Biographies


Gabriel Schenker

 

Gabriel Schenker was born in Washington D.C., raised in Rio de Janeiro, and lives in Brussels for the past eleven years. Interested in movement and the arts from an early age, Gabriel practiced a variety of sports regularly, played instruments, and was brought by his parents to see theater, dance, concerts, and exhibitions. At the age of 14 he was fortunate to encounter dance through an invitation of a cousin that was participating in a group of Israeli Folk Dance. Gabriel fell in love with it and spent the next couple of years completely immersed in the world of folk dancing until deciding, at the age of sixteen that dance was what he wanted to do. After a year of taking classes on a variety of dance and circus styles, he joined the ‘Cia. Deborah Collker’ in Rio de Janeiro as an apprentice first, and later as a regular dancer.

After working with Deborah Colker for three years, Gabriel Schenker flew to Europe in search of an expansion of his artistic horizons. After a series of travels, classes, workshops, and auditions, he opted for studying at P.A.R.T.S. where the varied program including disciplines such as philosophy, shiatsu, as well as creative workshops, seemed like the perfect option.

After four years at P.A.R.T.S. he co-founded the collective Busy Rocks with whom he created and performed a variety of works such as Dominos and Butterflies and Throwing Rocks with extensive touring up until 2014. Since leaving studies, Gabriel also has collaborated as a performer with a variety of choreographers such as Eleanor Bauer, Robin Jonsson, Doris Stelzer, and Alexandra Bachzetsis. More steadily, he has collaborated with two choreographers: Anne Teresa de Keersmaeker/Rosas, in the creation of Cesena, replacing in Zeitung, and the museum version of Vortex Temporum (2015); and Thomas Hauert/Zoo with the creation of You’ve Changed, Mono, and replacing in Accords. Next to those activities, Gabriel also engaged in a MA program at the European Graduate School which culminated in his philosophical dissertation Organic Texture: A Dialogue between Deleuze and Guattari, the Life Sciences, and Catherine Malabou. The dissertation was accepted ‘with distinction’ and has been published by Atropos Press. This philosophical work was developed in tandem with an artistic research that culminated with the development of a dance-speech score entitled Moving~Thinking.

In addition to his artistic and philosophical practices, Gabriel has been more and more involved with different pedagogical projects. He is a certified Pilates instructor and has taught Pilates at Rosas, Zoo, P.A.R.T.S., and Manufacture in Lausanne. He also taught dance classes, most notably an open workshop at the Raffinerie, and a workshop for the MA students of New Performative Practices at DOCH/Stockholm. More importantly, he has been assisting Thomas Hauert in the development and coordination of a new three-year BA in Contemporary Dance at the Manufacture/Lausanne, and has been collaborating with Alain Franco and Steven Debelder to develop a new two-year long pilot project at P.A.R.T.S. entitled Research Studios.


Claire Chevallier – piano historique (BE – FR)

The French pianist Claire Chevallier (living in Brussels) is highly demanded in the European scene for solo recitals, chamber music and to play concertos with orchestras.

Highly reputed for her award-winning recordings, Claire is a specialist in historically informed performances. As musician and researcher, she has built her own collection of keyboard instruments which consist of six grand pianos from the period of 1842-1920.

Claire Chevallier did her studies in piano at the conservatories of Nancy, Strasbourg (with Hélène Boschi) and combined this with a bachelor’s degree of mathematics/physics. She continued her musical studies with Bruno Rigutto at the Royal Conservatory of Brussels where she obtained a first prise for piano and chamber music (Jean-Claude Vanden Eynden and Guy van Waas). During her studies she met Jos van Immerseel during a masterclass on pianoforte. She specialises in playing according to historical practise, the evolution of the adjustments made to the piano and the restoration and tuning of these instruments.

In 1996, Claire Chevallier was invited as a soloist with the orchestra Anima Eterna along with the contemporary dance company Rosas-Anne Teresa de Keersmaeker for a Mozart project. She has played in prestigious venues such as Royal Festival Hall London, Opéra de la Monnaie Bruxelles and Staatsschauspiel Dresden. She has also performed as a soloist at Concertgebouw Amsterdam, Vredenburg Utrecht, Netwerk Oude Muziek Utrecht, Musikfestspiele Sanssouci Potsdam, Köln Brühl Schloss Konzerte, Köln Fest für Alte Musik, Musikfestspiele Bremen, Frankfurt Alte Oper, Mozarteum Salzburg, Flâneries Musicales de Reims, Salle Pleyel, Opéra de Bordeaux and Auditorium de Dijon. In Belgium she is regularly invited to play at Concertgebouw Brugge, BOZAR Bruxelles, AMUZ Anvers, Festival des Flandres Gand and Bruges.

In 2007 and 2009, she was on the jury of the International Competition of Pianoforte of Bruges and in 2014 at the International Liszt Competition of Utrecht in Holland.

Since 2004 she has taught piano at the Royal Conservatory of Brussels.

For solo repertoire, she has explored Satie (Zig-zag-Outhere), Liszt (Dolce Volta-Harmonia Mundi) and Moussorgski (Cyprès-records, Outhere 2016).

