Stemband #8

flemish choral music SPECIAL EDITION // STEMBAND #8 IN ENGLISH, 11 2010

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// GENRE

INHOUD 1 FLEMISH CONTEMPORARY CHORAL MUSIC What’s in a name?

3 FLEMISH CHORAL MUSIC GUIDE 4 VIC NEES AT 75 Postmodernist avant la lettre 6 THINKING OUTSIDE THE BOX Double interview with Maarten Van Ingelgem and Dirk De Nef 9 2010 News overview 11 CD Flemish choral music

The inner workings of Flemish choral music!

As an organisation for vocal music, is it necessary for us to put our weight behind the international promotion of choral music from Flanders? Does Flemish choral music lack the kudos to achieve recognition beyond our borders? Is the influence of our publishers too slight to distribute Flemish choral music internationally?

I think we are missing the point with such questions. Choral music in Flanders is alive and kicking, and shows signs of growing dynamism. Numerous young composers are producing brilliant choral works that are hugely enjoyable to sing. So vocal music in Flanders is certainly not undergoing any crisis, and is clearly not short of oxygen.

What’s the problem, then? Is this extra promotional attention really necessary?

Flemish choral music is not a separate world of its own! It is a form of artistic expression that is inextricably linked with other players in the world of music: singers, choirs, conductors, soloists, concert programmers, heritage organisations, education providers, authors’ associations and publishers to name but a few.

Together, all these players form a single great mechanism. When one cog is turning stiffly, that naturally has an effect on the whole mechanism. In that sense, there is still much to be done in Flanders.

If Flemish choral music wants to connect more closely with the international network, the Flemish mechanism needs to be well oiled and able to work at full speed.

Koor&Stem is well placed as an organisation for vocal music to analyse that mechanism, keep an eye on it and where necessary provide it with fuel. The Board of Directors of Koor&Stem has therefore decided to make Flemish choral music one of the focuses of its policy planning for the years ahead. The publication of this special edition of StemBand represents the start of a series of initiatives relating to Flemish choral music that

Koor&Stem is an organisation for vocal music in Flanders offering guidance and support to amateur singers and choirs.

It provides conducting courses, choir coaching, educational projects, workshops, houses a choral library and organises many national and international choir gatherings. Koor&Stem is also a publisher of vocal scores, song books and the magazine Stemband.

www.koorenstem.be

17 // STEMBAND

Koor&Stem will organise in the next few years. ^ KOENRAAD DE MEULDER // Director Koor&Stem

// WHAT’S IN A NAME?

Flemish contemporary choral music What’s in a name?

In this article, Natalie Goossens explores the scope of the term ‘Flemish contemporary choral music’ and how Flemish choral music relates to the new international compositions of this genre. This text is based on her thesis ‘Nieuwe koormuziek in Vlaanderen: een analytisch en sociologisch onderzoek [New choral music in Flanders: an analytical and sociological study]’. For her thesis she conducted a number of interviews from which we quote below.

‘Flemish contemporary choral music’ can be defined as the vocal

much based on an instrumental school of thought. However, this

compositions that were written in Flanders after 1960. Prior to

progressive ‘instrumental’ choral music was so difficult that it

then, there was indeed a Flemish choral language, written after

became the prerogative of professional ensembles only and did

the example of Peter Benoit (1834-1901): romantic choral music

not appeal to the amateur choral world at large.

with large choral blocks in slow tempi. Ever since the 1950s, especially the amateur composers used a homophonic style with

In terms of the evolution of choral music, this particular fifty-

a neo-modal melody construction. And, since that era, also the

year period can, both on an international and on a Flemish level,

Mechelen School, with Jules Van Nuffel (1883-1953), put a tonal-

be subdivided into three periods. The first period, from 1960, was

modal stamp on religious choral music.

in fact a reaction to the strong emotions the Romantic era was noted for. Song became less dramatic, less dynamic and not as emotional. The change in the Flemish choral world started when

Is there really a specific Flemish choral language?

smaller choirs emerged and the ‘a cappella’ genre rose in popular-

Vic Nees: “There used to be. Peter Benoit developed a style he

with interesting lyrics. His new language was stern and rational.

called a national one, which was very emotional and lyrical.

The counterpoint became important once more, as did motivic

Benoit greatly influenced the Antwerp School: Jef van Hoof,

and cyclic development; also text and performance took centre

Jan Blockx. Their music is Flemish in nature because it has

stage again. In other words, the Flemish choral language largely

a Benoit sound to it. Ghent was rather more French oriented

became Vic Nees’ language as other composers adopted his

as the majority of the members of the governing body of the

unmistakable style. This new choral movement focused on the

Ghent Conservatory spoke French. My father (Staf Nees, Ed.)

development of amateur choirs.

and his contemporaries embraced the Benoit spirit, with the

ity. Vic Nees is hailed as the leading composer of this era. Inspired

by Hugo Distler (1908-1942) and Heinrich Schütz (1585-1672) he created a new style: innovative yet not too avant-garde and

result that they almost exclusively used slow tempi in their vo-

FROM OUTSIDE

cal music. However, with my German and French influences I

1975 marked the start of a second period, in which instrumental

have forgotten how to conjure up this Flemish indolence. I was

music was transposed to choral music. A new singing culture

one of the first to pave the way for a different interpretation

emerged: a more direct form of singing. The names that tend to

of choral music. What was specific Flemish about it was that

surface frequently when the international trendsetters are being

there is no Flemish stereotype and that Benoit had to invent it.“

discussed are Arvo Pärt (°1935) and, amongst the Scandinavian choral composers, active around Eric Ericson (°1918) – the

A NEW DAWN

quintessential director of the Swedish Radio Choir -: Sven-David Sandström (°1942), Ingvar Lidholm (°1921), Lars Johan Werle

Over the past fifty years a lot has changed in Flemish and inter-

(1926-2001), Einojuhani Rautavaara (°1928), Knut Nystedt

national choral music. The early avant-garde works by Olivier

(°1915), Thorkell Sigurbjörnsson (°1938) and Bo Holten (°1948).

