Contemporary Music in Flanders

Flemish Piano Music since 1950 historical overview, discussion of selected works and inventory

Edited by Mark Delaere and Joris Compeers

CONTENT

PREFACE 5

A. HISTORICAL OVERVIEW

Some Keys to Flemish Piano Music since 1950 7

by Jan Christiaens

B. DISCUSSION OF SELECTED WORKS

CRAENEN PAUL: Falco Tinnunculus (2000) 17

by Mark Delaere

DE JONG MARINUS: Drie Schilderijen uit een Tentoonstelling van Vincent van Gogh (1950) 19

by Pieter Mannaerts

DEVREESE FRÉDÉRIC: Mascarade (1953) 22

by Veerle Bosmans

D’HOE JEROEN: Toccata-Scherzo (2002) 24

by Steven Vande Moortele and Pieter Bergé

LAPORTE ANDRÉ: Ascension (1967) 26

by Herman Sabbe

LEGLEY VICTOR: Sonate nr. 2 in des (1974) 28

by Kristof Boucquet

NUYTS FRANK: 3rd Piano Sonata “...et voces, praetereaque nihil...” (2002) 31

by Elise Simoens

POSMAN LUCIEN: Le conte de l’Étude Modeste (2000) 33

by Yves Knockaert

RAES GODFRIED-WILLEM: Fuzzy Harmony: studie nr. 5 (1996-97) 35

by Jelle Dierickx

SWINNEN PETER: Xedalvu: ommagio a Paul Delvaux (1995) 36

by Maarten Quanten

VANHECKE BART: Les racines du monde (1998) 38

by Jan Christiaens

VERHAEGEN MARC: Sonatine (1987) 40

by Pieter Bergé

C. INVENTORYAlphabetical Inventory of Flemish Piano Music since 1950 44

Chronological Inventory of Flemish Piano Music since 1950 82

LIST OF PUBLISHERS AND RECORD COMPANIES 123

TRACK LIST CD 128

3

© 2005 MATRIX – New Music Documentation Centre (Leuven, Belgium) - www.matrix.mu

edition: Mark Delaere, Joris Compeers

production: Joris Compeers

translation: Stratton Bull

lay-out: Maandacht

print: Acco (Leuven, Belgium)

The compilation cd is an initiative of the Flanders Music Centre

Music selection by Stefan Prins

Produced and mastered by Luc Brewaeys & VRT

p & c FMC 2005/07

With the support of

Flanders Music Centre (Muziekcentrum Vlaanderen) - www.fl andersmusic.be

Resonant (Centre for Flemish Musical Heritage) - www.resonant.be

D/2005/10.184/2

ISBN 90-77717-02-1

PREFACE

This is the second volume in a series documenting contemporary music from Flanders.

The fi rst volume on Flemish string quartets since 1950 was published in 2004. Future

volumes will cover orchestral music, vocal music, ensemble music and electronic music.

With this series, MATRIX is meeting the criteria of its core activity: the documentation

of contemporary music in general and Flemish contemporary music in particular

(for more on MATRIX, go to www.matrix.mu). To this end, MATRIX has built up an

extensive collection of scores, CDs, books and periodicals. This collection is the

starting point for educational activities such as, for instance, courses on new music,

concert introductions or workshops for music teachers and conductors. The collection

also forms the basis for this publication, which aims to make an inventory of all the

piano music written in Flanders since 1950 for concert purposes.

The inventory is preceded by a major essay in which the most important stylistic

characteristics of the Flemish piano repertoire since 1950 are considered. This is

followed by short articles on several representative works.

We should like to emphasise the fact that the selection of works for discussion is not

based on a judgement of their merits. The chosen piano works are naturally compositions

of high artistic quality, but this may be said of many other Flemish piano music.

The aim of the discussions of the works is rather to illustrate the stylistic diversity

of this repertoire and to allow composers from different generations to be considered.

As an additional criterion, no works from composers presented in the previous volume

on string quartets have been selected for the short articles.

For budgetary reasons, a decision has been made not to provide a Dutch version

of this text. Flemings are world citizens with a perfect understanding of English.

The same cannot be said of all world citizens’ grasp of Dutch. An English version

thus offers a much wider international reach.

We are very grateful to the composers for their additions and corrections to

the inventory of works. Jan Christiaens provided us with an illuminating essay,

and we also thank the authors of the short discussions of the works for taking part

on a voluntary basis. This inventory is published with the support of Resonant,

the organization responsible for musical heritage in Flanders for which MATRIX acts

as the expertise centre for contemporary Flemish music. A word of thanks goes

out to the Flanders Music Centre for sponsoring the translation of the texts;

and for the production of a CD of fragments from representative piano works.

Documentation in word and sound is, after all, that much stronger. In order

to promote Flemish contemporary music, the book and CD will be distributed

free of charge to pianists, concert organisers, music festivals and other interested

parties both in Flanders and abroad.

MARK DELAERE

JORIS COMPEERS

4 5

A. Historical Overview

SOME KEYS TO FLEMISH PIANO MUSIC SINCE 1950

Piano music as experimental fi eld

The relatively large amount of piano music in the early work of many 20th-century

composers is striking. Beginning composers’ predilection for the piano is, however,

not diffi cult to explain: the piano combines the advantages of a small scale with

the luxury of a large scale. The composer can devote all his or her attention to one

single instrument, without losing anything on the level of polyphonic writing, tessitura

or dynamic spectrum. Composing for piano thus often has a propaedeutic function

for composers: it is an ideal training school, where certain compositional techniques can

be tried out on a small scale, as it were. This propaedeutic function is also evident

in the fact that important compositional innovations in 20th-century music were

fi rst detected in piano music, before appearing in larger-scale applications. Karel

Goeyvaerts’ Nummer 1, John Cage’s Sonatas & Interludes and Karlheinz Stockhausen’s

Klavierstück XI are only a few of the many examples of this tendency. At the pivotal

moments represented by these and other 20th-century compositions, piano music,

the ideal vehicle for innovation and experimentation, has often set the new course.

At the same time, the actual implications of such innovations can be more clearly

defi ned only against the background of Classical and Romantic piano literature –

a tradition that has weighed heavily on 20th-century works. Both well-defi ned conventions,

such as the piano sonata, the etude and the prelude, as well as less formal genres

such as the lyrical piano piece became established in the 18th and 19th centuries.

Composers such as Beethoven, Brahms, Schumann, Chopin and Debussy developed

and perfected these genres to the point that their oeuvre has continued to form

a frame of reference – albeit implicitly – for contemporary composers of piano music.

Thus, however much piano music by its nature lends itself to experimentation

and innovation, it is a genre that, more than any other, is embedded in a tradition

and continues to be strongly determined by that tradition. This bi-polar situation

of Flemish piano music will be explored further in the historical-stylistic considerations

below.

Quantitative analysis

Before examining the stylistic tendencies of Flemish piano music over the past

50 years, it is useful to sketch a general picture of this repertoire. Here it should

be noted that the notion of ‘piano music’ can in fact only with diffi culty be used as

a genre designation. It is a fl ag of convenience for a whole range of contents:

on the one hand, traditional genres with more or less clearly-defi ned genre conventions

(such as the keyboard sonata, the toccata, the etude, the partita); on the other,

more poetic, small-scale piano pieces, which often set out from an extra-musical

consideration. The result of the difference in aesthetic and music-historical

connotations of all these genres is that Flemish piano music from 1950 is more

diffi cult to quantify as one coherent whole than a clearly demarcated genre such

as the string quartet. There are so many different variables in play that there is

little value in considering post-war Flemish piano literature as one interconnected

musical corpus. The quantitative analysis that follows has thus at best an indicative

rather than an absolute value.

6 7

decade works

1950-59 63

1960-69 65

1970-79 84

1980-89 165

1990-99 259

2000-05 169

8 9

An overview of the number of piano compositions per decade reveals a number

of striking tendencies:

Particularly noteworthy is the approximate doubling of the number of piano compositions

in the decade 1980-89, a tendency that has continued through the following decade

(1990-99) and into the fi rst half of this decade. This tendency has two main causes.

In the fi rst place, the contribution of particular composers to this increase must be

considered: for instance, the remarkable rise since 1980 can partly be explained by

the increased productivity of Boudewijn Buckinx and Frans Geysen. In the 1980-89

period, Buckinx was responsible for approximately 8% of all piano compositions;

in the subsequent decades his share increased to levels of 25% (1990-99) and 28%

(2000-05) respectively. Less substantial but comparable in proportions is the contribution

of Frans Geysen. A secondary cause of this increase is formed by a number

of contextual factors. Firstly, starting in 1990, there arrived on the scene a number

of performers who established themselves as fervent defenders of new Flemish

music. In this connection I am thinking particularly of Jan Michiels, who achieved

a breakthrough thanks to prizes won at such international competitions as the

Emmanuel Durlet Competition (1989) and the Queen Elisabeth Competition (1991).

The ‘Jan Michiels effect’ is also refl ected in such early 1990s work-titles as Jan en

Inge (B. Buckinx, 1992), and Eerbetoon aan Jan Michiels (Tribute to Jan Michiels,

F. Geysen, 1991). Secondly, around 1990, the music of the generation of composers born

around 1950-1960 entered the Flemish market, a generation led by fi gures who them-

selves were educated as pianists (including Luc Van Hove, Piet Swerts, Koen Dejonghe,

Walter Hus, Luc Brewaeys, Bernard Baert and Johan Duijck). Thirdly, the founding

of De Rode Pomp concert hall in Ghent (1993) has doubtless played a role. In its early

years, this hall had a policy of programming at least one Flemish work per concert;

in practice this often took the form of piano music, since De Rode Pomp focussed

on piano and chamber music in its programmes. Finally, the subsidies for composition

commissions by the Flemish Community starting in 1986 have also led to a signifi cant

increase in compositions, although the effect on piano compositions has been

smaller than on larger-scale genres.

This general quantitative analysis does not, however, reveal anything about genre

evolutions in Flemish piano music. For this we must consider the different evolutions

that have taken place in the representation of several traditional and specifi cally pianistic

genres within the totality of Flemish piano music since 1950. First, a charting of the

variation in the number of piano sonatas/sonatinas:

This survey reveals a decrease in the share of piano sonatas or sonatinas composed.

Although in gradual decline, the practice of writing sonatas remained relatively

stable until around 1980, and was chiefl y in the hands of the same group of composers:

Peter Cabus, Karel Albert, Willem Pelemans, Vic Legley, Willem Kersters and

Raymond Schroyens. Until 1970 roughly one in fi ve piano compositions was a piano

sonata. The importance of tradition certainly played a role here. For these composers,

as in the 19th century, writing for piano primarily implied writing sonatas.

This weight of tradition is also evident in the fact that the piano sonatas of these composers

were never the medium for an experimental and avant-garde style. From 1980

the younger generation, in whose oeuvre the sonata no longer held a central place,

took over the helm. There was no longer a conscious aesthetic preference for the

genre, as had been the case with the older generation until 1980. Exceptions to this

rule include the composers Frank Nuyts and Stefaan van Puymbroeck, who between

them have been almost completely responsible for the 7% increase in the number of

sonatas written between 2000 and 2005.

The same pattern applies to several smaller but no less traditional genres, such as

the prelude, the toccata and the etude. Once again it should be noted that the statistics

in the table below are purely indicative, with no absolute value. The percentage indicates

a particular genre’s share of the total number of piano compositions written in

a particular decade:

decade number of piano sonatas/sonatinas

1950-59 14 (of 63) = ca. 22%

1960-69 13 (of 65) = ca. 20%

1970-79 8 (of 84) = ca. 10%

1980-89 15 (of 165) = ca. 9%

1990-99 8 (of 259) = ca. 3%

2000-05 11 (of 169) = ca. 7%

Only the number of preludes rose (slightly) over this period – no doubt because it is

the genre with the fewest limiting conventions, giving it a fl exibility allowing it to be

reconciled with various aesthetic orientations. A clear decrease of toccata compositions

is evident. Only the composition of etudes has remained relatively stable.

50-59 60-69 70-79 80-89 90-99 00-05

prelude 8% 6% 3,5% 4% 6% 6%

toccata 9,5% 5% 2,5% 1% 1% 2%

etude 5% 3% 2% 2% 5,5% 2%

10 11

Contextual factors

The following four factors have played a crucial role in the spread and making known

of Flemish piano music: published scores, performers, concert programmes and

CD recordings. Concerning the publishing of scores, CeBeDeM (the Belgian Centre

for Music Documentation) is the only publisher working under the auspices of the federal

government. Other main players on the publishing market are Lantro Music

(Grimbergen), Euprint (Heverlee) and Digital Music Print (Antwerp). It is striking

that – with only a few exceptions – the older generation of composers are published

by CeBeDeM, while the music of the younger generation has been disseminated

by the other music publishers or has remained unpublished.