In duo for two pianos, four hands, with Jos van Immerseel, they recorded ‘Pieces for two pianos’ (Saint-Saëns, Franck, Poulenc, Infante), the Rachmaninoff Suites (at Zig-zag-Outhere), the Grand pieces for four hands by Schubert which they called ‘Schubertiade’ (at Alpha-Outhere).

With the orchestra Anima Eterna Brugge, she has recorded Ravel’s ‘Concerto for the Left Hand’ and Poulenc’s ‘Concerto for two pianos’ with Jos van Immerseel (Zig-zag-Outhere).

Her broad interest in artistic disciplines led her to work with Anne Teresa de Keersmaeker, Josse de Pauw, David Claerbout, Wayn Traub, Benoît van Innis, Jan Decorte and soon with Claron mac Fadden in a production about Mata Hari (produced by Transparant Muziektheater).

http://www.clairechevallier.com

 

 


Benoit Van Innis

The paintings in an exhibition are written in memory of Victor Hartmann, a bubbling architect and a dear friend of the composer, who says: “Sounds and ideas hang in the air – I gobble them up and I miss them, and I barely have time to scribble them on paper. I am in the process of writing No. 4; the transitions are good (in the form of a walk). I want to achieve this as quickly as possible and with a firm hand. One guesses my personality in the interludes.”

http://www.benoit-artist.com


Vincenzo Casale

 

Vincenzo Casale (1981) is an Italian clarinet player and conductor, who has specialized over the past 10 years in historical performance practice with original instruments. He is much in demand throughout Europe and North America both as soloist and a chamber music player, and in recent years has been invited to take part in  several projects as guest conductor and artistic director. He has performed in solo and chamber music concerts with artists such as forte-pianists Claire Chevallier, Boyan Vodenitcharov and Viviana Sofronisky, as well as playing chamber music with Sergei Istomin, Roel Dieltiens, Paul Dombrecht, Marcel Ponseele and Genevieve Soly.

Besides collaborating on tours throughout Europe and America in recent years, one can cite those with the Orchestre des Champs Elysées, the Chambre Philharmonique, the Orchestra of the 18th century, Freiburger Barockorchester, Concerto Köln, Balthasar Neumann Ensemble, Les Agremens, Concert Spirituel, Il Fondamento, Das Neue Orchester,Kölner academie, Opera Fuoco, Philidor, Harmony of Nations, Ecurie et Chambre du Roi, Anima Eterna, Les talens lyrique, Bachorchester Hannover, Camerata Silesia, Cercle dell’ Harmonie.. with conductor as F. Brüggen, P. Herreweghe, R. Jacobs, T. Hengelbrock, J.C. Malgoire, J. van Immerseel, H. Niquet, G. van Waas, S. Standage, P. Dombrecht and E. Krivine.

He has also performed at a wide range of festivals such as Aix-en-Provence, Alden Biesen, Beaune, Leipzig Bach Festival, Klang&Raum Festival, AMUZ, MA Festival Brugge, Nantes, Oslo Chamber Music Festival, St.Riquier, Festival van Vlaanderen, Festival de Wallonie, Utrecht, Lockenhaus, Schleswig-Holstein and Sopron, Chivasso in Musica and Festival de Lasne.

His interest  in contemporary music has led several composers to dedicate new compositions for clarinet to him (Frederick Devreese, Michel Fourgon, )

As well as being Professor of historical clarinet at the  Gent Royal Conservatory, he is  Assistant Professor at the Royal Conservatory of Brussels and of Liège, and he has also been invited  to teach in « Jornadas Internacional Musical Eduardo del Pueyo Granada », in the Royal Conservatory of Antwerp, University of Middle East Ankara and the Conservatories of Torino, Milano, Napoli, Roma and Perugia.

As conductor and musical director is  founder of TWIS ( Taffanel Wind Instruments Society) with international tours and collaborations (PARTS, dance international academy of Anne Theresa de Keersmaeker, the  Festival of Alicante…) He has received invitations from the Hirzen Pavillon Ensemble Basel, the NJO: Dutch orchestra Academy and the orchestra of the Royal Conservatory of Antwerp.

He is currently working as artistic director on a new festival of dance , music and theater: ARTONOV www.festival-artonov.eu

He also owns  a remarkable collection of historical clarinets with many romantic French and German originals (Pöschl, Osterried, Guerre, Simiot, Greve, Widman, Lefevre…). In addition, and of a particular  interest, there  are  different types of historical low and high register clarinets which  he has  used in various recordings.

Vincenzo Casale began his musical studies with the violin and flute, before taking up the clarinet at the age of 14. He obtained the musical diploma for clarinet at the G. Verdi Conservatory in Turin when he was  only 19 years old, the first prize for clarinet and music theory at the Royal Conservatory of Brussels and the first prize for chamber music at the Royal Conservatory of Liége. He has also studied at the Accademia Chigiana with Antony Pay, who was followed during his studies by W. Boeykens. Afterwards he decided  to study chalumeaux and classical and romantic clarinet with Eric Hoeprich, in order to obtain a Masters degree in historical performance practice and historical clarinet at the Royal Conservatory of Den Haag. He has also studied conducting  in several master classes and ateliers with Colin Matters, Benjamin Zander and Martin Elmquist.