Messiaen (1908-1992), Iannis Xenakis (1922-2001), György Ligeti (1923-2006) and Krzysztof Penderecki (°1933), were very

STEMBAND #8 IN ENGLISH // 1

// FLEMISH CONTEMPORARY CHORAL MUSIC

What trends do you see within Flemish choral music?

Vic Nees: “We are now experiencing a post-modern trend. Of late, Frank Nuyts has also been writing choral music. I would call that music inter-tonal, its tenor is tonal. Boudewijn Buckinx has

How did choral music evolve post 1975?

written choral music. It is a complex-free way of working with

Roland Coryn, composer and former composition lecturer at

After that we had some evolutions: Kurt Bikkembergs and Rudi

University College Ghent comments as follows: “Following that

Tas, they started with what I was doing. Herman Roelstraete or

‘Distler fury’, in which performances became frightfully bland

Willem Kersters had also been heading in that direction already.

and soulless, a fresh breeze arrived from the north, especially

These are ‘modern composers’; the 1940-1960 generation. I

from Sweden, with Eric Ericson. I remember the world sympo-

would call Norbert Rosseau a great composer – he wasn’t part

sium in Vienna. He was there, with a choir from the Conserva-

of this typical Flemish choral scene. His works were never per-

tory. All of them instrumentalists, who also sang in choirs. They

formed properly until after his death.

performed difficult pieces and were absolutely brilliant. There

Jules Van Nuffel was the first one to put his own stamp on sa-

was a directness in the sound, the dynamics were marvellous,

cred music, to give it vitality. Flor Peeters, Herman Roelstraete,

yet always controlled, with a projection towards the audience,

Peter Cabus followed in his footsteps. That in turn produced my

none of that roundedness, none of that qualifying. This direct

generation: Raymond Schroyens and Roland Coryn, even though

way of singing combined with all this new work, in which those

he came to choral music later on in life. And now we have the

composers’ ideas about instrumental music were transposed

next generation: Kurt Bikkembergs, Rudi Tas, Ludo Claesen.

to choral music. This gives you a whole new colour spectrum,

Jean-Paul Byloo is very much influenced by repetitive music.

completely different effects, and that is true innovation.“

His music is rather more cerebral, less accessible. ^

music. Consciously cultivated simplicity. But that type of choral music does not seem to have caught on that much at choir level.

I would call myself “a contemporary traditionalist”.

LINK AND INDIVIDUALITY During the third period, which started in the nineties, the focus within the broader choral literature shifted towards contemporary style characteristics. Composition techniques from abroad were also adopted in Flanders and became more prevalent in pieces for amateur choirs. There was room for more extensive harmony, improvisation techniques, aleatoricism and the use of other languages or jabberwockies. The human body became part of the perfor-

A FEW WORDS ABOUT THE AUTHOR

mance: the whole body was used (clapping, stamping, body percus-

Over the past fifteen years, Natalie Goossens has been an active

sion) and there was more of a focus on stage work, on movement.

chorister, choir conductor and composer in Flanders. In Janu-

These days there no longer is a uniform Flemish choral language,

ary 2010 she moved to Zeist (the Netherlands) and is now trying

the Flemish choral world is now defined by personalities. Every

to find her footing in the Dutch choral world. Natalie Goossens

choral composer is trying to find his own style. You could compare

obtained her Master’s in Composition at the Artesis University

the choral music currently being written in Flanders to that being

College of Antwerp in September 2009. This article has been

written across the borders: a wider tonal language which, from

based on her thesis which has been published in full on

consonance – unisono or triad – goes in search of dissonance.

www.nataliegoossens.nl

2 // SPECIAL EDITION

Flemish choral music guide FLANDERS MUSIC CENTRE

composers of serious music. For that

seminars, lectures, workshops, conven-

(“Muziekcentrum Vlaanderen”)

purpose, CeBeDeM compiles and publishes

tions and master classes about subjects

The Flanders Music Centre is an organisa-

the works of its members, reproduces

related to artistic research, musical

tion established by the Flemish government

unpublished scores for performance or

practice, artistic testimonials.

to support the professional music sector

promotion, provides orchestral material,

www.orpheusinstituut.be/en/

and to promote Flemish music in Belgium

collects and gives all information con-

and abroad. Its key role are: encouraging

cerning the affiliated composers.

expertise, information & documentation on

www.cebedem.be/en

all aspects of the current music scene in Flanders, national and international public-

MATRIX

THE LIBRARY OF THE

ROYAL CONSERVATORY OF ANTWERP

The library of the Royal Conservatory

ity of music and artists of all genres.

www.flandersmusic.be

Matrix focusses uniquely on ‘new music’,

volumes. Early music scores are well-

classical music written after 1950. - a

represented and the library houses an

choice for the most vulnerable segment of

expanding collection of choral music from

classical music. After World War II, the gap

the Renaissance to the present day. The

The Centre for the Study of Flemish Music

between the composer and the audience has

Union Music Catalogue gives access to

(“Het Studiecentrum voor Vlaamse Muziek”)

become wider than ever. Their documenta-

250.000 records of all libraries of higher

is a research and documentation centre

tion centre manages an extensive collection

music education in Flanders:

on music by Flemish composers from the

of scores, recordings and books. The educa-

www.muziekbib.be

19th and 20th century. One of the priori-

tional staff develops all sorts of educational

www.artesis.be/conservatorium/english/

ties is the international dissemination of

projects involving new music.

library.htm

scores, recordings and information in

www.matrix-new-music.be/en/

CENTRE FOR THE STUDY

OF FLEMISH MUSIC

order to stimulate new performances of forgotten masterpieces. www.SVM.be RESONANT

