C.Debussy (arr. F.Neyrinck) - Noël des enfants qui n'ont plus de maison

C.Debussy (arr. F.Neyrinck) - Bruyères (from Préludes Livre 2) 

C.Debussy - Berceuse pour la tragédie de la mort 

F.Neyrinck - Echo des Quasi-Palindroms I 

M.Ravel - Sonate voor viool en cello - second part

H.Duparc (arr. F.Neyrinck) - Chanson triste

H.Villa-Lobos - Choros II 

F.Neyrinck - Quasi-Palindrom I 

 

In “Odysseia in the classroom” pupils make way for the Odysseia Ensemble. Five musicians enter the classroom, walk between the benches and produce strange sounds. Why do they come in without being invited ? Are they well intended ? The young composer Frederik Neyrinck has specifically composed for this instrumental performance works which explore the limits of the instruments. With his eyes covered, each child feels his ears tingle. Strong and weak, high and low, powerful weapon or reassuring sound, contemporary music appears as a colour palette intriguing the children. Step by step, the sounds blend and merge in a fascinating entity.

Odysseia brings the pupils in procession to Achiel, a contemporary concert where the theme of war resonates in astonishly various ways. Pupils are literally surrounded by a wave of sounds, are reassured by a Lied of Claude Debussy and recognize the themes of the instrumental performance in the last piece.

Peter Spaepen provides the training of the musicians and works with them on the instrumental performance.

 

Distribution : soprano, flute, clarinet, violin, cello

F.Poulenc - Sonate 

C.Debussy - Le balcon 

J.Ibert - Trio 

E.Chabrier - L’invitation au voyage 

E.Desimpelaere - Scherzo 

F.Neyrinck - Echo de Baudelaire 

F.Poulenc - Trio 

H.Duparc - L’invitation au voyage

 

'Là, tout n'est qu'ordre et beauté,

Luxe, calme et volupté'

 

“There, all is order and beauty,

luxury, peace and pleasure”

 

It is in these very promising words that ends "L'Invitation au voyage" by the French poet Charles Baudelaire.

His compilation “Les Fleurs du mal” has inspired numerous composers through various style periods; we make here those different composers appear in the same performance, so that the impressionistic texts of Baudelaire make the audience wander through the centuries.

Debussy is the hinge between the French romanticism of Chabrier and Duparc and the large-scale impressionism of Poulenc en Ibert.

To complete the strolling, contemporary Belgian composers have also been included in the programme.

Oboe, bassoon, clarinet, piano and voice combine to bring the texts of Baudelaire and their influences on the richest possible colour palette. 

 

Distribution: soprano, oboe, clarinet, bassoon, piano

B. Martinu - Three Madrigals

D. Anderson - Quintet 

F. Neyrinck - Gestalt II

S. Prokofiev - Quintet 

 

Due to its specific composition (oboe, clarinet, violin, alto and bass) Prokofiev's quintet is a rarely performed work. However, it constitutes a sample of genial chamber music and highlights the capricious hand of the Russian composer, who was living in Paris when he wrote it.

The American bassist David Anderson has written for a similar distribution a work where appears his adoration for the great Russian master, but where we also note the influence of jazz.

Near those two quintets, the bass is highlighted in a new work of the ensemble composer, Frederik Neyrinck. During the Gestalt II, the clarinet and the oboe literally turn their backs to the public, providing so a subtle support to the bass solo.

We start with three madrigals for violin and alto by Bohuslav Martinu. This rather unrecognised Czech composer has written some duets for violin and alto; those three short pieces form the first duet.

This astonishing programme shows the virtuoso possibilities of the ensemble which, thanks to its specific composition, will make the audience hear a rare combination of tones.

 

Distribution : oboe, clarinet, violin, alto, bass