place in this work’s harmonic and melodic material. Not only the interval
but also the pitch classes c and f-sharp (that together form an augmented fourth)
stand out at structurally significant points in the score. The piece opens and closes
with a held f-sharp in the timpani and lower strings that gradually evolves in glissando
towards other pitches (and ultimately random notes). The f-sharp is also prominent in
the first part of movement B and at the beginning of movement C (where it also
appears in multiphonics). Likewise a pedal point on c in the big accelerando passage
of movement C (p. 17-20) is extremely clear. This tritone-tension not only affects
the larger structure of the score (beginning – movement C – end) but can also be
found on a smaller scale, most particularly in movement B, where the roots of
the chords that make out the rhythmic patterns follow the same interval f-sharp - c f-sharp (see music example 3); later on in the course of this section, chords with
pitch classes f and b as roots are added to this pattern. This tension is resolved in
the final bars of the piece, when the perfect fifth c-sharp is played over the f-sharp
in the bass.
WILLEM KERSTERS (1929-1998)
Symphony No. 2, op. 26 (1963)
1. Andante
2. Allegro molto e spiritoso
3. Andante
4. Presto
In the 1950s and 1960s, the ascendancy of serialism caught the attention of many
composers who until then had tended to prefer calmer waters. A number of them
sought to combine serial principles with their own idioms.
Willem Kersters originally made use of classical structures in a generally lateRomantic and Impressionistic idiom. Over time, a bi-tonal chord based on c - f-sharp
took a central place in his thinking, constituting what he called the ‘tritone relation’.
In the First Symphony (1962) and the Second Symphony (1963), he integrated the
use of twelve-tone rows with his previous approaches to form and expression.
The Second Symphony consists of four movements: Andante, Allegro molto e spiritoso,
Andante and Presto. The relation between the metronome markings of the
movements can be approximately represented in the proportions 3:4:3:8
(1/4=63, 3/4=84-92, 1/4=58-63 and 1/4=160-176).
The opening movement, Andante, is a traditional fugue, albeit with a twelve-tone
theme. The theme, presented in the violas, consists of a complete, melodically
conceived twelve-tone series (bb. 1-4), followed by its inversion (music example 4).
The choice of intervals is remarkably limited: the minor second is used six times,
complemented only by the major third (twice), tritone (twice) and perfect fifth
(once). As early as bar 6, Kersters takes several liberties: the minor second step
is emphasised by the two note repetitions in bar 6, while in bar 7 the material from
bar 6 is repeated in transposition, as a result of which the theme ends a minor
second lower than it began. The central role of the minor second in the entire
symphony is thus established at an early stage.
music example 3
music example 4
[MAARTEN BEIRENS]
28
Twelve-tone series from Willem Kersters’ Second Symphony
(intervals indicated by number of semitones, u=up, d=down).
29
Entries of the theme in the second violins, first violins and cellos - each time at the fifth round out the exposition. The series is also used consistently in the accompanying
counterpoint. The lyrical, expressive fugal theme is contrasted with a second,
more pointed theme based on the inversion announced by the winds after [6].
This theme, too, is fugally developed (now in stretto), leading to a dynamic climax
and the conclusion of the movement with a return to the first theme.
The second movement, Allegro molto e spiritoso, is a narrative interplay
with several structural elements:
• rhythmically pulsating notes/chords, with an emphasis on seconds
(e.g., beginning, [14])
• diffuse polyphonic transitional material ([15]-[16])
• a twelve-tone melody (beginning b. 9 in [11])
• a second, clearly-defined thematic idea, mostly imitatively used (entry at [16])
Although the twelve-tone aggregate plays a role in all these elements, it is primarily
the more limited reservoir of intervals that determines the overall sound of this movement.
Music example 6 shows the series as it is melodically presented by the high strings
and woodwinds, from bar 9 in [11].
music example 6
Twelve-tone series from second movement.
Only two intervals continue to play a role: the minor second and the perfect fifth.
The only exception is the ascending minor seventh g - f. Practically all the harmonic
and melodic material is based on these intervals, whereby the tetrachord of perfect
fourth - minor second - perfect fifth (that is, two fourths at a tritone distance) plays
an important role, giving the whole an almost modal character.
music example 5
30
The third movement, Andante, has a traditional dramatic curve: rest – tension
– climax – release/return. At the beginning, it expands over a static basis: the cellos
(and later the basses) play an ostinato consisting of the first five notes of the series
from the first movement, in two alternating rhythmic constellations. Above this
a slow, more free melodic development of the same material is heard in the solo
woodwinds (beginning with the English horn). The quicker concluding notes of
these phrases are picked up in the accompaniment, introducing a general tendency:
the prevailing note values decrease and the structure increases in density.
Two high points of density and dynamics follow, after which a gradual process
of reduction leads back to the point of departure, a solo in the English horn above
a cello accompaniment.
31
The fourth movement, a sparkling Presto, begins with a recapitulation, in the
brass, of the three characteristic opening notes of the series: ascending minor
second, descending fifth. This central motif forms the basis for ostinatos (comparable
with those in the third movement) and motifs throughout the movement. The tritonefifth tension inherent in the motif plays a critical role up to and including the final
chord (b - c - f). The three-note motif occasionally expands into the complete series
from the first movement, as in the trombone solo at [51] after which the series is
taken up in the horns and the trumpets.
The ‘central motif’ also determines the root notes of the various harmonic stages
of the movement (although there are no tonal ‘keys’ as such, a V-I-like motion often
occurs). The motif starts on c (ostinato: f-sharp - g - c), moves to f (from about
[53]), returns to c at [59], lingers briefly on f-sharp [65], goes to f [66] and reappears
in the final cadence on b (with incorporation of f and c, as noted above).
This sequence of root notes is represented in music example 7. In this movement,
too, the two fourths at a tritone distance (c - f, f-sharp - b, see second movement)
play a central role – a clear reminiscence of Kersters’ tritone relation.
music example 7
Root-note sequence, fourth movement.
[JOCHEM VALKENBURG]
MARCEL POOT (1901-1988)
Symphony No. 6 (1978)
1. Impetuoso
2. Andante Maestoso
3. Allegro Scherzando
Marcel Poot is without a doubt one of the most prolific symphonic composers that
Flanders has produced. Over the course of his career he wrote seven symphonies
but also composed a whole series of independent symphonic movements (including
the popular Vrolijke Ouverture – Merry Overture), concertos and orchestral suites.
Poot’s compositional style can be summarized as eclectic neo-Classicism – not
surprisingly, the composers’ group set up by Poot in 1925 with a number of his
fellow students took on the name ‘les synthétistes’, a reference to the synthesis
of different stylistic elements. Both the contrapuntal aspects of Bach and the
spontaneous innovation of Mozart are heard in his work, while he also drew
inspiration from jazz. Most typical of Poot’s style are perhaps the driving rhythms
suggestive of composers from the Russian school such as Stravinsky and especially
Prokofiev, with whom he also shared a predilection for classical forms, a clear
anchoring in a tonal idiom and a talent for orchestration.
Poot’s Sixth Symphony was completed in May 1978 and thus represents the third
of the composer’s four ‘mature’ symphonies. The dramatic-Romantic Third
Symphony (1952) and the Fourth Symphony (1970) are separated not only by many
years but also by a stylistic evolution from Romanticism towards a more ‘sober’
style in which rhythm, colour and formal construction gain the upper hand.
This style is also found in the Sixth Symphony, which is classically constructed in
three movements of approximately equal dimensions, with two quick outer movements
and a calmer central movement: Impetuoso - Andante Maestoso - Allegro Scherzando.
In the scoring a classic string section is complemented by an extended wind section
with two flutes and a piccolo, two oboes and an English horn, two clarinets and
a bass clarinet, two bassoons and a contra-bassoon, four horns, three trumpets,
three trombones and a tuba, as well as timpani and percussion (large and small
drum, cymbals, tambourine, triangle). The percussion never comes to the fore,
with a role mainly restricted to the support of the orchestral accents.
Here follows a short discussion of the first movement, as an example of Poot’s
musical language in this symphony. This movement, marked Impetuoso, is built in
sections, creating a continually undulating movement between rhythmic sections
with many unisons and powerful accents and more lyrical passages in which different
individual instruments are highlighted and often engage in a dialogue. The work
begins powerfully and rhythmically, with a chromatic theme presented in an
accentuated unison (see music example 8). This material becomes increasingly fragmented in the different sections of the orchestra, with the sporadic interjection of
powerful chords, and then gradually subsides into the transition to a new section.
32
33
This section is based on a rhythmic ostinato in a striking 3/4+3/8 metre, the
2+2+2+3/8 ‘aksak’ metre also found in the music of Béla Bartók. Above this ostinato
we again see a build-up and break-down in an alternation of orchestral crescendos
and calmer, more soloistic interventions by the flutes, oboes and a remarkable
unison passage between a solo violin and a clarinet.
After the ostinato dies out, we return to a 3/4 metre with a violin solo (poco ritenuto)
leading to a calmer section in which we encounter a compositional style reminiscent
of chamber music played by an (orchestral) string quartet and a woodwind trio
consisting of flute, bassoon and clarinet. An accelerando leads back to tempo
primo and a full range of orchestral colours with powerful unisons and accents
alternating with lyrical cello solos. The second cello solo (moderato) is followed
by a short and powerful conclusion, the recapitulation of the rhythmic unisons
in a sort of coda built on a classic I-V-I harmony and rounded out with a unison c
from the whole orchestra.
[DIRK MOELANTS]
music example 8
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35
JAN VAN LANDEGHEM (1954)
Orchestra
&
Piano
Concerto per pianoforte ed orchestra (2001-2002)
1. Smaragd
2. Saffier
3. Robijn
The Concerto per pianoforte ed orchestra consists of three movements; with its
duration of about sixteen minutes it is rather short in its genre.
The composition, subtitled ‘Edelsteentriptiek’ (gemstone triptych), clearly shows
Jan Van Landeghem’s typical procedure of using an extra-musical element as a
starting point for the compositional process. The three movements each bear the
name of a gem: ‘Smaragd’ (emerald), ‘Saffier’ (sapphire) and ‘Robijn’ (ruby). Rather
than setting out to write programmatic music, the composer uses a particular theme or
element as a source of inspiration. In this work he draws on the salutary characteristics
traditionally ascribed to the different gems, the sapphire representing ‘faithfulness’ and
the emerald ‘psychic balance’. In addition, the colours of the gemstones are linked
to the synaesthetic ideas of Olivier Messiaen, who associated colours with particular
harmonic modes. Van Landeghem uses these modes in the respective movements.
As is the case for most of Van Landeghem’s works, the style of this composition
can best be described as eclectic: he draws on a rich tradition of styles and
techniques, combining them into an intriguing musical amalgam. This cannot,
however, be interpreted as postmodernism in the sense of a return to tonal
writing or the use of musical quotations. Rather, the composer strives for a mainly
consonant musical language, as well as for structural and formal transparency.
In this way the composition clearly contrasts with the contemporary, modernist
repertoire. This does not mean, however, that Van Landeghem avoids using
modern techniques. In this concerto for instance he makes (limited) use of
sound-fields, as well as aleatory and graphically notated passages.
The eclecticism is primarily reflected in the genre and the scoring of this work.
A solo concerto is usually associated with the conventions of the concert hall
and the cult of the virtuoso, as developed in the 18th and 19th centuries.
Over the course of the 20th century the genre became less and less popular
among avant-garde composers. Van Landeghem, however, deconstructs
the traditional concert arrangement by dividing the orchestra into four groups
and positioning them around the audience.
36
Echo III
Echo II
Public
Echo I
figure 4
The active use of the (concert) space as a musical parameter has proved an interesting
path for many composers over the past fifty years. An important spatialising technique
developed by Karlheinz Stockhausen in Gruppen für drei Orchester (1955-1957)
and the electronic work Gesang der Jünglinge (1955-1956), is the composition
of sound moving in space. Van Landeghem too applies this method a number of
times in this concerto, for instance in the opening bars of ‘Smaragd’.
A held chord moves between the string sections of Echo I, Echo II and the orchestra
on the stage. In this way the composer creates the illusion of an intrinsically static
musical element, moving around the audience through the concert space. In addition,
the term ‘Echo’ refers to the polychoral music of the late Renaissance and early
Baroque. Composers such as Giovanni Gabrieli and Heinrich Schütz regularly
used echo effects between the different vocal and instrumental groups distributed
around the audience. What is significant, is that precisely these works, with their
dialogical character, were important forerunners of the concerto genre.
Van Landeghem applies the echoing effect by successively presenting motifs
in different orchestral groups (music example 9; ‘Safier’ b. 113-115).
The stylistic diversity is clearly present in the tripartite form (ABA’) of the first
movement of the concerto. A and A’ consist of the aforementioned static material,
sound-movements and motivic fragments which appear alternatively in the different
orchestral groups. The B-section is in stylistic contrast to the outer sections
through its thematic, linear character. Van Landeghem does not use a well-defined
tone system but – as he does in the other movements of the composition – combines
modal, tonal, atonal and bitonal influences (music example 10, ‘Smaragd’ bb. 36-39).
37
The Concerto per piano ed orchestra can be seen as a representative example
of Jan Van Landeghem’s style, evident in part through the use of an extra-musical
source of inspiration and a personal, eclectic compositional approach. Van Landeghem
makes use of a generally accessible musical language without avoiding a range
of 20th-century influences.
[MAARTEN QUANTEN]
music example 9
music example 10
Counterpoint is an important feature of Van Landeghem’s work, which may not
be surprising considering his background as an organist. In addition, the spatial
arrangement of the orchestra in ‘Edelstenentriptiek’ is used to the full in different
short imitative and canonic passages (e.g., ‘Smaragd’, bb. 74-79; ‘Saffier’, bb. 9598; ‘Robijn’, bb. 187-199). The spatial distribution allows the different voices to be
heard more distinctly.
38
39
C. Inventory
The alphabetical and chronological inventories display nearly all Flemish symphonic
works composed between January 1950 and 2005. Most of the works can be consulted
at the MATRIX archive (both scores and recordings). Availability of the materials
can be checked online at www.matrix.mu. This website also offers detailed discussions
of the biography and work of the composers, as well as their contact information.
40
41
ALPHABETICAL INVENTORY OF FLEMISH SYMPHONIC MUSIC SINCE 1950
42
COMPOSER
TITLE
Aerts, Hans
Agsteribbe, Frank
Agsteribbe, Frank
Albert, Karel
Albert, Karel
Albert, Karel
Albert, Karel
Albert, Karel
Albert, Karel
Albert, Karel
Albert, Karel
Alpaerts, Flor
Alpaerts, Flor
Alpaerts, Flor
Anne, David
Anne, David
Anne, David
Baert, Bernard
Baert, Bernard
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Baeyens, August
Beelaerts, Paul
Bertel, Jean-Luc
Bertel, Jean-Luc
Bertel, Jean-Luc
Biesemans, Janpieter
Biesemans, Janpieter
Bikkembergs, Kurt
Bikkembergs, Kurt
Bikkembergs, Kurt
Bikkembergs, Kurt
Bikkembergs, Kurt
Bikkembergs, Kurt
Four Outdoor Pieces
Nachtmusik
Elegiae
Mei
Tornooi
De Nacht
Suite
Dansende Beeldekens
In den beginne was het woord
Symfonie nr. 4
Sinfonietta
Het Zandmanneken
‘t Hofje ‘s morgens
Capriccio
Concertino
Respiro Perpetuum
Murud-Janjira
Elegy
Ouverture
Sonnet waermede den Landtman
Scherzo
Symfonie nr. 4
Notturno
Symfonie nr. 5
Symfonie nr. 6
Concerto
Symfonie nr. 7
Concerto
Symfonie nr. 8
Rhapsodie
Flashbacks
Symfonie in ges
Symfonie in b
Symfonie in c
Ieperietsinfonie
Marimbarpi-rapsodie
Senza Lingua
Romania I
Christue de Overwinnaar
Un arco iris tendido
Nachtelijke Optocht
Ouverture
SUBTITLE
OPUS
69
74
19
38
in re
in één beweging
in Flanders’ fields
eerste symfonie I
64
83
YEAR
2002
2002
2003
1953
1953
1956
1958
1959
1962
1966
1969
1950
1950
1953
1995
2003
2004
1996
2002
1950
1951
1952
1953
1954
1955
1956
1958
1959
1961
1966
1986
1999
2001
2004
1995-96
2001
1988
1991
2000
2003
2005
2005
SOLOIST
+ baritone
+ mezzo soprano
+ mezzo soprano
+ trombone
+ violin
DURATION
PUBLICATION
CD RECORDING
10’00’’
10’30’’
7’00’’
1’45’’
20’00’’
10’15’’
24’00’’
15’45’’
18’30’’
27’30’’
20’30’’
3’00’’
3’00’’
7’00’’
8’00’’
20’00’’
6’00’’
+ violin
+ bass baritone
+ soprano
+ viola
+ trumpet
4’00’’
2’30’’
80’00’’
10’30’’
29’00’’
40’00’’
23’00’’
22’00’’
16’00’’
30’00’’
CeBeDeM
+ clarinet
8’00’’
18’00’’
20’00’’
21’00’’
22’00’’
7’00’’
5’00’’
15’00’’
5’00’’
15’00’’
15’00’’
15’00’’
Flanders Music Centre
Flanders Music Centre
43
44
COMPOSER
TITLE
SUBTITLE
Bondue, Yves
Bondue, Yves
Bracke, Bart
Bradt, Sebastian
Bradt, Sebastian
Bradt, Sebastian
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Caleidophones
Normandia
De Reis naar ‘t Westen
Ko.Tantrum 1
Morph
Over de schreef
..., e poi c’era...
Komm! Hebe dich...
Cheers!
Non lasciate ogni speranza
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Dali’s Dream?
Symphony no. 3
Only very unusual matters
Laphroaig
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Brewaeys, Luc
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Introduction
Fasten Seat Belts
Symphony no. 6
Credeva
Symphony no. 7
Symphony no. 8
7 Inch Framed
On Safari
Oscar for Amnesty
El Golpe Fatal
Bacob Overture
Music in Mycology
Brossé, Dirk
La Soledad de America Latina
1992
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Ouvertura
Landuytcyclus
Artesia
Daens Suite
1992
1994
1995
1995
Brossé, Dirk
Brossé, Dirk
Elegy
Flanders Int. Film Festival Overture
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
La Vida es un Sueno
Bit by Bit
Le Nozze di Sacco
Principals
Light Main Theme
symfonie nr. 2
symfonie nr. 3
symphony no. 1
symphony no. 2
for children orchestra
hommage
symphony no. 5
nightmare for orchestra
I.M. Franco Donatoni
symphony no. 1
for France and friends
OPUS
YEAR
2000
2003
1992
2001-02
2002
2004-05
1985
1987
1988
1989-90
1991
1991
1992
1993
1996
1997
1999-00
2000
2002
2003-04
1986
1986
1988
1989
1990
1991
SOLOIST
DURATION
PUBLICATION
+ viool
11’00’’
15’00’’
Cie de OorSprong
Cie de OorSprong
+ live electronics
7’40’’
8’20’’
9’30’’
15’00’’
15’00’’
2’30’’
33’20’’
+ chorus
+ soprano,
saxophone(s)
+ jazz trio
+ 2 conductors,
live electronics
+ english horn
+ live electronics
+ 2 sopranos
+ narrator,
pre-columbian instr.