NEW MUSIC CENTRE

COMAV

of Antwerp holds more than 550.000

OTHER ORGANISATIONS European Music Festival for

The Flanders Composers Archipelago

Young People, www.emj.be

(“Componisten Archipel Vlaanderen vzw”)

International Choir Contest

is a group dedicated to the interests of

of Flanders-Maasmechelen,

Resonant is a dynamic network organiza-

composers active in the Flemish part of

www.ikv-maasmechelen.be

tion that charts the musical patrimony

Belgium. Composers of all styles of music

Music library of the Flemish Radio Choir,

in Flanders and Brussels Capital Region,

are eligible for membership. ComAV has

www.vlaamsradiokoor.be

stimulates its preservation, and discloses

185 members forming a cross-section of

Euprint, www.euprint.be

it in an innovative way. Resonant plays a

composing in Flanders. The aims of ComAV

Annie Bank Edition: www.anniebank.nl

coordinating role between all partners

are to contribute to a constructive climate

involved in the preservation and validation

for musical composition in Flanders and to

More web links:

of musical heritage. Through the sharing

create favourable circumstances in which

www.koorenstem.be > repertoire >

of knowledge, an interdisciplinary ap-

the broadest possible spectrum of musical

repertoirelinks

proach and the creation of an international

composers can flourish.

network, Resonant aims at broadening the

www.comav.be

basis for musical patrimony. www.muzikaalerfgoed.be CEBEDEM

ORPHEUS INSTITUTE Orpheus Institute has been providing postgraduate education (laureate

The Belgian Centre for Music Documenta-

programme) for musicians since 1996 and

tion is a non-profit association which stim-

introduced the first doctoral programme

ulates the promotion and performance

for performers and composers in Flanders

of the works of Belgian contemporary

(2004). Orpheus Institute also organises

DRIEMAANDELIJKS TIJDSCHRIFT VAN KOOR&STEM // 3

// POSTMODERNIST AVANT LA LETTRE

Vic Nees at 75

by Heu­ghe­ba­ert. “I definitely wanted to do something different from my father,” Nees once told me, evoking in highly personal terms this intention to innovate. “The vo­cal musical language of the Flemish Romantic style rarely took the text as its startingpoint. As a result, Dutch texts were often set to music that bore absolutely no relation to the Dutch idiom. Com­po­sers’ feel for the Dutch derived more from a French musical idiom.” Moreover, he added, “There was exasperatingly little good textual material in Dutch, so it wasn’t surprising that our composers developed scarcely any feel for it.” In addition, the Flemish Romantics had totally lost the connection with the Polyphonists and the Baroque, and Flemish choral culture was a large-scale affair, characterised by a fascination with grandeur and sound effects, far more than with subtle nu­an­ces and an austere sound. Nees sensed that his music must not be created in the same mould.

Initially, he was fascinated by French music’s richness of sound.

“My gods were Ho­neg­ger, Pou­lenc and Rous­seau.” In them, he recognised a more vital, dynamic approach and a greater sensuality than was to be found in Flemish music. The works of these French masters, whose choral style, curiously, is inspired by Bach and Handel, present an all but impossible synthesis between various major musical currents: to­na­li­t y and ato­na­li­t y, free style and strict polyphony, uni­ver­sa­li­t y and indivi­du­a­li­t y. In this way, a figure such as Ho­neg­ger achieves an enchanting atmosphere of his own that is characterised by ‘seductive’ colouring. The indomitable will of a strong personality is apparent in his great music. Nees was also enthralled to discover Oli­vier Mes­si­a­en’s work.

But while he was still studying, mainly through the teaching of Mar­cel An­dries, Nees discovered the even profounder world of the North German idiom, superbly interpreted in the work of Hu­go Dist­ler. “That really was something completely different!”

The influence of figures such as Mar­cel An­dries, Hans Dir­ken and Gottfried Wol­ters can scarcely be overstated in this regard. This completely new choral movement (Neue Chor­be­we­gung) took the text as its starting-point and strove for a plain musical language, Hu­go Heug­he­ba­ert once wrote in the Al­ge­me­ne Mu­zie­ken­cy­clo­pe­

dispensing with all superfluous elements such as excessive

die: “As a composer, Vic Nees has wrenched Flemish choral music

chromatics. The whole musical language needed to be meaning-

loose from a long Romantic tradition and used contemporary

ful from the viewpoint of textual interpretation. Thus there was

means and a personal interpretation to give it a fresh orientation

greater literary engagement – something that has always been

around a vo­ca­l ar­chi­tec­ture of the kind found in the Renaissance

close to Nees’ heart. Hu­go Dist­ler in his mature phase can in par-

and Early Ba­roque.” Heughebaert situates Vic Nees’ significance in

ticular be regarded as Vic Nees’ spiritual father. Linearity through

a very broad perspective, as a powerful innovative force confront-

the rediscovery of Schütz’s musical language, greater independ-

ing Flemish Romantic (usually Catholic) choral music. Anyone

ence from metrical constraints and above all a ‘wealth of auster-

familiar with his work will know that Nees has indeed developed

ity’ were Dist­ler’s means of achieving a new authenticity. The

a completely new sound idiom from the starting-point described

solemn simplicity of composition, expressed in the repetition of

4 // SPECIAL EDITION

// VIC NEES AT 75

Postmodernist avant la lettre the same tone or the same tonal interval, gives the word absolute

with greater immediacy. He strove for accessibility and freedom

authority and vigour. Also impressive is the great sense of liturgi-

from complexity, without lapsing into banality. Since the 1980s

cal responsibility and the profound faithfulness to Scripture. Dist­

and 1990s, Nees has regularly used different techniques and

ler definitely represents a direct link with Nees’ music. The fact

colours to ensure that the emotional link between text and music

that it was through Dist­ler that he embarked on his exploration

can be communicated optimally.

of Germanic music – including in his numerous religiously inspired works – gives Nees, by his own admission, a more Protestant

Today, in 2010, our ears are somewhat worn out by the excessively

orientation as a Catholic. The characteristic Neesian mode of ex­

stereotypical stylistic thinking of many composers over the last

pres­sion can, arguably, be described well from this point of view.

