Karski Quartet: Kaja Nowak, violin, Natalia Kotarba, violin, Diede Verpoest, viola & violin, Julia Kotarba, violoncello & Raphaël Feye, violoncello Filmed and recorded at MotorMusic Recording Studio Mechelen, Belgium 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Luigi Boccherini (1743 - 1805) Quintet in C major, Op. 42 No. 2, G.349 (1789) Quintette en mi bémol majeur op.51/1 G.376 (1795) Quintet in A major, Op. 40 No. 1, G.340 (1788) “Folías de España” In this programme, that refinement is magnified by an ensemble that focuses on dialogue. The Karski Quartet and cellist Raphaël Feye emphasise the music's intimacy, revealing the hidden colours in its gentle exchanges and lively rhythmic accents. Their performance reveals how Boccherini achieved great expressiveness through subtle gestures. The intimate and concentrated studio environment reinforces this quality, making the music seem closer. Thus, the recording studio becomes a chamber for chamber music, providing a new home for Boccherini's music. This is exactly what it deserves, a space in which to shine in silence. Luigi Boccherini's string quintets have an intimate quality. While his contemporaries often opted for drama and grandeur, Boccherini explored nuance, creating a sound world in which the cello plays a melodious leading role, filled with supple melodies and dancing minuets. His decision to use an unusual double cello line-up gives the music a warm, layered depth. These are works that do not impose themselves, but gently transport you to a realm of lightness and elegance, infused with Spanish accents and Italian lyricism. This video was recorded during an edition of Evil Penguin Concerts at the MotorMusic Studio in Mechelen. In this series, musicians from Evil Penguin Classic and Antarctica Records perform in an intimate studio setting where music and craftsmanship come together, and countless albums have been born. What you see here is one of those live recordings. In future seasons, the concerts will return with new ensembles and programmes. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Lok Hei Tang 𝘈𝘶𝘥𝘪𝘰 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Daan Winderickx, Jorrit Brijssinck 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Symphony Orchestra Opera Ballet Vlaanderen led Koen Kessels. Lore Binon, soprano. Filmed at Opera Antwerp, Belgium, 2022. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Wim Henderickx (1962 - 2022) The Convent (2022) '𝗣𝗿𝗮𝘆. 𝗕𝘂𝘁 𝘁𝗼 𝘄𝗵𝗼𝗺.' 𝗜𝗻 𝗵𝗶𝘀 𝗲𝗿𝘂𝗱𝗶𝘁𝗲 𝗮𝗻𝗱 𝗵𝗮𝘂𝗻𝘁𝗶𝗻𝗴 𝗻𝗼𝘃𝗲𝗹 𝗧𝗵𝗲 𝗖𝗼𝗻𝘃𝗲𝗿𝘁, 𝗦𝘁𝗲𝗳𝗮𝗻 𝗛𝗲𝗿𝘁𝗺𝗮𝗻𝘀 𝗰𝗮𝗽𝘁𝘂𝗿𝗲𝘀 𝘁𝗵𝗲 𝗶𝗻𝗻𝗲𝗿 𝗰𝗼𝗻𝗳𝗹𝗶𝗰𝘁 𝗼𝗳 𝗵𝗶𝘀 𝘁𝗶𝘁𝘂𝗹𝗮𝗿 𝗵𝗲𝗿𝗼𝗶𝗻𝗲 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲𝘀𝗲 𝗰𝗼𝗻𝗰𝗶𝘀𝗲 𝘄𝗼𝗿𝗱𝘀. 𝗧𝗵𝗲 𝗕𝗲𝗹𝗴𝗶𝗮𝗻 𝗰𝗼𝗺𝗽𝗼𝘀𝗲𝗿 𝗪𝗶𝗺 𝗛𝗲𝗻𝗱𝗲𝗿𝗶𝗰𝗸𝘅 𝗮𝗻𝗱 𝗹𝗶𝗯𝗿𝗲𝘁𝘁𝗶𝘀𝘁 𝗞𝗿𝘆𝘀𝘁𝗶𝗮𝗻 𝗟𝗮𝗱𝗮 𝘄𝗲𝗿𝗲 𝗶𝗻𝘀𝗽𝗶𝗿𝗲𝗱 𝗯𝘆 𝘁𝗵𝗲𝘀𝗲 𝘂𝗻𝗶𝘃𝗲𝗿𝘀𝗮𝗹 𝘁𝗵𝗲𝗺𝗲𝘀 𝗮𝗻𝗱 𝗰𝗿𝗲𝗮𝘁𝗲𝗱 𝗮 𝗿𝗶𝗰𝗵𝗹𝘆-𝗳𝗲𝗹𝘁 𝗼𝗽𝗲𝗿𝗮 𝗮𝗯𝗼𝘂𝘁 𝗶𝗱𝗲𝗻𝘁𝗶𝘁𝘆, 𝗶𝗺𝗽𝗼𝘀𝘀𝗶𝗯𝗹𝗲 𝗹𝗼𝘃𝗲, 𝗳𝗮𝗶𝘁𝗵 𝗮𝗻𝗱 𝗵𝘂𝗺𝗮𝗻 𝘀𝘁𝗿𝗲𝗻𝗴𝘁𝗵. With Vigdis Adelaïs, Hertmans has created a strong woman who, at the time of the First Crusade at the end of the 11th century, was torn between her Christian upbringing and the Jewish faith, to which she has converted for her beloved, taking the new name Hamoutal. The Convert tells the story of a young mother who, in times of religious violence, is the victim of a pogrom and tragically perishes in her search for her kidnapped children. Henderickx's compositions are unique in finding a bridge between musical languages. In his score, influences from Western early music, modernism and film music merge in a symbiotic way with both Jewish and Arab traditions to create a contemporary opera in which Vigdis' epic life story is told through sound. Koen Kessels conducts the Symphony Orchestra Opera Ballet Vlaanderen, soprano Lore Binon sings