+ soprano
+ boy sopr., ethnic instr.
1995
1995
+ violoncello
1995
1996
1996
1996
1997
+ soprano
10’00’’
10’30’’
3’30’’
27’16’’
4’40’’
4’00’’
21’30’’
14’38’’
17’00’’
21’00’’
5’30’’
3’00’’
15’30’’
13’00’’
10’00’’
16’00’’
51’00’’
6’00’’
24’00’’
60’00’’
16’30’’
8’45’’
4’00’’
CD RECORDING
Cyprès CYP 2609
Cyprès CYP 2609
Cyprès CYP 2609
CeBeDeM
Cyprès CYP 2609
CeBeDeM
Cyprès CYP 2609
CeBeDeM
De Haske DHM 2010.3
De Haske DHM 2008.3
Soundtracks
07243 8361922 1
Sony Music 47 27082
Philips 446 957:2
Soundtracks
07243 8361922 1
Soundtracks
07243 8361922 1
12’00’’
9’00’’
5’45’’
17’30’’
6’30’’
45
46
COMPOSER
TITLE
SUBTITLE
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Bruyland, Paul
Bruyland, Paul
Bruyland, Paul
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
The Birth of Music
Inferno
Millennium Overture
The Chinese Wall
Warconcerto
Beauty to the surface brought
Sophia
Homeland
Love without End
The Circle of Nature
Contrasten
Orkest-studie
Klein Concerto
Poème Zéro
1ste Symfonie
2de Symfonie
Verklankingen
Buckinx’ Beitrag zur Orchestermusik
Fuseli
Füsli
Zangen uit Oost-Venus
Zangen uit West-Venus
Eclips
symphony no. 2
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Brief zonder Woorden
Onvoltooide Symfonie nr. 0
Onvoltooide Symfonie nr. 3
Onvoltooide Symfonie nr. 4
Onvoltooide Symfonie nr. 5
Onvoltooide Symfonie nr. 6
Onvoltooide Symfonie nr. 7
Onvoltooide Symfonie nr. 8
Onvoltooide Symfonie nr. 9
Klein onbewoond Eiland
Die Vlinder
Celloconcerto
De Theaterton
Et in Pescara ego
Umsonst
Zomaar
Erwachen der Liebe
Zen Requiem
De Vergeetput als toeristische Attractie
Lekker weer
“O hoe mooi is de maan
als ze weg is”
OPUS
YEAR
1960.33
1961.04
1961.07
1964.11
1969.06
1985.08
1985.09
1987.05
1987.06
1989.13
1997
1999
1999
1999
1999
2000
2001
2002
2004
2004
1971
1972
1991
1960
1961
1961
1964
1969
1985
1985
1987
1987
1989
1991.19
1991.08
1992.19
1992.12
1992.24
1992.07
1992.10
1992.20
1992.23
1994.13
1995.12
1996.04
1996.19
1997.05
1997.18
1997.15
1998.22
2000.05
2001.09
2001.12
1991
1991
1992
1992
1992
1992
1992
1992
1992
1994
1995
1996
1996
1997
1997
1997
1998
2000
2001
2001
SOLOIST
+ ethnic instr.
+ flute
+ clarinet
+ soprano
+ violin
+ ethnic instr.
+ clarinet, violoncello
+ piano
+ violin
+ violin
+ piano
+ several soloists
+ clarinet, horn, viola
+ soprano, chorus
+ violin
+ violoncello
+ violin
+ violin
+ violin, soprano
DURATION
PUBLICATION
CD RECORDING
65’00’’
10’00’’
7’40’’
5’00’’
22’00’’
10’00’’
35’00’’
6’00’’
5’00’’
60’00’’
10’00’’
11’00’’
13’00’’
14’00’’
12’00’’
10’00’’
8’00’’
20’00’’
5’00’’
5’00’’
15’00’’
15’00’’
25’00’’
15’00’’
15’00’’
00’38’’
13’00’’
5’00’’
6’00’’
12’00’’
8’00’’
17’00’’
8’00’’
12’00’’
20’00’’
6’30’’
1’10’’
4’00’’
2’00’’
25’00’’
65’00’’
10’00’’
8’00’’
47
COMPOSER
TITLE
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Bulterijs, Nini
Byloo, Jean-Paul
Mooi weer
Träume den Traum”Dein Leben”
Embarkation for Utopia
Wer wohl am schönsten sänge
Symphonie
Nuits sans Sourires
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Concerto
Sinfonietta
Concertino
Concertino in variatievorm
Variaties op een thema
van Neidhart von Reuenthal
Variazioni
Symfonie nr. 2
Symfonie nr. 3
Vijf dansen
Interludium
Symfonische dansen
Beweging in sonatevorm
Concerto
3 Rondo’s
Een Belgische Ouverture
Symfonie nr. 5
Een Limburgse Ouverture
Symfonie nr. 6
November Ouverture
Diferencia
Elegy to the men you don’t meet ev’ry day
Sonata profana
Elegie
3 Symfonische Bewegingen
Sinfonia I
Cantilena
Preludio e Narrazione
Sinfonia II
Sinfonia III
Sinfonia IV
Divertimento
Mijn Reuzenlaarzen
Introduzione e Rondo claudicante
‘t Regent
Vioolconcert
Parafrase op 3 volksliederen
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Cabus, Peter
Carron, Willy
Carron, Willy
Casteels, Robert
Casteels, Robert
Celis, Frits
Celis, Frits
Celis, Frits
Celis, Frits
Celis, Frits
Celis, Frits
Celis, Frits
Celis, Frits
Ceulemans, Ivo
Ceulemans, Ivo
Ceulemans, Ivo
Ceulemans, Ivo
Ceulemans, Ivo
Ceulemans, Ivo
48
SUBTITLE
OPUS
YEAR
2001.22
2001.14
2004.08
2004.03
2001
2001
2004
2004
1966
1989
symfonische hommage
aan Paul Delvaux
1950
1951
1953
1954
1954
sinfonia breve
for 3 orchestras
7
8
14
16
18
20
22
28
47
63
32
60
112
118
SOLOIST
+ violin, soprano
+ mezzo
+ violin
+ piano
+ piano
1956
1957
1961
1962
1963
1963
1968 + trumpet or trombone
1969
+ trumpet, trombone
1970
1980
1987
1989
1993
1987
s.d.
2002
2002
1966
1969
1979
1980
1983
+ soprano or tenor
1986
+ percussion
1987
1989-90
1953
1955
1958
+ violin
1963
1965
+ violin
1968
DURATION
PUBLICATION
CD RECORDING
Maurer
Rode Pomp RP4
10’00’’
25’00’’
27’00’’
5’00’’
21’00’’
21’00’’
14’00’’
19’00’’
13’30’’
11’45’’
23’00’’
25’00’’
19’00’’
14’00’’
6’50’’
10’00’’
4’45’’
18’00’’
8’25’’
11’15’’
36’30’’
9’00’’
18’30’’
15’00’’
25’00’’
10’00’’
19’30’’
23’00’’
10’29’’
20’46’’
18’00’’
20’58’’
21’00’’
6’45’’
1’00’’
8’00’’
0’45’’
27’00’’
15’30’’
Maurer
Maurer
Phaedra 92003
Phaedra 92003
Phaedra 92003
CeBeDeM
49
50
COMPOSER
TITLE
Claesen, Ludo
Claesen, Ludo
4 Pictures
Fantasie
Claesen, Ludo
Coeck, L. Jan
Coeck, L. Jan
SUBTITLE
OPUS
YEAR
SOLOIST
DURATION
1990
1997
+ Orff-instruments
15’00’’
15’10’’
Eurode-Fantasia
Orfeus
Concertino Buffo
2005
1973
1976
+ wind orchestra
20’00’’
11’00’’
14’30’’
Coeck, L. Jan
Coeck, L. Jan
Coeck, L. Jan
Coeck, L. Jan
Coeck, L. Jan
Coeck, L. Jan
Coeck, L. Jan
Coeck, L. Jan
Coeck, L. Jan
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coppens, Claude
Coryn, Roland
Coryn, Roland
Coryn, Roland
Coryn, Roland
Coryn, Roland
Coryn, Roland
Ouverture
Movimento per orchestra
Trois poèmes saturniens
Concerto in re
Concerto
Canzone e Capriccio
Phrases et métaphrases
Chants de l’amour et de la mort
Concerto no. 2
Concerto pour piano et orchestre
Concerto breve
Concerto nr. 2
Und alle Fragen offen
Hommage to the Miners
Turn Back to Bach
Hoe men musicus wordt
... Riverrun ...
888 or the Four Seasons
Concerto en ut dièze mineur
Sinfonia grottesca
Wheels within wheels 3
Quattro Movimenti
Sonate
Symfonische Beweging
Concerto
Due Pitture
Concerto
1977
1978
1980
1981
1983
1985
1989
1990
1990
1954
1961
1972
1984
1985
1985
1986
1996
1997
s.d.
s.d.
s.d.
1973
1976
1979
1988
1989
1994
Coryn, Roland
Cox, Boudewijn
Cox, Boudewijn
Cox, Boudewijn
Craens, Alain
Craens, Alain
De Brabander, Karel
De Brabander, Karel
De Clerck, Patrick
Out of Darkness
Onyx
Da Una Certa Distanza
Tableau
Una visione del cielo e del terra
November Music
Symfonie nr. 2
Symfonie nr. 3
Behemoth
5 symfonische schetsen op
teksten van Wouter De Bruyne
3
versie 2
ra-bach-âge
voor Paul Klinck
(Roei 4)
pour violon et orchestre
12
8
12
38
40
54
67
after Franz Liszt’s
“Mephisto Waltz no. 1”
2003
1994-96
1999
2002
1993
1999
1978
1980
1994
+ 2 trombones,
bass trombone
+ baritone
+ bass tuba
+ clarinet
+ tenor trombone
+ tenor
+ clarinet
+ piano
+ violoncello
+ violin
+ violin
+ violin
+ violin
+ vibraphone,
marimba, xylophone
+ flute, harp
9’00’’
10’00’’
15’00’’
16’00’’
20’00’’
15’30’’
18’00’’
20’00’’
19’30’’
20’00’’
16’00’’
9’00’’
18’00’’
5’00’’
23’00’’
18’00’’
10’00’’
28’00’’
20’00’’
22’00’’
15’00’’
11’00’’
15’00’’
11’00’’
21’00’’
12’00’’
22’00’’
PUBLICATION
Mirasound
René Gailly 87063
René Gailly 87080
CeBeDeM
10’00’’
12’30’’
11’47’’
6’30’’
12’00’’
22’00’’
14’00’’
CD RECORDING
VMM 3044
Dom Gorokhov
51
52
COMPOSER
TITLE
De Clerck, Patrick
De Clerck, Patrick
De Decker, George
De Decker, George
De Decker, George
De Decker, George
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
A symphony
Pianoconcerto
Lineas y Puntos
0.122
De Put I
De Put II
De Vrouwen van Zalongo
Concerto nr. 2
Dan is de lente daar
De Kleine Haven
Eens leek mijn hart
O Malebeek!
Wanneer ik zing
Aphoristisch Triptiek
Griekse Rhapsodie
Concerto
De Verlorene
Nocturne
Blancefloer
De Kring
Concerto nr. 3
Concerto
Mercator Ouverture
Schelde-Ballade
Fusée interplanétaire Atlas
Symfonie nr. 2
Concerto
Concerto
Concerto
Concerto
Concerto
De Oude Man
Een Witte Vlinder
Praatje met Eva
Stil Gebed
Stille Wens
Viermaal hoor ik je stem vragen
Concerto
Tweede Vlaamse Rhapsodie
Vlaamse Rhapsodie nr. 3
Concerto
Symfonie nr. 3
Fantastische Ballade
Symfonie nr. 4
SUBTITLE
aria
OPUS
YEAR
71
80
85/4
73
85/1
85/3
85/2
82b
75
103
93/2
89
72
101
105
111
130
125
122
141
145
146
147
148
144
152/2
152/9
152/3
152/7
152/1
152/10
60
160
161
168
171
3
186
1999
2001
1979
1992
1993
1993
1951
1952
1952
1952
1952
1952
1952
1953
1953
1954
1954
1954
1955
1955
1957
1958
1961
1961
1964
1965
1966
1966
1966
1966
1967
1967
1967
1967
1967
1967
1967
1969
1971
1972
1974
1976
1979
1981
SOLOIST
+ piano, voice
+ women’s voices ad lib.
+ piano
+ mezzo soprano
+ medium voice
+ medium voice
+ medium voice
+ violin
+ medium voice
+ voice
+ soprano
+ piano
+ viola
+ horn
+ bassoon
+ flute
+ clarinet
+ oboe
+ mezzo soprano
+ mezzo soprano
+ soprano
+ mezzo soprano
+ mezzo soprano
+ soprano
+ violoncello
+ piano
+ organ
DURATION
PUBLICATION
17’00’’
25’00’’
10’00’’
Dom Gorokhov
Dom Gorokhov
CD RECORDING
9’00’’
21’00’’
2’30’’
9’25’’
3’00’’
3’00’’
2’00’’
11’00’’
8’00’’
23’00’’
3’00’’
5’00’’
8’00’’
15’00’’
17’30’’
24’00’’
12’00’’
18’00’’
20’00’’
30’00’’
16’00’’
16’00’’
16’00’’
16’00’’
14’00’’
3’00’’
3’00’’
3’00’’
3’00’’
3’00’’
3’00’’
25’00’’
10’00’’
18’00’’
18’00’’
35’00’’
18’00’’
25’00’’
53
54
COMPOSER
TITLE
De Jonghe, Marcel
De Jonghe, Marcel
De Maeyer, Jan
De Maeyer, Jan
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Middeleer, Jean
De Middeleer, Jean
De Middeleer, Jean
De Middeleer, Jean
De Middeleer, Jean
De Middeleer, Jean
Sinfonietta
Obstinatio I
Het glorierijke licht
Tricromia arcangelica
Betje Trompet
Concerto nr. 1
Wereld in wording
Afrika ontwaakt
Amalgames
Autoferro
Concerto nr. 2
Marine
Hier is mijn bloed
Betje Trompet en de reus
Rapsodie Polonaise
Woorden en Muziek
Muziek voor “Ballade van
de gebarsten trommel”
Rails
Frisson d’eau vive
La goutte de pluie
A mon frère
Je suis triste
Obéir
De Middeleer, Jean
De Middeleer, Jean
De Middeleer, Jean
De Pillecyn, Jurgen
De Pillecyn, Jurgen
Amusettes - Dierenpalet
Recitativo e Allegro
Le moulin de papier
Temperamenti
Livre d’heures
De Smedt, Kristin
De Smedt, Kristin
De Smet, Raoul
De Smet, Raoul
De Smet, Raoul
De Smet, Raoul
De Smet, Raoul
De Smet, Raoul
De Smet, Raoul
De Vocht, Lodewijk
De Vocht, Lodewijk
Decadt, Jan
Decadt, Jan
Landschap
Tableaux Sonores
Symphony no. 1
Rapsodia
Pentas
Exorcismes
3-11-1 Concerto grosso
Concerto for violin and orchestra
Symphony no. 2
Concerto
Ulenspiegel Ballade
Symfonie nr. 1
Concerto nr. 1
SUBTITLE
poema sinfonico
OPUS
6
23
YEAR
1978
1990
1982
1992
1950
1952
1952
1954
1956
1956
1956
1958
1961
1965
1965
1970
1973
1952
1960
1963
1964
1964
1964
symfonische impressies naar
houtsneden van Masereel
d’après James Ensor
5 studies for orchestra
1965
1970
1974
2000
2002
SOLOIST
+ oboe, clarinet, bassoon
+ narrator
+ piano
DURATION
17’00’’
19’51’’
11’00’’
23’30’’
20’00’’
20’00’’
PUBLICATION
CD RECORDING
Pavane AW 7290
CeBeDeM
18’00’’
+ piano
+ narrator
+ tape
+ voice
+ narrator
+ medium voice
+ medium voice
+ medium voice
+ bass
+ bass
+ medium voice
or soprano
+ 2 equal voices
1994
+ mezzo soprano
2001
1959-60
1966
1968
1971
1970-72 + ob, trb, vc, pno, vibr
1993
+ violin
1995
1956
+ violoncello
1971
+ baritone
1950
1953
19’00’’
9’00’’
16’30’’
25’00’’
17’00’’
14’00’’
40’00’’
6’00’’
4’00’’
3’00’’
6’00’’
3’00’’
5’00’’
6’35’’
4’00’’
25’00’’
25’00’’
10’00’’
7’00’’
20’00’’
37’30’’
11’00’’
10’00’’
10’00’’
12’00’’
32’00’’
18’00’’
26’00’’
CeBeDeM
21’00’’
23’30’’
55
56
COMPOSER
TITLE
Decadt, Jan
Decadt, Jan
Dejonghe, Koen
Dejonghe, Koen
Dejonghe, Koen
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Delvaux, Albert
Deneire, Hanne
Deneire, Hanne
Deneire, Hanne
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Frédéric
Devreese, Godfried
Devreese, Godfried
Devreese, Godfried
Devreese, Godfried
Devreese, Godfried
Muzikale monografie over een groot schilder
Concerto
Sintra
Vioolconcerto
Schubertgames
Symphoniette
Miniatures
Sinfonia burlesca I
Concerto nr. 1
Mouvement symphonique
Sinfonie in ré II
Concerto nr. 2
Concerto
Sinfonia in sol III
Capriccio
Sinfonia nr. 4
Mitä
Marguerite
Trek
Concerto
Concerto nr. 2
Symphonie
Recitativo e allegro
Concerto nr. 3
Mascarade
Evocations
La fleur de l’été
Un soir, un train
Overture
Prelude
Concerto nr. 4
Benvenuta
Gemini
Benvenuta: Tango
Habanera for Toots and orchestra
L’oeuvre au noir
Valse sacrée
Canti
Passage
Allegro
Suite
Sinfonietta
Symphonie nr. 4
Concerto nr. 2
SUBTITLE
OPUS
ballade voor orkest
sruti2
sruti7
sruti14
suite
YEAR
1964
1973
1994
1999
2004
1952
1960
1960
1961
1966
1969
1974
1984
1986
1988
1990
1999
2002
2002
1951
1952
1953
1955
1956
1956
1966
1968
1968
1976
1981
1983
1984
1986
1987
1987
1988
1989
1999
2004
1950
1953
1962
1965
1970
SOLOIST
+ alto saxophone
+ violin
+ violin
+ violin
+ violoncello
+ folk instr., 4 voices
+ violin
+ piano
+ trumpet
+ piano
+ piano
+ harmonica
+ violoncello
+ trumpet
+ violin
DURATION
14’30’’
24’00’’
9’00’’
18’00’’
7’00’’
36’00’’
30’00’’
23’00’’
20’00’’
7’30’’
25’00’’
21’00’’
24’00’’
10’00’’
10’30’’
27’30’’
7’00’’
6’30’’
25’00’’
24’00’’
22’00’’
23’00’’
8’00’’
21’00’’
14’00’’
23’00’’
5’48’’
6’30’’
7’00’’
22’00’’
16’00’’
23’00’’
3’45’’
6’00’’
23’00’’
6’00’’
22’00’’
10’00’’
5’00’’
18’00’’
25’00’’
25’00’’
25’00’’
PUBLICATION
CD RECORDING
CeBeDeM