15 years. Looking back at Nees’ progressive stylistic development,

As a Catholic, with an initial feel for the more sensual Romanic

it can be emphatically stated that Nees has remained himself

styles, he became fascinated by the austere tradition of German

amid “all that postmodernism”. The basic ingredients remain in-

Evan­ge­li­cal church music. The religiosity that is unmistakably ex-

spiringly present: a close relationship between word and sound, a

pressed in his works is like an intriguing encounter between these

balance between harmonic and rhythmic expression, a gentle aus-

two traditions. The direct sensory world of decorative, Franco-

terity (or austere gentleness) with regard to means of expression,

centric Catholicism fuses, so to speak, with the austere, cool tone

and, above all, the ability to bring the best out of the human voice

of the German movement. Right from the start, Nees favoured an

in a choral setting. Once this paradigm is clear, one is surprised

af­fec­ti­ve mode of ex­pres­sion, but did so – by complete contrast

time and again by Nees’ appropriation of new styles, such as

with the Romantics – on the basis of the achievements of Distler’s

polytextuality, Gregorian lines contrasted with surprising harmo-

versatile idiom. This twofold path can also be seen to coalesce

nisation, the use of ‘non-standard’ instruments or the original use

in Nees’ literary interests and his pronounced personal religious

of standard instruments (percussion, bells, oboe, viola, trumpet,

interest. In addition to the French and North German influences,

accordion, etc.) in dialogue with a religious choral texture.

however, there is also a third strand. “From the English,” Nees

Nees’ music has been part of the international choral repertoire

has said, “I learned melodiousness – cantabile – in writing.” They

for many years. His works are performed throughout Europe and

traditionally take a highly vocal approach; their composers know

the United States. There is every sign that his oeuvre has acquired

what it means to ‘get a choir to sing’.

an enduring place abroad as well as in Flanders.

Just as Nees the man has the gift of arousing the public’s interest

In the development of his compositional oeuv­re, Nees has proved

with his incisive and fascinating speeches and articles – as anyone

to be highly progressive. Reflections of the great contemporary

who has experienced them knows – so Nees the composer strives

trends – twelve-tone music, aleatoric music, mi­ni­malist mu­

for the same engagement with his music. That makes his art intel-

sic, and so on – can be found in successive compositions, but are

ligible and edifying. ^

always integrated into the composer’s stylistic continuity. In the mid 1970s, Nees began to realise that the avant-gar­de movement

// GEERT HENDRIX

(represented by figures such as Stockhau­sen) had become highly dog­ma­tic, and he increasingly distanced himself from their rigid stylistic conceptions. In the 1980s it was therefore time for a new starting-point, and according to Nees, a development then occurred that is closely comparable with the transition from Bafigures such as Reich and Glass. “I saw that stylis­tic dog­ma­tis­m had no future”. Stylistic ­plu­ra­lis­m emerged, and Nees began to display an antipathy to any dog­ma­tis­m. “Actually, I became postmodernist avant la lettre,” Nees comments light-heartedly. At the same time, his contacts with light music and with the elementary styles of ethnic music also increased. Both influences increasingly led Nees to seek ways of extending vocal possibilities in order to make the choral medium something that could be experienced

STAF NEES

roque to Classicism: a ‘new’ simplification, under the influence of

STEMBAND #8 IN ENGLISH // 5

// DOUBLE INTERVIEW

Thinking outside the box people were involved with choirs in a

We were recently sitting around the table with two Flemish choir conductors and composers who regularly perform fascinating compositions for choir and/or voice. Maarten Van Ingelgem is a thirty-something who in 2008 was awarded the “Gouden Klaproos” (Golden Poppy) for choir composition by the Belgian Author Society Sabam. Dirk De Nef is just over fifty, and is currently completing his second large work for soloists, choir & orchestra, the Antwerpse Kantate (Antwerp Cantata). For both composers the love of choir is but one aspect of a broad musical spectrum.

serious way. Because of this life-changing experience I am today still enthusiastic about the European Music Festival in Neerpelt, Erasmus projects, the World Choir, as well as choir competitions where you can explore different perspectives and interpretations.”

ALTERNATION OF GENRES Maarten Van Ingelgem has already written around fifty compositions for various vocal and instrumental ensembles, includMaarten Van Ingelgem // © www.gedem.be

Dirk De Nef

ing the compulsory piece for strings at the Axion Classics 2003, a chamber opera for the Youth Opera Festival in Utrecht, a piano concerto and a dozen choral works.

“I always wanted to do something with music, but when you’re in school you must make choices that can be very restrictive,” explains Van Ingelgem. “As a teenager, I would spend more time improvising on the piano than studying. At the time, I was not involved in singing or choir music. I studied piano with Jan Michiels and composition with Wim Henderickx. At the Conservatory, I joined the choir where the students

At the Royal Conservatories in Brussels

Willem Vermandere. This is how I became

and Antwerp, Dirk De Nef collected first

interested in good texts, I believe. I also

prizes in harmony and counterpoint stud-

liked singing, and I studied singing with

ies, music history and analysis and did not

Lucienne Van Dijck. I also sang in Roger

profile himself as a composer until the

Leens’ choir Musica Nova and this is how

early nineties. He started making a name

I became acquainted with quality choral

for himself in composition competitions

music. A little later I was invited to ac-

and in 1995 he finally broke through with

company the Flemish Choral Federation

his Rond’eau which was at the time the

to a two-week international choir event

compulsory work in the semi-finals of the

(AGEC) and I went there, like some other

Queen Elisabeth Competition for piano.

singers, with the expectation of working

Even though he did not come from a typi-

something over with the attending choirs.

cal musical family, this did not stop him

That was a huge motivation for me. It is as

from picking up a great deal of musical

if I stepped out from behind the desk and

influences as a teenager. “For instance, I

entered reality. The international context

went through the cabaret phase among

in which singers, conductors and would-be

others,” comments De Nef. “I listened

composers meet was also a wake-up call

to Jan De Wilde, Boudewijn de Groot or

for me. Suddenly I noticed that many

6 // SPECIAL EDITION

were practising being choirmasters.