He has recorded for the Harmonia mundi,Virgin classic,Ricercar Outhere, Zig Zag Territoires labels, and TV and radios stations such as Radio Klara, Radio France, Mezzo, Arte, Rai,VRT, Rtbf, etc.. Vincenzo Casale lives in Brussels from where he continues his international career.


Samuel Droeshaut

From a very young age, Samuel Droeshaut has been extremely passionate about desserts. After meals he would search the whole kitchen to find tools so that he could unite fruits, ice cream, chocolate and other sweets.

It was at the School of Le Nôtre in Paris, where guided by the world champions of the dessert world, that he would perfect his art.

He finished with a specialisation in ice cream technology and sorbet.

Since then, he has embarked on a journey of creating frozen specialties, playing with his talent to mix flavours in ways that one would not expect.

“…The flavours are similar to musical notes, just like with an instrument, we can harmonize them to create melodies in the mouth which can be extravagant, melancholic or delightful…” S. Droeshaut.


Antoine Pecqueur – musicien et journaliste

 

After having won a prise in 2004 at the Competition of the National Superior Conservatory of Music in Lyon in the class of Laurent Lefèvre, Antoine Pecqueur continued to study with Pascal Gallois at the Musikhochschule of Zurich as afterwards with Sergio Azzolini. In the framework of the training in the classical and romantic orchestras of Saintes, under the leadership of Philippe Herreweghe, he developed his practice of early instruments. Antoine Pecqueur now plays in orchestras using period instruments (Les Siècles, La Chambre Philharmonique, Anima Eterna, and Orchestre de l’Age des Lumières) and contemporary music ensembles such as l’Ensemble Linea with whom he performed works by: Peter Eötvös, Raphaël Cendo and Francesco Filidei. As a soloist, he has already performed the concertos of Vivaldi (with the Chamber Orchestra of Ingolstadt) Mozart and Richard Strauss.

After playing a program of works by Alberto Posadas with the Ensemble Linea at the Festival Musica, Marie-Andrée Joerger and Antoine Pecqueur embarked on the creation of an accordion and bassoon duo. They devised a program combining Baroque and contemporary works with Western and Eastern composers. The dialogue between these times and places is echoed through the meeting of the accordion and the bassoon; a marriage of unpublished sonorities. In baroque pieces, the accordion offers a harmonious continuum of singular modernity however in contemporary pieces, the two instruments rival in virtuosity, effects, sometimes blending their registers and therefore becoming indistinguishable. Contemporary music possesses an almost ancestral breath. It is a journey of intimacy, questioning the relation to time and space.

Antoine Pecqueur copyright Julien Benhamou


Marie-Andrée Joerger

Graduated with high distinctions from the Superior School of Music (Musikhochschule) in Friborg, Germany (class of T. Anzelotti) and de Bâle in Switzerland (master’s diploma specialised in contemporary music), Marie-Andrée Joerger is invited as both a soloist and chamber musician in numerous festivals throughout Europe: Musique en scène in Lyon, IGNM in Vienna, le Zelt-Musik-Festival in Friborg, Festival International de Colmar, Upol Festival de Slovenia, Fifo festival in Castelfidardo and in large ensembles such as, philharmonic orchestras of Fribourg, of Nancy, National Philharmonic Orchestra of Russia and Youth Orchestra of German Philharmonic. She has performed in prestigious venues such as “Konzerthaus” in Berlin, the “Tonhalle” of Zürich, le théâtre Romana de Bucharest as well as with renowned soloists such as Pierre Strauch, Pierre-Yves Artaud, Marc Coppey, Armand Angster and Françoise Kubler.

Passionate about chamber music, she formed a duo with Antoine Pecqueur (bassoonist in the orchestra, les Siècles), and also a duo with Nicolas Hugon (cellist with the Philharmonic Orchestra of Strasbourg). She also appears as a guest with recognised ensembles of contemporary music: Accroche note, L’imaginaire and Linea.

Marie-Andrée Joerger is professor at the Conservatory and at the Superior Academy of Music in Strasbourg.

 


Valérie Aimard

Praised in the magazine Diapason as “an undeniably original artist,” Valérie Aimard is appreciated by other musicians and audiences for her high sensitivity of playing and her musical intelligence. Her concerts have taken her to more than 30 countries. As a remarkable chamber musician, she has been invited on many occasions to the legendary Marlboro Festival (USA).

Valérie Aimard studied with Michel Strauss and Philippe Muller at CNSM in Paris. Numerous encounters with musicians such as David Geringas, Lluis Claret, Janos Starker will later enrich her musical personality. In 1992 she met the American cellist Bernard Greenhouse, a founding member of the Beaux-Arts Trio and disciple of Pablo Casals who will become her mentor.

Out of the vast repertoire she has played the complete Sonatas of Beethoven with Cédric Tiberghien, has recorded the works of Mendelssohn with her brother Pierre-Laurent Aimard, the works of György Kurtag with whom she worked with at great length, and the complete chamber music works of Brahms.