Sibeliusmusic
CeBeDeM
René Gailly 87080
Marco Polo 8.223505
Marco Polo 8.223505
Marco Polo 8.223681
Cyprès CYP 1619
Marco Polo 8.223505
Marco Polo 8.223681
Cyprès CYP 1619
Marco Polo 8.223681
Cyprès CYP 1619
57
COMPOSER
TITLE
D’haene, Frederic
D’Haene, Rafaël
D’Haene, Rafaël
D’Haene, Rafaël
Gilles, Jules
Scorci dei Mocciolo
Variaties
Capriccio
5 orkestliederen op gedichten
van Paul van Ostaijen
Preludia
Lettres Persanes
Sonette an Orpheus
Concerto
Reminiscenza
Sinfonia Coreografica
L’Ombre du Passé
Vienna Waits for You
4 Yeats Songs
Trancircle
Cummings Songs
Wavechain
Violin Concerto
Festival Anthem
Symphony no. 1
In het Atrium der Vestalinen
Caprice
Introductie en dans
Romance
Vlaamse Ardennen
Staalkaarten voor een hoboconcert
Atavismen
De avonturen van Old Bottlehand,
zijn heldendaden en zijn roemrijke dood
Se non e vero e ben trovato
Gilles, Jules
Gistelinck, Elias
Naïeve humoreske
Ndessé ou Blues
Gistelinck, Elias
Gistelinck, Elias
Gistelinck, Elias
Gistelinck, Elias
Gistelinck, Elias
Gistelinck, Elias
Gistelinck, Elias
Gistelinck, Elias
Goethals, Lucien
Goethals, Lucien
Elegy for Jan
3 Movements
Concerto
Music for Halloween
Concerto
Symphony no. 1
Symphony no. 2
Concerto
Cinq Impromptus
Diálogos
D’Haene, Rafaël
D’Haene, Rafaël
D’Haene, Rafaël
D’Haene, Rafaël
D’Haene, Rafaël
D’Haene, Rafaël
D’Haene, Rafaël
D’haese, Dirk
D’hoe, Jeroen
D’hoe, Jeroen
D’hoe, Jeroen
D’hoe, Jeroen
D’hoe, Jeroen
D’hoe, Jeroen
D’hoe, Jeroen
Duijck, Guy
Duijck, Guy
Duijck, Guy
Duijck, Guy
Duijck, Guy
Geysen, Frans
Gilles, Jules
Gilles, Jules
58
SUBTITLE
OPUS
YEAR
6
8
symfonie nr. 2
11
16
17
19
21
22
25
10/1
12/1
1976
1986
1987
1990
1995
1997
2001
1994
1995
1996
1998
1999
2000
2001
2005
1954
1955
1957
1959
1972
1991
1975
1976
13/1
1976
19/1
11
1984
1969
27
32
33
40
50
53
58
77
16
1976
1985
1986
1988
1990
1991
1994
2004
1959
1963
Open
symfonische impressies
suite voor wisselende bezetting
symfonische scherts
voor vader en zoon
symfonisch fantasia op het
thema van een volkslied
portrait of Marc Sleen
1995
1969
1970
1972
6
8
17
26
61
SOLOIST
DURATION
+ rock combo
5’00’’
+ medium voice
8’00’’
16’00’’
+ soprano
+ violin
+ soprano
+ soprano, violin, piano
+ piano
+ violin
+ soprano
+ oboe
+ alto saxophone
+ oboe
+ oboe
PUBLICATION
CD RECORDING
15’30’’
19’30’’
19’30’’
24’00’’
16’00’’
24’00’’
31’00’’
6’00’’
18’00’’
16’00’’
12’00’’
22’00’’
9’00’’
35’00’’
18’00’’
5’00’’
11’00’’
9’00’’
13’00’’
20’00’’
60’00’’
10’00’’
VROK 2002/01
CeBeDeM
15’00’’
+ narrator, jazz trio,
jazz orchestra
10’00’’
33’00’’
7’30’’
+ jazz quartet or quintet
+ violin
+ clarinet
25’00’’
14’00’’
CeBeDeM
+ trumpet
+ tape recorder
14’00’’
16’00’’
59
COMPOSER
TITLE
Goethals, Lucien
Goethals, Lucien
Goethals, Lucien
Goethals, Lucien
Sinfonía en Gris Mayor
Concerto voor orkest
Quatre Pièces
Concerto voor
basklarinet-contrabasklarinet
Elegische muziek
Concerto nr. 2
Diafonie
Zomerspelen
De Passie
Cataclysme
Al naar gelang
Litanie III
Aquarius
Opbouw
Eyes
Foto met eenzame boot
Serenata notturno
Muziek
Concerto
Variations
Le Visioni di Paura
Skriet
Raga II
Raga III
Ballade: de Toverdokter en de twee Reuzen
Raga I
An Evening Prayer
Only Darkness and Shadows
Rapsodia alla Zingara
Concerto nr. 2
Echos et mirages 2
Echos et mirages 3
Esquisses et Impromptus 2-5
Ronde Rustique
4 Ballades
La Petite Sirène
Ode aan de Muzen
De 4 Jaargetijden naar Breughel
Commedia dell’arte
Oden aan Botticelli
De Nachtelijke Wapenschouw
Hamlet
Romeo en Julia
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Goeyvaerts, Karel
Groslot, Robert
Groslot, Robert
Gyselynck, Franklin
Gyselynck, Franklin
Hadermann, Jan
Henderickx, Wim
Henderickx, Wim
Henderickx, Wim
Henderickx, Wim
Henderickx, Wim
Henderickx, Wim
Henderickx, Wim
Henderickx, Wim
Henderickx, Wim
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
60
SUBTITLE
OPUS
YEAR
1966
1972
1976
1983
for three-part orchestra
for 5 instrumental groups
(symphonic version of the opera)
tombeau
1950
1950-51
1957
1961
1962
1963
1970-71
1980
1991
1991
1981
s.d.
1975-76
1986
1982
1988
1990
1993
1995
1995
1996
1996
2000
2004
1952
1953
1954
1954
1954
1954
1955
1955
1955
1956
1958
1958
1961
1962
1966?
SOLOIST
+ 2 tape recorders
+ (double) bass clarinet
+ contralto
+ violin
DURATION
PUBLICATION
CD RECORDING
14’00’’
14’00’’
15’00’’
25’00’’
16’00’’
13’00’’
15’00’’
11’30’’
22’00’’
11’00’’
15’00’’
45’00’’
14’50’’
CeBeDeM
Megadisc MDC 7829/30
CeBeDeM
CeBeDeM
Megadisc MDC 7872/73
+ horn
+ viola
+ narrator
+ percussion
+ soprano
+ piano
17’00’’
12’00’’
7’00’’
21’00’’
27’00’’
8’00’’
18’00’’
17’00’’
15’00’’
13’00’’
20’00’’
Megadisc MDC 7833
Megadisc MDC 7833
Megadisc MDC 7833
9’00’’
2’00’’
13’00’’
21’00’’
23’00’’
15’00’’
16’00’’
20’00’’
12’00’’
29’30’’
61
62
COMPOSER
TITLE
Hulshagen, Ludo
Hulshagen, Ludo
Hulshagen, Ludo
Hulshagen, Ludo
Hulshagen, Ludo
Hulshagen, Ludo
Hulshagen, Ludo
Hulshagen, Ludo
Hus, Walter
Hus, Walter
Joris, Bert
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kersters, Willem
Kuppens, Ann
Kuppens, Ann
Laporte, André
Laporte, André
Laporte, André
Laporte, André
Laporte, André
Symfonie nr. 1
Musica pro Iuventute ad Iuventutem
Jong Bronsgroen
Capriccio
Concerto voor viool
Concertino per sedici strumenti e archi
Ouverture Festiva
A Symphonic Exploration
For a Leather Jacket
La Nuit
Dangerous Liaison
Sinfonia Piccola
Symfonie nr. 1
Plechtige ouverture
Symfonie nr. 2
Symfonie nr. 3
Contrasten
Capriccio
Symfonie nr. 4
Pianoconcerto
Symfonie nr. 5
Vioolconcerto
Sinfonia Bellicosa
Rhapsodie concertante
Nachtmuziek
Orkestsuite nr. 1 “Das Schloss”
Fantasia-Rondino
Orkestsuite nr. 2 “Das Schloss”
De Ekster op de Galg
Laporte, André
Leemans, Pieter
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Passacaglia serena
Evocation des Esprits
De Boer die sterft
Concerto
Divertimento
Symfonie nr. 3
Kleine Carnaval Ouverture
Le Bal des Halles
Concertino
De Stalen Kathedraal
Ouverture pour une Comédie de Goldoni
Diptyque
Symfonie nr. 4
Symfonie nr. 5
SUBTITLE
OPUS
violin concerto
piano concerto
“Gezelle-symfonie”
12
22
24
26
39
50
59
71
69
83
86
per violincello e orchestra
con tema reale
concertouverture
naar Pieter Breughel
34
39
41
42
43
49
52
53
60
61
64
YEAR
1978
1985
1986
1990
1996
1999
2000
2002
1990
1999
2003
1958
1962
1963
1963
1967
1969
1972
1977
1977-78
1987
1989
2000
2001
1970-71
1987
1988
1988
1989
1994
1975
1950
1952
1952
1953
1954
1954
1956
1958
1958
1964
1964
1965
SOLOIST
+ violin
+ 17 soloists
+ violin
+ piano
+ big band
+ percussion
+ alto
+ piano
+ violin
+ violoncello
+ violin
+ narrator
+ piano
+ timpani
DURATION
PUBLICATION
17’00’’
8’00’’
12’00’’
10’00’’
11’00’’
15’00’’
15’00’’
7’30”
30’00’’
30’00’’
Scores
Scores
15’00’’
20’00’’
11’00’’
25’00’’
28’00’’
10’00’’
13’00’’
26’30’’
19’00’’
32’00’’
28’00’’
9’00’’
15’00’’
15’00’’
16’30’’
9’30’’
12’00’’
10’00’’
10’00’’
4’00’’
60’00’’
18’00’’
16’00’’
22’00’’
4’00’’
15’00’’
11’00’’
12’00’’
5’15’’
12’00’’
25’00’’
28’00’’
CD RECORDING
CeBeDeM
CeBeDeM
CeBeDeM
Breitkopf & Härtel
Breitkopf & Härtel
CeBeDeM
Breitkopf & Härtel
CeBeDeM
Discover DICD 920458
Discover DICD 920458
Discover DICD 920458
Discover DICD 920458
CeBeDeM
CeBeDeM
Decca 173476
CeBeDeM
Decca 143359
CeBeDeM
63
64
COMPOSER
TITLE
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Legley, Vic
Concerto
Concerto nr. 2
Concerto
Symfonie nr. 6
Concerto
Automne
Symfonie nr. 8
Concerto nr. 3
Paradise Regained
Lievens, Egeen
Logghe, Geert
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Maes, Jef
Matthys, Marc
Matthys, Marc
Matthys, Marc
Matthys, Marc
Matthys, Marc
Matthys, Marc
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Epithalamion
Luna Piena
Concerto
Symfonie in g
Burlesque
Rosa Mystica
Ouverture concertante
Tu auras nom ... Tristan
Symfonie nr. 2
Preludium, Pantomime, Scherzo
Mei 1871
Dialoog
Concerto nr. 2
Symfonie nr. 3
Intrada
4 Impressions
Contrasts
Reflections
Mosaic
Mosaic
Sad Waltz
‘k Zie Brugge ‘t liefst
Sinfonietta nr. 1
Symfonie nr. 13
Symfonische Triptiek
Tableaux
Concerto nr. 1
Peter Breugel
Concertino
Concerto
Hertog Jan van Brabant
Concerto
Evasies
Symfonie nr. 14
SUBTITLE
symfonische schets naar
een gedicht van H. Marsman
suite
OPUS
66
67
78
88
102
113
121
115
70
YEAR
1966
1967
1971
1976
1984
1989
1988-93
1990
s.d.
SOLOIST
+ harp
+ violin
+ viola
+ violoncello
DURATION
PUBLICATION
14’00’’
21’00’’
32’00’’
28’10’’
23’07’’
5’00’’
+ violin
s.d.
1999-00
1951
+ violin
1953
1957
+ bassoon
1958
+ soprano
1961
1964
1965
1966
1971
+ narrator
1973
+ violin
1975
+ piano
1975
1980
1989
+ violin, jazz combo
1992 + vibes, flute, jazz trio
1994
+ jazz trio
1997 + 2 clarinets, jazz trio
1997
+ pop sextett
1998
1950
+ baritone
1951
1951
1951
1951
1952
1952
1953
+ trombone
1953
+ harp
1953
1954
+ timpani
1954
1954
CD RECORDING
Decca 173291
5’00’’
22’00’’
20’00’’
7’00’’
7’30’’
8’00’’
25’19’’
18’00’’
11’30’’
15’00’’
7’30’’
15’00’’
18’00’’
4’00’’
20’00’’
21’00’’
20’00’’
20’00’’
20’00’’
4’20’’
2’30’’
15’00’’
30’00’’
19’00’’
20’00’’
20’00’’
15’00’’
16’00’’
20’00’’
20’00’’
18’00’’
11’00’’
25’00’’
CeBeDeM
CeBeDeM
Phaedra 92008
Phaedra 92008
Maestro MMP 004
CeBeDeM
65
66
COMPOSER
TITLE
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Moulaert, Raymond
Moulaert, Raymond
Nuyts, Frank
Nuyts, Frank
Nuyts, Frank
Nuyts, Frank
Nuyts, Frank
Nuyts, Frank
Nuyts, Frank
Oelbrandt, Kris
Oelbrandt, Kris
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Symfonisch Rondo
Academische Triptiek
Ouverture voor Tartarin de Tarascon
Van den Vos Reinaerde
Concerto nr. 2
Ionisatie
L’eau passe
Symfonische Dansen
Concerto nr. 2
Concerto
Sinfonietta nr. 2
Sinfonietta nr. 3
Symfonie nr. 15
Cirkus
Concerto Grosso nr. 1
Concerto nr. 2
Divertimento
Middelheim
Concertino
Concerto Grosso nr. 2
Vitraux de Cathédrale
Suite
Légende
Variations symphoniques
Alsof de hand nooit meer weggaat
Symphonie 1
Symphonie 2
Valse cassante
Hard Scores
Different from habit
Brandgang
Movements
Concertante Rapsodie
Beelden uit Broadway
Beelden uit het Oosten
Orkestsuite 2
Romantische Concertwals
Sentimentele Rapsodie
Spaanse Balletsuite
Concertballade
London Suite
Marokkaanse Suite
Blijspel Ouverture
Flandria Ouverture
SUBTITLE
OPUS
YEAR
symphonie of scraps
wal
4de symfonie
4
9
SOLOIST
1954
1955
1955
1955
1956
+ piano
1956
1956
+ high voice
1957
1958
+ organ
1959
+ 2 piano’s
1959
1960
1960
1961
1961
+ saxophone quartet
1961
+ horn
1961
1961
1962
+ saxophone quartet
1962
+ sextet
1963
+ narrator
1964
+ clarinet quartet
1951
+ flute
1952
1979
1988
1993
1997
1996-98
2004
2005
1999
2000
+ violin
1950
1950
1950
1950
1950
1950
1951
+ piano
1951
1951
1952
1952
DURATION
5’00’’
14’00’’
10’00’’
1’00’’
14’00’’
20’00’’
6’15’’
30’00’’
20’00’’
14’30’’
15’00’’
17’00’’
23’00’’
11’22’’
17’00’’
16’00’’
16’30’’
13’00’’
14’00’’
8’00’’
2’00’’
11’00’’
7’00’’
20’00’’
11’00’’
17’00’’
35’00’’
3’00’’
14’00’’
13’30’’
35’00’’
10’00’’
10’00’’
PUBLICATION
CD RECORDING
Maestro MMP 004
9’00’’
9’00’’
9’00’’
67
68
COMPOSER
TITLE
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Peeters, Flor
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Pelemans, Willem
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Ijslandvaarders
Vlaams Capriccio
Landelijke taferelen
Dramatische Ouverture
Westland Ouverture
Berthold Ouverture
Huldigingsmars
Festival Ouverture
2 Zeebeelden
Beelden uit Zeebrugge
Drie Zeebeelden
Capriccio Ouverture
Concerto voor hoorn
Festivum Ouverture
Concertstuk
Zeeland Fantasie
Impressies voor orkest
Concertfinale
Concerto in re
Concertstuk
Vlaamse Rapsodie
Concerto
Concerto nr. 2
Concerto
Concerto nr. 2
Concerto nr. 3
‘t Kevertje
Herfstgoud - Automnales
Ouverture buffa
Concerto nr. 4
Concerto nr. 3
Concerto nr. 5
3 Chansons
Pas de quatre
Concerto
Concerto nr. 6
‘t Pelske
Concerto nr. 7
Divertimento
Symfonie nr. 3
Moto Perpetuo
Ballade
Tarantelle
Concerto nr. 1
SUBTITLE
OPUS
74
YEAR
1953
1953
1954
1955
1957
1959
1960
1961
1962
1962
1963
1971
1973
1973
1978
1979
1981
s.d.
s.d.
s.d.
s.d.
1951
1950
1954
1954
1957
1957
1959
1959
1961
1965
1966
1968
1969
1973
1974
1977
1980
1952
1952
1953
1955
1955
1959
SOLOIST
DURATION
PUBLICATION
CD RECORDING
CeBeDeM
CeBeDeM
Marco Polo 8.223805
8’00’’
8’00’’
9’00’’
8’00’’
8’00’’
8’00’’
+ horn
+ alto saxophone
+ piano
+ piano
+ oboe
+ piano
+ piano
+ piano
+ violin
+ mezzo soprano
+ piano
+ baritone
+ 2 piano’s
+ baritone
+ violin
+ piano
9’00’’
7’00’’
9’00’’
20’00’’
10’00’’
22’00’’
32’00’’
35’00’’
32’00’’
16’00’’
3’00’’
30’00’’
5’00’’
18’00’’
30’00’’
19’00’’
17’00’’
20’00’’
30’00’’
20’00’’
30’00’’
25’00’’
12’00’’
24’00’’
6’00’’
13’00’’
4’40’’
19’30’’
69
70
COMPOSER
TITLE
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Poot, Marcel
Posman, Lucien
Raes, Godfried-Willem
Raes, Godfried-Willem
Raes, Godfried-Willem
Roelstraete, Herman
Roelstraete, Herman
Roelstraete, Herman
Roelstraete, Herman
Roelstraete, Herman
Roelstraete, Herman
Roelstraete, Herman
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Rosseau, Norbert
Schroyens, Daniel
Schroyens, Daniel
Schroyens, Daniel
Schuermans, Pieter
Schuermans, Pieter
2 Mouvements Symphoniques
Pygmalion
Suite en forme de variations
Concerto
Engelse Suite
Symfonie nr. 4
Concertino
Concerto
Symfonie nr. 5
Concerto nr. 2
Symfonische Ballade
Concerto
Symfonie nr. 6
Millennium
Concerto
Symfonie nr. 7
Symfonie één
Musik Für...