The performance of Flemish piano music, including works of the 19th century and

the fi rst half of the 20th, were more or less the sole domain of Jozef De Beenhouwer

and Philibert Mees until about 1990. Since that time, a new generation of pianists

has taken its place on the scene, making a point of including Flemish piano music

in their repertoire. Jan Michiels established a precedent that has been followed

by such colleagues as Piet Kuijken, Frederik Croene, Peter Vanhove, Walter Hus,

Hans Ryckelynck, Daan Vandewalle, Stefan Meylaers and Koen Kessels.

Despite the fact that the most important Flemish (and Belgian) concert organisations

have all included a piano cycle in their programmes, there is in general little Flemish

piano music in their concert offerings. Flemish piano music is thus mainly heard at

specialised festivals (TRANSIT, Ars Musica) or in concert halls that have made piano

music a feature of their programming, such as De Rode Pomp (Ghent) and the

Handelsbeurs (Ghent). These two Ghent halls also have their own CD labels which

often (although not yet regularly) promote Flemish piano music.

Flemish piano music has in fact done better on disc than in the concert hall.

This is chiefl y thanks to the CD label of De Rode Pomp, which leads the pack in

terms of recordings devoted exclusively to Flemish piano music. Performances

by Philibert Mees of (mainly Late-Romantic) Flemish piano music are, for instance,

issued on this label. Another Rode Pomp CD features Walter Hus playing his own

Preludes and Fugues (nos. 1-6). Also given over to the work of one composer

is the CD of Frederik Croene playing compositions by Jean-Pierre Waelbroeck

(Mobiles, Sonata no. 2 and Papillons). The most recent Rode Pomp recording is

entitled Contemporary Belgian Etudes, although Flemish works other than etudes

are also included. On this CD, pianist José Eduardo Martins plays works by B. Buckinx,

L. Posman, H. Cafmeyer, F. Devreese, R. Coryn, S. Van Puymbroeck, Y. Bondue,

S. Meylaers and D. Gistelinck.

Also worth mention is the Flemish CD label Phaedra, which has included the promotion

of Belgian and especially Flemish music in its statement of intent. With this in mind,

the CD series entitled In Flanders’ Fields has been established, with the aim of producing

an overview of Flemish music of the 19th and 20th centuries. Although Flemish

piano music has not taken a central place in their recording policies, interesting

performances can be found on Megadisc (with piano works by K. Goeyvaerts performed

by Jan Michiels) and HA’Records (the house label of the Handelsbeurs; work

by P. Craenen and F. Gyselynck played by Frederik Croene). Part of the catalogue

of the Belgian labels Cyprès Records and Eufoda (the CD label of the Davidsfonds)

is devoted to Flemish music.

Finally, the infl uence of the Queen Elisabeth Competition on the reputation of Flemish

piano music is not to be underestimated. The fact that Belgium hosts one of the

most prestigious piano competitions in the world has created a healthy dynamic,

not least of all because the composition competition linked to the main competition produces

a newly-composed work by a Flemish composer for each edition, which then becomes

the compulsory work for the semi-fi nal of the piano competition. This offers Flemish

composers an ideal opportunity to promote their work on an international stage

and to have it performed (and included in their repertoire) by the best young pianists.

In recent editions of the competition, this honour has fallen to the composers

Willy Carron (Paesaggii con Bach, 1987), Dirk De Nef (Rond’Eau, 1995),

Boudewijn Cox (Prelude, 1999) and Jeroen D’hoe (Toccata-Scherzo, 2003).

Historical-stylistic analysis

This paragraph will shed light on several general stylistic tendencies in writing

for piano, particularly against the background of international evolutions in composing

for the piano. Flemish piano music of the 1950s would appear to have been only

minimally infl uenced by the innovations of the international (mainly French and

German) avant-garde. In 1947, Karel Goeyvaerts had personal experience of the

magnitude of the suspicion held by composition teachers at Flemish conservatories

concerning innovative tendencies. When he set out to play Bartók, Lodewijk De Vocht

reprimanded him sternly: “There is no place in a conservatory for Bartók!”. In other

words, the younger generation of composers had to look elsewhere for information

about the latest music. Goeyvaerts turned to Paris, where Olivier Messiaen’s class

opened his eyes and ears to new music. With his Nummer 1, the Sonata for two

pianos (1951), Goeyvaerts played a pioneering role in the application of serial principles

to all parameters of sound. The concept of musical material within serial technique,

whereby the various sound quantities were determined a priori, became the spearhead

of the avant-garde of the day. Traces of this treatment of material are found in the

piano music of Louis De Meester and Lucien Goethals. Louis De Meester uses serial

techniques, without however subjecting himself completely to serial grammar.

Lucien Goethals took on the possibilities of serialism only at the end of the 1950s.

Burletta (1953) still continued to tend towards the then dominant Neo-Classical idiom.

Lucien Goethals made his move towards serialism in Musica Dodecafonica (1957)

and Twee dodecaphonische gestalten (Two dodecaphonic forms, 1959). The use of

such functional-neutral titles, in which the applied technique was explicitly laid out,

was in fact a characteristic of many compositions of the day, as a break was made

with the immediate past and a new beginning resolutely undertaken. A short time

before, Karel Albert had explored the possibilities of the twelve-tone technique

in Bloeiende lotus (1956). Although a clear distinction can be made here between

the melodic (horizontal) and harmonic (vertical) dimension – and thus the unity

of the musical space advocated by Schoenberg is here not realised – both the melodies

and the chords from Bloeiende Lotus can be traced back to the pitch material of

the original series. The work of Peter Cabus can also be placed under the heading

of moderate modernism. The musical language of his First Piano Sonata (1958) tends

towards Neo-Classicism, despite the fact that Cabus has here left tonality behind him.

12 13

In comparison with this sonata, the Second Piano Sonata (1974) represents a step

backwards, specifi cally, towards an extended tonality. The unaccompanied theme

with which the sonata opens returns as a leitmotif in the fi rst movement, as well

as the second, a Tema con variazioni. Recognisability and transparency are clear

aesthetic imperatives for Cabus. For the rest, this series of variations displays

Cabus’s Neo-Classical tendencies. The typology of the different variations is very

Classical (e.g., var. 1: theme in triplets; var. 3 arpeggios; var. 4: quasi perpetuum

mobile; var. 7: lyrical intermezzo; var. 8 staccato-chordal). The piano writing of this

sonata is highly effi cient and idiomatic for the instrument, while at the same time

opening no new perspectives on the level of playing technique. A similarly linear

approach is taken in the Sonatina (1957) by Herman Roelstraete. Roelstraete’s

predilection for Gregorian chant translates into a modal pitch-ordering which creates

a rather traditional impression. Such modal pitch-organisation can also be detected

in the piano music of Raymond Schroyens, who, like Roelstraete, produced a great

deal of choral music. The music of Olivier Messiaen – particularly his Mode de

valeurs et d’intensités (1949) – is proof enough, however, that modality in itself

is not necessarily synonymous with a conservative approach.

Lucien Goethals, one of the leaders of the Flemish post-war avant-garde, found

a brother-in-arms in 1960 in the person of Claude Coppens, who demonstrated

with his Série et variations (1960) that an autodidact, too, could perfectly master

the principles of punctual serialism. The principle of mobile forms, applied in 1956

by Karlheinz Stockhausen (Klavierstück XI) and Pierre Boulez (Third Piano Sonata)

is refl ected in Goethals’ Twee Kristallen (Two Crystals, 1961). The second movement

of this work consists of a number of modules which can change place with one

another. Over the course of the 1960s, the radically modernistic option of Coppens,

Goethals and others encountered increasing criticism from composers for whom

a concern for the explicitly grammatical was not the only crucial interest. This criticism

often came from the expression-aesthetics quarter. For a composer such as Raoul

De Smet, for example, systems do not represent a goal in and of themselves, but are

aids to composing expressive music. In his Meditaties, De Smet eclectically makes

use of elements from various techniques, to serve his expressive ideal. In the 1970s

and 1980s, this critical attitude to the avant-garde became increasingly clear.

On the international scene, Wolfgang Rihm set the tone in 1970 with his Klavierstück

1 (opus 8a), termed by the composer an example of “inclusive composing”.

In this music, the expression of compositional subjectivity is the only absolute; many

means and techniques, however heterogeneous or traditional, could be applied to

achieve this objective. That such a content-aesthetic could lead de facto to a traditional

style is illustrated by the work of Frédéric Devreese and Elias Gistelinck. In the case

of Frédéric Devreese, the demands of fi lm music increased a concern for accessibility.

In the two collections entitled Soundtrack (1970), titles such as Nocturne refer to

traditional genres that fall under the heading of content-aesthetic. Elias Gistelinck

often composes for a very concrete situation, evident in titles such as Kleine treurmuziek

voor Che (A little funeral music for Che, 1974) or Five preludes for a little boy (1982).

The difference between these emotionally-charged titles (and equally emotionally-

charged music) and the abstract-neutral titles of the years just after the war

(such as Goethals’ Musica Dodecafonica) reveals the gap between the radical

modernist aesthetic and the increasing questioning of this aesthetic.

The concept of inclusive composing also involves the application of foreign infl uences.

Frans Geysen was one of the fi rst Flemings to introduce repetitive music in Flanders,

mainly in its American variant. As early as 1967, the very year in which Steve Reich

produced his fi rst purely instrumental minimal music with Piano Phase (for two pianos),

Geysen was experimenting with canonic-repetitive techniques. Although with his

minimal music Geysen was setting himself apart from serially inspired avant-garde

music (and its aftermath), he cannot be reckoned among the representatives of content-

aesthetics. Grootste beweging in kleinst denkbare ruimte (Largest movement in

smallest conceivable space, 1971) shows Geysen’s priority: music as a pure sound

process. Starting out from several small sound modules, he sets transformative processes

in motion, thereby generating a subtly moving and developing sound process.

The critical distance developed by composers from postmodernist and moderate

modernist tendencies in relation to the avant-garde has led to a very diverse stylistic

spectrum. These composers have developed a number of specifi c concerns that

– at least in their opinion – have been ignored by practitioners of a more radical

modernistic music. A fi rst, typically postmodern concern is the composers’ wish

to position their musical language clearly in relation to radically modernist music.

Boudewijn Buckinx may be considered an embodiment of this postmodern, mildly

ironic attitude to tradition. Many titles, as well as the musical language, of his

piano compositions refer to the Classical-Romantic or the modernist approach.

The intention here is not, however, to identify himself with this approach but to

maintain a critical distance from it, a sense of distance that often takes the form

of irony in Buckinx’s music. However, behind the simplicity and the concrete titles

of his piano works, there often lurks a fundamental questioning. In Per C (1994),

a piano work dedicated to Claude Coppens, Buckinx poses the question that many

composers educated in an avant-garde idiom have asked: how can musical meaning

be conveyed to the listener? Moderate-modernist composers tend to deal with

the modernist heritage of the fi rst half of the century in other ways. Piet Swerts,

for instance, takes a generally dismissive attitude to avant-garde music. From an

explicitly formulated expression-aesthetic – “every work should be a continuing

search for affects” – Swerts calls avant-garde music a “no-man’s land, a meaningless

blanket of sound”. The double concern evident here – a clearly subjective author’s

viewpoint and the communication of (emotional) content – led Swerts to musical

idioms in which these aspects play an integral part: Baroque music (Partita, 1986

and Five Two-Part Inventions, 1991) and Romanticism (Sonetto 61 del Petrarca, 1986;

Cinq Préludes à la mémoire de Frédéric Chopin, 1993). For Franklin Gyselynck, the

second concern, the communication with the listener, led to a form of pedagogical

music. Gyselynck frequently develops a high degree of complexity in his music,

albeit gradually, building from the simplest elements. A similar procedure is found

in the music of Koen Dejonghe.

14 15

In Preludio, toccata e aria (1990), the concern for communication takes the form

of the motivic development of several clearly presented basic pitches. It is clear enough

that the desire for communication accords well with didactic piano music.

The sole objective of the two Affekten collections by Bernard Baert is to teach

the pianist how to convey several basic emotions (affects) to the listener. A third

concern typical of this moderate form of musical modernism is the reinstatement

of traditional techniques (in this case, tonality) and their accompanying aesthetics

(in this case, the Romantic expression-aesthetics). Composers such as Paul Steegmans,

Marcel De Jonghe and Marc Verhaeghen have developed a Neo-Romantic style,

in which the composition is based on tonal elements, sometimes spiced up with

atonal or bi-tonal accents.

