version 01‐07‐2015

TRIO KHALDEI
version 01‐07‐2015
TRI O KH ALD E I
A passion for chamber music and more specifically the unique sonority of the piano trio brings
together the three musicians that make up the Khaldei Trio: pianist Barbara Baltussen,
violinist Pieter Jansen and cellist Francis Mourey.
In 2013 the trio was one of the ensembles
nominated for the first edition of the Supernova
The trio takes its name from its love of Russian
present in the music of Ravel (‘Explosion of Colours’
competition, an initiative of Klara and Canvas
music of the 20th Century, in particular
programme). Tackling composers such as Jongen, Celis
(Flemish broadcasting company), the
Shostakovich. Evgueni Khaldei, official
and Schoenberg allows a fresh look at works that are
Concertgebouw of Bruges and various cultural
photographer of the Stalin regime, created striking
their contemporaries.
centres. In March 2014 the trio was invited by Klara
portraits of all the great Russian artists of the time.
and Canvas to make a live recording of
The trio is inspired by the search for truth,
Belgian music also occupies a special place in the
authenticity and the nuances brought by this
Khaldei Trio’s repertoire. Works by Jongen, Celis, Van
photographer to difficult moments throughout the
Landeghem, Brewaeys and others are to be found on
course of his life.
their music stands. The Trio wishes to play a part in
the enrichment of Belgian cultural heritage by
Of course, the Khaldei Trio doesn’t limit itself to
commissioning new works by its national composers.
Russian music, but likes to bring together music
from times past and present.
Despite its recent formation, the Khaldei Trio has
The interpreters showcase Mozart’s legacy in the
already performed on most of the big stages of
music of Brahms and Schoenberg (‘Vienna Through
Belgium: the Concertgebouw in Bruges, Amuz, the
the Ages’ programme). In the music of Jongen and
Centre for Fine Arts (Bozar) and the Festival of
Celis the Trio finds the same search for timbres
Flanders…
Shostakovich’s Second Trio.
B ARB ARA B ALTU S S E N
Barbara Baltussen (b. 1982) comes from a family
Barbara teaches piano and accompaniment at the
of musicians. She began learning piano at the age
Academy of Music of Bornem and at the Musical
of seven at the Academy of Music of Saint Nicolas
Humanities in Brussels.
under Johan Lybeert. She continued her studies in
the Royal Conservatory of Antwerp under Levente
As a soloist she has worked with conductors such
Kende and Heidi Henderickx, where she obtained
as Etienne Siebens, Koen Kessels, Ivo Venkov,
a diploma of ‘mastery of music’ in June 2006.
Silveer van de Broek, Gert D’haese and Edmond
Saverniers. Barbara came up with a solo
During the same period, Barbara participated in
programme with works by female composers that
several masterclasses with musicians of
she has already performed in diverse concert
international regard such as Jacob Lateiner,
venues and at festivals such as the international
Elisabeth Leonskaja, Lee Kum‐Sing, György,
piano festival of Quaregnon in 2010. In June
Charles Rosen, Udo Reinemann, Jard Van Nes,
2014, she premiered the first Concerto for Piano
Rudolf Jansen, Rian De Waal. She was a
and Ensemble by the promising young composer
prizewinner at many competitions including the
Gillis Sacré, who dedicated the work to her.
Jong Tenuto, Cantabile, Axion Classics and E.
Durlet competitions.
Barbara is one of the founding members of the
Khaldei Trio and, along with her father Nico
In a world that offers so many possibilities,
Baltussen, forms an enthusiastic duo.
Barbara has made the choice not to specialise in
one sole domain. Instead, she spreads her musical
She is much in demand as an accompanist for
talents widely, mastering the various facets that
competitions, conferences and masterclasses and
the profession offers. Barbara juggles these
as a coach for various productions. Barbara has
multiple occupations that constantly intersect and
already worked with such ensembles and
influence each other: in this way she combines
orchestras as the Brussels Philharmonic, the
teaching with a very busy concert life as soloist,
Vlams Radio Koor, Walpurgis, and the Hommages
chamber musician and accompanist.
ensemble.
P I E TE R J AN S E N
Pieter Jansen (b.1983) began violin classes at the
Heine Müller, Ralf Gothoni and Andras Keller.
age of 7 with Koen Rens at the Academy of
Music of Turnhout. He continued his studies at
In 2003 he won the international competition
the Royal Conservatory of Antwerp under Guido
“Promotie Vlaamse Muziek en Musicus” at the
De Neve. He was conferred with a Master’s
Orpheus institute in Ghent. With ARIS4 he won
degree summa cum laude. In January 2006, he
the most famous chamber music competition in
was awarded the ‘Oranjebeurs’ scholarship.