The Last Symphony
Fugadeca
Elegie
Zeer Klassieke Ouverture
Symfonie nr. 2
Kleine Suite
Concerto all’antiquo
Divertimento Secondo
Symfonie nr. 4
Incantations
Symfonie nr. 1
Juventa
Suite Concertante
Concerto à cinq
Sinfonia liturgica in quatro tempi
Variations
Concerto no. 2
Concerto voor orkest
Concerto
Ouverture “Il servo di due padroni”
Concerto
Suhail
Fresco
On a Crest of Liquid Silence
Ballade
Prelude
SUBTITLE
OPUS
any orchestral combination
no. 10 from ‘A Book of Fugues’
14
24
39
20/7
168
81
82
42
48
66
62
74
73
87
84
86
3/65
1/66
2/67
YEAR
SOLOIST
1960
1960
1962
1966
+ clarinet quartet
1966
1970
1971
+ violoncello
1973
+ trumpet
1974
1975
+ piano
1976
1977
+ clarinet
1978
1979
+ 4 saxophones
1980
+ alto saxophone
1982
1996
+ flute
1972
1977
1991
1951
+ violoncello
1954
1959
1963
1971
1971
1971
1950
+ vocal ensemble
1953
1957
1959
1960
+ wind quintet
1961 + vocal soloists, chorus
1962
1963
1963
1965
+ viola
1966
1967
+ horn
1987
1990
1997
1994
1995
DURATION
PUBLICATION
22’00’’
18’00’’
12’00’’
20’00’’
15’00’’
20’00’’
14’00’’
15’00’’
21’32’’
20’00’’
10’00’’
15’00’’
18’00’’
12’28’’
14’07’’
20’00’’
Universal Edition
CD RECORDING
Marco Polo 8.223775
Marco Polo 8.223805
Marco Polo 8.223775
Marco Polo 8.223805
Rode Pomp RP 009
Logos
16’00’’
6’00’’
20’00’’
12’00’’
8’30’’
30’00’’
30’00’’
26’00’’
26’00’’
29’00’’
35’00’’
20’00’’
22’00’’
22’00’’
15’00’’
6’00’’
14’00’’
15’00’’
CeBeDeM
CeBeDeM
CeBeDeM
CeBeDeM
71
COMPOSER
TITLE
SUBTITLE
Slootmaekers, Martin
Soenen, Willy
Soenen, Willy
Soenen, Willy
Soenen, Willy
Soenen, Willy
Steegmans, Paul
Steegmans, Paul
Steegmans, Paul
Steegmans, Paul
Sternefeld, Daniel
Remise
Capriccio
Festivalsuite
Concertimento
Concerto
P. & C. 2005
Ouverture
4 Preludes
Vlaamse Ouverture
Wals in G
Zang en dans aan het hof
van Maria Van Bourgondië
Halewijn
Festivitas Populacia Bruocsella
Het Hemelbed
Salve Antverpia
Breugel
Rossiniazata
Waaier
Orkestbeweging in c-klein
Concertouverture
Reuzedans
De Profeten
Paysages Métaphysiques
L’inverno
Concertino
Pianoconcerto nr. 1
Ballade
Rotations
Fresco
Partita
Stabat Mater
Symfonie nr. 1
Enigma
Festival Overture
Zodiac
I Ching
Ion
Morgenrot
Minerva
Nursery Songs
FugaEneas
Riflessione
JoenRuni Lubrigtic
concertino for orchestra
Sternefeld, Daniel
Sternefeld, Daniel
Sternefeld, Daniel
Sternefeld, Daniel
Sternefeld, Daniel
Sternefeld, Daniel
Sternefeld, Daniel
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swerts, Piet
Swinnen, Peter
Swinnen, Peter
Swinnen, Peter
72
pianoconcerto nr. 3
symfonie nr. 2
academic transf. for orchestra
little songs of long ago
poema sinfonico
poema sinfonico
OPUS
YEAR
1993
1985
1988
1995
1999
2005
1990
1994
1995
1996
1976
1978
1979
1979
1979
1981
1981
1984
1974
1975
1975
1977
1981
1983
1984
1984
1986
1986
1987
1987
1988
1990
1991
1992
1992
1996
1999
2000
2002
2003
1990
1991
1993
SOLOIST
+ trumpet
+ piano
+ clarinet
DURATION
PUBLICATION
CD RECORDING
CeBeDeM
René Gailly 87501
16’30’’
10’00’’
15’00’’
11’00’’
25’00’’
5’00’’
6’00’’
15’00’’
7’00’’
3’00’’
20’00’’
58’00’’
16’25’’
21’00’’
35’00’’
37’00’’
30’00’’
18’00’’
9’40’’
+ 4 double basses
+ piano
+ piano
+ viola
+ soprano
+ piano
+ violin
+ violin
+ piano
+ soprano, chorus
+ soprano
+ violoncello
13’00’’
23’00’’
6’00’’
12’00’’
20’00’’
5’00’’
13’00’’
12’00’’
15’00’’
5’00’’
30’00’’
14’00’’
6’00’’
17’00’’
10’00’’
12’00’’
73’00’’
12’00’’
18’00’’
14’00’’
18’00’’
16’00’’
De Haske
EDS
EDS
EDS
EDS
EDS
René Gailly 90006
73
74
COMPOSER
TITLE
Swinnen, Peter
Swinnen, Peter
IdoVisu
The black Lark’s Ballad
Swinnen, Peter
Swinnen, Peter
Tas, Rudi
Sinfonia I
Pas-de-deux
Silent Tears
Valcke, Martin
Valcke, Martin
Van Cleemput, Marc
Van Cleemput, Werner
Van Daele, Hans
Van Daele, Hans
Van Daele, Hans
Van de Moortel, Arie
Van de Moortel, Arie
Van de Moortel, Arie
Symfonie
Strata
Concerto
Balletflitsen
Sonata per orchestra
Movimento per orchestra
Concerto triplo
Concerto
6 Puntdichtjes
Nocturne
Van de Moortel, Arie
Van de Moortel, Arie
Van de Moortel, Arie
Van de Moortel, Arie
Van de Moortel, Arie
Miserere
Conte pastoral
Projet
Sees
Fantasia sopra la canzone “All voll”
van de Woestijne, David
van de Woestijne, David
van de Woestijne, David
Van den Broeck, Leo
van der Eyken, Ernest
van der Eyken, Ernest
Van der Roost, Jan
Van der Roost, Jan
Van der Roost, Jan
Van der Roost, Jan
Van der Roost, Jan
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Les Sonnets de la Belle Cordière
Symfonie
Symfonie in één Beweging
De 4 Groten
Symfonie nr. 2
Concerto
Mozaïeken
Sinfonia per orchestra
Canti d’amore
Sirius
Scaldis
8 Van De Woestijne-liederen
Judith
Avondgeluiden
Concerto
De Triomf van de Dood
Maskers
Symfonie
Beweging
Hulde aan Leos Janacek
SUBTITLE
OPUS
poema sinfonico
(tribute to Frank Zappa)
le journal intime
symfonie nr. 2
“silent witnesses of our time”
SOLOIST
1995
1995
+ oboe
1998
2001
2002-03
+ mezzo, accordion
+ violin
+ soprano
13’00’’
10’00’’
30’00’’
+ percussion
20’00’’
6
15
18
1997
2003
1982
1972
2002
2003
2005
1952
1955
1956
35bis
34
33/1
33/2
44
1964
1966
1966
1966
1970
ouverture to Ibsen’s Peer Gynt
liedcyclus
ouverture voor orkest
ouverture voor orkest
YEAR
1954
1958
1965?
1950
1975
1994
1986
1989
1999
2002
2005
1951
1951
1954
1958
1963
1965
1967
1968
1973
+ violin, violoncello, piano
+ medium voice
+ clarinet or tenor sax
or violoncello or viola
+ medium voice
+ medium voice
+ medium voice
+ medium voice
+ double bass
or violoncello or viola
+ voice
DURATION
PUBLICATION
18’00’’
12’00’’
CD RECORDING
Auditorium AUD 01003
16’00’’
13’00’’
19’00’’
17’00’’
4’00’’
4’00’’
5’00’’
5’00’’
6’00’’
6’00’’
4’00’’
30’00’’
20’30’’
12’00’’
15’00’’
31’00’’
+ piano
+ baritone
+ high voice
+ alto or high voice
+ violin
+ flute, oboe
12’00’’
32’00’’
20’00’’
11’00’’
10’00’’
25’00’’
30’00’’
3’00’’
20’20’’
30’00’’
28’00’’
23’32’’
10’00’’
14’00’’
De Haske
De Haske
De Haske
BMG
EMI 07243 826594 2 6
75
76
COMPOSER
TITLE
Van der Velden, Renier
Van der Velden, Renier
Van der Velden, Renier
Van Durme, Jef
Van Durme, Jef
Van Durme, Jef
Van Durme, Jef
Van Durme, Jef
Van Durme, Jef
Van Durme, Jef
Van Eycken, Stefan
Van Geert, Octaaf A.
Van Geert, Octaaf A.
Van Gorp, Dirk
Van Hoof, Jef
Van Hoof, Jef
Van Hoof, Jef
Van Hoof, Jef
Van Hoof, Jef
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Hove, Luc
Van Ingelgem, Kristiaan
Arlequinade
Oostendse Maskers
Dulle Griet
Symfonie nr. 4
Ouverture pour un drame
Symfonie nr. 5
Symfonie nr. 6
Van Gogh-suite
Ballade nr. 3
Suite nr. 3
Architectures of Reassurance
Compositie in brons
Sedimentaria
Tanah Lot
Symfonie nr. 4 in B
Tweede symfonische suite
Symfonie nr. 5 in E
Concertino voor viool
Symfonie nr. 6 in B
Largo per orchestra
Carnaval op het strand
Scherzo
Elise’s Dance
Symfonie nr. 1
Stacked Time
Triptiek
Pianoconcerto
Symfonie nr. 2
Symfonie nr. 3
Diabelli Veränderung
Mijn Kapellekesbaan
Van Ingelgem, Maarten
Van Landeghem, Jan
Van Landeghem, Jan
Van Landeghem, Jan
Van Landeghem, Jan
Van Landeghem, Jan
Van Landeghem, Jan
Van Landeghem, Jan
Van Parys, Annelies
Van Puymbroeck, Stefan
Van Puymbroeck, Stefan
Vande Ginste, Stephane
Pianoconcerto
Concerto per organo ed orchestra
Epitaffio
Les heures claires
Concerto per chitarra ed orchestra
Gartenmusik
Millenniummusic
Edelstenentriptiek
Einklang
November
Konzert für Klavier und Orchester Nr. 1
Concertino
SUBTITLE
OPUS
46
48
51
54
(pan shot)
onvoltooide
ter gelegenheid van het
Louis Paul Boonjaar te Aalst
13
17
16
21
25
26
29
32
34
39
43
39
YEAR
1980
1985
1990
1951
1952
1952
1953
1954
1961
1962
2003
1987
1994
2002
1951
1952
1955
1956
1958
1984
1985
1985
1987
1989
1990
1993
1995
1997
2001
2004
1999
2005
1990
1993
1996
1997
2000
2000
2001-02
2004
1995
1996-99
1998
SOLOIST
DURATION
PUBLICATION
12’00’’
8’30’’
15’00’’
23’00’’
15’00’’
32’00’’
25’00’’
25’00’’
13’00’’
CeBeDeM
CD RECORDING
12’00’’
15’00’’
16’00’’
+ double bass
+ electric guitar
+ oboe
+ piano
+ piano
+ organ
+ bass baritone
+ guitar
+ 2 voices
+ piano
30’00’’
20’00’’
30’00’’
17’21’’
13’38’’
15’00’’
15’00’’
8’00’’
20’00’’
17’00’’
15’00’’
18’00’’
18’00’’
27’00’’
30’00’’
16’00’’
27’00’’
13’00’’
25’00’’
20’00’’
30’00’’
30’00’’
60’00’’
25’00’’
26’00’’
10’30’’
Megadisc MDC 7823/24
CeBeDeM
CeBeDeM
CeBeDeM
Megadisc MDC 7823/24
Megadisc MDC 7823/24
Megadisc MDC 7823/24
Megadisc MDC 7823/24
Megadisc MDC 7823/24
CeBeDeM
CeBeDeM
+ piano
+ piano
77
78
COMPOSER
TITLE
SUBTITLE
Vande Ginste, Stephane
Vande Ginste, Stephane
Vanheertum, Stefaan
Vanstreels, René
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbesselt, August
Verbraeken, Carl
Verbraeken, Carl
Verbraeken, Carl
Verbraeken, Carl
Verbraeken, Carl
Verbraeken, Carl
Verbraeken, Carl
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Verhaegen, Marc
Verhaegen, Marc
Verhaegen, Marc
Verhaegen, Marc
Verhaegen, Marc
Kleine Dans
The Song of Hiawatha
suite for youth orchestra
Concerto
La Danza di Gitana
Concerto
Ballade
Concerto
Triptiek
Diagrammen 1972
Strukturen
Concerto
Concerto
Concerto
Almtaler Symfonie
Dubbelconcerto
De zeven elfjes - ballet
Liederen van de hoop
Elementen
Concerto
Phainomena
Vijfduimssymfonie
Wals in re groot
Faust
3 Adagio Liederen
Doofstommen
Drukkerij
Kleding
Nacht- en Morgendontwaken aan de Nete
Bij Maria’s Geboorte
Symfonie nr. 1
Concerto
6 Liederen uit Adagio
Symfonie nr. 2 in bes
Woudtaferelen
Maanlig
Concerto
Inviolata
Moeder
Symfonie nr. 3 in g
Concerto nr. 1 voor piano
Capriccio
Concerto voor gitaar
Concerto voor harp
Symfonie nr. 1
OPUS
5/1
15
YEAR
1998
1999
1998
1950
1952
1956
1959
1967
1972
1981
1983
1986
1986
1989
1990
1982
1983
1984
1986
1986
1987
2001
1950
1956
1956
1956
1956
1957
1958
1959
1960
1961
1961
1961
1963
1964
1964
1965
1968
1979
1983
1986
1987
1989
SOLOIST
DURATION
PUBLICATION
CD RECORDING
+ 2 violoncello’s
+ piano
+ flute, 2 percussion
+ clarinet
+ oboe
+ piano
+ clarinet, bass clarinet
+ voice
+ piano
+ alto
+ mezzo soprano
+ trumpet
+ alto
+ mezzo soprano
+ oboe
+ mezzo soprano
+ soprano
+ piano
+ guitar
+ harp
4’12’’
18’00’’
15’00’’
20’00’’
16’00’’
15’00’’
14’00’’
14’30’’
15’00’’
14’00’’
21’00’’
16’00’’
45’00’’
20’00’’
15’00’’
14’00’’
15’00’’
20’00’’
3’00’’
CeBeDeM
CeBeDeM
9’00’’
14’00’’
1’30’’
25’00’’
13’00’’
16’20’’
33’25’’
13’30’’
2’15’’
26’20’’
5’30’’
2’30’’
24’00’’
39’00’’
18’00’’
29’00’’
25’00’’
32’00’’
CeBeDeM
79
80
COMPOSER
TITLE
SUBTITLE
Verhaegen, Marc
Verhaegen, Marc
Verhaegen, Marc
Verhaegen, Marc
Verhaegen, Marc
Verhaegen, Marc
Vermeersch, Peter
Vermeersch, Peter
Vermeersch, Peter
Vermeiren, Jef
Vermeulen, Hans
Vermeulen, Hans
Vermeulen, Hans
Vermeulen, Hans
Guernica
Concerto nr. 2 voor piano
Concerto voor altsax
Symfonie nr. 2
Concerto In Honorem Baldvini Regis
Convergences
The End of a Second
Walking the Phone
Melting Flesh
Kaleidscoop
Lente
Preludio e Marcia
Chiaro Oscuro
Incontro e Movimento
naar het doek van Picasso
Vermote, Petra
Vermote, Petra
Verstockt, Serge
Waelbroeck, Jean-Pierre
Wauters, Christian-Adolphe
Wauters, Christian-Adolphe
Wauters, Christian-Adolphe
Wauters, Christian-Adolphe
Wauters, Christian-Adolphe
Welffens, Peter
Welffens, Peter
Welffens, Peter
Welffens, Peter
Welffens, Peter
Welffens, Peter
Welffens, Peter
Welffens, Peter
Welffens, Peter
Westerlinck, Wilfried
Westerlinck, Wilfried
Westerlinck, Wilfried
Westerlinck, Wilfried
Scintille
Gris Gris
Le Pouvoir du Temps
Symphonie
Demut
Pro Luce nobilis sum
L’Incantation du Silence
Vioolconcerto
Per la gloria d’adorarvi
Vlaamse Symfonie
Choreografisch Concerto
Jettatura
Symfonie nr. 1 in e
Barok Suite
Symfonie nr. 2
Siklus
Reinaert Suite
Rubens Diptiek
Metamorfose
Elegie van de zee en van de liefde
Poëma
Vier Liederen
OPUS
1990
1991
1993
1995
1997
1999
1995
1995
s.d.
1975
1989
1991
1994
1998
symfonisch gedicht
symfonisch gedicht
symfonisch gedicht
concertante symfonie
orkestlied
Ensor-ouverture
Spilliaert-ouverture
un sorriso elegiaco...