The fact that postmodern and conservative aesthetics have so fundamentally

questioned the values of modernism has not prevented several important Flemish

composers from rethinking modernism and demonstrating its vitality in their work.

In this modernist line, the investigation of sound and the pure sound-composition

has steadily gained in importance. Luc Van Hove leads the composers of traditional,

abstract piano music. In his Sonatina opus 11 (1982), he develops a pure sound-

structure in a closed form, in which the traditional sections (Presto feroce; Mesto;

Molto presto feroce) are preserved. The main theme is less recognisable as melody

than as a specifi c organisation of the chromatic total, with several prominent intervals

that dominate the further progression of the composition. The same fascination

for pure sound is found in the Toccata (1988) by Wim Henderickx, a composer whose

training as a percussionist is evident throughout his oeuvre. The Toccata is a sort

of rhythm etude (written for the 1989 Cantabile Piano Competition), in which the many

changes of metre have the effect of completely negating any feeling of tactus.

The Toccata (1994) by Walter Hus aims for the same effect but achieves it by constantly

staggering the metrical accents. In the music of Luc Brewaeys, the analytical concept

of musical material of serialism is changed to its opposite. In Nobody is perfect

(1996), spectral sound analysis produces a synthetic result in sound, consisting of

a waterfall of extremely rapid notes. The work was composed for the 50th birthday

of Michael Finnissy, one of the leaders of the New Complexity and himself a virtuoso

interpreter of his own work. This explains why this work, precisely through its

exuberance and virtuosity, is so different from the rather static music that is often

the result of spectralism. Campo Minato (1997) by Stefan Van Eycken is closely

allied to the aesthetic of the New Complexity. Van Eycken’s predilection for complex

irrational rhythms and a sensual-virtuoso sound-world can be traced back to

Finnissy and Brian Ferneyhough. In this work he also explores new terrain by

integrating harmonics (obtained by depressing the piano string at a certain point)

into the composition. The fascination for sound-experimentation implied in this

process was the fi rst sign of a more pared-down aesthetic in Van Eycken’s work.

Rather than an aesthetic of excess, so typical of the New Complexity, his more

recent work exhibits a tendency towards reduction and a concentration on sound

for its own sake. Two other representatives of the new generation, Paul Craenen

and Bart Vanhecke, have also clearly played the modernism card. Paul Craenen

has orientated himself towards atonality, with motivic development the most

important means of creating coherence.

Bart Vanhecke’s music, in contrast, can be regarded as a contemporary variant

of Stockhausen’s ‘Formel-Komposition’. Les racines du monde (1988), like many

of Vanhecke’s works, is built on a formula consisting of 54 notes appearing

in different transpositions.

Flemish piano music since 1950 occupies a bi-polar fi eld of tension. On one side

is the modernist pole, which has been the object of increasing criticism since the

1970s. Here the proverbial gap between composer and audience – “avant-garde music

has not succeeded in reaching an audience” – was the most important argument

for the criticism. For the adherents of the other pole, which I have here generalised

under the labels of postmodernist and moderate-modernist, the ideology of progress

is not sacred on its own merits, since it can hinder expressive communication. In general

terms then, Flemish piano music has paralleled the discourse that has taken place

in music internationally since the Second World War. It is to be hoped that the fervent

defenders of each of these poles will be able to fi nd the media in Flemish musical

life (performers, publishers, CD labels, concert programmes) necessary for making

their aesthetic arguments. In terms of performers and publishers, the future would

appear to be secure: scores are easily obtainable and can be consulted through

MATRIX, and there is clearly a new generation of pianists eager to further Flemish

music. The situation concerning CD recordings and concert programmes could,

however, be better. I hope that this introduction to a half-century of Flemish piano

music will convince not only performers, but also concert organisers, of the great

quality present in Flanders.

[JAN CHRISTIAENS]

B. Discussion of Selected Works

PAUL CRAENEN (1972)Falco Tinnunculus – (2000)

A piano work with the title of Falco Tinnunculus (kestrel) immediately suggests

comparisons with the work of the great composer/ornithologist, Olivier Messiaen.

This bird of prey is not in fact accorded a place of its own in that composer’s Catalogue

d’Oiseaux, but does appear in the biotope of the short-toed lark (L’Alouette Calandrelle),

which warbles in the fi fth book of Messiaen’s piano cycle. For that work, Messiaen

transcribed the call of the kestrel as 7+1 and 5+(2+1), where 7 and 5 stand for a repeated

tone, and 1 and (2+1) for a conclusion a semitone lower. In Messiaen’s fi nal ornithological

orgy, the opera Saint-François d’Assise, the kestrel holds a privileged place as

the saint’s favourite bird: in the fi fth scene, his call announces the appearances

of the music-making angel, and in the eighth scene he accompanies St Francis’s departure

from life. In both cases, the theme of the kestrel is identical to that used in

the Catalogue d’Oiseaux.

The repeated tones are also a constant in Craenen’s piano work, which is also

characterised by the emphasis on the extremely high and low registers. These represent

the bird’s two fi elds of action: ‘in prayer’ he tracks his prey, with rapid beating of

his wings as he hovers high in the air, and then hurtles down straight as an arrow

to tussle with his writhing prize at ground level. The pitch material is defi ned from

the opening bars of this piano work: a major ninth/second in the left hand (starting

from b - c-sharp) and a chromatic pentachord in the right hand (from which a major

second is isolated) (see music example 1) .

16 17

music example 1

This leads to tripartite form, which is rounded off by a cadence plus coda:

- part A (bb. 1-46): introductory character; polarity d, from bar 33 polarity a

- part B (bb. 47-85): the chromatic pentachord is rhythmicised into quintuplets,

the major second into trills; from b. 50 repetitions of b-fl at (initially seven times,

reference to Messiaen’s kestrel?); from bar 65 build-up of tension (rising movement,

crescendo), from bar 76 decrease in tension (descending movement, decrescendo)

- part C (bb. 86-100): repeated notes d (+ e-fl at/c-sharp) and a (+b), cf. polarities

in part A; in bar 100, the “cross section” of this is presented: with the major

ninth b - c-sharp the opening situation (chord in the left hand) is recapitulated

and the end of the form is reached; rhythmically, Craenen works with repeated

notes with shortened absolute values in the style of Messiaen ( E R3 / R3 R / R T3 ), a passage best notated non-metrically.

MARINUS DE JONG (1891-1984)Drie Schilderijen uit een Tentoonstelling van Vincent van Gogh, op. 58

(Three Pictures from an Exhibition by Vincent Van Gogh, op. 58) – (1950)

1. Hut bij Avond (A Cabin at Night)

2. Sorrow

3. Kerktoren te Nuenen (Boerenkerkhof)

(Church Tower at Nuenen (Peasant’s Church Yard))

Marinus de Jong is today best remembered as a composer, but he was also active

as a pianist (mainly in the 1920s and 1930s) and taught at the Conservatory in

Antwerp. It was especially after his other activities ceased that de Jong concentrated

on composing. Although his fi rst piano work dates from 1917 and he wrote such

works as his First Piano Concerto (1924) and the three sonatas (1926-1934)

for his own concert programmes, more than two thirds of his works for keyboard

were produced after 1945. Among these later piano works are the Second and

Third Piano Concertos and several of de Jong’s major piano cycles (Fantasiewalsen

op. 118 and Kinderspelen naar Pieter Breugel (Children’s games after Pieter Breugel)

op. 165).

The Three Pictures from an Exhibition by Vincent Van Gogh were written in 1950.

This was de Jong’s fi rst large-scale postwar piano composition, written after

actually seeing an exhibition. The three movements of the composition are named

after three paintings (in fact, two paintings and a lithograph) from van Gogh’s early

works (1882 and 1885). In the score, each movement is accompanied by a quote

from van Gogh’s letters, referring to the work in question. All three movements

have an ABA’ song-structure but apart from this there is no cyclical coherence.

In this sense, de Jong’s work is not comparable to Mussorgsky’s Pictures at

an Exhibition. What Three Pictures does share with Mussorgsky’s work is an evocative

power and a rich harmonic palette. Although De Jong writes tonal music,

he clearly has a predilection for modality or strong chromatic colouring

in his melodies, and for chords enriched with added tones and alterations.

Hut bij avond (part 1) has a song form and a tonality of B-fl at minor. The A-section

(bb. 1-11) opens with an elegiac chorale melody. In the best Classical-Romantic

tradition, this comprises the ingredients that will give form to the rest of

this movement. In particular, the descending fi fth in bars 2-3 and the motif in

the second half of bar 3 are the cells with which de Jong works (see music example 2).

Both begin with a syncopation, a rhythmic element pervading the whole movement.

The B-section, “sostenuto e grave, quasi tromboni” (bb. 12-28) consists of one

great crescendo. The build-up begins in a low register and a slow tempo and then

works towards a climax in terms of dynamics, agogics and register (bb. 25-27).

The descending fi fth from A is here reduced to a descending fourth; together with

the second (rhythmic) cell, they form the material for a condensation-passage

that evolves from B-fl at minor to D major through a number of short modulations.

18 19

- Cadenza (b. 101, non-metric) + coda (b. 102-117): in the coda, the pitch collections

of the opening bars 1-7 are repeated; the chromatic pentachord on d (bb. 106-109)

and the two-note chord b - c-sharp also form a literal recapitulation in terms

of motivic form.

In summary, the title refers more indirectly to Messiaen than directly to the kestrel.

Only the register and the steep ascent or rapid fall of the registers can be interpreted

‘naturalistically’. Messiaen’s imitation of the call of the kestrel in his Catalogue

d’Oiseaux and Saint François d’Assise have found their way into Craenen’s piano

work in the form of the repeated notes and the chromatic pentachord. Messiaen’s

musical language is further hinted at by the tonal polarity (fi fth relations) and

especially the approach to rhythm (‘valeurs déduites’ rather than ‘valeurs ajoutés’).

Finally, the fact that Craenen’s hypothetical expansion of Messiaen’s catalogue is

written very idiomatically for the instrument was to be expected from a pianist-composer.

[MARK DELAERE]

A “tranquillo” bridge passage (bb. 29-35) leads to the A’-section (“tempo 1°”, bb. 36-48),

a reprise of the original melody in which the upper and the middle voices are accorded

greater independence through more playful material, ending up ppp in B-fl at

major. One of the rhythmic fi gures in this playful material consists of a dotted

quaver followed by two demisemiquavers, a foreshadowing of the fi nal movement,

in which this fi gure – inverted – is found throughout.

Chromaticism is the central feature of Sorrow (2), both in its melodic structure

and harmonic progression. The tonality is C major, but then in a chromatically

very “enriched” form. The many suspensions and syncopations contribute to the

emotional pregnancy. The internal structuring of the formal elements takes place

through fourth and fi fth relations. The A-section has an aba’ structure. The opening

melody of A develops into a succession of chromatic chords, followed by the reprise

of the theme in the lower fi fth (b. 6). After a fi rst climax (bb. 10-12), the a-theme

is repeated an octave higher in the original key. The main B-section motif (bb. 18-19)

is also repeated, each time a fourth higher, and followed by a short condensation-

passage (bb. 22-25). This is followed by a repetition of this process, but transposed

up a fourth. The B-section ends on the altered dominant chord g - b - d-fl at (b. 31).

The reprise of the opening material in A’ is interrupted by an arpeggio-cadence,

which comes to rest on the saturated fi nal chord of c - e - g - g-sharp – b (bb. 45-46).

This chord, identical to the one at the end of A, now has the stabilising note of c

as its root (instead of a-fl at, as in bb. 11-12).

20 21

Kerktoren te Nuenen (Boerenkerkhof) (part 3) has the mood of a sombre “marche funèbre”

in E-fl at minor, characterised by a rhythmic anapest fi gure (two demisemiquavers and

a dotted quaver) in a low register, marked “pesante, quasi campane” (see music

exemple 3). The B-section refers to the subtitle, as it makes use of the Dies irae

motif, which is then developed in the upper and middle voices in a short passage in

free imitation. In harmonic terms, this third movement has a simple plan of E-fl at

minor - B-fl at minor - E-fl at minor. Particularly striking are the fi gurations with

their many neighbouring chords at semitone and wholetone distance (bb. 26-30

and 36-40), giving these passages a hint of bitonality. The fi nal chord of e-fl at - g -

b-fl at - b/c-fl at - d is another example of de Jong’s predilection for rich harmonies.

music example 2

An “authentic” version of Three Pictures, a performance played by the composer,

is held in the sound archives of the VRT (Flemish Public Radio). Particularly interesting

is the free rubato with which de Jong performs his work, the freedom that he takes

in nuances and arpeggios (slightly reminiscent of Rachmaninoff playing his own

work) and the independence that he achieves in the voice leading.