Flanders, “Gouden Vleugels”.
He has participated in master classes with
Since 2006 Pieter has been first violin in Spectra,
violinists such as Charles‐André Linale, Raphael
an ensemble that specialises in contemporary
Oleg, Albrecht Breuinger and Renaud Capuçon.
music. He is one of the founding members of the
Khaldei Trio and has been a member of the Tana
As an orchestral musician, Pieter is often sought
Quartet since May 2014.
after by De Filharmonie, the Flanders Symphony
Orchestra and Le Concert Olympique. He has
Pieter has already played at numerous festivals
been Leader of the orchestra of the Church of
and concert halls such as: Musica Strasbourg,
Saint Paul in Antwerp, Musici Dominicanorum.
World Music Days in Sydney, the Traietorie
He is regularly invited to perform with the City
Festival in Parma, the festivals of Aix‐en
of Brussels Orchestra, Casco Phil and the
Provence and Avignon, Wigmore Hall in London,
Symphony Orchestra of the Royal Theatre of La
the Louvre Auditorium in Paris, the Venice
Monnaie.
Biennial, the Donostia Festival in San Sebastian,
the Ravello Festival in Naples…
Pieter is also a keen chamber musician. Since
specialising in chamber music with the Artemis
Pieter Jansen plays a violin by Marcus Snoeck
Quartet at the Queen Elisabeth Music Chapel,
made in Brussels in 1742.
he has participated in masterclasses with the
Artis Quartet, the Skampa Quartet,
FRAN C I S M O U REY
Francis Mourey started playing the cello at the age of
Prix du Patrimoine of the Royal Conservatory of
seven in the Conservatoire National de Région in
Brussels and in 2010 the Père Sury prize.
Besançon (France). When he was 12, he progressed
to the CNR of Dijon, studying under Laurent
Passionate about his instrument, Francis Mourey
Lagarde. There, he completed his training, studying
continued his development under Mark Drobinsky,
orchestral conducting with Jean‐Sébastien Béreau,
Edmond Baert, Guy Danel, Lluis Claret, Michel
organ with Jean‐Pierre Leguay, composition with
Strauss, Alexander Kniazev, and Petr Prause.
Guy Leclercq and music history with Claude
Abromont.
As an orchestral musician, Francis Mourey plays
regularly with the National Orchestra of Belgium, the
At the age of 17 he was awarded the Diplôme
Brussels Philharmonic and the Orchestra of the
d’Études Musicales (formerly the Gold Medal) with
Opera of Liège‐Wallonia.
highest honours and a year later, the Diplôme de
He has also appeared as soloist, collaborating with
Perfectionnement with distinction.
such conductors as Martin Yates, Jean‐Sébastien
Béreau and Bernard Delire, and performing in venues
In 2003 he was accepted into the Royal
such as the Royal Conservatory of Brussels, the
Conservatory of Brussels to study with Marie
Concertgebouw in Bruges, the Singel in Antwerp, the
Hallynck. He was awarded a bachelor’s degree, with
Church of the Val‐de‐Grâce (Paris)…
first class honours, in 2008. He continued with
An avid chamber musician, he performs in a duo with
postgraduate studies, studying under France
pianist Aude Vallée as well as being a member of the
Springuel in the Royal Conservatory of Antwerp, and
Khaldei Trio.
graduated in 2009 with distinction.
Francis Mourey teaches cello at the Academy of
In 2003, he was the unanimous winner of the Raynaud‐
Molenbeek‐St‐Jean and at the school of humanities
Zufluh prize. In 2006, he was awarded the Compte de
and classics, Schola Nova.
Kerchkove de Denterghem prize; in 2009 he won first
He plays a cello by luthier Tanguy Fraval made in
prize in the international Servais competition and the
2014.
P RO G RAM S
VIENNA THROUGH THE AGES
EXPLOSION OF COLOURS
RUSSIA REMEMBERED
APOCALYPSE
HONOURING THE SYMPHONY
You can find below an overview of the trio's programs. We can also agree
together a program adapted to your needs.
A complete list of our programs is available at:
www.triokhaldei.com/fr/repertoire/programmes/
VIENNA
THROUGH THE AGES
WOLFGANG AMADEUS M OZART Trio in Bes, KV 502
J OHANNES BRAHMS Trio n.2 in C, op.87
ARNOLD S CHÖNBERG Verklärte Nacht
90'
FRANZ S CHUBERT Trio Sonatensatz in Bes, D.28
J OHANNES BRAHMS Trio n.2 in C, op.87
ARNOLD S CHÖNBERG Verklärte Nacht
60'
Vienna: the epicentre of three centuries of European music history. This programme offers three works
illustrating the soul of this city over time, by three great composers that were born or lived in Vienna: Mozart,
Brahms and Schönberg.