Bononcini-variaties
YEAR
30
35
60
77
83
2000
2004
1998
2005
1982-83
1984-85
1996
2001-02
2003
1951
1952
1952
1952
1955
1959
1967
1975
1976
1970-71
1975
1976
1970-80
SOLOIST
+ piano
+ alto saxophone
+ violoncello
+ mandolin
+ trumpet, horn,
trombone
DURATION
PUBLICATION
9’00’’
28’00’’
23’00’’
18’00’’
17’00’’
13’00’’
1’10’’
3’45’’
3’05’’
CeBeDeM
CeBeDeM
CeBeDeM
CD RECORDING
CeBeDeM
13’00’’
16’00’’
21’00’’
24’00’’
3’30’’
4’00’’
Maestro MMP 013
+ trombone, tape
+ violin
+ soprano
30’00’’
6’00’’
11’00’’
13’32’’
18’00’’
6’00’’
25’00’’
16’00’’
17’00’’
33’00’’
15’00’’
22’00’’
33’00’’
20’00’’
16’00’’
11’00’’
7’30’’
6’30’’
6’00’’
CeBeDeM
CeBeDeM
81
CHRONOLOGICAL INVENTORY OF FLEMISH SYMPHONIC MUSIC SINCE 1950
82
YEAR
COMPOSER
TITLE
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1950
1951
1951
1951
1951
1950-51
1951
1951
1951
1951
1951
1951
1951
1951
1951
1951
1951
1951
1951
1951
1951
1951
Alpaerts, Flor
Alpaerts, Flor
Baeyens, August
Cabus, Peter
De Meester, Louis
Decadt, Jan
Devreese, Godfried
Goeyvaerts, Karel
Legley, Vic
Meulemans, Arthur
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Pelemans, Willem
Rosseau, Norbert
Van den Broeck, Leo
Vanstreels, René
Veremans, Renaat
Baeyens, August
Cabus, Peter
De Jong, Marinus
Devreese, Frédéric
Goeyvaerts, Karel
Maes, Jef
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Moulaert, Raymond
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Peeters, Flor
Roelstraete, Herman
Van der Velden, Renier
Van der Velden, Renier
Van Durme, Jef
Van Hoof, Jef
Welffens, Peter
Het Zandmanneken
‘t Hofje ‘s morgens
Sonnet waermede den Landtman
Concerto
Betje Trompet
Symfonie nr. 1
Allegro
Elegische muziek
De Boer die sterft
‘k Zie Brugge ‘t liefst
Beelden uit Broadway
Beelden uit het Oosten
Orkestsuite 2
Romantische Concertwals
Sentimentele Rapsodie
Spaanse Balletsuite
Concerto nr. 2
Incantations
De 4 Groten
La Danza di Gitana
Faust
Scherzo
Sinfonietta
De Vrouwen van Zalongo
Concerto
Concerto nr. 2
Concerto
Sinfonietta nr. 1
Symfonie nr. 13
Symfonische Triptiek
Tableaux
Légende
Concertballade
London Suite
Marokkaanse Suite
Concerto
Elegie
8 Van De Woestijne-liederen
Judith
Symfonie nr. 4
Symfonie nr. 4 in B
Vlaamse Symfonie
SUBTITLE
OPUS
34
42
SOLOIST
DURATION
+ mezzo soprano
+ mezzo soprano
+ bass baritone
+ violin
+ narrator
3’00’’
3’00’’
4’00’’
21’00’’
20’00’’
21’00’’
5’00’’
16’00’’
60’00’’
2’30’’
+ trumpet
+ contralto
+ narrator
+ baritone
+ piano
+ vocal ensemble
32’00’’
30’00’’
15’00’’
4’12’’
+ soprano
2’30’’
14’00’’
9’00’’
24’00’’
13’00’’
22’00’’
15’00’’
30’00’’
19’00’’
20’00’’
7’00’’
9’00’’
15
71 + women’s voices ad lib.
+ violin
+ violin
+ violin
+ flute
+ piano
74
14
46
+ piano
+ violoncello
+ high voice
PUBLICATION
CD RECORDING
René Gailly 87080
22’00’’
16’00’’
25’00’’
30’00’’
23’00’’
30’00’’
25’00’’
83
84
YEAR
COMPOSER
TITLE
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1952
1953
1953
1953
1953
1953
1953
1953
1953
1953
1953
1953
1953
1953
1953
Baeyens, August
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Meester, Louis
De Meester, Louis
De Middeleer, Jean
Delvaux, Albert
Devreese, Frédéric
Herberigs, Robert
Legley, Vic
Legley, Vic
Meulemans, Arthur
Meulemans, Arthur
Moulaert, Raymond
Ostyn, Willy
Ostyn, Willy
Poot, Marcel
Poot, Marcel
Van de Moortel, Arie
Van Durme, Jef
Van Durme, Jef
Van Hoof, Jef
Verbesselt, August
Welffens, Peter
Welffens, Peter
Welffens, Peter
Albert, Karel
Albert, Karel
Alpaerts, Flor
Baeyens, August
Cabus, Peter
Ceulemans, Ivo
De Jong, Marinus
De Jong, Marinus
Decadt, Jan
Devreese, Frédéric
Devreese, Godfried
Herberigs, Robert
Legley, Vic
Maes, Jef
Symfonie nr. 4
Concerto nr. 2
Dan is de lente daar
De Kleine Haven
Eens leek mijn hart
O Malebeek!
Wanneer ik zing
Concerto nr. 1
Wereld in wording
Rails
Symphoniette
Concerto nr. 2
Rapsodia alla Zingara
Concerto
Divertimento
Concerto nr. 1
Peter Breugel
Variations symphoniques
Blijspel Ouverture
Flandria Ouverture
Divertimento
Symfonie nr. 3
Concerto
Ouverture pour un drame
Symfonie nr. 5
Tweede symfonische suite
Concerto
Choreografisch Concerto
Jettatura
Symfonie nr. 1 in e
Mei
Tornooi
Capriccio
Notturno
Concertino
Divertimento
Aphoristisch Triptiek
Griekse Rhapsodie
Concerto nr. 1
Symphonie
Suite
Concerto nr. 2
Symfonie nr. 3
Symfonie in g
SUBTITLE
OPUS
80
85/4
73
85/1
85/3
85/2
SOLOIST
+ piano
+ mezzo soprano
+ medium voice
+ medium voice
+ medium voice
+ piano
+ medium voice
+ piano
39
41
+ piano
6
48
51
+ flute, 2 percussion
+ piano
47
82b
75
+ piano
42
DURATION
PUBLICATION
CD RECORDING
80’00’’
21’00’’
2’30’’
9’25’’
3’00’’
3’00’’
2’00’’
20’00’’
6’00’’
36’00’’
22’00’’
13’00’’
18’00’’
16’00’’
20’00’’
15’00’’
20’00’’
9’00’’
9’00’’
12’00’’
24’00’’
17’00’’
15’00’’
32’00’’
20’00’’
18’00’’
16’00’’
17’00’’
33’00’’
1’45’’
20’00’’
7’00’’
10’30’’
19’00’’
6’45’’
11’00’’
8’00’’
23’30’’
23’00’’
18’00’’
20’00’’
22’00’’
20’00’’
Marco Polo 8.223505
CeBeDeM
CeBeDeM
Marco Polo 8.223805
Maurer
Rode Pomp RP4
CeBeDeM
CeBeDeM
85
86
YEAR
COMPOSER
TITLE
SUBTITLE
1953
1953
1953
1953
1953
1953
1953
1953
1954
1954
1954
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Ostyn, Willy
Ostyn, Willy
Poot, Marcel
Rosseau, Norbert
Van Durme, Jef
Baeyens, August
Cabus, Peter
Cabus, Peter
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1954
1955
1955
1955
1955
1955
1955
1955
1955
1955
Coppens, Claude
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Meester, Louis
Duijck, Guy
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Legley, Vic
Legley, Vic
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Ostyn, Willy
Pelemans, Willem
Pelemans, Willem
Roelstraete, Herman
van de Woestijne, David
Van der Velden, Renier
Van Durme, Jef
Baeyens, August
Ceulemans, Ivo
De Jong, Marinus
De Jong, Marinus
Devreese, Frédéric
Duijck, Guy
Herberigs, Robert
Herberigs, Robert
Herberigs, Robert
Concertino
Concerto
Hertog Jan van Brabant
Ijslandvaarders
Vlaams Capriccio
Moto Perpetuo
Symfonie nr. 1
Symfonie nr. 6
Symfonie nr. 5
Concertino in variatievorm
Variaties op een thema van
Neidhart von Reuenthal
Concerto pour piano et orchestre
Concerto
De Verlorene
Nocturne
Afrika ontwaakt
In het Atrium der Vestalinen
Echos et mirages 2
Echos et mirages 3
Esquisses et Impromptus 2-5
Ronde Rustique
Kleine Carnaval Ouverture
Le Bal des Halles
Concerto
Evasies
Symfonie nr. 14
Symfonisch Rondo
Landelijke taferelen
Concerto
Concerto nr. 2
Zeer Klassieke Ouverture
Les Sonnets de la Belle Cordière
Avondgeluiden
Van Gogh-suite
Symfonie nr. 6
in re
Mijn Reuzenlaarzen
Blancefloer
aria
De Kring
Recitativo e allegro
Caprice
4 Ballades
La Petite Sirène
Ode aan de Muzen
OPUS
SOLOIST
DURATION
+ trombone
+ harp
16’00’’
20’00’’
20’00’’
48
54
+ piano
3
103
93/2
89
+ piano
+ violin
+ medium voice
+ voice
6
+ timpani
+ violin
24
+ voice
+ alto or high voice
8
CD RECORDING
CeBeDeM
CeBeDeM
20’00’’
23’00’’
3’00’’
5’00’’
18’00’’
43
63
72
101
6’00’’
30’00’’
25’00’’
29’00’’
13’30’’
11’45’’
PUBLICATION
+ soprano
+ trumpet
+ oboe
9’00’’
2’00’’
4’00’’
15’00’’
18’00’’
11’00’’
25’00’’
5’00’’
35’00’’
32’00’’
6’00’’
30’00’’
3’00’’
25’00’’
40’00’’
1’00’’
8’00’’
15’00’’
8’00’’
5’00’’
13’00’’
21’00’’
23’00’’
CeBeDeM
Decca 173476
CeBeDeM
87
88
YEAR
COMPOSER
TITLE
1955
1955
Meulemans, Arthur
Meulemans, Arthur
1955
1955
1955
1955
1955
1955
1955
1956
1956
1956
1956
1956
1956
1956
1956
1956
1956
1956
1956
1956
1956
1956
Meulemans, Arthur
Ostyn, Willy
Poot, Marcel
Poot, Marcel
Van de Moortel, Arie
Van Hoof, Jef
Welffens, Peter
Albert, Karel
Baeyens, August
Cabus, Peter
De Meester, Louis
De Meester, Louis
De Meester, Louis
De Vocht, Lodewijk
Devreese, Frédéric
Devreese, Frédéric
Herberigs, Robert
Legley, Vic
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Van de Moortel, Arie
Academische Triptiek
Ouverture voor Tartarin
de Tarascon
Van den Vos Reinaerde
Dramatische Ouverture
Ballade
Tarantelle
6 Puntdichtjes
Symfonie nr. 5 in E
Barok Suite
De Nacht
Concerto
Variazioni
Amalgames
Autoferro
Concerto nr. 2
Concerto
Concerto nr. 3
Mascarade
De 4 Jaargetijden naar Breughel
Concertino
Concerto nr. 2
Ionisatie
L’eau passe
Nocturne
1956
1956
1956
1956
1956
1956
1957
1957
1957
1957
1957
1957
1957
1957
1957
1957
1957
Van Hoof, Jef
Verbesselt, August
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Cabus, Peter
De Jong, Marinus
Duijck, Guy
Goeyvaerts, Karel
Maes, Jef
Meulemans, Arthur
Ostyn, Willy
Pelemans, Willem
Pelemans, Willem
Rosseau, Norbert
Veremans, Renaat
Concertino voor viool
Ballade
3 Adagio Liederen
Doofstommen
Drukkerij
Kleding
Symfonie nr. 2
Concerto nr. 3
Introductie en dans
Diafonie
Burlesque
Symfonische Dansen
Westland Ouverture
Concerto nr. 3
‘t Kevertje
Juventa
Nacht- en Morgendontwaken
aan de Nete
SUBTITLE
OPUS
SOLOIST
DURATION
PUBLICATION
CD RECORDING
14’00’’
10’00’’
+ violin
15
+ medium voice
+ viola
+ piano
+ violoncello
+ piano
49
18
+ timpani
+ piano
+ high voice
+ clarinet or tenor sax
or violoncello or viola
+ alto
105
17
+ piano
+ alto saxophone
+ bassoon
+ mezzo soprano
66
1’00’’
8’00’’
13’00’’
4’40’’
4’00’’
30’00’’
15’00’’
10’15’’
23’00’’
23’00’’
18’00’’
19’00’’
26’00’’
21’00’’
14’00’’
15’00’’
11’00’’
14’00’’
20’00’’
6’15’’
4’00’’
CeBeDeM
Marco Polo 8.223505
17’21’’
15’00’’
9’00’’
25’00’’
17’30’’
11’00’’
15’00’’
7’00’’
30’00’’
8’00’’
16’00’’
3’00’’
26’00’’
14’00’’
CeBeDeM
89
90
YEAR
COMPOSER
TITLE
SUBTITLE
1958
1958
1958
Albert, Karel
Baeyens, August
Ceulemans, Ivo
1958
1958
1958
1958
1958
1958
1958
De Jong, Marinus
De Meester, Louis
Herberigs, Robert
Herberigs, Robert
Kersters, Willem
Legley, Vic
Legley, Vic
1958
1958
1958
1958
1958
1958
1959
1959
1959
1959
1959
1959
1959
1959
1959
1959
1959
1959
1959
1959
1959
1960
1960
1959-60
1960
1960
1960
1960
1960
1960
1960
1960
Maes, Jef
Meulemans, Arthur
van de Woestijne, David
Van der Velden, Renier
Van Hoof, Jef
Veremans, Renaat
Albert, Karel
Baeyens, August
Duijck, Guy
Goethals, Lucien
Meulemans, Arthur
Meulemans, Arthur
Ostyn, Willy
Pelemans, Willem
Pelemans, Willem
Poot, Marcel
Roelstraete, Herman
Rosseau, Norbert
Verbesselt, August
Veremans, Renaat
Welffens, Peter
Buckinx, Boudewijn
De Middeleer, Jean
De Smet, Raoul
Delvaux, Albert
Delvaux, Albert
Meulemans, Arthur
Meulemans, Arthur
Ostyn, Willy
Poot, Marcel
Poot, Marcel
Rosseau, Norbert
Suite
Symfonie nr. 7
in één beweging
Introduzione e Rondo
claudicante
Concerto
Marine
Commedia dell’arte
Oden aan Botticelli
Sinfonia Piccola
De Stalen Kathedraal
Ouverture pour une Comédie
de Goldoni
Rosa Mystica
Concerto nr. 2
Symfonie
Concerto
Symfonie nr. 6 in B
onvoltooide
Bij Maria’s Geboorte
Dansende Beeldekens
Concerto
Romance
Cinq Impromptus
Concerto
Sinfonietta nr. 2
Berthold Ouverture
Herfstgoud - Automnales
Ouverture buffa
Concerto nr. 1
Symfonie nr. 2
Suite Concertante
Concerto
Symfonie nr. 1
Symfonie nr. 2
Poème Zéro
Frisson d’eau vive
Symphony no. 1
Miniatures
Sinfonia burlesca I
Sinfonietta nr. 3
Symfonie nr. 15
Huldigingsmars
2 Mouvements Symphoniques
Pygmalion
Concerto à cinq
OPUS
SOLOIST
DURATION
32
+ violin
24’00’’
22’00’’
8’00’’
111
+ viola
12
52
53
+ soprano
+ organ
+ violin
+ mezzo soprano
26
16
+ trumpet
+ oboe
+ 2 piano’s
+ piano
39
62
1960.33
+ medium voice
74
+ wind quintet
24’00’’
9’00’’
16’00’’
20’00’’
15’00’’
12’00’’
5’15’’
PUBLICATION
CD RECORDING
CeBeDeM
Decca 143359
7’30’’
20’00’’
20’30’’
20’20’’
13’38’’
1’30’’
15’45’’
16’00’’
9’00’’
14’00’’
14’30’’
15’00’’
9’00’’
30’00’’
5’00’’
19’30’’
20’00’’
26’00’’
20’00’’
25’00’’
22’00’’
14’00’’
4’00’’
37’30’’
30’00’’
23’00’’
17’00’’
23’00’’
22’00’’
18’00’’
29’00’’
Universal Edition
Marco Polo 8.223775
91
92
YEAR
COMPOSER
TITLE
1960
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1961
1962
1962
1962
1962
1962
1962
1962
1962
1962
1962
1962
1962
1962
1963
1963
1963
1963
1963
1963
Veremans, Renaat
Baeyens, August
Buckinx, Boudewijn
Buckinx, Boudewijn
Cabus, Peter
Coppens, Claude
De Jong, Marinus
De Jong, Marinus
De Meester, Louis
Delvaux, Albert
Goeyvaerts, Karel
Herberigs, Robert
Maes, Jef
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Meulemans, Arthur
Ostyn, Willy
Pelemans, Willem
Rosseau, Norbert
Van Durme, Jef
Veremans, Renaat
Veremans, Renaat
Veremans, Renaat
Albert, Karel
Cabus, Peter
Devreese, Godfried
Goeyvaerts, Karel
Herberigs, Robert
Kersters, Willem
Meulemans, Arthur
Meulemans, Arthur
Ostyn, Willy
Ostyn, Willy
Poot, Marcel
Rosseau, Norbert
Van Durme, Jef
Cabus, Peter
Cabus, Peter
Ceulemans, Ivo
De Middeleer, Jean
Goethals, Lucien
Goeyvaerts, Karel
Concerto
Symfonie nr. 8
1ste Symfonie
2de Symfonie
Symfonie nr. 3
Concerto breve
Mercator Ouverture
Schelde-Ballade
Hier is mijn bloed
Concerto nr. 1
Zomerspelen
De Nachtelijke Wapenschouw
Ouverture concertante
Cirkus
Concerto Grosso nr. 1
Concerto nr. 2
Divertimento
Middelheim
Festival Ouverture
Concerto nr. 4
Sinfonia liturgica in quatro tempi
Ballade nr. 3
6 Liederen uit Adagio
Symfonie nr. 2 in bes
Woudtaferelen
In den beginne was het woord
Vijf dansen
Sinfonietta
De Passie
Hamlet
Symfonie nr. 1
Concertino
Concerto Grosso nr. 2
2 Zeebeelden
Beelden uit Zeebrugge
Suite en forme de variations
Variations
Suite nr. 3
Interludium
Symfonische dansen
‘t Regent
La goutte de pluie
Diálogos
Cataclysme
SUBTITLE
OPUS
SOLOIST
DURATION
+ trumpet
13’00’’
30’00’’
12’00’’
10’00’’
19’00’’
16’00’’
12’00’’
18’00’’
16’30’’
20’00’’
11’30’’
12’00’’
8’00’’
11’22’’
17’00’’
16’00’’
16’30’’
13’00’’
8’00’’
18’00’’
35’00’’
13’00’’
16’20’’
33’25’’
13’30’’
18’30’’
14’00’’
25’00’’
22’00’’
29’30’’
20’00’’
14’00’’
8’00’’
1961.04
1961.07
+ violoncello
130
125
+ violin
for three-part orchestra
+ saxophone quartet
+ horn
73 + vocal soloists, chorus
+ alto
+ baritone
22
+ saxophone quartet
+ sextet
PUBLICATION
CD RECORDING
Megadisc MDC 7829/30
CeBeDeM
CeBeDeM
8’00’’
12’00’’
20’00’’
87
60
+ medium voice
+ tape recorder
6’50’’
10’00’’
0’45’’
3’00’’
16’00’’
11’00’’
93
94
YEAR
COMPOSER
TITLE
1963
1963
1963
1963
1963
1963
1963
1963
1963
1964
1964
1964
1964
1964
Kersters, Willem
Kersters, Willem
Meulemans, Arthur
Ostyn, Willy
Roelstraete, Herman
Rosseau, Norbert
Rosseau, Norbert
Van der Velden, Renier
Veremans, Renaat
Buckinx, Boudewijn
De Jong, Marinus
De Middeleer, Jean
De Middeleer, Jean
De Middeleer, Jean
Plechtige ouverture
Symfonie nr. 2
Vitraux de Cathédrale
Drie Zeebeelden
Kleine Suite
Concerto no. 2
Concerto voor orkest
De Triomf van de Dood
Maanlig
Verklankingen
Fusée interplanétaire Atlas
A mon frère
Je suis triste
Obéir
1964
Decadt, Jan
1964
1964
1964
1964
1964
1964
1964
1965
1965
1965
1965
1965
1965
1965
1965
1965
1965
1965?