Highly influenced by the Hungarian pianist and pedagogue György Sebök, Valérie Aimard is very engaged in her own teaching. She is professor of cello at the Conservatory Maurice Ravel (Paris 13th district) and professor of chamber music at the National Superior Conservatory of Music of Paris. She plays on an Italian cello from 1694 most likely a Grancino.

Since 2002, she has been passionate about the art of Mime. For many seasons she has presented her performance, “Bulles” as a solo work in many Parisian theatres. She met the composer Guy Reibel which has led them to create a new performance called “Quelle histoire!!!” which is a combination of poetic and imaginary language mixed with violin, voice and mime.

www.valerieaimard.fr


Elise Peroi

elise.peroi@live.fr

www.eliseperoi.com

Elise Peroi is a textile artist who graduated from the Royal Academy of Fine Arts in 2015.

She expresses herself through a play of poetic oppositions between nature landscapes and urban landscapes. Through her creations, she brings these two worlds together and echoes them, drawing inspiration from the strong link between weaving and architecture.

Her pieces include combining paintings and woven fabrics, mixing two worlds from which emerges a vibrant, timeless aspect, mixing previously painted silks, natural materials and fibres.

Her work evolves towards the creation of moving structures allowing a volume in the textile and another way of viewing them, playing on the manner of transparency and shadow by intertwining threads (brought about by the threads that she intersects.)

Upon graduating she was invited to the “Fondazione Aurelio Petroni” in Italy. There she developed textile installations which recreate a correlation between the elements and emotions which the vision of a landscape can bring about.

In 2016 she was supported by the “Halles de Schaerbeek” and developed textile performances improving further this weaving technique. The art of weaving, in which the act of doing can be perceived as a dance, led her to reflect upon the importance of the body, the repeated gestures and the passage of time. She collaborated with the dancer and choreographer from Hong Kong, Mui Cheuk-yin.

This year she has been awarded a research grant and residency at TAMAT. She will develop, among other things, research based around a form of textile dramaturgy.

This diversity of the fields in which she immerses herself through collaborations, meeting other artists and links between the different fields, traces a logical path of her creative reflection. In spite of this wide interweaving of disciplines, its practice is always nourished by the same vision; to transmit the visions of a world where each element, each particle, bind and respond.

 


Duo Laterna Magica

Nathalie Houtman and Laura Pok have played together since childhood. After their studies in recorder in the class of Frédéric de Roos, they formed the ensemble Laterna Magica which specialises in the music from the 17th and 18th centuries. In 2013, they decided to move the duo towards a direction with more creative projects. Thus, in 2014, the performance, ‘Face to Face’, was born. It mixes music ranging from the Middle Ages to the 21st century and also incorporates elements of staging. It has been played about fifteen times and has been received with much enthusiasm. Face to Face exists also in a version for children. The show is included in the Belgian youth musical 2014-2015 tour. Their second show “Souvent femme varie …” mixes theatre and music. For this show, as well as for their second children show “Flûtes en folie”, the Laterna Magica duo works with the director Eléonore Meeùs and the choreographer Jean-Luc Yerlès.

The duo Laterna Magica intends to expand the repertoire for two recorders, thanks to multiple transcriptions, original compositions and openness towards extra-European music.

Nathalie Houtman was born in 1979. She received a double degree in piano and recorder and won the first prise of piano and the Conservatory of Mons and graduated with highest distinction with recorder in the class of Frédéric de Roos at the Royal Conservatory of Brussels in 2002. She then studied one year in Amsterdam under Walter can Hauwe before heading to The Hague where she obtained a Master of Music in 2007.

She has performed concerts with Frédéric de Roos (“la Pastorella”) with whom she also recorded the Concerti grossi of Corelli (diapason d’or), with the ensemble “les Muffati,” the ensemble “More Maiorum,” the ensemble “Alba Novella,” the ensemble “Laterna Magica” (recording a CD dedicated to J.S. Bach) and also with the ensemble “Aspara” with a repertoire of contemporary music.

Her interest in Indian music has led her many times to India and to study with the Indian flute master Harsh Wardhan. Nathalie Houtman is the winner of the Young Soloists Competition, Jong Tenuto, Jean-Sebastien Bach, Fifty-one International, EPTA, Pro Civitate, SONBU Utrecht recorder competition and IYAP Antwerpen. She is the 2007 winner of the Belgian Foundation for Vocations and the assistant of Frédéric de Roos at the Royal Conservatory of Brussels.

 

Laura Pok was born in 1976. In 1994 she won the first prise of the Pro Civitate competition (currently Axion Classics). In the same year she entered the Royal Conservatory of Brussels where she obtained first prises in harmony, counterpoint and music history with distinction as well as high diplomas of recorder (class of Frédéric de Roos), solfege and chamber music (class of Guy Van Waas, Royal Conservatory of Mons), all three with high distinction.