the title role and six singers from different vocal traditions perform the numerous other characters. In addition to members of the Opera Ballet Vlaanderen Chorus and Children's Chorus, an Antwerp community choir is also part of the line-up. Director and visual artist Hans Op de Beeck, who is also responsible for the scenography and costume design, creates a poetic visual world in which Vigdis' quest takes centre stage in a bygone world that is astonishingly similar to ours. Composer | Wim Henderickx Musical direction | Koen Kessels Direction, scenography and costume design | Hans Op de Beeck Electronics | Jorrit Tamminga Lighting design | Peter Quasters Dramaturgy | Koen Bollen Choral conducting | Jan Schweiger Children’s choir conducting | Hendrik Derolez Cast Lore Binon, Vincenzo Neri, Amel Brahim-Djelloul, Françoise Atlan, Daniel Arnaldos, Luvuyo Mbundu and Guido Jentjens. Symphonic orchestra, choir and children’s choir of Opera Ballet Vlaanderen City choir, Madam Fortuna in collaboration with Meeting Centre Het Oude Badhuis. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳 & 𝘥é𝘤𝘰𝘶𝘱𝘢𝘨𝘦: Hans Vercauteren 𝘌𝘥𝘪𝘵𝘰𝘳: Tom Brewaeys 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Xin Van Damme, Arno De Facq, Flor Maeyens 𝘔𝘶𝘴𝘪𝘤 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Vercauteren 𝘔𝘶𝘴𝘪𝘤 𝘮𝘪𝘹𝘪𝘯𝘨: Steven Maes 𝘔𝘶𝘴𝘪𝘤 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨: Robin Breugelmans 𝘊𝘩𝘪𝘦𝘧 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Floren Van Stichel

Tom Beghin, clavichord. Filmed at Orpheus Institute, Ghent, Belgium, 2024. Clavichord: Joris Potvlieghe. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Carl Philipp Emanuel Bach (1714 – 1788) Six Sonatas with Varied Reprises, Wq 50 (1780) What does repetition mean in music? For Carl Philipp Emanuel Bach, it was never simply a matter of playing the same thing again. In his Six Sonatas with Varied Reprises, Wq 50, he wrote out each repeat of the reprises in full, introducing subtle or surprising variations each time. An experiment in eighteenth-century music writing, these sonatas deviate from the norm in that they do not allow the performer to improvise, but on the contrary make embellished repetition an important part of the composition itself. Beghin analyses how C. P. E. Bach’s unique opus ended up reinforcing the composer's role, exposing but ultimately transforming the tension between musical freedom and the act of reading a printed text. Furthermore, Bach added extra embellishments into his personal printed copies, further demonstrating his constant drive for change and variation, even after publication. Tom Beghin brings these works to life on his beloved clavichord, with which he has built a long and personal relationship. Some embellishments or ornaments are particularly well-suited to the instrument, such as the prallende Doppelschläge (or “trilled turns”) in the third movement of Sonata No. 3, which according to C. P. E. Bach can only be performed properly on a good clavichord. Tom’s instrument was built by Belgian instrument maker Joris Potvlieghe in 2003, based on a Saxon design from around 1760. Using the type of keyboard championed by Bach, Beghin demonstrates how Bach deliberately blurred the boundary between composition and improvisation. The recording becomes a fusion of listening and thinking, in which the music constantly reinvents itself in its own, idiomatic ways. This short text, written by Tom Beghin, introduces the videography of the performance you are about to see, which was guided by two objectives. On the one hand, there’s the interaction with the clavichord—or how the instrument reacts to what I do. More than the bouncing hammers in a piano, the