1965
1965
1966
1966
1966
1966
1966
1966
1966
Legley, Vic
Legley, Vic
Maes, Jef
Meulemans, Arthur
Van de Moortel, Arie
Veremans, Renaat
Veremans, Renaat
Ceulemans, Ivo
De Jong, Marinus
De Meester, Louis
De Meester, Louis
De Middeleer, Jean
Devreese, Godfried
Legley, Vic
Maes, Jef
Pelemans, Willem
Rosseau, Norbert
van de Woestijne, David
Van der Velden, Renier
Veremans, Renaat
Albert, Karel
Baeyens, August
Bulterijs, Nini
Celis, Frits
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
Muzikale monografie over
een groot schilder
Diptyque
Symfonie nr. 4
Tu auras nom ... Tristan
Suite
Miserere
Concerto
Inviolata
Vioolconcert
Symfonie nr. 2
Betje Trompet en de reus
Rapsodie Polonaise
Amusettes - Dierenpalet
Symphonie nr. 4
Symfonie nr. 5
Symfonie nr. 2
Concerto nr. 3
Concerto
Symfonie in één Beweging
Maskers
Moeder
Symfonie nr. 4
Rhapsodie
Symphonie
Elegie
Concerto
Concerto
Concerto
SUBTITLE
OPUS
SOLOIST
DURATION
PUBLICATION
CeBeDeM
+ narrator
11’00’’
25’00’’
2’00’’
24
26
20/7
84
86
+ mezzo soprano
1964.11
122
+ bass
+ bass
+ medium voice
or soprano
CD RECORDING
22’00’’
22’00’’
30’00’’
2’15’’
8’00’’
20’00’’
6’00’’
3’00’’
5’00’’
14’30’’
60
61
suite
35bis
112
141
+ clarinet quartet
+ medium voice
+ oboe
+ mezzo soprano
+ violin
+ narrator
+ tape
64
3/65
+ piano
+ viola
+ soprano
12’00’’
25’00’’
25’19’’
11’00’’
5’00’’
26’20’’
5’30’’
27’00’’
30’00’’
25’00’’
17’00’’
6’35’’
25’00’’
28’00’’
18’00’’
30’00’’
15’00’’
12’00’’
28’00’’
2’30’’
27’30’’
CeBeDeM
+ clarinet
7
145
146
147
+ horn
+ bassoon
+ flute
21’00’’
10’00’’
16’00’’
16’00’’
16’00’’
95
96
YEAR
COMPOSER
TITLE
SUBTITLE
1966
1966
1966
1966
1966
1966?
1966
1966
1966
1966
1966
1966
De Jong, Marinus
De Smet, Raoul
Delvaux, Albert
Devreese, Frédéric
Goethals, Lucien
Herberigs, Robert
Legley, Vic
Maes, Jef
Pelemans, Willem
Poot, Marcel
Poot, Marcel
Rosseau, Norbert
1966
1966
1966
1967
1967
1967
1967
1967
1967
1967
1967
1967
1967
1967
1967
1967
1968
1968
1968
1968
1968
1968
1968
1968
1969
1969
1969
1969
1969
1969
1969
Van de Moortel, Arie
Van de Moortel, Arie
Van de Moortel, Arie
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
De Jong, Marinus
Kersters, Willem
Legley, Vic
Rosseau, Norbert
Van der Velden, Renier
Verbesselt, August
Welffens, Peter
Cabus, Peter
Ceulemans, Ivo
De Smet, Raoul
Devreese, Frédéric
Devreese, Frédéric
Pelemans, Willem
Van der Velden, Renier
Veremans, Renaat
Albert, Karel
Buckinx, Boudewijn
Cabus, Peter
Celis, Frits
De Jong, Marinus
Delvaux, Albert
D’Haene, Rafaël
Concerto
Rapsodia
Mouvement symphonique
Evocations
Sinfonía en Gris Mayor
Romeo en Julia
Concerto
Preludium, Pantomime, Scherzo
Concerto nr. 5
Concerto
Engelse Suite
Ouverture
“Il servo di due padroni”
Conte pastoral
Projet
Sees
Concerto
De Oude Man
Een Witte Vlinder
Praatje met Eva
Stil Gebed
Stille Wens
Viermaal hoor ik je stem vragen
Symfonie nr. 3
Concerto nr. 2
Concerto
Symfonie
Triptiek
Siklus
Beweging in sonatevorm
Parafrase op 3 volksliederen
Pentas
5 studies for orchestra
La fleur de l’été
Un soir, un train
3 Chansons
Beweging
Symfonie nr. 3 in g
Sinfonietta
Buckinx’ Beitrag zur Orch.musik
Concerto
3 Symfonische Bewegingen
Concerto
Sinfonie in ré II
Variaties
OPUS
SOLOIST
DURATION
148
+ clarinet
16’00’’
11’00’’
7’30’’
23’00’’
14’00’’
+ 2 tape recorders
66
+ harp
+ clarinet quartet
1/66
34
33/1
33/2
144
152/2
152/9
152/3
152/7
152/1
152/10
39
67
2/67
+ medium voice
+ medium voice
+ medium voice
+ oboe
+ mezzo soprano
+ mezzo soprano
+ soprano
+ mezzo soprano
+ mezzo soprano
+ soprano
+ violin
+ horn
+ trumpet or trombone
118
+ baritone
1969.06
+ trumpet, trombone
8
60
+ violoncello
14’00’’
11’30’’
19’00’’
20’00’’
15’00’’
6’00’’
5’00’’
6’00’’
6’00’’
14’00’’
3’00’’
3’00’’
3’00’’
3’00’’
3’00’’
3’00’’
28’00’’
21’00’’
14’00’’
23’32’’
16’00’’
33’00’’
4’45’’
15’30’’
10’00’’
5’48’’
17’00’’
10’00’’
24’00’’
20’30’’
20’00’’
18’00’’
19’30’’
25’00’’
25’00’’
PUBLICATION
CD RECORDING
CeBeDeM
CeBeDeM
Marco Polo 8.223681
Maurer
97
98
YEAR
COMPOSER
TITLE
SUBTITLE
OPUS
1969
Gistelinck, Elias
Ndessé ou Blues
11
1969
1969
1970
1970
1970
1970
1970
1970
1970
Kersters, Willem
Pelemans, Willem
Cabus, Peter
De Meester, Louis
De Middeleer, Jean
Devreese, Godfried
D’Haene, Rafaël
Poot, Marcel
Van de Moortel, Arie
50
1971
1971
1971
1971
1970-71
1970-71
1971
1971
1971
1971
1971
1971
1971
1970-71
1972
1972
1972
1970-72
1972
Bruyland, Paul
De Jong, Marinus
De Smet, Raoul
De Vocht, Lodewijk
Goeyvaerts, Karel
Laporte, André
Legley, Vic
Maes, Jef
Ostyn, Willy
Poot, Marcel
Roelstraete, Herman
Roelstraete, Herman
Roelstraete, Herman
Westerlinck, Wilfried
Bruyland, Paul
Coppens, Claude
De Jong, Marinus
De Smet, Raoul
D’Haene, Rafaël
1972
1972
1972
1972
1972
1972
1973
1973
1973
Duijck, Guy
Goethals, Lucien
Kersters, Willem
Raes, Godfried-Willem
Van Cleemput, Werner
Verbesselt, August
Coeck, L. Jan
Coryn, Roland
De Meester, Louis
1973
1973
Decadt, Jan
Maes, Jef
Contrasten
Pas de quatre
3 Rondo’s
Woorden en Muziek
Recitativo e Allegro
Concerto nr. 2
Capriccio
Symfonie nr. 4
Fantasia sopra la canzone
“All voll”
Contrasten
Tweede Vlaamse Rhapsodie
Exorcismes
Ulenspiegel Ballade
Al naar gelang
Nachtmuziek
Concerto
Mei 1871
Capriccio Ouverture
Concertino
Concerto all’antiquo
Divertimento Secondo
Symfonie nr. 4
Metamorfose
Orkest-studie
Concerto nr. 2
Vlaamse Rhapsodie nr. 3
3-11-1 Concerto grosso
5 orkestliederen op gedichten
van Paul van Ostaijen
Vlaamse Ardennen
Concerto voor orkest
Capriccio
Musik Für...
Balletflitsen
Diagrammen 1972
Orfeus
Quattro Movimenti
Muziek voor “Ballade van
de gebarsten trommel”
Concerto
Dialoog
SOLOIST
DURATION
+ narrator, jazz trio,
jazz orchestra
+ percussion
33’00’’
+ voice
+ violin
6
44
+ double bass
or violoncello or viola
10’00’’
20’00’’
8’25’’
14’00’’
4’00’’
25’00’’
8’00’’
20’00’’
4’00’’
PUBLICATION
CD RECORDING
Maurer
10’00’’
10’00’’
10’00’’
160
+ baritone
for 5 instrumental groups
78
+ violoncello
15’00’’
32’00’’
15’00’’
8’00’’
14’00’’
+ violin
+ piano
+ ob, trb, vc, pno, vibr
+ medium voice
12’00’’
8’30’’
11’00’’
11’00’’
9’00’’
18’00’’
12’00’’
16’00’’
+ viola
+ narrator
168
81
82
161
8
symfonische impressies
61
Breitkopf & Härtel
Discover DICD 920458
13’00’’
14’00’’
13’00’’
59
any orchestral combination
Logos
+ narrator
15’00’’
11’00’’
11’00’’
40’00’’
+ alto saxophone
+ violin
24’00’’
7’30’’
8
CeBeDeM
99
100
YEAR
COMPOSER
TITLE
SUBTITLE
1973
1973
1973
1973
1973
1974
1974
1974
1974
1974
1974
1975
1975
1975
1975
1975
1975
1975
1975
1975
1975
1975
1976
Ostyn, Willy
Ostyn, Willy
Pelemans, Willem
Poot, Marcel
Van der Velden, Renier
De Jong, Marinus
De Middeleer, Jean
Delvaux, Albert
Pelemans, Willem
Poot, Marcel
Swerts, Piet
Gilles, Jules
Leemans, Pieter
Maes, Jef
Maes, Jef
Poot, Marcel
Swerts, Piet
Swerts, Piet
van der Eyken, Ernest
Vermeiren, Jef
Welffens, Peter
Westerlinck, Wilfried
Coeck, L. Jan
Concerto voor hoorn
Festivum Ouverture
Concerto
Concerto
Hulde aan Leos Janacek
Concerto
Le moulin de papier
Concerto nr. 2
Concerto nr. 6
Symfonie nr. 5
Orkestbeweging in c-klein
Atavismen
suite voor wisselende bezetting
Evocation des Esprits
Concerto nr. 2
Symfonie nr. 3
Concerto nr. 2
Concertouverture
Reuzedans
Symfonie nr. 2
Kaleidscoop
Reinaert Suite
Elegie van de zee en van de liefde
Concertino Buffo
1976
1976
1976
1976
1976
Coryn, Roland
De Jong, Marinus
Devreese, Frédéric
D’Haene, Rafaël
Gilles, Jules
1976
Gilles, Jules
1976
1976
1975-76
1976
1976
1976
Gistelinck, Elias
Goethals, Lucien
Gyselynck, Franklin
Legley, Vic
Poot, Marcel
Sternefeld, Daniel
1976
1976
1977
1977
Welffens, Peter
Westerlinck, Wilfried
Coeck, L. Jan
Kersters, Willem
Sonate
Symfonie nr. 3
Overture
Preludia
De avonturen van Old Bottlehand, symfonische scherts
zijn heldendaden
voor vader en zoon
en zijn roemrijke dood
Se non e vero e ben trovato
symfonisch fantasia op het
thema van een volkslied
Elegy for Jan
Quatre Pièces
Serenata notturno
Symfonie nr. 6
Symfonische Ballade
Zang en dans aan het hof
van Maria Van Bourgondië
Rubens Diptiek
Poëma
Ouverture
Symfonie nr. 4
“Gezelle-symfonie”
OPUS
SOLOIST
DURATION
PUBLICATION
CD RECORDING
+ horn
168
+ 2 piano’s
+ trumpet
+ flute, oboe
+ organ
+ 2 equal voices
+ violin
10/1
+ piano
+ piano
9’00’’
30’00’’
15’00’’
14’00’’
18’00’’
25’00’’
21’00’’
20’00’’
21’32’’
Marco Polo 8.223805
60’00’’
4’00’’
15’00’’
18’00’’
20’00’’
9’40’’
31’00’’
+ 2 trombones,
bass trombone
12
171
20’00’’
7’30’’
14’30’’
11
12/1
15’00’’
35’00’’
6’30’’
15’30’’
10’00’’
13/1
15’00’’
27
7’30’’
15’00’’
88
28’10’’
10’00’’
20’00’’
71
+ alto
16’00’’
6’30’’
9’00’’
26’30’’
CeBeDeM
Cyprès CYP 1619
CeBeDeM
101
102
YEAR
COMPOSER
TITLE
SUBTITLE
1977
1977
1977
1977
1978
1978
1978
1978
1977-78
1978
1978
1978
1979
1979
1979
1979
1979
Pelemans, Willem
Poot, Marcel
Raes, Godfried-Willem
Swerts, Piet
Coeck, L. Jan
De Brabander, Karel
De Jonghe, Marcel
Hulshagen, Ludo
Kersters, Willem
Ostyn, Willy
Poot, Marcel
Sternefeld, Daniel
Celis, Frits
Coryn, Roland
De Decker, George
De Jong, Marinus
Nuyts, Frank
1979
1979
1979
1979
1979
1979
1980
1980
1980
1980
1980
1980
1980
1980
1980
1970-80
1981
1981
1981
1981
1981
1981
1981
1981
1981
1982
Ostyn, Willy
Poot, Marcel
Sternefeld, Daniel
Sternefeld, Daniel
Sternefeld, Daniel
Verhaegen, Marc
Cabus, Peter
Celis, Frits
Coeck, L. Jan
De Brabander, Karel
Goeyvaerts, Karel
Maes, Jef
Pelemans, Willem
Poot, Marcel
Van der Velden, Renier
Westerlinck, Wilfried
Coeck, L. Jan
De Jong, Marinus
Devreese, Frédéric
Groslot, Robert
Ostyn, Willy
Sternefeld, Daniel
Sternefeld, Daniel
Swerts, Piet
Verbesselt, August
De Maeyer, Jan
‘t Pelske
Concerto
The Last Symphony
De Profeten
Movimento per orchestra
Symfonie nr. 2
Sinfonietta
Symfonie nr. 1
Pianoconcerto
Concertstuk
Symfonie nr. 6
Halewijn
Sinfonia I
Symfonische Beweging
Lineas y Puntos
Fantastische Ballade
Alsof de hand nooit
meer weggaat
Zeeland Fantasie
Millennium
Festivitas Populacia Bruocsella
Het Hemelbed
Salve Antverpia
Concerto nr. 1 voor piano
Een Belgische Ouverture
Cantilena
Trois poèmes saturniens
Symfonie nr. 3
Litanie III
Intrada
Concerto nr. 7
Concerto
Arlequinade
Vier Liederen
Concerto in re
Symfonie nr. 4
Prelude
Eyes
Impressies voor orkest
Breugel
Rossiniazata
Paysages Métaphysiques
Strukturen
Het glorierijke licht
poema sinfonico
OPUS
SOLOIST
DURATION
+ baritone
+ clarinet
30’00’’
15’00’’
PUBLICATION
CD RECORDING
13’00’’
10’00’’
69
+ piano
+ alto saxophone
14
3
+ 4 saxophones
+ piano
16
+ baritone
+ alto saxophone
+ soprano
+ bass tuba
186
6
17’00’’
17’00’’
19’00’’
7’00’’
18’00’’
58’00’’
23’00’’
11’00’’
10’00’’
18’00’’
11’00’’
12’28’’
16’25’’
21’00’’
35’00’’
39’00’’
11’15’’
10’29’’
15’00’’
15’00’’
4’00’’
25’00’’
14’07’’
12’00’’
6’00’’
16’00’’
25’00’’
7’00’’
Marco Polo 8.223775
CeBeDeM
Phaedra 92003
CeBeDeM
Megadisc MDC 7872/73
37’00’’
30’00’’
23’00’’
14’00’’
11’00’’
103
YEAR
COMPOSER
1982
1982
1982
1982
1983
1983
1983
1983
Hadermann, Jan
Poot, Marcel
Van Cleemput, Marc
Verbraeken, Carl
Celis, Frits
Coeck, L. Jan
Devreese, Frédéric
Goethals, Lucien
TITLE
Concerto
Symfonie nr. 7
Concerto
De zeven elfjes - ballet
Preludio e Narrazione
Concerto
Concerto nr. 4
Concerto voor basklarinetcontrabasklarinet
1983
Swerts, Piet
L’inverno
1983
Verbesselt, August
Concerto
1983
Verbraeken, Carl
Liederen van de hoop
1983
Verhaegen, Marc
Capriccio
1982-83 Wauters, Christian-Adolphe Demut
1984
Coppens, Claude
Und alle Fragen offen
1984
Delvaux, Albert
Concerto
1984
Devreese, Frédéric
Benvenuta
1984
Gilles, Jules
Naïeve humoreske
1984
Legley, Vic
Concerto
1984
Sternefeld, Daniel
Waaier
1984
Swerts, Piet
Concertino
1984
Swerts, Piet
Pianoconcerto nr. 1
1984
Van Hove, Luc
Largo per orchestra
1984
Verbraeken, Carl
Elementen
1985
Brewaeys, Luc
..., e poi c’era...
1985
Buckinx, Boudewijn
Fuseli
1985
Buckinx, Boudewijn
Füsli
1985
Coeck, L. Jan
Canzone e Capriccio
1985
Coppens, Claude
Hommage to the Miners
1985
Coppens, Claude
Turn Back to Bach
1985
Gistelinck, Elias
3 Movements
1985
Hulshagen, Ludo
Musica pro Iuventute
ad Iuventutem
1985
Soenen, Willy
Capriccio
1985
Van der Velden, Renier
Oostendse Maskers
1985
Van Hove, Luc
Carnaval op het strand
1985
Van Hove, Luc
Scherzo
1984-85 Wauters, Christian-Adolphe Pro Luce nobilis sum
1986
Beelaerts, Paul
Flashbacks
1986
Brossé, Dirk
7 Inch Framed
1986
Brossé, Dirk
On Safari
1986
Celis, Frits
Sinfonia II
1986
Coppens, Claude
Hoe men musicus wordt
1986
Delvaux, Albert
Sinfonia in sol III
104
SUBTITLE
OPUS
SOLOIST
DURATION
PUBLICATION
CD RECORDING
+ horn
+ percussion
18
+ soprano or tenor
+ clarinet
+ piano
+ (double) bass clarinet
+ clarinet
+ voice
orkestlied
versie 2
30
+ violoncello
19/1
102
+ violoncello
+ 4 double basses
+ piano
13
symphony no. 1
1985.08
1985.09
+ violin
+ violin
+ tenor trombone
ra-bach-âge
20’00’’
20’00’’
45’00’’
20’46’’
20’00’’
22’00’’
25’00’’
6’00’’
14’30’’
20’00’’
18’00’’
6’00’’
18’00’’
24’00’’
16’00’’
10’00’’
23’07’’
18’00’’
12’00’’
20’00’’
15’00’’
15’00’’
15’00’’
5’00’’
5’00’’
15’30’’
5’00’’
23’00’’
Marco Polo 8.223805
Phaedra 92003
Marco Polo 8.223505
Marco Polo 8.223681
Cyprès CYP 2609
32 + jazz quartet or quintet
8’00’’
Ensor-ouverture
17
16
35
20
+ percussion
10’00’’
8’30’’
15’00’’
8’00’’
11’00’’
8’00’’
5’30’’
3’00’’
18’00’’
18’00’’
10’00’’
Megadisc MDC 7823/24
De Haske DHM 2010.3
105
106
YEAR
COMPOSER
TITLE
1986
1986
1986
1986
1986
1986
1986
1986
1986
1986
1986
1986
1986
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1987
1988
1988
1988
1988
1988
1988
1988
1988
1988
1988
1988
1988
1988
Devreese, Frédéric
D’Haene, Rafaël
Gistelinck, Elias
Gyselynck, Franklin
Hulshagen, Ludo
Swerts, Piet
Swerts, Piet
Van der Roost, Jan
Verbesselt, August
Verbesselt, August
Verbraeken, Carl
Verbraeken, Carl
Verhaegen, Marc
Brewaeys, Luc
Buckinx, Boudewijn
Buckinx, Boudewijn
Cabus, Peter
Carron, Willy
Celis, Frits
Devreese, Frédéric
Devreese, Frédéric
D’Haene, Rafaël
Kersters, Willem
Laporte, André
Schroyens, Daniel
Swerts, Piet
Swerts, Piet
Van Geert, Octaaf A.