Laura Pok has performed concerts and has recorded with numerous ensembles (les Muffatti, les Agrémens, la Cetra d’Orfeo, la Chapelle des Minimes, La Lettera amorosa and Alba Novella Brussels Consort). She also performs as a soloist with the Chamber Orchestra of Wallonie, la Pastorella, la Chapelle de Tournai, l’Ensemble Orchestral de Bruxelles, Il Gardellino and Desafinado. She gives many concerts in Europe, America and Asia. Her discography includes Incipit, recorded in duo with the organist Cindy Castillo on the organ of Maredsous and Exercitium and also transcriptions of Bach works with the Laterna Magica ensemble.

Laura Pok teaches recorder at the academies of Nivelles, Forest and Ixelles and was an assistant to Frédéric de Roos at the Royal Conservatory of Brussels for ten years.

She devotes her free time to hobbies such as playing viola da gamba, cooking and is also licensed in law.

 

 


L’Ensemble DIALOGHI

The Dialoghi Ensemble (Spain) offers an innovative approach on the music of the classical and romantic period. The group is distinguished for its high artistic level and ability to (re) connect with the audience. Its members play on period instruments and share with the audience different codes of musical language in order to for them to discover the large range of emotions of the works being interpreted. For their first CD, they recorded the quintets for winds and piano of Mozart and Beethoven which will be released in 2018.

 

Cristina Esclapez

 

As a soloist with orchestra, she has collaborated with the Chamber orchestra of Carthagène, the L’Incontro Fortunato Orchestra, and the Federation of Murcie Band. Incredibly passionate about chamber music, Cristina frequently performs with musicians such as Vicens Prats, Jaime Martín, Benoît Fromanger, Julia Gállego, Etienne Plasman, Vincent Lucas, Philippe Bernold, Branimir Slokar, Michel Becquet, Simeón Galduf, Lorenzo Coppola and Walter Seyfarth.

In 2006, she met Lorenzo Coppola who encouraged her to learn about historical instruments.

During a sabbatical leave from her position at the Superior Conservatory of Music in Murcie, she worked as accompanist at the Superior Conservatory of Music of Liceu in Barcelona and the Superior School of Music in Catalonia (ESMUC).

Cristina Esclapez Gil (Spain) studied piano at the Superior Conservatory of Music in Murcie, Spain, with Ramon Muñoz. After obtaining her diploma, she continued her studies in Belgium at the Royal Conservatory of Brussels. She obtained a diploma of piano and chamber music as well as the first prise in piano accompaniment.

Cristina performs as a soloist in Spain, Italy, Belgium, Luxembourg, France and Germany. She is noted for playing the complete works for keyboard by Joseph Haydn, and even the first book of Well-Tempered Keyboard by Jean-Sebastian Bach.

 

Josep Domènech Lafont

 

Josep Domènech began his studies of oboe in his hometown of Amposta, Catalonia, before moving to Barcelona to continue his studies with Josep Julià at the Superior Conservatory. He graduated with a diploma from the Music Academy of the city of Bâle, Switzerland and continued his studies at the Conservatory of Amsterdam with Alfredo Bernardini.

Josep performs regularly with some of the best baroque ensembles such as Les Talens Lyriques, the Bach Collegium Japan, il Giardino Armonico, L’Ensemble Balthasar Neumann, Europa Galante, l’Orchestre Révolutionnaire et Romantique, le Concert des Nations, Orchestra of the Age of Enlightenment, and even l’Orchestre des Champs-Élysées. He has also collaborated with reputable musicians, notably Masaaki Suzuki, Sir John Eliot Gardiner, Fabio Biondi, Giovanni Antonini and Jordi Savall.

He teaches early oboe and the Toulouse Regional Conservatory and regularly gives masterclasses across Europe. Since 2015, he has been professor of early oboe and the Conservatory of Amsterdam.

 

 

Javier Zafra

 

Born in Alicante, Spain, Javier Zafra obtained his diploma of bassoon with the highest distinctions and went on to complete his education at the Royal Conservatory of The Hague. In 1997, he was selected as bassoonist for the European Baroque Orchestra. Since then he has been sought after by other European early music ensembles such as: Anima Eterna, Al Ayre Español, Orquesta Barroca de Sevilla, Les Talens Lyriques, Le Concert d’Astrée, l’Ensemble Balthasar Neumann, il Complesso Barocco, l’Orquestre des Champs Élysées and l’Akademie für Alte Musik Berlin.

An active chamber musician, he is first bassoon of the wind sextet Nachtmusique, and performs regularly with Isabelle Faust, Alexander Melnikov and Lorenzo Coppola. He is also a co-founder of the orchestra La Cercle de l’Harmonie in Paris.

His interpretation of the Concerto for Bassoon by Mozart (K.191) at the prestigious festival Mostly Mozart in New York was recently praised by the New York Times. Since 1999, he is principal bassoon of the Freiburger Baroque Orchestra with whom he performs around the world. He also teaches baroque bassoon at the Music Hochschule of Freiburg, Germany.

 

 

Pierre-Antoine Tremblay

 

Pierre-Antoine Tremblay (Canada) pursues a career as a horn player specialising in the practise of early instruments. He plays regularly with the ensembles using period instruments such as Europa Galante (Italy), Le Freiburger Barockorchester (Germany) and Arion Orchestre Baroque (Canada). He has been invited to join the Orchestra of the 18th Century (The Netherlands), l’Orchestre des Champs-Élysées (France), il Giardino Armonico (Italy), le Collegium Vocale Gent (Belgium), l’Ensemble Pygmalion (France), B’Rock (Belgium), MusicAeterna (Russia), Concerto Copenhagen (Denmark) and Capriccio Stravagante (France).