At the beginning of this concert, the Khaldei Trio
After the break, the Khaldei Trio interprets
returns to the origins of the piano trio. It was
Verklärte Nacht (Transfigured Night), Arnold
actually in the age of Mozart and Haydn that the
Schönberg's famous piece based on the poem of
genre of the piano trio as we know it now,
the same name by Richard Dehmel. The
appeared first. Mozart's Trio KV502 marks a
arrangement for trio is by Eduard Steuermann. The
turning point in the evolution of this form: from a
composer follows the structure and content of the
more solistic piano part with the violin and
poem in the music. Nature, guilt, forgiveness and
violoncello in an accompanying role, it has arrived
redemption are all entwined in Schönberg’s
at a point where the three instruments converse on
composition.
an equal basis.
This programme is a suitable length for a concert
The programme continues with one of the greatest
with an interval. For a shorter version without
composers of the Romantic era, Johannes Brahms.
interval, it is suggested that Franz Schubert’s
His second trio, composed in Vienna between 1880
refreshing early work, Sonatensatz, replaces the
and 1882, boasts endless treasures, and Brahms'
Mozart Trio.
incomparable talent as a chamber musician makes
Burgtheater of Vienna
anonymous photo ~ 1900
itself heard.
EXPLOSION
OF COLOURS
FRITS CELIS Trio, op. 5
J OSEPH J ONGEN Trio in b, op. 10
M AURICE RAVEL Trio
80'
FRITS CELIS Trio, op. 5
J OSEPH J ONGEN Trio in b, op.10
II. Andante molto sostenuto
M AURICE RAVEL Trio
60'
This innovative programme is built around one of the masterpieces of the chamber music genre: Maurice Ravel’s
Trio. The Khaldei Trio is always searching for imaginative programmes in which well‐known works appear
alongside their lesser‐known counterparts. In addition to this trio, they offer the magnificent music of Belgian
composers Frits Celis and Joseph Jongen.
Called to the battlefront in 1914, Maurice Ravel
Unfortunately, the music of Frits Celis is often
wrote this remarkable work in a great hurry. In a
underappreciated and not played enough. The
letter to Stravinsky, he confided that this hurried
Khaldei Trio wants to give this Belgian composer
departure pushed him to write in 5 weeks a work
the place he deserves. Frits Celis wrote his Trio in
that should have taken 5 months. The zeal and
1958. This fifth opus – one of his first compositions
urgency of the writing have led to one of the most
– already contains all of the qualities to be found in
innovative and colored pieces in the history of
his later works: a very strong rhythmic tension and
chamber music.
clear structure, but above all, a marvellous wide
palette of timbres.
Two early works of Belgian composers complete
the programme. Joseph Jongen wrote his first
When the Jongen trio is played in its entirety, this
Piano Trio in B Minor Op. 10 in 1897 and dedicated
programme is suitable for the duration of an
it to his father. Flashbacks to German romanticism
evening concert. The Khaldei Trio also proposes an
and French impressionism are scattered throughout
alternative for a concert of 60 minutes length, in
this great work, which is in three movements.
which only the second movement of the Jongen
Trio is played between the Celis and Ravel trios.
Japanese bridge in Giverny
Claude Monet ‐ 1918
RUSSIA REMEMBERED
D MITRI SHOSTAKOVICH Trio n.1 in C, op.8
D MITRI SHOSTAKOVICH Trio n.2 in e, op.67
PYOTR I LYICH TCHAIKOVSKY Trio in a, op.50
90'
D MITRI SHOSTAKOVICH Trio n.1 in C, op.8
D MITRI SHOSTAKOVICH Trio n.2 in e, op.67
D MITRI SHOSTAKOVICH Sept romances
sur des poèmes d' Alexandre Blok, op.127
with Liesbeth Devos - soprano
80'
The Trio’s name reflects its particular attraction for Russian culture; a concert containing exclusively Russian
works was therefore a must in its programming. Much like Evgueni Khaldei, Dmitri Shostakovich often found
himself in a delicate position in the face of the soviet regime. This is a virtuosic programme filled with emotion.