tangents in this clavichord are visually present for me, just as much as I can see how the strings are massaged by the touch of my fingers. This is partly thanks to a custom of leaving my score against the opened lid in the back, rather than making use of a separate stand in the front. On the other hand, there’s CPE Bach’s score. The aspect of reading carries more meaning still in this particular print because of Bach’s written-out variations. At first, reading these variations comes almost to the expense of my participating persona (it takes a few reprises to realize where Bach’s variations start), but then, as with every new movement or sonata I feel more and more in control again, my “reading” evolves back to a more generic “performing,” eventually merging with Bach’s free-fantasizing mindset. Co-production with Orpheus Institute Ghent, Belgium Extra information about the project: https://view.publitas.com/orpheus-instituut/with-varied-reprises-wq-50/page/1 𝘊𝘰𝘯𝘤𝘦𝘱𝘵: Tom Beghin & Anastasios Zafeiropoulos 𝘊𝘢𝘮𝘦𝘳𝘢: Bo Aerts, Xin Van Damme, 𝘝𝘪𝘥𝘦𝘰 𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯: Anastasios Zafeiropoulos 𝘝𝘪𝘥𝘦𝘰 𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘤𝘦: Ivana Jelaca 𝘝𝘪𝘥𝘦𝘰 𝘦𝘥𝘪𝘵𝘪𝘯𝘨: Bo Aerts, Xin Van Damme 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes, George Georgiev, Lowie Peeters 𝘚𝘰𝘶𝘯𝘥 & 𝘢𝘳𝘵𝘪𝘴𝘵𝘪𝘤 𝘚𝘶𝘱𝘦𝘳𝘷𝘪𝘴𝘪𝘰𝘯: Luca Montebugnoli 𝘚𝘰𝘶𝘯𝘥 𝘦𝘥𝘪𝘵𝘪𝘯𝘨: Tom Beghin 𝘚𝘰𝘶𝘯𝘥 𝘮𝘢𝘴𝘵𝘦𝘳𝘪𝘯𝘨: Steven Maes

Anima Eterna Brugge led by Midori Seiler. Kai Köpp, Co-artistic coordination. Laura Granero, pianoforte and Hilary Metzger, cello. Filmed at Concertgebouw Brugge and Grand Casino Knokke, Belgium, 2023. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Joseph Joachim (1831–1907) Overture “In Memory of Heinrich von Kleist” Op. 13 (1877) Clara Schumann (1819–1896) Klaviertrio Op. 17 (1846) Robert Schumann (1810–1856 Konzert für Klavier und Orchester Op. 54 (1845) 𝐀𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐝𝐨𝐜𝐮𝐦𝐞𝐧𝐭𝐚𝐫𝐲 Anima Eterna Brugge is opening a new chapter in historically informed performance practice. While authenticity was traditionally sought primarily in scores, written sources, and historical instruments, the orchestra is now adding a third pillar: old recordings. These phonographic testimonies of the past form the starting point for a fresh approach to music by Joseph Joachim, Clara and Robert Schumann, among others. From the Romantic period in the mid-nineteenth century onwards, absolute respect for the score was considered a universal principle. However, early recordings of famous musicians from the late nineteenth and early twentieth centuries reveal minor deviations such as fluctuating tempos, sudden accelerations or decelerations, uncertain rhythm, approximate intonation and abundant portamento. What would be corrected as a mistake today was then considered an essential part of the performer's skill. Joachim, Caruso and Clara Schumann were admired precisely for this interpretative freedom and expressiveness. One concrete example in the documentary is the performance of Robert Schumann's Piano Concerto. Before and during rehearsals, the musicians studied a 1928 recording of the piece by pianist Fanny Davies, who was a pupil of Clara Schumann's and is considered to be an authentic representative of her style. By carefully analysing and imitating her interpretation, the musicians discovered how subtle expressions and rhythmic freedom bring colour and life to the music. The documentary illustrates this process, offering viewers a unique insight into the richness of romantic performance practice, where historical sources directly influence today's performances. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘌𝘥𝘪𝘵𝘰𝘳: Arno De Facq, Bo Aerts 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Arno De Facq, Bo Aerts 𝘔𝘪𝘹𝘪𝘯𝘨 & 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Robin Breugelmans 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Les Métamorphoses led by Raphaël Feye. Pieter Wispelwey, cello. Peter De Bruyne, photo art. Filmed at De Bijloke Gent, Belgium, 2022. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: 𝐌𝐢𝐞𝐜𝐳𝐲𝐬ł𝐚𝐰 𝐖𝐞𝐢𝐧𝐛𝐞𝐫𝐠 (1919–1996) Cello Concertino, Op. 43bis (1946) Fantasy for Cello and Orchestra, Op. 52 (1950) Chamber Symphony No. 4, Op. 153 (1989) The orchestra Les Métamorphoses and acclaimed cellist Pieter Wispelwey recorded an album in the summer of 2021 featuring the works of Polish composer Mieczysław Weinberg. Weinberg’s music reflects the traumas, losses, and tragedies he endured throughout his life. Since his relatively obscure death in 1996, a generation of musicians has brought Weinberg’s music to contemporary audiences. In this concert film, Weinberg’s music is beautifully intertwined with the photographic art of Peter De Bruyne. Live footage from Kunstencentrum De Bijloke is alternated with visual art that perfectly complements - and even enhances - the evocative atmosphere of the music. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Lennard Brans 𝘋é𝘤𝘰𝘶𝘱𝘢𝘨𝘦: Hans Vercauteren 𝘌𝘥𝘪𝘵𝘰𝘳: Xin Van Damme 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Zdanko Vounckx 𝘊𝘢𝘮𝘦𝘳𝘢: Lennard Brans, Flor Maeyens, Igor Gaasbeek, Arno De Facq 𝘔𝘶𝘴𝘪𝘤 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Felicia Bockstael 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Jeremy Vettorel 𝘗𝘰𝘴𝘵-𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 & 𝘴𝘰𝘶𝘯𝘥 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘐𝘮𝘮𝘦𝘳𝘴𝘪𝘷𝘦 𝘴𝘰𝘶𝘯𝘥 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Xin Van Damme 𝘗𝘰𝘴𝘵-𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘮𝘢𝘯𝘢𝘨𝘦𝘳: Eva De Graef 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Collegium Vocale Gent, led by Philippe Herreweghe. Filmed at Concertgebouw Brugge, Belgium, 2022. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: J.S. Bach (1685 - 1750) Missa in h-moll (1724 - 1749) Some masterpieces are the result of a long creative process. Johann Sebastian Bach “composed” the Mass in B minor during the last years of his life, but most of the music was older. The Sanctus dates back to 1724, right after his appointment as cantor in Leipzig. Bach wrote the Kyrie and Gloria in 1733 as a Lutheran missa brevis for the Dresden court, and in other parts he reworked his own cantatas. Only the Credo contains newly written music, intended to complete the mass as a missa tota. Strangely enough, the reputation of the Hohe Messe has never suffered from this history of origin. It is regarded without question as the synthesis of Bach’s musical thought and an absolute pinnacle of Western classical music. Philippe Herreweghe recorded his first performance of Bach’s opus magnum for Virgin in 1988, and later for Harmonia Mundi in 1996. A third version appeared in 2012 on his own label, Phi. The present video recording dates from January 23, 2022, and was made live at Concertgebouw Brugge. It has therefore been thirty-six years since Herreweghe first presented his vision of a work that must be counted among the greatest masterpieces in the history of music. Thirty-six years of continuous research and study, faithfully supported by his orchestra and choir of Collegium Vocale Gent. Needless to say, the soloists have changed over the decades, with the remarkable exception of Peter Koij, who has followed the evolution of Herreweghe’s interpretation from the very beginning until today. Soprano Dorothée Mields is an experienced singer who already appeared on the 2012 recording. The newcomers are mezzo-soprano Margot Oitzinger, tenor Guy Cutting, and countertenor Alex Potter, a specialist not only in German Baroque music, but specifically in the countertenor role in the Messe B. Philippe Herreweghe, one of today’s most thorough and erudite Bach interpreters, presents his new vision of a musical work about which no one can ever have the final word. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Hans Vercauteren 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Arno De Facq, Flor Maeyens, Igor Gaasbeek, Bert Kamoen 𝘊𝘰𝘭𝘰𝘳 𝘨𝘳𝘢𝘥𝘪𝘯𝘨: Tom Brewaeys 𝘊𝘢𝘮𝘦𝘳𝘢 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Zdenko Vounckx 𝘗𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘮𝘢𝘯𝘢𝘨𝘦𝘳: Pieterjan Seynaeve 𝘗𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Merel Matthys 𝘔𝘶𝘴𝘪𝘤 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Felicia Bockstael 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Xin Van Damme 𝘔𝘪𝘹𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘗𝘰𝘴𝘵-𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯: Eva De Graef 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Nathan Blontrock 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Dionysos Now! Led by Tom Tore Denys. Filmed in Venice, 2022. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: A. Willaert: Missa Mittit Ad Virginem in Venice Dionysos Now! led by inspirer Tore Tom Denys is keen to bring the music of Adriaen Willaert to life. A. Willaert was born in Rumbeke / Roeselare in 1490 but was Kapellmeister at St Mark's Basilica in Venice for 35 years - until his death in 1562. He was given this remarkable high position as the first foreigner. In November 2022, Dionysos Now! brought the music of Adriaen Willaert back to Venice: in the Scuola Grande di San Rocco, Dionysos Now! performed an anthology of works by Adriaen Willaert, in the beautiful Sala Grande full of paintings by Tintoretto - friend and contemporary of Willaert. This mass is also available as a recording on their album "Adriano 1" on Evil Penguin Classic. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘌𝘥𝘪𝘵𝘰𝘳: Bo Aerts 𝘊𝘢𝘮𝘦𝘳𝘢: Arno De Facq, Jeroen Dejonghe, 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘗𝘰𝘴𝘵-𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘮𝘢𝘯𝘢𝘨𝘦𝘳: Eva De Graef 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Violoncello, Pieter Wispelwey Filmed at MotorMusic Recording Studio Mechelen, 2022. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Zoltán Kodály (1882 - 1967) Sonata for Solo Cello, Op.8 (1915) J.S. Bach (1685 - 1750) Cello Suite No.5 in C minor, BWV 1011 (1720) "When in March 2022, we gathered with a thousand people in the glorious Laurens Kerk in Alkmaar to bid my son Dorian farewell, there was a lot of beautiful music performed. I felt compelled to play the "Sarabande" from Bach’s fifth cello suite, as to me its recurring interval of the diminished fourth so strongly symbolised our family that was reduced from four to three members. That the top string of the cello has to be tuned down, taking away its natural shine and turning the cello into a messenger of darkness, was another incentive. The Kodály Sonata is the other timeless piece for cello in scordatura. In this case, both bottom strings are tuned down a semitone: our lives have been retuned and we have to make do. There is a glimpse of hope in the fact that meaningful things can be said on a wrongly tuned cello." Pieter Wispelwey More information on the website of Evil Penguin Classics Listen to the full album on Spotify or your favourite player 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Arthur Moelants