He has performed many times as a soloist notably with le Freiburger Barockorchester, Arion Orchestre Baroque, Les Idées Heureuses and l’Orchestre symphonique de Québec, interpreting the concertos of Mozart, Telemann, Handel, Heinichen, Vivaldi and Richard Strauss. In 2014, together with clarinettist Lorenzo Coppola and the pianist Cristina Esclapez, they founded the Dialoghi Ensemble in Barcelona where they explore the classical and romantic repertoire on period instruments.

www.patremblay.tk

After studying modern horn at the Conservatory of Music in Québec and the University of McGill in Montreal, he went back to studying natural horn with Teunis van der Zwart at the Conservatory of Amsterdam where he obtained a master’s degree in early music in 2012.

Pierre-Antoine’s interest in teaching natural horn has given him the opportunity to give masterclasses at the Conservatory Yong Siew Toh in Singapore, the Conservatory of Amsterdam, the Royal Conservatory of Brussels and the Conservatory Katarina Gurska in Madrid.

 

 

Lorenzo Coppola

 

Born in Rome, Lorenzo Coppola studied early clarinets with Eric Hoeprich at the Royal Conservatory of The Hague in The Netherlands.

Settling in Paris since 1991, he has collaborated with many ensembles, in particular, le Freiburger Barockorchester, Les Arts Florissants, l’Orchestre du 18e siècle, La Grande Écurie and la Chambre du Roy, La Petite Bande and Libera Classica. He is quite lucky to also share his passion for chamber music with artists such as Andreas Staier, Isabelle Faust, Alexander Melnikov, Hidemi Suzuki, Javier Zafra, Teunis van der Zwart, Cristina Esclapez, Pierre-Antoine Tremblay and Josep Domènech, along with ensembles such as Zefiro, Manon Quartet, Quartet Kuijken and Quartet Terpsycordes.

He has recorded many major works in the clarinet repertoire, most notably the Mozart Concerto with the Freiburger Barockorchester, the Mozart Quintet with Quartet Kuijken, the Serenades of Mozart with the Zefiro ensemble and the Brahms sonatas with Andreas Staier.

Lorenzo Coppola teaches early clarinet at the Superior School of Music of Catalonia in Barcelona.

He wishes to share the conviction that the world of “classical” music needs some change, mainly in relation to communication with the audience, sharing emotion and how we go about achieving this. He is convinced that the potential from the historical point of view, the knowledge of the style and the early instruments which contributed to the development of this style, can help us to renew our relationship even with the more canonical repertoire. For the past 20 years, he has been working with his colleagues to develop an alternative concept of concerts, as well as making major reconstructions of teaching methods.

 

 

 

 

 

 

Roel Dieltiens

The cellist Roel Dieltiens studied in Antwerp (B) and Detmold (D). He swiftly made a name for himself on the international scene and is now regarded as an authority on both modern and Baroque cello. His strong personality, overwhelming musicality and unconventional approach took him right from the beginning of his career to all the world’s great concert centres (Paris, Berlin, London, New York, Moscow, Tokyo). He has also gained international recognition as a chamber musician and founder of the celebrated Ensemble Explorations. Since 2010 he has appeared in trio formation with Andreas Staier (piano) and Daniel Sepec (violin).

 

He has made a whole series of recordings for the Harmonia Mundi and Etcetera labels that have consistently received praise from the critics and aroused great public interest. Some quotations from the reviews that have greeted his CDs illustrate this nicely: ‘Simply the best’ (Classic CD, USA, on the recording of Kodály’s Sonata for solo cello op. 8); ‘The only significant disc of cello music to appear in 1997’ (Fanfare, USA, on his Franchomme CD); ‘A distinguished disc, and the best Vivaldi recording for a long time’ (Diapason, France, on his first CD of cello concertos by Vivaldi).

In 2010 Roel Dieltiens received a Klara award and the Caecilia Prize for his recent recording of the Suites for unaccompanied cello of J. S. Bach.

 

Roel Dieltiens is Professor of Cello at the Hochschule der Künste in Zurich (CH) and has served as a jury member in international competitions including the Leipzig Bach Competition and the Moscow Tchaikovsky Competition.

In addition to this, he is associated with the Lemmensinstituut in Leuven (B), where he teaches chamber music. In 2006 the TV channel Canvas produced a comprehensive in-depth documentary about this artist.

 

 


Compagnie Infime Entaille

 

The Infime Entaille Company was created in 2016 by the initiative of Maëlle Reymond. Their first creation was The Silence of Sand, which introduces writing with intention, sensitivity, instinct, reaction, organic, and intuitively based on listening. It is inspired by the musicality of everything and how it resonates.

Particularly attached to the fact that there is no particular meaning, but yet a meaning, which can’t be circumvented, the company develops corporeal narratives, in which the concrete narrative is neither directive nor direct. Leaving it to assumption provides a certain balance without revealing a secret. Thanks to a dance which is made without pretence, it places the body at the heart of the action, in what it inspires more powerful and more fragile feelings.

