Pieter Wispelwey, cello FIlmed at Motormusic Recording Studio 2025 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Benjamin Britten (1913-1976) Cello Suite No. 1, Op. 72 (1964) Cello Suite No. 2, Op. 80: (1967) Cello Suite No. 3, Op. 87: (1971) Benjamin Britten’s three Cello Suites rank among the most important solo works for the instrument since Bach. Written for Mstislav Rostropovich, they unite references to early music traditions with a distinctly modern voice, combining formal mastery, dramatic imagination and profound emotional depth. In this recording, Pieter Wispelwey brings his new reading of a 45 year long engagement with these remarkable works for cello solo. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants 𝘊𝘢𝘮𝘦𝘳𝘢 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Lok Hei Tang 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Tijs Wylin 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Mats Struyf 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens 𝘗𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Sieje Neyens

I SOLISTI, HIIIT and Students of the Conservatories of Antwerp, Ghent and Brussels led by Filip Rathé Filmed at Ravenstein Gallery Brussels March 2026 Luc Brewaeys on Talisker: This work is the second in a series of pieces named after single malt whiskies. It was commissioned for the opening concert of Antwerp Cultural Capital of Europe 1993 which had to take place in the enormous hall of the Antwerp Central Station. This building has an extremely long reverberation time of around 7 seconds, there are lots of stairs and galleries, so the idea was to make a work in which the building was integrated. I quite rapidly chose for the homogeneous orchestral sound of a clarinet choir, with some soloists and percussionists. About half of the clarinet choir plays from a gallery while the remainder is situated with the soloists in the center of the hall itself, more or less as in a normal concert situation.The music starts with the 5 soloists only (the percussionists playing on 18 Gongs), quite surprizingly as a chamber piece which takes quite some time when suddenly the 6 orchestral percussionists drop a pair of cymbals on the floor and the full clarinet choir makes its entrance. Many multiphonics follow and have a first culmination in a fast percussion passage. Next comes a sequence of quasi-cadenzas for the contrabassclarinet, the clarinet and finally the horn and again the percussionists make a loud entrance on bell-like instruments, after some 10 minutes of silence. Because of the acoustic specificities of the hall the music evolves quite slowly. Near the end 6 clarinets play low D’s with their bell on timpani while moving up and down the timpani pedals, which gives an amazing phasing effect, amplified by the hall’s reverberation. Meanwhile, the other clarinettists move and walk around while playing as -slowly- everyone gets more or less together for a final kind of culminating march. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘌𝘥𝘪𝘵𝘰𝘳: Arthur Moelants 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Daan Winderickx, Henrik Schoovaerts, Jente van Havermaet, Lok Hei Tang, Oscar Wemes 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Igor Gaasbeek, Xin Van Damme 𝘔𝘶𝘴𝘪𝘤 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨, 𝘮𝘪𝘹𝘪𝘯𝘨 & 𝘮𝘢𝘴𝘵𝘦𝘳𝘪𝘯𝘨: Steven Maes 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳 & 𝘢𝘶𝘥𝘪𝘰 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Siebe Geyskens

Brecht Valckenaers, piano Filmed and recorded at MotorMusic Recording Studio Mechelen, Belgium 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Music from: Béla Bartók (1881-1945) Henry Cowell (1897-1965), György Ligeti (1923-2006), György Kurtág (1926), George Crumb (1929-2022), Helmut Lachenmann (1935), Brecht Valckenaers (2000) This recital unfolds as an uninterrupted musical stream centered around György Ligeti’s Musica Ricercata. In this work, a young Ligeti (1923–2006) sought to break free from the immense influence of his compatriot Béla Bartók. He literally begins from nothing: the first movement uses only two notes, adding one with each subsequent piece until the eleventh movement reaches the full twelve-tone set. The music gradually grows from stark simplicity into a rich, complex world of tension, melancholy, and energetic outbursts. Surrounding Ligeti’s quest are works by composers who shared a similar principle: the reinvention of the piano. Bartók, Kurtág, Lachenmann, Cowell, and Crumb approach the instrument as if forgetting its long tradition to discover something entirely new. The result is a landscape of whispering echoes, contorted timbres, and nocturnal scenes—at once fragile and irresistibly modern. As a third layer, Brecht Valckenaers composed five new intermezzos specifically for this program. His Rhythmic Studies explore time, pulse, and rhythm: at times playful and flamboyant, at others reflective or feverishly dance-like. They provide a contemporary voice, serving as a bridge between the other works. In the recording studio, the audience experiences the music from an extreme vantage point: direct, intense, and intimate, as if the sounds are being created in that very moment. "Ex Nihilo" is thus not just a theme, but an experience, music unfolding in the here and now, as if heard for the very first time. 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

Wilfried Van den Brande, singer & narrator and Bart Van Caenegem, pianist. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Cole Porter (1891 – 1964) Let’s Misbehave Lost Liberty Blues Looking at You The Scampi I love Paris You Do Something to Me Let’s Do It Pilot Me What Is This Thing Called Love? Si Vous Aimez les Poitrines I’m a Gigolo Blue Hours Operatic Pills Mister and Missus Fitch Fish Two Little Babes in the Woods Love for Sale Who Said Gay Paree? C’est Magnifique The Masters of American Song series takes you on a musical journey through 1920s, 1930s and 1940s America. As well as the music itself, the series highlights the stories behind the composers who captured the spirit of a changing country. Their songs reflect a time of social and cultural upheaval, when new opportunities arose, inequality was challenged, and diversity slowly found its place in society. The first episode, 'Cole Porter in Paris', shines the spotlight on the unique figure of Cole Porter. The son of wealthy parents and the only non-Jewish composer in the series, brought a refined elegance and worldly style to American songwriting. During his time in Paris from 1917 to 1935, Porter enjoyed a glamorous life of travel, luxury, and parties where champagne flowed freely, which was in stark contrast to the Prohibition era in New York. At the same time, he found inspiration for his music in Paris. His compositions combine jazzy rhythms with classical finesse, balancing melancholic romance with playful light-heartedness. Porter was a man of contradictions, and this is precisely what makes his work so fascinating. Piano: Steinway D Filmed and recorded at MotorMusic Recording Studio Mechelen, Belgium. 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants 𝘊𝘢𝘮𝘦𝘳𝘢 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Daan Winderickx 𝘈𝘶𝘥𝘪𝘰 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Tijs Wylin 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Daan Winderickx 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

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

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