Van Hove, Luc
Verbraeken, Carl
Verhaegen, Marc
Bikkembergs, Kurt
Brewaeys, Luc
Brossé, Dirk
Coryn, Roland
Delvaux, Albert
Devreese, Frédéric
Gistelinck, Elias
Henderickx, Wim
Laporte, André
Laporte, André
Nuyts, Frank
Soenen, Willy
Swerts, Piet
Gemini
Lettres Persanes
Concerto
Muziek
Jong Bronsgroen
Ballade
Rotations
Mozaïeken
Concerto
Concerto
Concerto
Phainomena
Concerto voor gitaar
Komm! Hebe dich...
Zangen uit Oost-Venus
Zangen uit West-Venus
Symfonie nr. 5
November Ouverture
Sinfonia III
Benvenuta: Tango
Habanera for Toots and orchestra
Sonette an Orpheus
Symfonie nr. 5
Orkestsuite nr. 1 “Das Schloss”
Suhail
Fresco
Partita
Compositie in brons
Elise’s Dance
Vijfduimssymfonie
Concerto voor harp
Senza Lingua
Cheers!
Oscar for Amnesty
Concerto
Capriccio
L’oeuvre au noir
Music for Halloween
Variations
Fantasia-Rondino
Orkestsuite nr. 2 “Das Schloss”
Symphonie 1
Festivalsuite
Stabat Mater
SUBTITLE
OPUS
16
33
SOLOIST
CD RECORDING
Cyprès CYP 1619
+ violin
+ oboe
+ piano
+ piano
+ guitar
symphony no. 2
1987.05
1987.06
22
+ harmonica
+ soprano
+ viola
21
+ harp
38
PUBLICATION
23’00’’
19’30’’
+ piano
17
83
DURATION
+ violin
suite
12’00’’
5’00’’
13’00’’
12’00’’
15’00’’
14’00’’
14’00’’
15’00’’
29’00’’
15’00’’
15’00’’
15’00’’
36’30’’
20’58’’
3’45’’
6’00’’
19’30’’
32’00’’
16’30’’
CeBeDeM
De Haske
René Gailly 87501
Cyprès CYP 2609
Phaedra 92003
Breitkopf & Härtel
12’00’’
15’00’’
15’00’’
20’00’’
20’00’’
25’00’’
5’00’’
2’30’’
15’30’’
21’00’’
10’30’’
23’00’’
Discover DICD 920458
René Gailly 87063
Marco Polo 8.223681
40
con tema reale
+ violin
symphonie of scraps
+ trumpet
+ soprano
17’00’’
9’30’’
12’00’’
17’00’’
15’00’’
5’00’’
CeBeDeM
Breitkopf & Härtel
Discover DICD 920458
107
108
YEAR
COMPOSER
TITLE
1989
1989
Brossé, Dirk
Buckinx, Boudewijn
El Golpe Fatal
Eclips
1989
Byloo, Jean-Paul
Nuits sans Sourires
1989
1989
1989
1989
1989
1989
Cabus, Peter
Coeck, L. Jan
Coryn, Roland
Devreese, Frédéric
Kersters, Willem
Laporte, André
Een Limburgse Ouverture
Phrases et métaphrases
Due Pitture
Valse sacrée
Vioolconcerto
De Ekster op de Galg
1989
1989
1989
1989
1989
1989
1989
1989-90
1990
1989-90
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
1990
Legley, Vic
Matthys, Marc
Van der Roost, Jan
Van Hove, Luc
Verbesselt, August
Verhaegen, Marc
Vermeulen, Hans
Brewaeys, Luc
Brossé, Dirk
Celis, Frits
Claesen, Ludo
Coeck, L. Jan
Coeck, L. Jan
De Jonghe, Marcel
Delvaux, Albert
D’Haene, Rafaël
Gistelinck, Elias
Henderickx, Wim
Hulshagen, Ludo
Hus, Walter
Legley, Vic
Schroyens, Daniel
Steegmans, Paul
Swerts, Piet
Swinnen, Peter
Van der Velden, Renier
Van Hove, Luc
Van Landeghem, Jan
1990
1990
1991
Verbesselt, August
Verhaegen, Marc
Bikkembergs, Kurt
Automne
4 Impressions
Sinfonia per orchestra
Symfonie nr. 1
Almtaler Symfonie
Symfonie nr. 1
Lente
Non lasciate ogni speranza
Bacob Overture
Sinfonia IV
4 Pictures
Chants de l’amour et de la mort
Concerto no. 2
Obstinatio I
Sinfonia nr. 4
Concerto
Concerto
Le Visioni di Paura
Capriccio
For a Leather Jacket
Concerto nr. 3
Fresco
Ouverture
Symfonie nr. 1
FugaEneas
Dulle Griet
Stacked Time
Concerto per organo
ed orchestra
Dubbelconcerto
Guernica
Romania I
SUBTITLE
“O hoe mooi is de maan
als ze weg is”
symfonische hommage
aan Paul Delvaux
OPUS
SOLOIST
DURATION
1989.13
+ piano
13’00’’
25’00’’
40
86
+ violin
concertouverture naar
Pieter Breughel
113
+ violin, jazz combo
25
symfonisch gedicht
+ soprano, saxophone(s)
28
+ Orff-instruments
+ tenor
+ clarinet
19
50
violin concerto
115
+ violin
+ clarinet
+ violin
+ violin
9’00’’
18’00’’
12’00’’
6’00’’
28’00’’
10’00’’
5’00’’
20’00’’
32’00’’
17’00’’
21’00’’
32’00’’
13’00’’
33’20’’
10’00’’
21’00’’
15’00’’
20’00’’
19’30’’
19’51’’
27’30’’
24’00’’
12’00’’
10’00’’
30’00’’
PUBLICATION
CD RECORDING
De Haske DHM 2008.3
René Gailly 87080
Cyprès CYP 1619
CeBeDeM
CeBeDeM
Discover DICD 920458
Phaedra 92008
CeBeDeM
CeBeDeM
Megadisc MDC 7823/24
Cyprès CYP 2609
CeBeDeM
Pavane AW 7290
CeBeDeM
Scores
Decca 173291
CeBeDeM
poema sinfonico
26
+ electric guitar
+ organ
+ clarinet, bass clarinet
naar het doek van Picasso
eerste symfonie I
6’00’’
30’00’’
14’00’’
15’00’’
15’00’’
25’00’’
16’00’’
9’00’’
15’00’’
CeBeDeM
Megadisc MDC 7823/24
CeBeDeM
CeBeDeM
109
YEAR
COMPOSER
TITLE
SUBTITLE
1991
1991
1991
Brewaeys, Luc
Brewaeys, Luc
Brossé, Dirk
Dali’s Dream?
Symphony no. 3
Music in Mycology
for children orchestra
hommage
1991
1991
1991
1991
Bruyland, Paul
Buckinx, Boudewijn
Buckinx, Boudewijn
Geysen, Frans
1991
1991
1991
1991
1991
1991
1991
1991
1992
1992
1992
Gistelinck, Elias
Goeyvaerts, Karel
Goeyvaerts, Karel
Raes, Godfried-Willem
Swerts, Piet
Swinnen, Peter
Verhaegen, Marc
Vermeulen, Hans
Bracke, Bart
Brewaeys, Luc
Brossé, Dirk
Klein Concerto
Brief zonder Woorden
Onvoltooide Symfonie nr. 0
Staalkaarten voor
een hoboconcert
Symphony no. 1
Aquarius
Opbouw
Fugadeca
Enigma
Riflessione
Concerto nr. 2 voor piano
Preludio e Marcia
De Reis naar ‘t Westen
Only very unusual matters
La Soledad de America Latina
1992
1992
1992
1992
1992
1992
1992
1992
1992
1992
1992
1992
1992
1993
Brossé, Dirk
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
Buckinx, Boudewijn
De Decker, George
De Maeyer, Jan
Matthys, Marc
Swerts, Piet
Swerts, Piet
Brewaeys, Luc
Ouvertura
Onvoltooide Symfonie nr. 3
Onvoltooide Symfonie nr. 4
Onvoltooide Symfonie nr. 5
Onvoltooide Symfonie nr. 6
Onvoltooide Symfonie nr. 7
Onvoltooide Symfonie nr. 8
Onvoltooide Symfonie nr. 9
0.122
Tricromia arcangelica
Contrasts
Festival Overture
Zodiac
Laphroaig
1993
1993
1993
1993
1993
Cabus, Peter
Craens, Alain
De Decker, George
De Decker, George
De Smet, Raoul
Symfonie nr. 6
Una visione del cielo e del terra
De Put I
De Put II
Concerto for violin
and orchestra
Skriet
Symfonie nr. 8
1993
Henderickx, Wim
1988-93 Legley, Vic
110
OPUS
SOLOIST
+ piano
1991.19
1991.08
+ oboe
53
10’00’’
10’30’’
16’00’’
CeBeDeM
Cyprès CYP 2609
Soundtracks
07243 8361922 1
13’00’’
15’00’’
15’00’’
20’00’’
14’00’’
18’00’’
28’00’’
16’00’’
+ jazz trio
+ narrator,
pre-columbian instr.
3’30’’
51’00’’
+ several soloists
+ clarinet, horn, viola
+ soprano, chorus
23 + oboe, clarinet, bassoon
+ vibes, flute, jazz trio
+ violin
+ 2 conductors,
live electronics
symphony no. 5
CD RECORDING
+ piano
+ violoncello
+ piano
symfonisch gedicht
1992.19
1992.12
1992.24
1992.07
1992.10
1992.20
1992.23
PUBLICATION
25’00’’
45’00’’
14’50’’
(symphonic version of the opera)
no. 10 from ‘A Book of Fugues’
pianoconcerto nr. 3
DURATION
sinfonia breve
CeBeDeM
CeBeDeM
CeBeDeM
CeBeDeM
Sony Music 47 27082
6’00’’
00’38’’
13’00’’
5’00’’
6’00’’
12’00’’
8’00’’
17’00’’
23’30’’
21’00’’
6’00’’
17’00’’
27’16’’
CeBeDeM
Phaedra 92008
De Haske
EDS
CeBeDeM
René Gailly 90006
Cyprès CYP 2609
18’30’’
12’00’’
+ violin
32’00’’
7’00’’
121
111
112
YEAR
COMPOSER
TITLE
SUBTITLE
1993
1993
1993
1993
1993
1993
1994
1994
1994
Nuyts, Frank
Slootmaekers, Martin
Swinnen, Peter
Van Hove, Luc
Van Landeghem, Jan
Verhaegen, Marc
Brossé, Dirk
Buckinx, Boudewijn
Coryn, Roland
Symphonie 2
Remise
JoenRuni Lubrigtic
Triptiek
Epitaffio
Concerto voor altsax
Landuytcyclus
Klein onbewoond Eiland
Concerto
wal
concertino for orchestra
poema sinfonico
1994
De Clerck, Patrick
Behemoth
after Franz Liszt’s
“Mephisto Waltz no. 1”
1994
1994
1994
1994
1994
1994
1994
1994
1994
1994
1994
1995
1995
1995
De Smedt, Kristin
Dejonghe, Koen
D’haese, Dirk
Gistelinck, Elias
Laporte, André
Matthys, Marc
Schuermans, Pieter
Steegmans, Paul
van der Eyken, Ernest
Van Geert, Octaaf A.
Vermeulen, Hans
Anne, David
Brossé, Dirk
Brossé, Dirk
Landschap
Sintra
Vienna Waits for You
Symphony no. 2
Passacaglia serena
Reflections
Ballade
4 Preludes
Concerto
Sedimentaria
Chiaro Oscuro
Concertino
Artesia
Daens Suite
1995
1995
Brossé, Dirk
Brossé, Dirk
1995
1995
1995
1995
1995
1995
1995
1995
1995
1995
1995
1995
1995
Brossé, Dirk
Buckinx, Boudewijn
De Smet, Raoul
D’haene, Frederic
D’Haene, Rafaël
D’hoe, Jeroen
Henderickx, Wim
Henderickx, Wim
Schuermans, Pieter
Soenen, Willy
Steegmans, Paul
Swinnen, Peter
Swinnen, Peter
Elegy
Flanders International
Film Festival Overture
La Vida es un Sueno
Die Vlinder
Symphony no. 2
Scorci dei Mocciolo
Reminiscenza
4 Yeats Songs
Raga II
Raga III
Prelude
Concertimento
Vlaamse Ouverture
IdoVisu
The black Lark’s Ballad
OPUS
29
SOLOIST
+ oboe
+ alto saxophone
+ soprano
1994.13
54
+ vibraphone,
marimba, xylophone
35’00’’
16’30’’
16’00’’
18’00’’
20’00’’
23’00’’
24’00’’
8’00’’
22’00’’
14’00’’
+ mezzo soprano
ballade voor orkest
portrait of Marc Sleen
DURATION
58
+ jazz trio
PUBLICATION
CD RECORDING
CeBeDeM
Megadisc MDC 7823/24
CeBeDeM
CeBeDeM
Dom Gorokhov
7’00’’
9’00’’
14’00’’
10’00’’
20’00’’
15’00’’
+ piano
symfonisch gedicht
+ trombone
+ boy sopr., ethnic instr.
symphony no. 1
for France and friends
+ violoncello
1995.12
+ soprano
+ violin
+ rock combo
21
+ soprano
tombeau
+ viola
+ piano
+ oboe
poema sinfonico
(tribute to Frank Zappa)
16’00’’
21’00’’
8’00’’
60’00’’
16’30’’
8’45’’
4’00’’
Philips 446 957:2
Soundtracks
07243 8361922 1
Soundtracks
07243 8361922 1
12’00’’
12’00’’
18’00’’
5’00’’
16’00’’
6’00’’
21’00’’
27’00’’
Megadisc MDC 7833
Megadisc MDC 7833
11’00’’
7’00’’
18’00’’
12’00’’
Auditorium AUD 01003
113
114
YEAR
COMPOSER
1995
1995
1995
1995
1995
1995-96
1996
1996
1996
1996
1996
1996
1996
1996
1994-96
1996
1996
Van Hove, Luc
Van Puymbroeck, Stefan
Verhaegen, Marc
Vermeersch, Peter
Vermeersch, Peter
Biesemans, Janpieter
Baert, Bernard
Brewaeys, Luc
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Buckinx, Boudewijn
Buckinx, Boudewijn
Coppens, Claude
Cox, Boudewijn
D’hoe, Jeroen
Henderickx, Wim
TITLE
1996
1996
1996
1996
1996
1996
1996
1997
1997
1997
1997
1997
1997
1997
Pianoconcerto
November
Symfonie nr. 2
The End of a Second
Walking the Phone
Ieperietsinfonie
Elegy
Introduction
Bit by Bit
Le Nozze di Sacco
Principals
Celloconcerto
De Theaterton
... Riverrun ...
Onyx
Trancircle
Ballade: de Toverdokter
en de twee Reuzen
Henderickx, Wim
Raga I
Hulshagen, Ludo
Concerto voor viool
Posman, Lucien
Symfonie één
Steegmans, Paul
Wals in G
Swerts, Piet
I Ching
Van Landeghem, Jan
Les heures claires
Wauters, Christian-Adolphe L’Incantation du Silence
Brewaeys, Luc
Fasten Seat Belts
Brossé, Dirk
Light Main Theme
Brossé, Dirk
The Birth of Music
Buckinx, Boudewijn
Et in Pescara ego
Buckinx, Boudewijn
Umsonst
Buckinx, Boudewijn
Zomaar
Claesen, Ludo
Fantasie
1997
1997
1997
1997
1997
1997
1997
1997
1997
Coppens, Claude
D’Haene, Rafaël
Matthys, Marc
Matthys, Marc
Nuyts, Frank
Schroyens, Daniel
Valcke, Martin
Van Hove, Luc
Van Landeghem, Jan
1997
Verhaegen, Marc
888 or the Four Seasons
Sinfonia Coreografica
Mosaic
Mosaic
Valse cassante
On a Crest of Liquid Silence
Symfonie
Symfonie nr. 2
Concerto per chitarra
ed orchestra
Concerto In Honorem
SUBTITLE
OPUS
32
in Flanders’ fields
64
19
1996.04
1996.19
voor Paul Klinck
SOLOIST
DURATION
+ piano
18’00’’
+ violin
+ english horn
+ violoncello
+ violin
+ percussion
+ violin
+ flute
+ violin
+ bass baritone
60
symphony no. 2
+ ethnic instr.