[PIETER MANNAERTS]

music example 3

22 23

FRÉDÉRIC DEVREESE (1929)Mascarade - (1953)

1. Burlesque

2. Blues

3. Variations à ritournelle

Frédéric Devreese wrote the three-movement piano suite Mascarade in 1953,

during his studies at the Accademia Santa Cecilia in Rome. Devreese had previously

written two piano concertos (in 1949 and 1952). Important piano works after

Mascarade include Gemini for 2 pianos (1980), Black and White (1984) and

Short Waltzes (1997).

In 1955 he would re-write the suite for orchestra and in 1976 there followed

an arrangement for large brass ensemble by Theo Mertens. The work consists

of a clever Burlesque, a slow Blues and a theme with variations, Variations à ritournelle.

Devreese’s music is basically tonal, but avoids standard chord progressions.

His musical language takes melody, presented in short and varied motifs,

as its point of departure. He constructs his compositions on a number of musical

cornerstones which are then frequently repeated.

The perfect fi fth is the basic material for the Burlesque: the energetic opening

melody is stretched out over this fi fth and immediately forms the foundation for

the composition’s further musical progression. When the theme is repeated from

bar 11, Devreese adds an accompaniment of strategically placed fi fths that create

a 3/8 feeling within the 2/4 metre. Starting from bar 26 there is a lyrical passage

with the fi rst appearance of long notes in the accompaniment. The fi fth continues

to be central, both in the melody and in the accompaniment. The alternation between

the rhythmic passage (bb. 11-26) and the melodious section is repeated here

before Devreese continues with new material. Here as well, he does not forget

his musical point of reference: the chords are still constructed from fifths

(d - a and g - d). After a short transitional phase, which later also marks the end

of the work, we arrive at the second section (b. 77), with a foretaste of the blues

to come in the second movement of this suite: a succession of jazzy chords. Here, too,

the accompaniment is fi lled in with fi fths. In b. 101, Devreese interrupts the slower

jazz pattern by using the last fi gure (semiquavers) of b. 100 as the rhythmic substructure

for the following bars. This passage of semiquavers is crucial to the further progression

of the work: in b. 124, the passage ultimately transforms into semiquaver triplets

alternating with long notes. Finally only one note is left over: the b that functions

as the leading note to c, as a da capo sign leads us back to the beginning.

In his early repertoire, Devreese was clearly infl uenced by American jazz.

The second movement of this suite, the ABA’-structured Blues, is an excellent

example of this infl uence. In the fi rst section, Devreese juxtaposes a lazy blues melody

and long notes in the accompaniment. These notes (e-fl at - f - g - f-sharp - f - b-fl at)

are all taken from the blues scale (c - e-fl at - f - f-sharp - g - b-fl at - c).

Devreese uses this accompaniment as an ostinato bass that is occasionally interrupted.

A fi rst climax is reached in b. 8: long notes in the bass fall into step with the

rhythm in the right hand and together they form chords. The notes of the chord

in the left hand remain related to the blues scale, while the right hand clearly moves

away from this idiom. In b. 10, this passage is repeated, after which Devreese continues

briefl y in the subdominant, E-fl at major. Despite the fact that Devreese uses

the blues scale as basic musical material, his work is clearly in this particular key.

There are three fl ats in the key signature and he begins with an unmistakable

e-fl at chord.

The B-section starts in b. 16, as the metre changes from the initial 12/8 to 6/8,

giving this piu anima section more Schwung. The chords are also fuller and more

colourful. From b. 28, Devreese returns to Tempo I, which recaptures the spirit of

the fi rst section.

In the Variations à ritournelle, consisting of a theme with variations, Devreese

constantly varies his musical material. In the presentation of his theme,

the accentuation is, for example, continually altered. The main theme begins in b. 1

on the fi rst beat of the bar, but at its return it already begins on the fourth beat

of b. 4, completely disrupting the rhythmic pattern. In Variation I, the range is

extended to the point that the composer requires three or four staves in order

to represent his musical ideas. Variation II is characterised by long melodic lines

which spin forward without a clear tonal centre. Variation III is in turn based on

a succession of disparate rhythmic patterns.

[VEERLE BOSMANS]

24 25

JEROEN D’HOE (1968)Toccata-Scherzo - (2002)

Toccata-Scherzo, the compulsory work for the semi-fi nals for the 2003 Queen Elisabeth

Competition, is constructed from two contrasting segments which alternate with

one another according to the pattern A - B - A’ - B’ - A” - B”. The rhapsodic A-segment

is made up of two elements. The fi rst (x) is presented at the beginning of

the composition and consists of scalar fragments that are to be played “as fast

as possible” (see music example 4). This passage numbers 33 notes, which can be

divided into three times twelve. The fi rst repetition (notes 12-23) is an exact transposition

of notes 1-12 (a major third lower), while for the second repetition (notes 23-33)

the same transposition is carried out (this time up a third) - except for the last

three notes. Moreover, notes 1-12, 12-23 and (again with the exception of the last

three notes) 23-33 each form a chromatic total. Notes 12 and 23 thus function

as pivotal notes between the fi rst and second and the second and third groups

respectively. The x-element returns in the following three systems, each time

in a different transposition and in the second and fourth systems in inversion.

In each reprise, however, it is confronted with a new element: a fastening repetition

of one note. In the second system, that note is c, in the third it is d, and in the fourth g.

When these notes are fi lled out in the fi fth and sixth systems into a layered-fi fth

chord through the addition of the note a (c - g - d - a), the four notes are heard

simultaneously for the fi rst time. In retrospect, the “deviant” last three notes of x

(a - d - g instead of the expected e-fl at - a-fl at - d-fl at) now reveal their relevance:

they function like a bridge between x and y.

The B-segment is a great deal more homogeneous and constant in terms of its

texture: it is characterised by an unbroken pulse of semiquavers and is completely

monodic, except for a few octave doublings. This offers a sharp contrast with the

sound-chaos created in the course of the A-segment. Central to the metrical

organisation of B is the division of the twelve semiquavers in each measure into

alternations of 4x3, 3x4 and – several times – 2x6 semiquavers. Thus in the course

of the fi rst 24 notes of B the same metrical pattern returns four times almost unaltered.

Somewhat comparable with the metrical organisation of these bars is their pitch

organisation. They make exclusive use of a group of three and a group of four different

notes, which are constantly transposed and permutated. The group of three does

not, however, coincide with the division of the bar into 4x3, nor does the four-note

group coincide with the 3x4-semiquavers group. The attraction of Toccato-Scherzo

is to a large extent precisely this ability of rhythmic three-note groups to be formed

out of four-note groups, and vice-versa. In bar 25, the regular pattern disappears,

and a new four-note group is introduced. From bar 31, the music “gets stuck”,

leaving only the c-sharp and the f-sharp by bar 37.

As the composition progresses, both segments go through a number of transformations,

producing a process-orientated relation within the segment-groups A - A’ - A’’

and B - B’ - B’’. The constitutive elements from A are thus reprised in a varied way

in the A’-segment.

Once again, the fi rst system consists only of quick scalar fragments, which are

confronted with the accelerating note-repetitions, starting from the second system.

In the last system, only the note-repetitions remain. It is, however, striking how

only the inverted versions of x are used here, and how the note-repetitions together

form the chord e - f-sharp - g-sharp - a-sharp, in which the fi fths built on A are,

as it were, doubled into ninths. The A’’-segment forms a synthesis between A

and A’, since in the fi rst and the second system of A’’, the respective fi rst and third

systems of A and A’ are combined, and in the third system, moreover, the four-note

chord c - g - d - a from A returns in the setting from the fi fth system of A’.

The relation between B, B’ and B’’ is much more complex. Although the progression

of B is repeated note for note, it is disrupted by a number of interventions. In the

fi rst place, the fragments from B are sometimes transposed a major third up and

sometimes a major third down. Much more striking is that B’ is no longer completely

monodic: single-voice bars now alternate with two-voice bars, as the 3x4 and 4x3

semiquaver-divisions are now not juxtaposed but superimposed. In such cases,

we are still dealing with two adjacent bars from B which are fused together; sometimes

one of these bars is found independently in B’ (and is thus repeated); sometimes

this is not the case (as in bars 1 and 2). In other places, two bars in B’ have their

origins in one bar in B, for example because that bar is fi rst transposed a major third

up and then a major third down (see bars 14 and 15). As striking as the polyphonic

and polymetrical combination of bars from B and B’ are the sudden and irregular

appearances of rests and long notes (d, c, g, a, e, and b), which abruptly curtail

the fl owing stream of semiquavers.

In B’’, the rhythmic continuity and the monody are re-established. Unlike most

of the bars in B’, bars 1 and 2 in B’’ are not a simple transposition of bars from B.

They have their origin in bars 3 and 4, but are shortened, since they last only 2x4

(instead of 3x4) and 2x3 (instead of 4x3) semiquavers respectively. In this way they

initiate a process of condensation that characterises the B’’ segment as a whole,

and that reduces the length of the bar from 2x4 and 2x3 semiquavers in bars 1

and 2 and 3 and 4, through 2x3 and 1x4 semiquavers in bar 5 and 6, to 1x3 semiquavers

in bar 7; this is followed only by a concluding formula.

[STEVEN VANDE MOORTELE & PIETER BERGÉ]

For a more extensive analysis of this work, see Pieter Bergé & Steven Vande Moortele, Jeroen D’hoe. Toccata-Scherzo (2002)

Werkanalyse, Contra., 3, 2003, nr.1, 76-80.

music example 4

26 27

ANDRÉ LAPORTE (1931)Ascension - (1967)

For this composition, as so often, the composer offers us a ‘speaking’ title for

a ‘speaking’ music. ‘Ascension’: climbing, mounting, ascending, taking off,

going up... Both hands ‘climb’ – more or less in parallel – the whole length

of the keyboard from the lowest to the highest note, from A to c’’’’’: a steady rise,

from the depths to the heights, ‘de profundis’, ‘ad astra’. In the big picture, the music

advances gradually towards the upper regions, with a regularity only occasionally

put into perspective through sudden digressions – large interval leaps in both

directions.

A big ‘gesture’. And yet the work consists of a succession of short or very short

sections, divided by breathing pauses and fermatas. With the exception of the

quasi-linear evolution of the registers, all parameters display an equal distribution

of the various possibilities. In terms of the distribution of pitches, the composer

adopts a twelve-tone system which is not, however, strictly serial in application.

The tempo is fl exible, the metres alternate and the metrical moments are interrupted

by extended non-metrical passages. The rhythm is unpredictable, in part because

of the irrational bi-rhythms (e.g., fi ve against six) and the alternation of long-held

reverberations with high-speed group-articulations that include a wide variety of

ornaments, including sumptuous fi oriture fl ashing by like passing thoughts.

The volatility of the rhythm is furthered by the approximate determination indicated

by ‘framework notation’, in which the speed of the performance can be adapted

to the degree of diffi culty of the hand-movements to be performed.

The composer also makes use of all the refi nements of the serialist piano techniques

still new at the time: graded use of the pedals, fl ageolets, sympathetic resonance,

directly playing the strings, and further colouring through dynamic shadings ranging

from quadruple piano to quadruple forte. The mostly single attacks are occasionally

alternated with smaller and larger clusters and with arpeggio constructions.

This systematic use of various possibilities for colouring and structuring characterises

Laporte’s aesthetic attitude: consolidation of New Music through an eclectic use

of the compositional techniques developed for this musical movement.

Ascension was not the fi rst of Laporte’s works tracing one great rising arch.

In Jubilus (1966) for three groups of brass instruments and three percussionists,

the composer took the same approach, and he did so again a year after Ascension

in De Profundis for mixed choir a capella: yet another work for which the musical

progression is described by the title.

In 1977, some ten years after Ascension, Laporte wrote Icarus’ Flight, with the

subtitle – again descriptive – Ascension II. In this case it is a solo piano that rises

from the depths and soon completes its ascent, towering above the accompanying

ensemble. However, here, once it has reached its highest point the piano’s musical

movement is reversed, plunging back into the depths. Icarus tumbles from the

heavens. In Ascension II, the double movement of rise followed by fall is related

to the story of the mythical aviator Icarus: from the sun to the shadows, ascent

to heaven/descent to hell, triumph and catastrophe, climax and cataclysm.

In Ascension (I), the reversal, the descent after reaching the highest point

(the note c’’’’’) is only sketchily suggested, ppp and pppp (after the sforzando

of the climax) through two somewhat longer notes.