These contradictions of power and fragility are fundamental themes in the works of this company. Just like the bonds between the infinitely great and the infinitely small. Trying to join the immense by the tiny is a recurring exploration just as the desire to lift the skin of things to extract the internal structure.

 

 

Maëlle Reymond

 

Dancer, performer and designer, Maëlle Reymond approached movement from an early age. Her first experiences were on the ski slopes, then classical dance lessons, gymnastics and training and later of contortion. At age 17, she discovered contemporary dance and little by little began to create.

She is trained as a choreographer in Coline (2010-2012), and at the Regional Conservatory of Paris (2009-2010).

As an interpreter, she has been working for the AMCB Company since 2013 directed by Adrien Mondot and Claire Bardainne on the creation of Le Mouvement de l’Air, which will be released in 2015. In 2014, she made a cover in Cinématique. Since 2016, she has been an outspoken performer for the Georges Lakhdar Collective on the creation of Contre / Jour.

In 2015, she co-wrote and interpreted Dérive, an interdisciplinary creation with Maud Gourdon (illustrator) and Marine-Falque-Vert (musician).

Since 2012, she has collaborated with Gérard Vallet on photographic projects.

In 2016, she founded “Cie Infime entaille” and worked on its first creation titled The Silence of Sand.

Her choreographic research is nourished by the concrete and mysterious ties that the body establishes both inside and out. After an encounter with buto dance in 2013, it marked her career as an interpreter and encouraged her to dig deeper into this awareness of detail and the relationship with the need to move.

 

Jérémy Chartier is a musician and lighting designer.

After studying art history, he began the adventure in 2008 of creating a live show as a lighting designer. Passionate about music, he has acquired instruments from all over the world and was introduced to MAO and multi-diffusion. He works regularly as a musician, lighting designer and state manager with many companies: la compagnie Adrien M & Claire B, and on performances such as: La poésie des éléments (2010), Un point c’est tout (2011), Hakanaï (2013), Cinématique (2013), sur l’exposition XYZT Les paysages abstraits (2011), and he composed and performed on state the last show Le mouvement de l’air (2015). He also works for the company Le théâtre du Réel, on performances of Résistance /Laboratoire Catastrophique (2009), On est pas innocent par hasard (2011), Infâmes (2014), Sainte Jeanne des abattoirs (2016), also with the company DDM, the company La parlote, the company Vox, the company Alphonse et Cie, the collective Fearless Rabbits and with the music group Rilojosa.

In his musical practice, he is touched by the experience of direct acoustic vibration. He likes to play with dichotomies specific to music such as collective and individual, scholarly and popular, exuberant and minimalist, spiritual and carnal and divine and vulgar.

 

Christophe Sartori

 

Christophe Sartori is a composer, sound hacker and creator of digital sounds.

As a technician, he joined the Grand R Scène nationale (2000), where he met the choreographer Yvann Alexandre, for whom he has composed soundscapes for 15 years. He also collaborates with the Théâtre des Cerises, la compagnie du 2ème, the choreographer Ezzio Schiavulli, and since 2014, the company Kekosa and the choreographer Giulia Arduca. He met Adrien Mondot in 2003 and created Convergence 1.0, where he co-wrote the soundtrack and provided sound and stage management. For the company Adrien M & Claire B he subsequently created the sound of Cinéma, l’exposition XYZT, Les paysages abstraits, Hakanaï in collaboration with Lois Drouglazet and the creation of sound creation (signed by Jérémy Chartier) of “Mouvement de l’air” (2015). In 2012, he collaborated with photographer Delphine Perrin for the exhibition “Inner Landscapes”, whose different portraits are simulataneously the visual material and the sound support of this global installation. Since 2013, he has participated in the performances of plastic artist Serge Crampon, adding cellist Jean Bouhier and dancer Stéphane Bourgeois. In 2015, he began work with the director Amandine Dollé from the collective Extra Muros, on the show l’ile d’elle.

From electronic samples, sometimes mixed with live electroacoustic compositions, he imagines sonic universes and develops musical landscapes which are prolonged by hearing the visual experience.

 


 Ensemble Clarnival

Clarnival Ensemble

Clarnival is the meeting of four passionate clarinettists who met on the benches at the Royal Conservatory of Brussels. Fruits of their generation, they dabble in both classical music as well as modern.

In the repertoire of Clarnival, different genres and rhythms meet one another. One can find names such as Mozart, Gershwin, Strauss, Michael Jackson, Debussy, James Brown, Beethoven, The Bee Gees, Brahms, Steven Wonder and many more.

The clarinet is an instrument used to play all types of music ranging from tango to a concerto, from classical to jazz, and also includes the waltz, bossa nova, disco, rock, funk, rhythm and blues…

Whether small, alto or bass, they offer a unique variety of sound and a freedom allowing the exploration of all musical worlds.

 

Bethsabée Hatzfeld

 

Bethsabée discovered the clarinet by chance at the age of ten. Her musical training began at the Academy of Jette and afterwards attended the Lemmens Institute for disciplined training before entering the Royal Conservatory of Brussels.