1997.05
1997.18
1997.15
CD RECORDING
Megadisc MDC 7823/24
18’00’’
1’10’’
3’45’’
22’00’’
+ narrator
Spilliaert-ouverture
nightmare for orchestra
PUBLICATION
+ violin
+ violin
5 symfonische schetsen op
teksten van Wouter De Bruyne
(Roei 4)
4’40’’
9’00’’
5’45’’
17’30’’
20’00’’
6’30’’
10’00’’
12’30’’
18’00’’
8’00’’
VMM 3044
18’00’’
11’00’’
Megadisc MDC 7833
Rode Pomp RP 009
3’00’’
10’00’’
30’00’’
13’32’’
4’00’’
6’30’’
65’00’’
1’10’’
4’00’’
2’00’’
15’10’’
EDS
CeBeDeM
28’00’’
24’00’’
20’00’’
20’00’’
3’00’’
15’00’’
CeBeDeM
+ guitar
27’00’’
30’00’’
CeBeDeM
+ violoncello
17’00’’
CeBeDeM
22
+ 2 clarinets, jazz trio
+ pop sextett
34
Maestro MMP 004
Megadisc MDC 7823/24
115
YEAR
COMPOSER
TITLE
1998
1998
1998
1996-98
1998
1998
1998
1998
1998
Buckinx, Boudewijn
D’hoe, Jeroen
Matthys, Marc
Nuyts, Frank
Swinnen, Peter
Vande Ginste, Stephane
Vande Ginste, Stephane
Vanheertum, Stefaan
Vermeulen, Hans
Baldvini Regis
Erwachen der Liebe
Cummings Songs
Sad Waltz
Hard Scores
Sinfonia I
Concertino
Kleine Dans
Concerto
Incontro e Movimento
1998
1999
1999
1999
1999
1999
1999
1999
1999
1999
1999
1999
1999
1999
Verstockt, Serge
Bertel, Jean-Luc
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Brossé, Dirk
Cox, Boudewijn
Craens, Alain
De Clerck, Patrick
Dejonghe, Koen
Deneire, Hanne
Devreese, Frédéric
D’hoe, Jeroen
Hulshagen, Ludo
1999
1999
1999
1999
1999
1999
Hus, Walter
Oelbrandt, Kris
Soenen, Willy
Swerts, Piet
Van der Roost, Jan
Van Ingelgem, Kristiaan
1996-99 Van Puymbroeck, Stefan
1999
1999
2000
2000
2000
1999-00
2000
2000
2000
116
Vande Ginste, Stephane
Verhaegen, Marc
Bikkembergs, Kurt
Bondue, Yves
Brewaeys, Luc
Brewaeys, Luc
Brossé, Dirk
Buckinx, Boudewijn
De Pillecyn, Jurgen
Le Pouvoir du Temps
Symfonie in ges
Inferno
Millennium Overture
The Chinese Wall
Warconcerto
Da Una Certa Distanza
November Music
A symphony
Vioolconcerto
Mitä
Canti
Wavechain
Concertino per sedici
strumenti e archi
La Nuit
Movements
Concerto
Ion
Canti d’amore
Mijn Kapellekesbaan
Konzert für Klavier
und Orchester Nr. 1
The Song of Hiawatha
Convergences
Christue de Overwinnaar
Caleidophones
Credeva
Symphony no. 6
Beauty to the surface brought
Zen Requiem
Temperamenti
SUBTITLE
OPUS
1998.22
le journal intime
5/1
concertante symfonie
SOLOIST
DURATION
+ violin, soprano
+ soprano, violin, piano
25’00’’
16’00’’
4’20’’
14’00’’
13’00’’
+ mezzo, accordion
+ piano
+ 2 violoncello’s
+ piano
+ trumpet, horn,
trombone
+ trombone, tape
+ flute
+ clarinet
+ flute, harp
+ violin
sruti2
+ violoncello
+ piano
+ 17 soloists
piano concerto
+ piano
4
liedcyclus
ter gelegenheid van het
Louis Paul Boonjaar te Aalst
+ clarinet
+ piano
+ baritone
39
PUBLICATION
CD RECORDING
Maestro MMP 004
24’00’’
18’00’’
10’00’’
7’40’’
5’00’’
22’00’’
11’47’’
22’00’’
17’00’’
18’00’’
7’00’’
22’00’’
12’00’’
15’00’’
30’00’’
10’00’’
25’00’’
12’00’’
20’00’’
27’00’’
Dom Gorokhov
Scores
EDS
De Haske
EMI 07243 826594 2 6
+ piano
suite for youth orchestra
+ viool
+ 2 sopranos
+ live electronics
+ soprano
I.M. Franco Donatoni
2000.05
13’00’’
5’00’’
11’00’’
14’38’’
21’30’’
10’00’’
65’00’’
25’00’’
Flanders Music Centre
Cie de OorSprong
117
YEAR
COMPOSER
2000
2000
2000
2000
1999-00
2000
2000
2000
2000
2000
2001
2001
2001
2001
D’hoe, Jeroen
Henderickx, Wim
Hulshagen, Ludo
Kuppens, Ann
Logghe, Geert
Oelbrandt, Kris
Swerts, Piet
Van Landeghem, Jan
Van Landeghem, Jan
Vermote, Petra
Bertel, Jean-Luc
Biesemans, Janpieter
Brossé, Dirk
Buckinx, Boudewijn
TITLE
Violin Concerto
An Evening Prayer
Ouverture Festiva
Sinfonia Bellicosa
Luna Piena
Concertante Rapsodie
Morgenrot
Gartenmusik
Millenniummusic
Scintille
Symfonie in b
Marimbarpi-rapsodie
Sophia
De Vergeetput als
toeristische Attractie
2001
Buckinx, Boudewijn
Lekker weer
2001
Buckinx, Boudewijn
Mooi weer
2001
Buckinx, Boudewijn
Träume den Traum”Dein Leben”
2001
De Clerck, Patrick
Pianoconcerto
2001
De Smedt, Kristin
Tableaux Sonores
2001
D’Haene, Rafaël
L’Ombre du Passé
2001
D’hoe, Jeroen
Festival Anthem
2001
Kuppens, Ann
Rhapsodie concertante
2001
Swinnen, Peter
Pas-de-deux
2001
Van Hove, Luc
Symfonie nr. 3
2001
Verbraeken, Carl
Wals in re groot
2001-02 Wauters, Christian-Adolphe Vioolconcerto
2002
Aerts, Hans
Four Outdoor Pieces
2002
Agsteribbe, Frank
Nachtmusik
2002
Baert, Bernard
Ouverture
2001-02 Bradt, Sebastian
Ko.Tantrum 1
2002
Bradt, Sebastian
Morph
2002
Brewaeys, Luc
Symphony no. 7
2002
Brossé, Dirk
Homeland
2002
Casteels, Robert
Elegy to the men you
don’t meet ev’ry day
2002
Casteels, Robert
Sonata profana
2002
Cox, Boudewijn
Tableau
2002
De Pillecyn, Jurgen
Livre d’heures
2002
2002
2002
2002
118
Deneire, Hanne
Deneire, Hanne
Hulshagen, Ludo
Swerts, Piet
Marguerite
Trek
A Symphonic Exploration
Minerva
SUBTITLE
OPUS
9
symfonie nr. 2
SOLOIST
DURATION
+ violin
22’00’’
17’00’’
15’00’’
9’00’’
+ violin
+ soprano, chorus
+ 2 voices
10’00’’
73’00’’
60’00’’
25’00’’
3’30’’
20’00’’
7’00’’
35’00’’
10’00’’
83
+ violin
2001.09
2001.12
2001.22
2001.14
d’après James Ensor
symfonie nr. 2
+ violin, soprano
+ piano, voice
25
per violincello e orchestra
+ violoncello
+ violin
39
un sorriso elegiaco...
77
+ violin
69
38
+ live electronics
symfonie nr. 2
+ ethnic instr.
for 3 orchestras
7’40’’
8’20’’
17’00’’
6’00’’
15’00’’
CD RECORDING
VROK 2002/01
EDS
Maestro MMP 013
Dom Gorokhov
CeBeDeM
25’00’’
6’30’’
10’00’’
symfonische impressies naar
houtsneden van Masereel
sruti7
sruti14
academic transformations
8’00’’
10’00’’
25’00’’
25’00’’
20’00’’
31’00’’
9’00’’
15’00’’
10’00’’
30’00’’
3’00’’
18’00’’
10’00’’
10’30’’
PUBLICATION
+ folk instr., 4 voices
6’30’’
25’00’’
7’30”
12’00’’
EDS
119
YEAR
COMPOSER
TITLE
2002
2002
2002
2001-02
Van Daele, Hans
Van der Roost, Jan
Van Gorp, Dirk
Van Landeghem, Jan
2003
2003
2003
2003
2003
2003
2003
2002-03
Agsteribbe, Frank
Anne, David
Bikkembergs, Kurt
Bondue, Yves
Coryn, Roland
Joris, Bert
Swerts, Piet
Tas, Rudi
Sonata per orchestra
Sirius
Tanah Lot
Concerto per pianoforte
ed orchestra
Elegiae
Respiro Perpetuum
Un arco iris tendido
Normandia
Out of Darkness
Dangerous Liaison
Nursery Songs
Silent Tears
2003
2003
2003
2003
2004
2004
2003-04
2004
2004
2004
2004
2004
2004
2004
2004
2004
2004
2004
2004
2005
2005
2004-05
2005
2005
2005
2005
2005
2005
2005
Valcke, Martin
Van Daele, Hans
Van Eycken, Stefan
Wauters, Christian-Adolphe
Anne, David
Bertel, Jean-Luc
Brewaeys, Luc
Brossé, Dirk
Brossé, Dirk
Buckinx, Boudewijn
Buckinx, Boudewijn
Dejonghe, Koen
Devreese, Frédéric
Gistelinck, Elias
Henderickx, Wim
Nuyts, Frank
Van Hove, Luc
Van Parys, Annelies
Vermote, Petra
Bikkembergs, Kurt
Bikkembergs, Kurt
Bradt, Sebastian
Claesen, Ludo
D’hoe, Jeroen
Nuyts, Frank
Soenen, Willy
Van Daele, Hans
Van der Roost, Jan
Van Ingelgem, Maarten
Strata
Movimento per orchestra
Architectures of Reassurance
Per la gloria d’adorarvi
Murud-Janjira
Symfonie in c
Symphony no. 8
Love without End
The Circle of Nature
Embarkation for Utopia
Wer wohl am schönsten sänge
Schubertgames
Passage
Concerto
Only Darkness and Shadows
Different from habit
Diabelli Veränderung
Einklang
Gris Gris
Nachtelijke Optocht
Ouverture
Over de schreef
Eurode-Fantasia
Symphony no. 1
Brandgang
P. & C. 2005
Concerto triplo
Scaldis
Pianoconcerto
SUBTITLE
OPUS
SOLOIST
DURATION
PUBLICATION
16’00’’
11’00’’
De Haske
CD RECORDING
for orchestra
120
ouverture voor orkest
+ double bass
+ piano
edelstenentriptiek
74
+ violin
67
+ big band
+ soprano
+ soprano
little songs of long ago
symfonie nr. 2
“silent witnesses of our time”
ouverture to Ibsen’s Peer Gynt
(pan shot)
Bononcini-variaties
83
+ clarinet, violoncello
2004.08
2004.03
77
+ mezzo
+ trumpet
+ soprano
43
symfonie nr. 3
Open
4de symfonie
+ chorus
+ wind orchestra
+ soprano
+ violin, violoncello, piano
ouverture voor orkest
+ piano
26’00’’
7’00’’
20’00’’
15’00’’
15’00’’
10’00’’
Flanders Music Centre
Cie de OorSprong
18’00’’
30’00’’
13’00’’
12’00’’
6’00’’
6’00’’
21’00’’
21’00’’
5’00’’
60’00’’
27’00’’
5’00’’
7’00’’
10’00’’
15’00’’
13’30’’
16’00’’
10’30’’
4’00’’
15’00’’
15’00’’
9’30’’
20’00’’
35’00’’
35’00’’
5’00’’
19’00’’
10’00’’
13’00’’
Sibeliusmusic
Mirasound
BMG
121
YEAR
COMPOSER
TITLE
2005
s.d.
s.d.
s.d.
s.d.
s.d.
s.d.
Waelbroeck, Jean-Pierre
Carron, Willy
Coppens, Claude
Coppens, Claude
Coppens, Claude
Groslot, Robert
Legley, Vic
Symphonie
Diferencia
Concerto en ut dièze mineur
Sinfonia grottesca
Wheels within wheels 3
Foto met eenzame boot
Paradise Regained
s.d.
s.d.
s.d.
s.d.
s.d.
s.d.
122
Lievens, Egeen
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Ostyn, Willy
Vermeersch, Peter
Epithalamion
Concertfinale
Concerto in re
Concertstuk
Vlaamse Rapsodie
Melting Flesh
SUBTITLE
OPUS
SOLOIST
DURATION
PUBLICATION
CD RECORDING
30’00’’
pour violon et orchestre
12
symfonische schets naar
een gedicht van H. Marsman
70
+ violin
20’00’’
22’00’’
15’00’’
5’00’’
+ piano
+ piano
+ oboe
+ piano
+ mandolin
9’00’’
20’00’’
10’00’’
3’05’’
123
LIST OF PUBLISHERS AND RECORD COMPANIES
PUBLISHERS
BMG (Ricordi)
Via Liguria 4, Frazione Sesto Ulteriano
I-20098 San Giuliano Milanese MI (Italy)
tel +39 2 98813 4279 - fax +39 2 98813 4280
[email protected] - http://www.ricordi.com
Breitkopf & Härtel
Walkmühlstrasse 52, D-65195 Wiesbaden (Germany)
tel +49 611 45008 0 - fax +49 611 45008 59-61
http://www.breitkopf.com
CeBeDeM – Belgian Centre for Music Documentation
Aarlenstraat 75-77, B-1040 Brussels (Belgium)
tel +32 (0)2 230 94 30 – fax +32 (0)2 230 94 37
[email protected] - http://www.cebedem.be
Cie de Oorsprong
Bornstraat 35, 8800 Roeselare (Belgium)
tel +32 (0)51 22 96 51 - fax +32 (0)51 22 96 51
[email protected]
De Haske
Businesspark Friesland-West 15, NL-8466 SL Heerenveen (The Netherlands)
tel + 31 (0)513 - 65 30 53 - fax +31 (0)513 - 65 32 91
[email protected] - http://www.dehaske.com
Dom Gorokhov (Patrick De Clerck)
Lage Varenweg 12, B-9031 Drongen (Belgium)
tel +32 (0)9 227 53 58 - fax +32 (0)9 227 05 98 - mobile +32 (0)496 10 68 29
[email protected] - http://www.dom-gorokhov.com
EDS (Piet Swerts)
[email protected] - http://www.pietswerts.be
Logos Foundation
Kongostraat 35, B-9000 Ghent (Belgium)
tel +32 (0)9 223 80 89
http://www.logosfoundation.org
Maurer
Watermanlaan 7, B-1200 Brussels (Belgium)
tel +32 (0)2 770 93 39 – fax +32 (0)2 770 93 39 – mobile +32 (0)495 53 16 42
[email protected]
Scores (Walter Hus)
Koningsstraat 266, B-1210 Brussels (Belgium)
fax +32 (0)2 219 79 58 - mobile +32 (0)479 99 57 94
[email protected] - http://www.walterhus.org
Sibeliusmusic
http://sibeliusmusic.com
Universal Edition (UE)
Karlsplatz 6, A-1010 Wien (Austria)
tel +43 1 337 23 0 - fax + 43 1 337 23 400
offi[email protected] - http://www.universaledition.com
124
125
RECORD COMPANIES
Auditorium
CNI - Compagnia Nuove Indye
Via Vivaldi 9, I-00199 Roma (Italy)
tel +39 (0)6 86212085 - fax +32 (0)6 86326599
[email protected] - http://www.cnimusic.it
Cyprès
Ruysdaelstraat 23, B-1070 Brussels (Belgium)
tel +32 (0)2 647 47 14 - fax +32 (0)2 647 04 49
[email protected] - http://www.cypres-records.com
Decca
http://www.deccaclassics.com
De Haske
Businesspark Friesland-West 15, NL-8466 SL Heerenveen (The Netherlands)
tel + 31 (0)513 - 65 30 53 - fax +31 (0)513 - 65 32 91
[email protected] - http://www.dehaske.com
De Rode Pomp
De verenigde cultuurfabrieken
Tussen ’t pas 3, B-9000 Ghent (Belgium)
tel +32 (0)9 223 82 89 – fax +32 (0)9 233 35 80
[email protected] - http://www.rodepomp.be
Discover
(now Fuga Libera at AMG Records)
2, rue de l’Artisanat, B-1400 Nivelles (Belgium)
tel +32 (0)67 21 02 48 - fax +32 (0)67 21 02 94
[email protected] - http://www.amg-records.com
Mirasound
Ariane 6
NL-3824 MB Amersfoort (The Netherlands)
tel +31 (0)33 455 50 04 - fax +31 (0)33 455 27 30
[email protected] - http://www.mirasound.nl
Pavane Records
Ravensteinstraat 17, B-1000 Brussels (Belgium)
tel +32 (0)2 513 09 65 – fax +32 (0)2 514 21 94
[email protected] - http://www.pavane.com
Phaedra
Donkerstraat 51, B-9120 Beveren (Belgium)
tel +32 (0)3 755 40 37
[email protected] - http://www.phaedracd.com
Philips
http://www.deccaclassics.com
René Gailly
This label does no longer exist - the publisher’s stock is owned by the Flanders Music Centre
Vienna Modern Masters (VMM)
Khleslplatz 6, #2309, A-1120 Vienna (Austria)
[email protected] - http://www.xs4all.nl/~gdv/vmm
VROK (Vlaams Radio Orkest & Koor)
Eugène Flageyplein 18, B-1050 Brussel (Belgium)
tel +32 (0)2 627 11 60 - fax +32 (0)2 627 11 61
[email protected] - http://www.vro-vrk.be
EMI
http://www.emiclassics.com
Flanders Music Centre
Steenstraat 25, B-1000 Brussels (Belgium)
tel +32 (0)2 504 90 90 - fax +32 (0)2 502 81 03
[email protected] - http://www.flandersmusic.be
Maestro Music Productions (MMP)
Markstraat 1, B-3680 Maaseik (Belgium)
tel +32 (0)89 56 75 57 – fax +32 (0)89 56 11 17
[email protected] – http://www.maestromusicproductions.com
Marco Polo (Naxos)
Wienburgstrase 171a, D-48147 Muenster (Germany)
tel +49 251924060 - fax +49 2519240610
[email protected] - http://www.naxos.com
Megadisc
Lage Varenweg 12, B-9031 Drongen (Belgium)
tel +32 (0)9 227 53 58 – fax +32 (0)9 227 05 98
mobile + 32 (0)496 106 829
[email protected] - http://www.megadisc.be
126
127
TRACK LIST CD
1. Marcel Poot [5:36]
Symphony No. 6 - Impetuoso
Philharmonic Orchestra of the Belgian Radio and Television BRT / Fernand Terby
(p) VRT - Radio Archives: Live recording ca. 1978
2. Wim Henderickx [12:18]
Le Visione di Paura
New Belgian Chamber Orchestra / Dirk Brossé
(p) VRT - Radio 3: Live recording 1993
3. August L. Baeyens [10:34]
Symphony No. 4 - Allegro
Symphony Orchestra of the Belgian Radio and Television BRT-RTB / Daniel Sternefeld
(p) VRT - Radio Archives: Live recording 1954
4. Boudewijn Buckinx [9:51]
Mooi weer
Flemish Radio Orchestra / Yoel Levi
(p) VRT - Klara: Live recording 2002
5. Jan Van Landeghem [6:53]
Concerto per pianoforte ed ochestra - part 1: Smaragd
Symphony Orchestra of Flanders / David Angus / Alexandre Bodak (piano)
(p) VRT - Klara: Live recording 2002
6. Willem Kersters [6:25]
Symphony No. 2 - Allegro molto e spiritoso
National Orchestra of Belgium / ?
(p) VRT - Radio Archives: Live recording ca. 1965
7. Luc Brewaeys [7:50]
Symphony No. 8 - part I
Netherlands Radio Symphony Orchestra / Arturo Tamayo
(p) VRT - Klara: Live recording 2004
Total time: 60:00:27
Music selection by Peter Swinnen. Mastered by Luc Brewaeys & VRT.
This compilation is an initiative of the Flanders Music Centre.
For promotional use only. Not for sale.
(p) & (c) FMC 2006/03
128