In both Ascension compositions, however, as in so many of Laporte’s works,

the music represents an analogical model, an imaginary scenario, an unwritten

libretto. The music is striking in its clearly narrative structure.

[HERMAN SABBE]

music example 5

28 29

VICTOR LEGLEY (1915-1994)Sonate nr. 2 in des, op. 84 nr. 1 (Sonata no. 2 in D-fl at, op. 84 no. 1) - (1974)

Vic Legley wrote his Second Piano Sonata in 1974, almost 30 years after his fi rst

encounter with the genre in 1946 (op. 23). A third piano sonata appeared in 1977

(as op. 84 no. 2), while his fourth and last work in this genre dates from 1985 (op. 107).

Together these four sonatas form the core of Legley’s oeuvre for piano. The second

piano sonata consists of one single movement, although three segments are discernible.

The fi rst segment is characterised by a quick tempo, virtuoso arpeggio fi gures

and repeated chords in the piano’s high register. The central segment with its broad

lyrical lines forms a sharp contrast. This is followed by a return to the rapid arpeggio

fi gures from the fi rst segment, giving the composition an overall ABA’ form.

This segmentation into three, with the last segment as a varied reprise of the fi rst one,

is the only bow to classical sonata form. Within each segment, Legley opts for

a completely free interpretation of this genre ‘hallowed’ by tradition.

Besides the term ‘sonata’, the description ‘in D-fl at’ is somewhat misleading, since

here it in no way suggests the classical, tonal use of the ‘key of D-fl at major or minor’.

Nonetheless, the ‘pitch d-fl at’ does play an important structural role in the whole

composition, mainly in the form of a pedal note that appears at all important formal

caesuras. This is evident right from the beginning: after a short fi gure in octaves,

the note d-fl at is strongly anchored in the bass (see music example 6). A chord is

then sounded three times above this pedal, producing nine of the twelve chromatic

tones (including the bass note). The predominance of vertical fourths and thirds,

however, softens the dissonant character of this harmony. Also important is the

position of this chord, with the major triad of c on top, an element already suggested

by the previous octave passage. With this friction between the notes c and d-fl at

and between their accompanying triads, one of the central elements of tension

or confl ict in this composition is indicated, replacing the traditional confrontation

between tonic and dominant in traditional tonality.

Variants of these opening bars are repeated in the middle and at the conclusion

of the fi rst segment of the sonata. The return of this ‘refrain element’ (a) demarcates

two passages in the fi rst segment, each with its own character (a-A-a’-B-a’’).

The fi rst passage (A) is characterised by a virtuoso use of arpeggio fi gures in the high

register of the piano, which is associated by the composer with gamelan music.

The fi rst twelve notes of this passage present all twelve chromatic notes, and recur

repeatedly in this form (see music example 7, b. 5). The placing of the top notes

(c3 - g2 versus c-sharp3 - g-sharp3) again refl ects the tension between c and d-fl at.

After this arpeggio passage, a fi rst variant of the opening bars appears (a’).

Because of the domination of seconds, the chord above the pedal note now has a

much higher degree of dissonance. In the second passage within the fi rst segment (B),

the left and right hands alternate a rapid succession of chords in the higher register

of the piano and create an unpredictable rhythmic pattern through the irregular

repetition of these chords. A second variant of the opening bars (a’’) concludes

the fi rst major segment of this composition.

music example 6

music example 7

The central segment, with its slow tempo (Quasi adagio) and broad melodic lines

has a completely different character. The composer nevertheless creates a strong

link with the fi rst segment through the use of subtle references. Once again

the pedal note functions as a common fundamental (see music example 5).

Above this there appears an expressive melody characterised by seconds, sevenths

and ninths. The opening note c1 of this melody again lays bare the tension between

this note and the pedal note. A rhythmic condensation of the fi rst three notes

of the melody (c - b - g) then appears in a form reminiscent of the opening octaves

of the composition (see music example 7, b. 4, ff sub.). In the further progression of the

middle segment, this motif in octaves gradually takes over the pitch material of the

original fi gure (c - f - e - d-fl at, a permutation of the fi rst motif in music example 6).

30 31

The chords that sometimes sharply interrupt the melody (music example 7, b. 6,

affrettando) in turn refer in terms of their composition (mainly seconds) to the variants

a’ and a’’ of the fi rst segment, while their repetitive character links them to the

second passage (B) from that fi rst segment. The middle section continues with

a number of transpositions of the central lyrical melody (starting from d1, e-fl at1

and a1) before returning to its original form starting from c1, after which this adagio

softly dies out above the repeated pedal note d-fl at in the bass.

After this central segment there follows a varied reprise, based on the arpeggio

passage from the fi rst segment. The composition ends with a fourfold repetition

of the pedal note d-fl at in the bass, above which is heard the major triad on c (c - e - g - c),

which is in turn combined with major triads on a, b-fl at and b respectively (resulting

in increasingly sharp dissonance). The fourth repetition of the note d-flat,

now isolated, in the bass (ffff) seems to have decided the battle between d-fl at

and c once and for all. As a silent witness of this struggle, a concluding verse

by Guido Gezelle is found at the end of the score: ‘En den avond is nabij voor mij’

(‘And the evening is at hand for me’).

[KRISTOF BOUCQUET]

FRANK NUYTS (1957)3rd Piano Sonata “...et voces, praetereaque nihil...” – (2002)

This piano sonata forms part of a series of three large piano sonatas (the second,

the third and the fourth), originally intended to be performed by three pianists on

the same evening. The present sonata thus functions as the middle movement

of a ‘super sonata’ lasting some 90 minutes. It is typical of a middle movement,

less massive and stirring than the outer movements. The title, “...et voces,

praetereaque nihil...”, indicates that voices are the central element in this sonata:

votes are of crucial importance for Frank Beke, the Ghent politician and mayor,

to whom Nuyts dedicated this sonata (the Dutch translation of voces - stemmen -

has a double meaning of ‘voices’ and ‘votes’); at the same time, each of the three

movements in this third sonata is strictly written for a fi xed number of voices:

the fi rst movement for one voice, the second for three and the third for two.

Although Nuyts, together with Boudewijn Buckinx, has been among the most

passionate postmodernists in Flanders since the late 1980s, his unceasing

quest for metrical and rhythmic possibilities reveals a modernist tendency.

This meticulous handling of metre and duration was no doubt passed on to him

by his composition teacher, the serialist Lucien Goethals, but it is also the result

of his training as a percussionist. In the first movement (crotchet = 192)

of this sonata, he indeed seems to treat the piano like a marimba: note the tremolo

that appears for the first time in bars 19 and 21 (see music example 8).

Equally, the constant metrical shifting and ambiguity require the pianist to apply

other percussion techniques. At the same time, Nuyts is certainly not out

to interfere with the player’s enjoyment: since the 1980s he has made a point

of ensuring that his music remains attractive to both players and listeners.

The adoption of a style that perfectly suits the nature of the piano certainly

helps in realising this objective.

Like most of Nuyts’s music, this sonata is very transparent, light, carefree

and improvisational. And yet this is in many ways a traditional sonata: there

is a succession of movements (fast – slow – fastest); in terms of form and style,

there are constant references to the tonal sonata tradition and there are even

motivic references between movements (e.g., b. 412 left hand ~ b. 1). For the

macro-structure, Nuyts leaves nothing to chance, starting from a pre-determined

plan. The concrete working-out of this plan is nonetheless spontaneous and

improvisational. Nuyts is at his best in difficult-to-define border zones, such

as that between rock and classical music.

The first movement (crotchet = 192) is conceived in sonata form, while the third

movement (Con fuoco) is rondo-like. On a more detailed level, the sonata is

a succession of allusions. At one moment Nuyts may create a jazzy atmosphere,

whereupon we suddenly seem to have landed in a piano work by Bartok or Prokofi ev.

32 33

Time and again the listener is wrong-footed, as Nuyts toys with his musical ideas,

repeatedly changing their meaning. For example, through the use of cadences

(bb. 319-320), sequences (bb. 147-155) and suspensions (bb. 405 ff.), he creates

the comfortable impression of tonal music, while at the same time the context

keeps you off balance. In the choice of the succession of allusions, he also reveals

his humorous side. The fi rst movement, for instance, with its single line that

conjures up the tough world of metal music, is followed by a second movement

(crotchet = 84) which begins softly and sentimentally.

[ELISE SIMOENS]

music example 8

LUCIEN POSMAN (1952)Le conte de L’Etude Modeste - (2000)

The Ghent composer Lucien Posman likes a little humour. In Le conte de

L’Etude Modeste, he combines pastiche with recycling and quotations in

a highly individual way. The single-movement work tells a story, each episode

of which draws on existing works of music in parodies and witty combinations.

The result is one great collage, in which the composer’s ‘hand’ is recognisable

at certain moments in the ingenious way he has penned a virtuoso contemporary

piano work. Posman knows the piano thoroughly, he knows the classic stylistic

approaches to the instrument and inventively fits them into his story. Various

indications are included in the score in order to help the pianist to evoke

the story during the performance. These texts can be recited by an actor/narrator,

giving the work a music-theatre dimension.

Some of Posman’s humour has strong links to a particular time and place.

He wrote this work in 2001, alluding to a situation that held Belgium in its grip

at the time: the scandal, just before the elections, concerning dioxin in chicken-feed.

Posman refers to the affair in his ‘dioxin-chicken street-ballet’ (‘dioxinekippen-

straatballet’). He also uses the Belgian national anthem and quotes local folk

music, the Flemish/South-African folk song ‘Rij maar an, ossewagen rij maar aan’

(‘Drive on, ox cart, drive on’). In opposition to these anecdotal elements, which also

include an appearance by Orson Welles in a sewer, there are such universal allusions

as a ‘globalist’ member of parliament, and quotations from the folk song

‘Mijn haan is dood’ (‘My rooster is dead’, known in various languages), the Dies Irae,

the ‘fate’ motif from Beethoven’s Fifth Symphony, and the ‘Internationale’.

This last reference links Posman with his own city, since Julius De Geyter,

the composer of the ‘Internationale’, was also from Ghent. The story, however,

takes place in Paris.

The basis of the composition is formed by various episodes from Pictures at an

Exhibition by Modest Mussorgsky. The characters are also taken from Mussorgsky.

The main character is Modeste, a ‘modest’ study or étude for piano, sitting on

a bookshelf next to Pictures at an Exhibition. Just as Mussorgsky begins his work

with a ‘promenade’, the Etude begins by taking a walk.

Since Lucien Posman has himself described the work in detail, he is best placed

to take up the story: “Etude is only two streets further when she detects a scary

Gnome who is studying her in a barbaric way. The gnome notices her at once

and starts to chase her. She runs away and is able to hide in an Old castle.

She gets charmed by the bluesy lamentations of Bluebeard who is confi ned to his

bed. She opens a window and when she feels the cool breeze she also hears the

playful screams of children rising from the cellars of the nearby Centre Pompidou.

She decides to take a taxi. The driver introduces himself as Bydlo. He is a heavy-set

black man. He only knows one song: ‘Rij maar an, ossewagen rij maar aan’,

which he is humming constantly.

34 35

To kill time, Modeste tries out the melody of this song on ‘Pictures at an exhibition’,

her neighbour on the bookshelf, which – with some adjustments to the rhythm

– comes off wonderfully well. The taxi driver shows her some special attractions,

including the Belgian Street ballet of the dioxine Chickens which is causing

a real upheaval. To the strains of the Belgian folk song ‘Moeder de haan is dood’,

a dash of Beethoven and a little bit of the Dies Irae, a real Witch’s Sabbath

is staged. Modeste doesn’t feel well and asks Bydlo to turn on the radio.

On the radio a discussion is going on between the obese member of parliament

Goldenberg, a supporter of globalism, and Schmuyle, a washed-out Maoist from

the generation of May 1968. To the strains of Washington Post (in an orientalised

fashion) Goldenberg gives his vision of the future political order. Schmuyle counters

him, stammering to the tune of the International, the famous workers’ song com-

posed by Julius De Geyter, a composer from Ghent. It is a hopeless discussion and

Modeste asks for something else. Bydlo is annoyed and starts to drive his car furiously

to the Old Market-place, where nothing is going on so the wild ride takes off again.

In vain, Modeste urges him to calm down. At last they arrive at the Catacombs, which

turn out to be the out of use sewer where Orson Welles shot parts of ‘The Third Man’.

Modeste is feeling cold and Bydlo desperately proposes a visit to Baba Yaga.

Modeste refuses this resolutely and asks him to drive her back home. Bydlo brings

her home with exemplary and solemn conduct, to the tones of ‘It’s a long way

to Tipperary!’. Once home, l’Etude Modeste cuddles up to ‘Pictures at an Exhibition’

by her namesake, her favourite place.”