Shortly after that, I thus sang with the Goeyvaerts Consort (now Aquarius), but also as a substitute for the Flemish Radio Choir and Ex Tempore. The more I got involved in choirs, the more I felt the need to learn about conducting and singing. This is why I took singing classes. Eventually, you discover that composing, conducting and singing have much in common. Even today my ambition is not limited to composing alone: I conduct, sing, give piano lessons, and I am an accompanist and a composer. When I take on a composition job, I gladly immerse myself totally in it, even if it is only something small. Composing is in fact something very personal. As a result, I only compose three or four works a year, one of which would be for choir.

// DOUBLE INTERVIEW

Maarten Van Ingelgem

Even today my ambition is not limited to composing alone: I conduct, sing, give piano lessons, and I am an accompanist and a composer.

I’ve noticed that among my contemporar-

a different way than I am, and that’s a good

“It is always my goal to write simply in

ies I am not the only one who looks at

thing. The greatest compliment that Wim

a contemporary language, which, by the

things this way. Composers who write

Henderickx ever gave me was when he said

way, is more complicated than composing

almost exclusively for vocals like Vic Nees,

that I did not write like my father.”

difficult pieces. You may think that you are

Kurt Bikkembergs, Raymond Schroyens

a genius composer, but if your work does

or my father are hardly represented in

“Over the last four years I have composed

not strike a chord, it is not performed and

my generation. There are far more young

less because I was conducting the Leuven

it is worthless. I therefore often try out

composers than you would think at first

University Choir in that period, which

parts of a new composition already during

glance who occasionally write for choirs

required a lot of dedication,” comments

rehearsals with my choir. Composing is

and who are or have been mainly active as

De Nef. “Now I have taken again a large

therefore a difficult process: you want to

choir singers. I’m thinking of Annelies Van

composition project for choir, orches-

offer quality, not fall into clichés, and yet

Parys or Joachim Brackx who sang with

tra and soloists in celebration of the

you must assess properly what the choir

the Goeyvaerts Consort and elsewhere,

centenary of my choir Arti Vocali. Rodian,

members can or cannot handle. Nowadays,

or Sebastiaan van Steenberge. I consider

which I composed nine years ago, was an

there is also a great diversity in terms of

this healthy alternation of genres to be a

important work like this one. It strikes

musical languages. If most of your choir

learning process, but I understand that

me that composers today seldom or never

members display a tonal undercurrent,

because of that it can be more difficult for

compose for such major ensembles. Sure,

then you already go through a learning

the outside world to fit us into a pigeon-

The Messiah or St. Matthew Passion will be

process if you want to forsake this trend.

hole. I think that Koor&Stem can play a

performed, but new works for this type of

I can imagine that in Maarten’s choir that

part in helping these young composers

composition rarely see the light. It takes

focuses on contemporary music, the pos-

unlock their choral repertoire.”

a huge amount of time and resources

sibilities are greater in this area.”

to set up such a project from within the

A BREATH OF FRESH AIR

Dirk De Nef also boasts many talents and

amateur world and, if it is actually staged,

has composed for various ensembles; in

it is mostly for a single performance. As

“When I took over the De 2de Adem (Sec-

addition, he combines conducting four

a composer, I think it is however neces-

ond Breath) choir, they were only singing

choirs with a job as a teacher in harmony

sary to get the feel for the oratorio genre.

works from the contemporary choral

and counterpoint studies and composing.

Only by regularly doing it can you become

repertoire, but that departed from the typi-

He sees many advantages especially in

even more skilful at it and get away from

cal choir schools,” explains Van Ingelgem.

that combination. “Teaching not only pro-

under the church steeple to reach a more

“They were performing choral music ac-

vides a financial security,” says De Nef. “It

international dimension.”

cessible to an amateur choir by major 20th

keeps me alert, because I am constantly

“It would be helpful to work together with

century composers who were less known

kept on my toes, resolving issues where

orchestras for such projects,” chimes in Van

as choral composers like Ravel, Debussy,

students are struggling. Sometimes, they

Ingelgem. “There are many youth orches-

Messiaen, Ligeti or Bartok. I have extended

also reach conclusions that you would not

tras. There is certainly a need for associa-

that repertoire with works by some of

have immediately thought of. Every year

tions between orchestras and choirs. Maybe

our composers who do not only write for

you will meet again young people who will

the choir federations have a role to play

choirs. As a result, a project was inspired

be further and further away from you in

there. Minister Joke Schauvliege recently

by Aaron Copland’s In the Beginning,

terms of age, but at the same time they

also mentioned bringing down boundaries

involving creation stories from the seven

keep you young.”

and categorization. Since encouraging this

continents put to music by Filip Rathe,

“I also feel the urge to pass on knowledge

type of cooperation would fit into these ef-

Peter Swinnen, Petra Vermote, Lucien Pos-

because I, too, have received it at some

forts, this would be very interesting.”

man and some composition students. All

point and so had the chance to have people

of the composers’ background was in other

light my fuse,” adds Van Ingelgem. “Two

How does a choir that is used to singing

genres besides choral music. I experienced

days a week I give piano and ensemble les-

the great oratorios of the past centuries

this as very positive because choir is still

sons. It’s exciting to get feedback from stu-

react to a contemporary oratorio? “I write

one of the most flexible genres. This ap-

dents who themselves are creative, often in

the music just for them,” replies De Nef.

proach gives a choir a breath of fresh air.”