She is very active in maintaining her training by participating in internships and masterclasses. In 2012, she was the winner of the International Competition of Interpretation in Vélizy.

Alternating between clarinet and bass clarinet she participates in a number of projects whether it be with orchestra, chamber music, musicals, operas and even recording film music.

She is attentive to understanding and growing in how she transmits her passion for music to others and in addition to being involved in performances and concerts, Bethsabée also teaches music and musical awakening to the youth.

In classical music, her preferred time period is Romanticism with a preference for Johannes Brahms. However, she is also greatly influenced by the music which her parents listened to including rock of Bill Haley, the artists of Motown, the Beatles and rock un until the end of the 80s.

She loves folkloric music and its reinterpretation made by Ogres de Barback.

 

Véronique Bernard

 

At the age of nine, Véronique’s father inscribed her in a music program organised in her hometown, Esch-sur-Alzette, in Grand-Duché in Luxembourg. There she had a revelation by discovering clarinet which became her preferred instrument.

In 2015, she obtained her higher diploma in clarinet with honourable mention. However, before this, she had made a name for herself after winning gold medal at the Luxembourg Competition for Young Soloists of the UGDA under the National Federation of Music of the Grand-Duché in Luxembourg.

 

In 2012, she won gold medal and scholarship Francis Goergen at the European Competition for clarinet, saxophone and chamber music.

She began to continue her studies the following year at the Royal Conservatory in Brussels where she obtained her bachelors diploma in 2016 with distinction.

In 2014 she became a fellow of the Michelle Foundation which gives scholarships to young talented musicians in Luxembourg and in all of Europe in the domain of classical music.

She won the Music Prise of the Rotary Club Esch-sur-Alzette in 2016. She had appeared as a soloist with the Philharmonic Orchestra of Luxembourg playing the 1st Concerto for Clarinet by Louis Spohr. Furthermore, she has played in other orchestras such as the Youth Orchestra of Grande-Région, the Summer Orchestra Luxembourg, the Diffwinds Workshop Orchestra, the Schwäbisches youth orchestra and the military band Grand-Ducale. In particular she loves the works of Beethoven and Carl Nielsen. She says she listens to everything on the radio, with a preference towards 80s pop, but with a greater preference for the lyrics of Queen.

 

 

Cédric De Bruycker

It was his father, also a clarinettist, who made him want to pursue the study of music. At the age of seven, he began to study clarinet and the Music Academy of Arlon. Seduced by its richness and large range, he came to the conclusion that one can play everything with this instrument.

He pursued his musical studies at the Conservatory of Brussels and then furthered his education by studying contemporary music at the Conservatory of Gent with the ensembles Ictus and Spectra.

His musical preferences are towards modern classical composers such as Shostakovich or Prokofiev, but his biggest passion is contemporary music. Because of this, he participates in numerous creations although he doesn’t regret making a detour to play musicals. He plays regularly with large ensembles such as Symphonic Orchestra of Students and recently participated in the Felix Mendelssohn European Festival.

 

Philippe Lemaire

 

At the age of ten, Philippe heard Peter and Wolf by Prokofiev. In the musical story, every character’s personality is represented by a particular instrument. The young boy was seduced by the sounds which personified the cat. It was decided that he would learn clarinet the Academy of the German-speaking community. There he earned a medal for his mastery of the instrument and in chamber music.

He continued his musical studies at the Royal Conservatory of Music in Brussels where he obtained his diploma with distinction. He is winner of the Dexia Classics Competition, the International Competition for Soloists and Ensembles in Kerkrade and the European Competition for Clarinet, Saxophone and Chamber Music. He now passes on his passion to the youth at the Music Academy for the German-speaking community.

In terms of classical music, he has a weakness for Beethoven, Ravel and Strauss, but he is also fond of film music by John Williams, James Horner and Danny Elfman. He loves pre-90s rock, Ella Fitzgerald, Michael Jackson and Latin American rhythms because he says, “bossa-nova or samba, it excites your feet making you want to move.”

 

Sébastien Goutte

 

Sébastien was introduced to improvisation when he was small.

He was eleven years old when he participated in his first workshops. He has a passion for the Art of Speech but also loves music and practises harmonica, guitar, the didgeridoo, didjeridu, didjeridou and basically this particular Australian wind instrument in its many forms.

Quite early on, he planned to embark on an artistic career even though it displeased his parents. After making a bit of a compromise, he completed studies as an educator specialising in socio-sports activities.

It’s only after he hung up his diploma on the wall in his room that he inscribed himself in the Conservatory of Mons where he graduated in acting and emerged as a professional actor.

Even though his parents were still unsure about this choice, there understanding was finally heading in a better direction.

He participates in a number of theatre productions and short films and is also a dubbing actor.

He interprets Mister G., the wacky lecturer of the World Tour in 80 Notes (and more), and what motivates him in this role, besides the pleasure of creating a character and the texts for the show, is how the music binds everything together, and particularly the clarinet; an instrument lending itself to all genres.

 

vincenzo_fest_artARTISTS BIO