After the Mussorgsky/Ravel version of Pictures at an Exhibition, the music world

is now one Mussorgsky/Posman version richer.

[YVES KNOCKAERT]

GODFRIED-WILLEM RAES (1952)Fuzzy Harmony: studie nr. 5 (Fuzzy Harmony: Study No. 5) – (1996-97)

As of 2005, Godfried-Willem Raes has produced twelve compositions in his Studies in

Harmony series. The fi rst sub-series (1996-97) consists of eight compositions written for

a human performer playing on any keyboard instrument with strings (piano, harpsichord,

Tangentenfl uegel...). The second sub-series (2000-04) consists so far of four movements

conceived for automated instruments: studies 9 and 10 are for player piano, study 11

is for an automated keyboard instrument or, together with study 12, for the automated

orchestra developed by the composer. Studies 10 to 12 can, however, also be performed

by human musicians. Only in study 12 is human involvement impossible, because of

the use of Shepard Tones, whereby the concept of pitch is abandoned, leaving only

Tönigkeit. In order to achieve this, the sound spectrum must be very strictly controlled,

necessitating the use of machines.

As their title suggests, the harmonic aspect is central to these studies. Raes takes

scales, and not a specifi c melodic element, as his point of departure, in order to

focus exclusively on pitch and harmony. A central feature is the layering of pitches in

all possible combinations. The goal is thus not the harmonisation of thematic material

– although this does not preclude the perception of melody on the part of the listener.

‘Fuzzy’ refers to ‘fuzzy logic’, a branch of logic which replaces the division between

true and untrue with a series of gradual transitions between these two extremes.

Applied to the context of harmony, there is a continuum between the elements

of consonance and dissonance. Raes makes use of his own software (a sub-set of his

harmony library) in order to create harmonic sequences. The studies originally served

as a manner of testing this software. From the series thus produced the composer

then chooses the material required for a specifi c study. The machine (in this case

the computer) is thus only an aid to composing; the software presents options and

the composer makes the further musical choices. Important criteria for Raes include

the limitation of redundancy (both between the studies and within a particular study)

and the duration, as well as the playability by humans (spacing of the fi ngering, etc)

in the fi rst sub-series.

The indications for the performer in Study No. 5 are straightforward and apply to

the whole work: dolce, metronome marking 114, sempre piano. The time signature

of 6/8 also remains constant throughout. The fi fth study numbers 122 bars but gives

the impression of being a slice of a larger whole. Like the harmonic principle behind

this work, the beginning and the end seem not absolute but only an approximation.

The composition’s spiral-like form is reinforced by the pedal note b-flat in the contra-octave,

together with the recurring motif e-fl at - f - g - b-fl at in the middle register from bar

20, and the simple rhythmic patterns that play with the metrical feeling. At the same

time, a clear sense of phrasing can be perceived, and Raes indeed explicitly calls for

an expressive performance, in the hope of avoiding the misconception that compositions

involving machines should be played mechanically.

[JELLE DIERICKX]

36 37

PETER SWINNEN (1968)Xedalvu: omaggio a Paul Delvaux - (1995)

Peter Swinnen’s 1995 work, Xedalvu, was commissioned by the Frédéric Chopin Society

of Flanders. According to the terms of the commission, the fi nished work had to refer

in some way to Chopin. Swinnen, however, also wanted to create a work around the

Belgian surrealist painter, Paul Delvaux, who died in 1994. He found a point of contact

between Delvaux and Chopin in one of Delvaux’s paintings, Le Jardin nocturne (1944).

Xedalvu, an anagram of Delvaux, has the form and the character of a classic nocturne

in the style of Chopin with a tripartite ABA’-structure and a modal-atonal musical

language. On a deeper level, the complete and complex reading-process of Le jardin

nocturne is incorporated into the composition: at fi rst sight, the viewer sees an idyllic

night-time garden view, with fi ve naked women, albeit depicted in the typically strange

Delvaux style. It soon becomes apparent, however, that Delvaux has depicted the same

woman fi ve times, but in only two different poses, and each time from a different point

of view. Moreover, the garden itself turns out to be closed space, with the same décor

seen from a number of different angles. Only after combining all these details does

the viewer begin to grasp the total image in all its complexity.

As in Le Jardin nocturne, the listener is seduced by the “classical” thematic structure

in the A-section (Andante quasi Notturno ma senza Rubato), with only the short

introduction creating a somewhat strange impression. The sixteen bars can be

thematically subdivided into two times eight bars. These eight bars have, in turn,

an asymmetrical periodic structure consisting of a fi ve-bar opening phrase and a

three-bar secondary phrase. This suggests a reference to the fi ve female fi gures

in the painting, three of which stand in the foreground. Three and fi ve are also two

numbers in the fi rst Fibonacci series, which Swinnen often applies to his compositions

on a structural level. Delvaux uses these proportions in Le Jardin nocturne in the

form of the golden mean, in order to arrange the architectural elements in the garden.

The numbers three and fi ve are also clearly present in the rhythm of the melody

line in the form of triplets and quintuplets.

In the A-section, two metres, 5.5/4 and 4.5/4 constantly alternate, thus creating

a metrical framework for the written-out rubato in the melody. A fi xed rhythm

is linked to this in the left hand, which then functions as a rhythmic ostinato

(see music example 9).

The melody unfolds freely above the strict bass pattern, as is so often the case

in Chopin’s nocturnes. Swinnen uses a modal ordering of the pitches, a technique

that he has applied often since the mid 1990s, with Xedalvu as one of the fi rst

examples.

The contrasting B-section (sempre a tempo) is much less melodically-thematically

conceived and has the character of a round dance. At the same time, it is a sort

of passacaglia, in which the bass pattern, which is derived from the rhythmic ostinato

in the A-section, is varied in each segment. Initially, the musical material consists

of independent, percussively produced tones and sounds generated by the piano itself

or by playing on the instrument’s woodwork. The resonances in the piano lend

a strange quality to the normal piano sounds, paralleling the closed character of the

garden in the painting. Slowly but surely, however, more and more motivic and rhythmic

cells begin to appear, referring to the A-section and functioning as an anticipation of A’

(see music example 10). With this change of texture, Swinnen is playing with the viewer’s

realisation that nothing is quite what it seemed at fi rst: in a reading of Le Jardin

nocturne, too, the viewer is obliged to examine various details and then recombine

them into a complex whole.

A’ begins with a varied repetition of the theme from A. This is followed by four variations

on the theme, each of which receives its own colour through the addition of mixtures

to the originally monodic melody line or through the resonances in the piano.

This procedure can be seen as a reference to the fi ve different fi gures in the painting,

which turn out to be fi ve versions of the same woman, and to the garden which

consists of one and the same décor seen from different points of view. Finally,

the resonances, already present in B, refer to the closed character of the garden.

Xedalvu. Omaggio a Paul Delvaux is thus a multi-layered composition with various

complementary structures, as suggested by the work’s double reference.

[MAARTEN QUANTEN]

music example 9 music example 10

38 39

BART VANHECKE (1964)Les racines du monde – (1998)

The overall progression of pitches in Les racines du monde proceeds through

the whole ambitus of the piano keyboard, starting with the lowest note and ending

with the highest. Seen from this perspective, the title of the work seems to refer

to a cosmic evolution, in which the creation of human life out of the primal elements

of the world (les racines du monde) is evoked. The lowest register of the piano

can be seen as a representation of anorganic nature, while the middle register

is the creation of organic nature and the descant range symbolises the development

of human life. Les racines du monde can thus be considered a sounding paraphrase

of Schopenhauer’s philosophy of music.

The evocative title does not, however, betray anything of the restrictive compositional

process on which this work is based. Vanhecke writes in the post-serial tradition,

ordering a number of parameters of the sound in discreet quantities and then

mutually correlating these elements according to a strict mathematical matrix.

In this work, only the parameters of pitch and duration are subjected to a (typically

serial) analytical concept of musical material. The composer did leave himself

the freedom to decide such matters as the sound intensity (dynamics) and

the timbre (here, the manner of attack) of each note. In terms of the fi rst, the overall

dynamic curve of the work runs parallel to the pitch evolution. The lowest registers

of the piano keyboard are generally loud (up to fff); as the work moves through

various octave registers up to the highest notes of the keyboard, the volume

generally decreases (to ppp). The variation in timbre is mainly dependent on this

dynamic spectrum, since the composer works with only three nuances concerning

the manner of attack: accented (>), staccato and normal attack.

For the pitch organisation of Les racines du monde, Vanhecke uses a basic series

of 54 notes, the structural characteristics of which are established with an eye to

the fi nal sounding result. The basic series is constructed of eighteen cells, each

with three notes, (at least) two of which are at a distance of a semitone (see music

example 11).

Keeping in mind this restriction, there are only eighteen different three-note cells

with the above characteristics that can be constructed from the chromatic total.

The presence of at least one chromatic interval per three successive pitches in

the series guarantees a generally atonal sound in the composition. On a rhythmic

level as well, the building blocks of the composition have been predetermined.

Vanhecke developed nine different rhythmic cells, all consisting of six rhythmic

values. In addition, he increased the number of possible forms of each rhythmic

cell to twelve by making fi ve augmentations or diminutions of the basic form and

adding the retrograde form of each of these six possibilities.

These basic elements on the level of pitch (54 notes) and duration (9 rhythmic cells

each in 12 variants = 108) are mutually correlated according to a pre-ordained

mathematical system. In concrete terms, this means that each successive note

in the pitch series is assigned a specifi c rhythmic cell. Note, however, that there

are twice as many rhythmic cells as there are pitches. The reason for this lies

in the overarching structure of the work. On this larger level it becomes clear

that the pitch series is in fact heard two times. In order to assign to the notes

of the second exposition of the series rhythmic cells that are different from those

previously used, Vanhecke has created 108 variants of the 9 rhythmic basic cells.

The place at which the second presentation of the series makes its appearance

is precisely determined according to the golden mean – that is, at the 21st note

in the basic series. The further interactions between the two presentations of

the series are also subjected to the proportions of the golden mean, as illustrated

by the fi gure below. This fi gure also demonstrates that the second presentation

of the series is compartmentalised into segments, some of which occur recto

and others recurrent (see fi gure 1).

[JAN CHRISTIAENS]

music example 11 fi gure 1

40 41

MARC VERHAEGEN (1943)Sonatine (Sonatina) - (1987)

The Sonatina for piano is a classically-constructed, three-movement composition.

The whole is characterised by a high degree of transparency, strict and clear

metres and rhythm-structures, clearly delineated melodies and a lightly dissonant

harmony. The formal development is highly traditional.

The fi rst movement (Poco Allegro, 4/4, E=104, 77 bb.) is structured in small-scale

sonata form, with an exposition (bb. 1-25), development (bb. 24-46) and recapitulation

(bb. 47-77). The exposition begins with an A-segment (bb. 1-9) in which an irregularly

descending bass line (a) is linked to an ostinato rhythm in quavers in the left hand

(b) and to ascending triplet-fragments in the right hand (c). The general tenor

of this passage is introductory. The B-segment (bb. 10-19) begins decidedly more

slowly (E=80), with a theme to be played espressivo e rubato. The material of this

theme is immediatley developed and leads to a concluding segment (C, bb. 20-24),

which has a slowing effect in terms of its dynamics (pianissimo), rhythmic pulse

(crotchets in the left hand) and tempo marking (poco ritenuto). The development

is reached by way of a transitional bar (b. 25) and begins with a fi fth transposition

of the opening bar, emphasising even more the affi nity with the Early-Classical

sonatina structure. Material from (a), (b) and (c) is reprised, albeit in an altered

form. The developmental character of the passage is further confi rmed by the fact

that an augmented version of the head of the B-theme is placed above the A-material

(from b. 353; cf. b. 10). This broader version is imitated in the following bars and

leads to a climax through the raising of the registers and the swelling crescendo

from b. 40. The actual climax of this development comes at the beginning of b. 44

(fortissimo), after which the tension again subsides in preparation

for the recapitulation. In the recapitulation itself, the A-material is repeated intact,

although it now begins an octave lower. The B-theme is repeated starting in b. 54,

a minor third lower than in the exposition. Passing through a small elaboration

of the thematic development, the recapitulation matches the exposition note

for note from b. 62 (cf. b. 15). This analogy continues, for the most part,

at the beginning of the reprise of the C-segment. This concluding segment is,

however, somewhat extended, achieving a sense of fi nality through the lessening

of the dynamics, the absence of a rhythmic pulse and the repetition of slower motifs.