STEMBAND #8 IN ENGLISH // 7

// DOUBLE INTERVIEW

Dirk De Nef

You may think that you are a genius composer, but if your work does not strike a chord, it is not performed and it is worthless.

UNCHARTERED TERRITORY

TOO ‘NEATLY’

How innovative can or should the contem-

“Recently, I noticed that the vocalisations

porary music be for an amateur choir?

had changed significantly by reverting to

“Even if you’re not incredibly involved with

ancient music,” says De Nef. “I conducted

avant-garde, I believe that for many choirs

an old Icelandic song taken from a Europa

there is still much unchartered territory,”

Cantat bundle. The use of parallel fifths had

adds Van Ingelgem. “If you respond to that,

a huge impact on the intonation, but also on

it is not difficult to be innovative in that

the singers’ vocal technique: they immedi-

specific context after all. This is precisely

ately felt that this song had to be sung in a

the reason why choir as a genre still has

folk and tight way. Suddenly, the choir had

so much future. There are, for instance,

transformed into something new. Another

interesting alternatives to traditional

time, we were getting nowhere with an

processes and tonal music: you can easily

African song that was harmonized in a

integrate rap, whispering and choral speak-

Western way. It was sung much too ‘neatly’.

ing techniques without lapsing into cheap

When I got the choir members to sing the

formulas. In addition, the use of graphic

song in the Antwerp dialect, the sounds

scores, or a combination of traditional and

were resonating a lot more, creating a huge

graphic notation, where you indicate your

sound picture.

musical parameters in a different way,

Now, as regards the more experimental

often provides very useful pieces, allowing

techniques which Maarten just talked about,

you to reach a very contemporary result in a

I believe that the new media have played

pleasant way. In my own compositions, too,

an important role in their acceptance. For

I sometimes mix traditional and graphical

instance, there is the popular promo video

notations. There are passages that a tradi-

for the Honda Civic which is also circulating

tional choir may find quite normal and other

on YouTube and where the soundtrack is the

passages which may initially somewhat

onomatopoeic singing performed by a choir

surprise them. I once wrote a South African

– a car driving over different surfaces, a rain

drinking song for the Componistenlink

shower, the wipers of the car; vocal pos-

project run by Koor&Stem that would use

sibilities are used very creatively. Thanks to

modern techniques as a basic chorus. The

the wide distribution of such video clips, you

Suid-Afrikaans Drinklied gradually becomes

get a kind of recognition among your choir

“drunker”. It starts rather traditionally, but

members when you come up with something

evolves into something in which the singers

similar, and then you go one step further.

must produce something else with the

The integration of body percussion in recent

same building blocks. I have seen a lot of

years has also ensured that choir singers

choirs tackle it and they have a great time

would accept experimental techniques

doing that. I think that something like that

more easily. It increases their confidence

also appeals to a younger generation of

while improving the rhythmic feeling. I

singers to some extent. It creates a certain

want to stay abreast of new developments

dynamic. The advantage of these scores is

or techniques and if they fit, I’d like to use

that the singers can use their own voices

them sometimes, but for me it is not an end

with much more freedom.”

in itself. In some cases for instance, I have integrated a rap into a choir piece. In the lewd text of François Villon and performed by a young male choir: I thought that was indeed the way to do it. “

8 // SPECIAL EDITION

“However, in addition to promoting openness and courage, I realise more and more that voice training is necessary when singing art music,” continues De Nef. “That’s why I have immediately seized the opportunity for vocal training organised by Koor&Stem. Now we have a vocal coach who comes every week to give voice lessons and, as a result, 14 choir members are now attending her singing class. This has clearly raised the level of the choir.

You cannot expect that everyone will do it, but if a large portion of your choir commits to it, you’re halfway there.”

Do both composers feel that Dutch constitutes an obstacle to the international impact of their work? “At the Music Festival in Neerpelt, a Slovenian choir performed a great version of my set work in Dutch,” adds De Nef. “As a composer, I do have the impression that it’s easier to hide behind a foreign language. There is however a better ‘feel’ for the language and, consequently, for the quality of the text in your own mother tongue.”

“With my choir, I usually use seven or eight different languages in a concert,” concludes Van Ingelgem. “I think that something like that is also possible abroad, as choirs have experience with other languages or they at least want to put some energy into it. My Suid-Afrikaans Drinklied was also performed in Croatia.

And Timo Nuoranne also performed it twice with the Estonian National Male Choir. He told me he had sufficient contacts with people who had experience with the Dutch language. But I’ve also composed in other languages. For me, it is important that text appeals to me and that I can stand behind every word; which language it is, does not matter.” ^ // TOM EELEN

// NEWS

2010

News overview Flanders still has plenty of new choral music coming on stream every year. Trying to publish an annual review featuring every single new composition would quite simply be an impossible task. And it has to be said of course that not everything comes into the spotlights. After all, many choral compositions come about thanks to an intensive and creative collaboration between their composer and the choir and seldom make the headlines. In this bulletin we give you an overview of the most significant creations of 2010.