Red Flag over Reichstag
photo Evgueni Khaldei
Dmitri Shostakovich’s first trio is one of his little‐
After the interval is a return to the 19th century with
known early works, but one in which the composer’s
the magnificent trio by Piotr Illitch Tchaikovsky. This
maturity is revealed. Even though it consists of just
masterpiece was also written during the pain
one movement, it is no less varied in tempi and
following the loss of a loved one; that of his mentor
characters. Originally named Poem, it was composed
N. Rubenstein, to whom Tchaikovsky dedicates his
in 1923 on the occasion of a sojourn in Crimea.
trio with the words “in memory of a great artist”.
Twenty years later, Dmitri Shostakovich wrote his
The Khaldei Trio offers a variation of this
second trio, dedicated to the memory of his friend
programme, in which the Trio is joined by soprano
Ivan Sollertinski who died in February 1944. This
Liesbeth Devos, for a concert devoted entirely to
period coincided with the discovery of the
Shostakovich. After the two trios come the Seven
extermination camp in Majdanek in Poland – a
Romances on Poems of Alexander Blok, composed
terrible shock for Shostakovich. This explains the
for his most precious musical friends. The result is an
haunting presence of a traditional Jewish theme in
extremely intense sequence: soothing and very
the last movement of the trio, a theme that can be
personal thoughts on love, intimacy, friendship and
found in his 8th Quartet, dedicated to the victims of
the power of art.
fascism and of the war.
APOCALYPSE
M AURICE RAVEL Trio
O LIVIER M ESSIAEN Quatuor pour la fin du temps
with Geert Baeckelandt - clarinet
80'
In the “Apocalypse” programme, the Khaldei Trio interprets two of the all‐time masterpieces of the 20th
Century. The atmosphere created is spellbinding, and while it evokes the end of the world, it also suggests hope
and a longing for a new and better world.
Called to the battlefront in 1914, Maurice Ravel
from the Apocalypse of St John. The première of
wrote this remarkable work in a great hurry. In a
this quartet took place within the same camp, in
letter to Stravinsky, he confided that this hurried
gruelling conditions. The work is in eight
departure pushed him to write in 5 weeks a work
movements, with certain movements only featuring
that should have taken 5 months. The zeal and
some of the musicians. The movement for solo
urgency of the writing have led to one of the most
clarinet, Abîme des oiseaux, is perhaps the most
innovative and colored pieces in the history of
well known movement of the quartet.
chamber music.
Even today, the performance of the Quartet for the
Clarinettist Geert Baeckelandt joins the Khaldei
End of Time leaves a lasting impression on the
Trio for the performance of Olivier Messiaen’s
listener.
Quartet for the End of Time. This work was both
composed and premiered in wartime (1941), more
In this gripping programme, the Khaldei Trio
specifically in the Prisoner of War camp in Görlitz
translates into music both hope and despair, the
in which Messiaen was imprisoned. As in the trio
beginning and the end, death and eternity.
by Ravel, mysticism and spirituality characterize
this work, which takes its inspiration from a quote
St John The Evangelist
stained glass from church St‐Gertrude ‐ Stockholm
HONOURING
THE  SYMPHONY
LUDWIG VAN B EETHOVEN Symphony n.7 in A, op.92
D MITRI SHOSTAKOVICH Symphony n.15 in A, op.141 (arr. V. Derevianko) .
+ percussionist to be determined
90'
The Khaldei Trio offers a new perspective on two major works of the symphonic repertoire, and revives a
custom that was very popular up to the start of the 20th century – that of arrangement, allowing the audience
to discover or rediscover these masterpieces.
In this unique programme, the Khaldei Trio brings
In this programme, the Khaldei Trio presents two
new life to an old tradition. Before the invention of
significant arrangements: an anonymous adaptation
the gramophone, there were only two ways by
of Ludwig van Beethoven’s sublime Seventh
which to listen to and discover music: going to
Symphony, together with the commanding final
concerts or playing an instrument oneself.
Symphony of Dmitri Shostakovich, arranged for trio
and percussion by the Russian pianist Victor
Up to well into the 20th century, the great
symphonic works used to be transcribed or
orchestrated for various chamber formations. In
this way, they found their niche in private salons, in
rooms of smaller dimensions or on stages devoted
to chamber music performance. For the
composers, it was a terrific way of having their
music heard.
Facsimile
Symphonie n°8 ‐ L.v. Beethoven
Derevianko.
C O N TAC T
CONTACT
TRIO KHALDEI
www.triokhaldei.com • [email protected]
MANAGEMENT ‐ Els & the Artists
Els Moens
Kauwplein, 11 • B9000 Gent
+32 496 81 39 97
[email protected] • www.elsandtheartists.be
You can download HD pictures, trio recordings and this document at: www.triokhaldei.com/pro
photos Nicolas Draps - www.nicodraps.com
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