The second movement (Andante funerale, 4/4, E=54, 38 bb.), is conceived as a slow

funeral march. In formal terms, it more or less forms a continuous unity, although

there are several caesuras that result from small differences in texture and repetitive

patterns. The movement begins with an introduction (bb. 1-4) in which a slow bass

line in the left hand (a) is combined with an ostinato and a motif in the right hand

which is constantly changing to some extent (doux mais incisif) (b). Both elements

are reminiscent of the beginning of the fi rst movement, despite the very different

sounding result. From b. 5 a lyrical, even elegiac soprano melody is built on this

foundation (c - espressivo). In a fi rst phase, this melody continues until b. 18.

Over the course of two transitional bars (bb. 18-19), only the ostinato motif continues (b).

From b. 20 a second melodic line develops, paraphrasing the fi rst and completely

matching its character. Structurally, it functions as a variant of the theme. From

b. 27, the original theme is indeed literally reprised. This reprise continues to bar 32

(bb. 27-32; cf. bb. 5-10). After this the melody stops and once again only the ostinato

motif (b) remains, this time together with an unmoving bass note. Through the extension

of the length of the rests between the ostinato motifs in the fi nal bars (bb. 35-38),

the motorial drive, which determines the coherence of the whole movement, comes

to a standstill.

Both the character and the style of the fi nal movement (Allegro Giocoso, 3/4,

E=126, 90 bb.) suggest a classical rondo form. The lively main theme (A) is immediately

presented (b. 1, with direct repetition in b. 10) and subsequently in quasi-unaltered

form in b. 35 (and b. 44) and in b. 65 (and b. 74). The basic structure of the composition

is then built naturally on this triple repetition. Between the respective A-sections

there are contrasting passages, further articulating the rondo form. These passages,

however, provide absolutely no contrast in terms of character, since the giocoso

dynamics race on more or less without stopping through the whole movement.

The contrast is found, rather, in the fact that in the passages in question the thematic

material from A is handled more freely. The fi rst contrasting segment can be isolated

from bar 19, when there is not only a sudden lessening of the dynamics (piano subito)

but also the establishment of an ostinato rhythm on staccato quavers. The second

contrasting segment then assumes a less prominent role, but is discernible starting

at the diminuendo in bar 52. The reduced dynamics and complexity of texture

(reduction to two voices) is related to the introduction of a lyrical phrase, which

on closer inspection is an augmented variant of a passage from the main theme

(compare bb. 54-56 with bb. 13-22).

The third A-segment (from b. 65) develops a coda function from bars 75/76.

First, this works towards a fade-out rallentando (bb. 85-86); the rondo motif is then

repeated one last time in bar 87, after which the composition reaches a forceful

conclusion.

[PIETER BERGÉ]

C. Inventory

The alphabetical and chronological inventories display nearly all Flemish piano

works composed for concerts purposes between January 1950 and April 2005.

Most of the works can be consulted at the MATRIX archive (both scores and recordings).

Availability of the materials can be checked online at www.matrix.mu. This website

also offers detailed discussions of the biography and work of the composers,

as well as their contact information.

42 43

COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Aerts, Hans Berceuse triste 1993 1’30’’ 1 DMP

Aerts, Hans Canzonetta 1993 1’30’’ 1 DMP

Agsteribbe, Frank Bossuniana 13 1990 3’30’’ 1 Lantro Music

Agsteribbe, Frank Piano Sonata 1 14 1990 8’00’’ 1

Agsteribbe, Frank 7 Nocturnes fumeux fume/it is like a big tree/ 61 1999 13’00’’ 7 Lantro Music

(rondeau et variations)

Albert, Karel Sonatine nr. 2 in G 1951 8’00’’ 3

Albert, Karel Suite 1955 5’30’’ 3

Albert, Karel Thema met variaties 1955 1

Albert, Karel Bloeiende Lotus 1956 3’15’’ 1

Albert, Karel Sonatine nr. 3 1956 7’00’’ 3

Albert, Karel Triptiek 3 stukken voor piano 1960 4’30’’ 3

Albert, Karel Marionetten 1964 2’45’’ 1

Albert, Karel Klaverblad 1969 4’00’’ 3

Albert, Karel Wandelingen 1969 8’00’’ 5

Albert, Karel Sonatine nr. 4 1973 8’00’’ 3

Albert, Karel Een dag uit het leven 1975 18’30’’ 11

van Janneke en Mieke

Albert, Karel Metamorfose 1977 3’00’’ 1

Albert, Karel Sonatine nr. 5 1979 3

Albert, Karel Sonatine nr. 6 1984 3’30’’ 3

Baert, Bernard Habanera 1979 1

Baert, Bernard Affekten boek 2 1991

Baert, Bernard Affekten boek 1 1991

Baert, Bernard Autumn Sounds 1 1991

Baert, Bernard 2 Klankgedichten 12 1995 2

Baert, Bernard Verzameling didactische pianostukjes 15 1992-96

Baert, Bernard Klankgedichten 3-4 24 1997 2

Baert, Bernard Oases 27 1998 3

Baert, Bernard Als een rode draad 33/1 2001

Baert, Bernard Portret 33/2 2001

Biesemans, Janpieter Aubade 2 1980 12’00’’ 1

Biesemans, Janpieter Nocturne 1 1980 10’00’’ 1

Biesemans, Janpieter Serenade 4 1981 10’20’’ 1

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Lidwina 26 1985 7’40’’ 1

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Daniëlle 24 1985 10’00’’ 1

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Eva 20 1985 13’00’’ 1

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Régine 21 1985 6’00’’ 1

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Dominique 22 1985 7’00’’ 1

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Diana 23 1985 4’30’’ 1

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Catherine 25 1985 7’10’’ 1

Biesemans, Janpieter L’Yberia 32-34 1986 12’50’’ 3

ALPHABETICAL INVENTORY OF FLEMISH PIANO MUSIC SINCE 1950

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Biesemans, Janpieter 4 Bagamêlen 79-82 2000 7’40’’ 4

Biesemans, Janpieter 8 Trancendenties over dé Vrouw Monica 102 2004 8’00’’ 1

Bikkemberg, Kurt Corrie 1984 3’10’’ 1 Animato (Susato)

Blockeel, Dirk Pas à pascallia 1989 4’02’’ 1

Blockeel, Dirk 14 Bagatellen 1998-99 15’00’’ 14

Blockeel, Dirk Een tientje voor Louis 10 pianostukjes op thema’s 2004 11’00’’ 10

van De Meesters Betje Trompet

Bondue, Yves Bärenfang I 1989 8’00’’ 4 Lantro Music

Bondue, Yves 7 Haïku’s 1990 7’00’’ 7 Golden River Music

Bondue, Yves Bärenfang II 1990 8’00’’ 4 Lantro Music

Bondue, Yves Le sacre de l’enfant 1992 5’00’’ 1

Bondue, Yves Opus 22 in vitro musica 22 1993 8’00’’ 1

Bondue, Yves 5 Haïku’s 1994 6’30’’ 5 Golden River Music

Bondue, Yves Habanera 1994 5’00’’ 1 Golden River Music

Bondue, Yves Clusters 1999 9’00’’ 3 Golden River Music

Bondue, Yves Etude for Prof. José Eduardo Martins 2003 3’00’’ 1

Brewaeys, Luc Pyramids in Siberia 1989 16’00’’ 1

Brewaeys, Luc Nobody is perfect! Michael Finnissy Fifty 1996 2’30’’ 1 Lantro Music

Brewaeys, Luc In between... 1997 1’30’’ 1

Buckinx, Boudewijn Cappricioso 1959.53 1959 1’00’’ 1

Buckinx, Boudewijn Sonate in e 1959.16 1959 8’00’’ 2

Buckinx, Boudewijn 18 December 1960.63 1960 4’10’’ 1

Buckinx, Boudewijn 4 Augustus 1960.43 1960 8’00’’ 1

Buckinx, Boudewijn Amai 1960.37 1960 4’00’’ 1

Buckinx, Boudewijn Pianosonate 1960.39 1960 15’00’’ 3

Buckinx, Boudewijn Sonate 1960.62 1960 15’00’’ 3

Buckinx, Boudewijn Sonatine (cis) 1960.20 1960 10’00’’ 2

Buckinx, Boudewijn Triomf van een lyrisch burger 1960.56 1960 2’00’’ 1

Buckinx, Boudewijn Bagatel 1961.11 1961 6’00’’ 1

Buckinx, Boudewijn Poerperen Wand 1961.15 1961 5’00’’ 1

Buckinx, Boudewijn Newton 1962.12 1962 5’00’’ 1

Buckinx, Boudewijn [zonder titel] 1964.10 1964 2’00’’ 1

Buckinx, Boudewijn Miniatuur I 1965.07 1965 5’00’’ 1

Buckinx, Boudewijn Burokrasie A 1968.05 1968 10’00’’ 1

Buckinx, Boudewijn [zonder titel] 1978.01 1978 1’00’’ 1

Buckinx, Boudewijn Tancho 1978.02 1978 5’00’’ 1

Buckinx, Boudewijn Sarashina (Basho) 1979.02 1979 5’00’’ 1

Buckinx, Boudewijn Puerto Rey 1983.04 1983 12’00’’ 7

Buckinx, Boudewijn Adagio (the famous one, of course) 1984.15 1984 15’00’’ 1 AVK

Buckinx, Boudewijn Aftertought 1984.10 1984 2’20’’ 1 Lantro Music

Buckinx, Boudewijn American Allemande 1984.19 1984 1’00’’ 1

Buckinx, Boudewijn Just for me, for me alone 1984.09 1984 5’00’’ 1

Buckinx, Boudewijn Op het nieuwe jaar 1984.31 1984 3’00’’ 1

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Buckinx, Boudewijn Short Lived 1984.32 1984 25’00’’ 6 Eigentijds Muziek De Rode Pomp

RP-GMA13

Buckinx, Boudewijn [zonder titel] 1985.03 1985 5’00’’ 1

Buckinx, Boudewijn Lied zonder zanger 1985.06 1985 2’00’’ 1

Buckinx, Boudewijn Uit het gietijzeren kasteel 1986.04 1986 5’00’’ 1

Buckinx, Boudewijn [zonder titel] 1989.04 1989 1’00’’ 1

Buckinx, Boudewijn [zonder titel] 1989.22 1989 3’00’’ 1

Buckinx, Boudewijn B.Z. 1989.11 1989 1’00’’ 1

Buckinx, Boudewijn De controversiële avonturen 1989.17 1989 8’00’’ 6 Chiola

van Boduognat

Buckinx, Boudewijn [zonder titel] 1990.15 1990 2’00’’ 1

Buckinx, Boudewijn 8.4.1990 1990.08 1990 2’00’’ 1

Buckinx, Boudewijn Simonne’s Amerikaanse Toespraak 1990.17 1990 2’00’’ 1

Buckinx, Boudewijn Straatnamen 1990.14 1990 13’00’’ 2

Buckinx, Boudewijn Three Studies in Free Tonality 1990.13 1990 5’00’’ 3 Chiola

Buckinx, Boudewijn Vele groetjes 1990.05 1990 25’00’’ 25 AVK

Buckinx, Boudewijn [zonder titel] 1991.02 1991 10’00’’ 4

Buckinx, Boudewijn Blijf aan de lijn pièce téléphonique #2 1991.23 1991 12’00’’ 1

Buckinx, Boudewijn Faxletters to F. Rz. 1991.16 1991 3’00’’ 3

Buckinx, Boudewijn “Uw brief van 18 september” 1992.29 1992 1’00’’ 1 BMP

Buckinx, Boudewijn 5 Stukken 1992.28 1992 10’00’’ 4

Buckinx, Boudewijn Beste Claude 1992.02 1992 15’00’’ 10

Buckinx, Boudewijn Jan en Inge 1992.18 1992 1’00’’ 1

Buckinx, Boudewijn Los Capricchos 1992.11 1992 15’00’’ 13 Lantro Music

Buckinx, Boudewijn MXK 1992.27 1992 1’00’’ 1

Buckinx, Boudewijn Omoi Kittaru 1992.03 1992 5’00’’ 1

Buckinx, Boudewijn Jeu de boules 1993.02 1993 5’00’’ 1

Buckinx, Boudewijn Weltschmerz 1993.16 1993 6’00’’ 1

Buckinx, Boudewijn Der Werkverzeichner 1994.05 1994 1’00’’ 1

Buckinx, Boudewijn Per C 1994.10 1994 80’00’’ 4

Buckinx, Boudewijn Voor Anke 1994.07 1994 1’00’’ 1

Buckinx, Boudewijn Voor CC 1994.06 1994 6’00’’ 1

Buckinx, Boudewijn Aster 1995.18 1995 3’00’’ 1

Buckinx, Boudewijn Diary I: Summer ‘95 1995.14 1995 60’00’’ 1

Buckinx, Boudewijn Diary II: Autunno ‘95 1995.19 1995 30’00’’ 1

Buckinx, Boudewijn Minne 1995.17 1995 1’00’’ 1

Buckinx, Boudewijn Nieuw jaar in oude vaten 1995.01 1995 3’00’’ 1

Buckinx, Boudewijn S.C. Simonne’s Copenhague Birthday 1995.06 1995 1’00’’ 1

Buckinx, Boudewijn Toen Onno kwam 1995.13 1995 1’00’’ 1

Buckinx, Boudewijn V.Z.W. ver-zacht-wijd 1995.05 1995 10’00’’ 3

Buckinx, Boudewijn Diary III: Aki 1996.23 1996 15’00’’ 1

Buckinx, Boudewijn Dr MOC 1996.16 1996 1’00’’ 1

Buckinx, Boudewijn Eline V 1996.15 1996 1’00’’ 1

Buckinx, Boudewijn F.D. 1996.02 1996 0’30’’ 1

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Buckinx, Boudewijn Sokra’s 1+2 1996.07 1996 3’00’’ 3