HARTVERWARMEND – Hanne Deneire

heterogeneously. His quest to create

Koor&Stem commissioned Hanne

rational and from an emotional point of

Deneire to write the piece Hartverwar-

view, has resulted in a solid structure

mend [“Heartwarming”), a composition

with smooth, expressive, yet controlled

perfectly balanced music, both from a

Hanne Deneire

for choirs that embrace disability. This

lyrics. Christus factus est from Cantiones

composition wants to incentivize col-

Spirituales can be enjoyed at the com-

laborations between the choral world and

poser’s website.

people suffering from disabilities. It was performed by the Bloemjeskoor and the

www.ruditas.be

score was published by Koor&Stem. Video

MISSA FESTIVA Paul Steegmans

There is no comparison between the Req-

footage about this project can be watched

Commissioned by Koor&Stem Limburg,

uiem by Vic Nees and its many namesakes

via the following link:

Paul Steegmans wrote a four-voice a

from days gone by. This Requiem was

vimeo.com/4997956

capella mass. This mass was sung by

mixed Cantatille and Caljenté choirs. The

REQUIEM – Vic Nees

written for the deceased but is also a

www.hannedeneire.be

Requiem for the Resurrection and the Light. conducted by Johan Duijck, performed

CANTIONES SPIRITUALES – Rudi Tas

Vic Nees’ Requiem in Antwerp. This choral

Composer Rudi Tas was commissioned

work was edited by Annie Bank Edition. The

by Vocal Ensemble Musa Horti to write a

On 8 March 2009, the Ghent Madrigal Choir,

the Cantate choir, conducted by MarieRose Van Gerven at a high-profile event celebrating the 25th anniversary of Koor&Stem Limburg. www.paulsteegmans.com

Ghent Madrigal Choir has now also brought

piece for mixed choirs, entitled Cantiones

out a CD of the Requiem by Vic Nees.

Spirituales. Rudi Tas’ music is imbued

MISSA BEATA ES, VIRGO MARIA – Ludo Claesen

with influences from the past and from

On the occasion of the 2010 Virga Jesse

traditional and contemporary music.

Festival, the Hasselt Cathedral Choir com-

Serial and tonal elements are treated

missioned Ludo Claesen to compose Missa

www.anniebank.com

MOTETTI SANCTORUM – Kurt Bikkembergs Kurt Bikkembergs wrote a number of small, short motets specifically for 3-voice choirs.

These were compiled into the Motetti Sanctorum collection and edited by Euprint.

They were performed by the Capella Academia and will soon be available on CD. www.kurtbikkembergs.be Ludo Claesen

STEMBAND #8 IN ENGLISH // 9

// NEWS

‘K ZING A GEIRE – Dirk De Nef

hobo and cello. The mass was composed

‘K Zing A geire is an ‘Antwerp Cantate’ by

as a polyphonic piece in which choir and

Dirk De Nef which relates a contemporary

community singing can achieve a state of

love story, set in the choral world, fused

perfect symbiosis.

with milestones from 100 years of Ant-

The score was published by ASCOLTA

werp history. The contemporary melody,

Houten (Utrecht) who previously

interspersed with refreshing tonalities

published other work by Claesen. This

reminiscent of musical and film music, has

particular ‘Missa’ has become Claesen’s

made this composition a highly acces-

fourth major mass composition.

sible one. The Dutch lyrics are by creative

www.claesenlmmi.be

writer Joey Brown. www.artivocali.org

CONCIERTO DEL ALMA Johan Duijck

SANDOKAI - Luc De Winter

The Sint-Lodewijkscollege commissioned

Sandokai is the name of a new, unique

Johan Duijck to compose a musical piece

project launched by Ensemble Polyfoon,

to the text of John of the Cross for piano

conducted by Lieven Deroo, which blends

and a mixed choir. The Ghent Madrigal

elements from the mysticism of Zen

Choir performed this composition, entitled

Buddhism and the fragile beauty of vocal

Concierto del Alma, during October 2010.

polyphony. Flemish Composer and Zen

www.gmk.be

REQUIEM – Martin Valcke

Monk Luc Nyushin De Winter wrote 7 pieces for this project, all of them based on classic Zen Buddhist texts. These were

A new Belgian creation versus a French

originally translated by the American Zen

masterpiece... Mixed choir Musica Nova

Master Roshi Joan Halifax and by Sensei

from Boom asked Flemish Composer

Kazuaki Tanahashi, a famous Japanese

Martin Valcke to write a reflection on the

translator and master calligrapher. Luc

famous Requiem by Gabriel Fauré. Within

De Winter’s music is very much rooted in

the bounds of the capabilities of a good am-

the old polyphony of the great masters.

ateur choir, accompanied by a professional

Thanks to his contemporary approach to

instrumental ensemble and professional

the Renaissance style and his years of

soloists, Martin Valcke was given carte

meditation, Luc De Winter has given these

blanche. The text for this contemporary

compositions a modern, Western Zen

requiem was written by none other than

twist. Ensemble Polyfoon performed his

Frank Vanderlinden – song smith and front

work on 26 and 27 November 2010.

man of the Flemish rock band De Mens. www.musicanova.be

Martin Valcke

10 // SPECIAL EDITION

Simon De Poorter (middle) © Vincent Lagrange

Beata es, virgo Maria for a mixed choir,

www.polyfoon.be

KABBELEN AAN HET PLAFOND – Simon De Poorter As part of the International Convention for Directors and Composers It’s oh so choir, four young composers are given the opportunity to have their work performed in public. From amongst some thirty entries, an international jury selected compositions by Pärt Uusberg (Estonia), Pernille Louise Sejlund (Denmark), Benjamins Scheuer (Germany) and Simon De Poorter from Flanders. The compositions were stunningly performed by the Flemish Radio Choir, conducted by Maarten van Ingelgem and by Reflection, conducted by Patrick Windmolders. www.ohsochoir.be

// GENRE

CD 1// PETER BENOIT: Ave Maria After graduating in 1854 Peter Benoit (1834-1901) wrote, among other works, the Messe à trios voix (1856) and Douze motets, published by Schott in 1857. In the course of the study tour of Germany which he undertook in 1858, after obtaining the 1856 Prix de Rome, het wrote a Benediction service, a Christmas cantata and this Ave Maria for double choir. (Jan Dewilde, trans. Guy A. J. Tops) Live digital recording from the cd In Manus Tuas. Religious Music from Flanders, Phaedra (In Flanders’ Fields vol. 50), State Choir Latvia cond. Herman Engels.

2// AUGUST DE BOECK: O salutaris hostia August De Boeck (1865-1937) was one of the most important composers of his time. In his large and wide-ranging oeuvre religious music has a prominent place: in addition to a series of religious songs, August De Boeck composed four masses and some forty motets. (Jan Dewilde, trans. Guy A. J. Tops) Live digital recording from the cd In Manus Tuas. Religious Music from Flanders, Phaedra (In Flanders’ Fields vol. 50), State Choir Latvia cond. Herman Engels.

3// ROBERT HERBERIGS: Les Adieux Robert Herberigs (1886-1974) studied music and singing at the Royal Conservatory in Ghent as well as privately with Leo Moeremans. In 1909 the jury awarded him the Prix de Rome for his Cantate The Legend of Saint Hubert. Herberigs established his reputation as a composer with Cyrano de Bergerac (1912), which can be considered a horn concerto and a symphonic poem at the same time. In the second half of the twenties Herberigs mainly composed choral works and religious music, but in the beginning of the thirties he turned to neoclassicism and stopped composing in 1945. Between 1948 and 1966 he composed twenty large orchestral works. From this period dates Les adieux from Huit choeurs mixtes (1953). (Jan Dewilde) Recording from the cd Robert Herberigs. Choral Music, Phaedra (in Flanders’ Fields vol. 21), Flemish Radio Choir cond. Johan Duijck.

4// NORBERT ROSSEAU: Agnus Dei (from Missa in honorem Spiritus Sancti) The Missa in honorem Spiritus Sancti was completed in just a few days. Norbert Rosseau (1907-1975) had plodded away on a large orchestral piece without making much progress. So he set to work on something different: a small mass. The ‘Holy Spirit’ gave him the inspiration to compose a masterpiece in no time.

It turned out to be a short a cappella mass, without measure,

STEMBAND #8 IN ENGLISH // 11

// GENRE

ending in a swirling cadenza that refers back to Gregorian chant.

unusual harmonic twists, jazzy chords and expressive spoken pas-

Many passages of the mass are sung in unison, following the

sages (speaking choir). Composer Kurt Bikkembergs (°1963) also

example of the single-voice chants of the Middle Ages. (Aquarius,

incorporates spatial effects by allowing the singers to move around

trans. Charlotte Panouclias)

amongst the public. (Katelijne Goris, trans. Charlotte Panouclias)

Aquarius has recorded a CD of many versions of the Agnus Dei as

Recording from de cd Debarim, Capella di Voce cond.

it has been sung over the centuries; unfortunately however, this

Kurt Bikkembergs. ^

little gem is missing from the recording.

5// VIC NEES: Dignare, Domine (from Trumpet Te Deum) The intimist Trumpet Te Deum for mixed choir, soprano solo and two trumpets was written by Vic Nees (°1936) in 2003 and dedicated to Peter Dejans and his Musa Horti choir. An impressive moment in Dignare, Domine (part 7) is the sudden piano at Miserere, the moving soprano solo at non confundar and the final passage of the trumpets con sordino with which this final movement fades into silence. (Kamiel Cooremans, trans. Guy A. J. Tops) Recording from the cd Vic Nees. Trumpet Te Deum & Choral works, Phaedra (In Flanders’ Fields vol. 42), Vocaal Ensemble Musa Horti cond. Peter Dejans.

6// JOHAN DUIJCK: Lauda Jerusalem (from Lauda Jerusalem) As a composer Johan Duijck (°1954) concentrates on piano and choral music. Lauda Jerusalem, composed in 1984 was commissioned by Jacques Maertens and his Cantabile choir based in Knokke-Heist, Belgium. In the first part, Lauda Jerusalem, the choir sings, starting unisono, a simple melody, mainly in two parts in which seconds dominate. The organ accompanies with an ostinato pedal, above which the manual has clusters. (Johan Duijck, trans. Guy A. J. Tops) Recording from the cd Johan Duijck. Cantiones Sacrae, Phaedra (in Flanders’ Fields vol. 58), Flemish Radio Choir cond. Johan Duijck.

7// KURT BIKKEMBERGS: Epiloog (from Debarim) The Debarim Passion cantata was composed in 2002 based on a libretto by Dirk Hanssens. The Hebrew word debarim is the plural of dabar. The term means both word and act. This at once shows that in the Bible, language itself has power of action. In his libretto, Dirk Hanssens continually refers to themes from the Books of Genesis and Apocalypse, to mystic literature of the Middle-Ages and to contemporary poetry. Naturally, the passion is the key element: the text is built around the seven last sentences that Christ spoke on the cross. The composition is spiced throughout with

12 // SPECIAL EDITION

// GENRE

Flemish Choral Music stemband #8

1// Peter Benoit:

Ave Maria 2// August De Boeck:

O salutaris hostia 3// Robert Herberigs:

Les Adieux 4// Norbert Rosseau:

Agnus Dei

(from Missa in honorem

Spiritus Sancti) 5// Vic Nees:

Dignare, Domine

(from Trumpet Te Deum) 6// Johan Duijck:

Lauda Jerusalem

(from Lauda Jerusalem) 7// Kurt Bikkembergs:

Epiloog

(from Debarim) Performed by State Choir Latvia - cond. Herman Engels (track 1, 2), Flemish Radio Choir - cond. Johan Duijck, organ Ignace Michiels (track 3, 6), Aquarius - cond. Marc-MichaĂŤl De Smet (track 4), Musa Horti - cond. Peter Dejans; soprano Els Crommen, trumpets Manu Mellaerts, Steven Verhaert (track 5), Capella di Voce - cond. Kurt Bikkembergs; reciter Jos Stroobants (track 7)

Buy this music at www.phaedracd.com www.capelladivoce.be www.gc-aquarius.be

STEMBAND #8 IN ENGLISH // 13