Buckinx, Boudewijn Zwerfschoonheid 1996.12 1996 5’00’’ 1

Buckinx, Boudewijn Belangrijke stukken 1997.04 1997 1’00’’ 3

Buckinx, Boudewijn Care About Rescue of Love 1997.12 1997 3’00’’ 1

Buckinx, Boudewijn Diary IV: winter 1997.08 1997 10’00’’ 1

Buckinx, Boudewijn Diary V: Frühling 1997.11 1997 15’00’’ 1

Buckinx, Boudewijn Diary VI: Estate 1997.20 1997 20’00’’ 1

Buckinx, Boudewijn Diary: Herfst 1997.30 1997 5’00’’ 1

Buckinx, Boudewijn Pieter hier met Anke 1997.13 1997 1’00’’ 1

Buckinx, Boudewijn Valise oubliée consolation musicale & inutile 1997.31 1997 1’00’’ 1

Buckinx, Boudewijn 7 Haikoe’s 1998.09 1998 5’00’’ 7

Buckinx, Boudewijn Aan de andere kant 1998.08 1998 4’00’’ 1

Buckinx, Boudewijn De andere kant van het water 1998.12 1998 4’00’’ 1

Buckinx, Boudewijn Denken aan de andere kant van het water 1998.07 1998 5’00’’ 1

Buckinx, Boudewijn Ink dd nfrt 1998.16 1998 3’00’’ 1 Lantro Music

Buckinx, Boudewijn Kasper 1998.02 1998 1’00’’ 1

Buckinx, Boudewijn Mein schönes Wunderland 1998.29 1998 2’00’’ 1 Lantro Music

Buckinx, Boudewijn Philmmuziek 1998.17 1998 2’00’’ 1

Buckinx, Boudewijn Présence de Hauke Harder 1998.38 1998 1’00’’ 1

Buckinx, Boudewijn Van het water 1998.15 1998 3’00’’ 1

Buckinx, Boudewijn Voor Claudio Giordano 1998.25 1998 1’00’’ 1

Buckinx, Boudewijn Voor Karl Heeremans 1998.26 1998 1’00’’ 1

Buckinx, Boudewijn Voor Niemand 1998.24 1998 1’00’’ 1

Buckinx, Boudewijn Voor Niets 1998.23 1998 1’00’’ 1

Buckinx, Boudewijn 1999.02 1999.02 1999 2’00’’ 1

Buckinx, Boudewijn De tussenseizoenen 1999.16 1999 3’00’’ 3

Buckinx, Boudewijn Estudos 1999.01 1999 6’00’’ 3

Buckinx, Boudewijn P.S. voor P.S. 1999.04 1999 3’00’’ 6

Buckinx, Boudewijn Qantas Noites [...] 1999.07 1999 1’00’’ 1

Buckinx, Boudewijn Small Sighs 1999.11 1999 4’00’’ 6

Buckinx, Boudewijn Spirit 1999.12 1999 6’00’’ 6

Buckinx, Boudewijn Stop Inhuman War in Kosovo 1999.08 1999 2’00’’ 1

Buckinx, Boudewijn 15 september 2000.16 2000 2’00’’ 1 Lantro Music

Buckinx, Boudewijn Das Aha-Erlebnis im analytischen Bereich 2000.06 2000 3’00’’ 1

Buckinx, Boudewijn Een week in september 2000.15 2000 10’00’’ 5

Buckinx, Boudewijn Opus Primum XXI. Seculi 2000.01 2000 1’30’’ 1 Lantro Music

Buckinx, Boudewijn Voor wie het vindt 2000.03 2000 1’00’’ 1

Buckinx, Boudewijn Als kind was ik een kwint 2001.28 2001 1’00’’ 1

Buckinx, Boudewijn Blauw 2001.17 2001 3’00’’ 1

Buckinx, Boudewijn De achtertuin 2001.30 2001 3’00’’ 1

Buckinx, Boudewijn De draad van Ariadne 2001.27 2001 7’00’’ 1 Lantro Music

Buckinx, Boudewijn De kleine Fontanel 2001.10 2001 4’00’’ 1

Buckinx, Boudewijn Diary VIII 2001.01 2001 10’00’’ 1

Buckinx, Boudewijn For Victor Lachert 2001.03 2001 0’15’’ 1 Chiola

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Buckinx, Boudewijn H S I 2001.18 2001 2’00’’ 1

Buckinx, Boudewijn Non giusto 2001.23 2001 3’00’’ 1 Lantro Music

Buckinx, Boudewijn Ochtendgym 2001.21 2001 5’00’’ 4 Lantro Music

Buckinx, Boudewijn Roger Raveel 80 2001.11 2001 6’00’’ 1

Buckinx, Boudewijn Rotweer 2001.20 2001 1’00’’ 1

Buckinx, Boudewijn Sonatine académique 2001.31 2001 10’00’’ 3 Lantro Music

Buckinx, Boudewijn There you are 2001.15 2001 5’00’’ 1

Buckinx, Boudewijn Toi toi 2001.26 2001 8’00’’ 1

Buckinx, Boudewijn Voor de achterblijvers 2001.19 2001 1’00’’ 1

Buckinx, Boudewijn 50x de mooiste maat 2002.01 2002 3’00’’ 1

Buckinx, Boudewijn Diary IX 2002.15 2002 115’00’’ 1

Buckinx, Boudewijn Hip Hip Hurrah 2002.18 2002 3’00’’ 1

Buckinx, Boudewijn Ieder-zijn-beurt-dag 2002.19 2002 2’00’’ 1

Buckinx, Boudewijn Naklank 2002.04 2002 1’00’’ 1

Buckinx, Boudewijn Volpension CC 2002.14 2002 2’00’’ 1

Buckinx, Boudewijn Wallenstein Sonate 2002.13 2002 20’00’’ 3

Buckinx, Boudewijn Walnoot de beste noten staan aan wal 2002.08 2002 2’00’’ 1

Buckinx, Boudewijn Antonio Eduardo in Tervuren 2003.11 2003 3’00’’ 1 Lantro Music

Buckinx, Boudewijn Codex Gandensis 2003.01B 2003 45’00’’ 6

Buckinx, Boudewijn De kleine Oden van november 2003.31 2003 8’00’’ 6

Buckinx, Boudewijn Equinox 2003.22 2003 1’30’’ 1 Lantro Music

Buckinx, Boudewijn Kalpa 2003.13 2003 2’00’’ 1 Lantro Music

Buckinx, Boudewijn Little Spots on the Earth 2003.09 2003 7’00’’ 6 Lantro Music

Buckinx, Boudewijn Peace for Piano 2003.06 2003 20’00’’ 1

Buckinx, Boudewijn Weegschaal 2003.26 2003 3’00’’ 1 Lantro Music

Buckinx, Boudewijn 040404 2004.16 2004 1’00’’ 1

Buckinx, Boudewijn Flotsam 2004.05 2004 5’00’’ 1

Buckinx, Boudewijn Forensic Waltz 2004.11 2004 0’30’’ 1

Buckinx, Boudewijn KAHNYN[kanoen=eve] 2004.26 2004 6’30’’ 1

Buckinx, Boudewijn Kukatari 2004.23 2004 3’00’’ 1

Buckinx, Boudewijn LS 2004.07 2004 1’00’’ 1

Buckinx, Boudewijn Middle Way 2004.12 2004 1’00’’ 1

Buckinx, Boudewijn Ophanden 2004.25 2004 4’00’’ 1

Buckinx, Boudewijn The Floating World 2004.05 2004 22’00’’ 1

Buckinx, Boudewijn Three Penny Sonata 2004.10 2004 1’00’’ 1

Buckinx, Boudewijn Zwarte Tulpen 2004.20 2004 2’00’’ 1 Lantro Music

Budai, Erika Trollendans 1993 1’30’’ 1

Budai, Erika Sinterklaaslied 1997 2’15’’ 1

Budai, Erika Excellentia 2000 3’25’’ 1

Budai, Erika Voiles 2003 3’25’’ 1

Cabus, Peter Preludium 1950 2’00’’ 1

Cabus, Peter Sonatine nr. 1 1950 5’30’’ 3 Maurer

Cabus, Peter Fantasie 1954 5’00’’ 1

Cabus, Peter Sonatine nr. 2 1955 4’00’’ 3 Maurer KW 1103

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Cabus, Peter Preludium e Tema con Variazioni 1956 6’54’’ 2 Maurer KW 1103

Cabus, Peter Sonate nr. 1 1958 16’00’’ 4 Maurer KW 1103

Cabus, Peter Concertstudie nr. 1 1959 4’40’’ 2 Maurer Arcobaleno SBCD-1519

Cabus, Peter Sonatine nr. 3 1959 5’25’’ 3 Maurer KW 1103

Cabus, Peter Sonatine nr. 4 1960 6’00’’ 3 Maurer

Cabus, Peter 6 Gemakkelijke Stukjes 1962 7’10’’ 6 Maurer

Cabus, Peter 2 Dansen 1964 5’00’’ 2 Metropolis

Cabus, Peter 9 Miniaturen 1972 5’46’’ 9 Maurer KW 1103

Cabus, Peter Sonate nr. 2 1974 14’25’’ 2 Maurer KW 1103

Cabus, Peter 3 Bewegingen 1975 5’00’’ 3 Edition Centre

Cabus, Peter 11 Bagatellen 1978 11’55’’ 11 Maurer

Cabus, Peter G’schichten aus dem Hertogenwald 1979

Cabus, Peter Epiloog 1986

Cabus, Peter Concertstudie nr. 2 1988 3’00’’ 1 Arcobaleno SBCD-1519

Cabus, Peter Klein impromptu 1989 1’45’’ 1

Cabus, Peter Sonatine nr. 6 1989 3’25’’ 2

Cabus, Peter 3 Inventies over de naam Pierre Somers 1992 6’45’’ 3

Cabus, Peter Herinnering aan een lied... 1992 1’10’’ 1

Cabus, Peter 3 Hommages 1993 9’25’’ 3 CeBeDeM

Cabus, Peter Twee: een stel 12? 1993 7’30’’ 12 Maurer

Cabus, Peter Piccola Rapsodia 1994 6’00’’ 1

Cabus, Peter Sonatine nr. 5 1962-94 6’00’’ 3

Cabus, Peter Valse du Capucin Gourmand Hommage aan Chopin 1996 3’30’’ 1

Cabus, Peter 12 Korte Pianostukjes 1960-97 17’00’’ 12 Maurer René Gailly 87 101

Cabus, Peter Quelques leçons d’histoire de la musique 1997 2’15’’ 4

Cafmeyer, Hans 7 pedagogische werkjes 1995 10’00’’ 7

Carron, Willy Paesaggi con Bach 12 invenzioni per pianoforte 1986 18’00’’ 12 CeBeDeM

Celis, Frits Preludio, Toccata ed Epilogo op de naam Christel (Kessels) 58 1996 13’00’’ 3 DMP

Ceulemans, Ivo 3 Stemmingen 88 1956 3

Ceulemans, Ivo Toccata 89 1958 2’15’’ 1

Ceulemans, Ivo Nostalgico 97 1960 2’15’’ 1

Claesen, Ludo Capriccio 1985 4’00’’ 1 Animato (Susato)

Claesen, Ludo Scherzando 1987 2’00’’ 1 Animato (Susato) Klara CD 9503

Coeck, L. Jan 4 Cookies 1993 8’55’’ 4

Coppens, Claude Série et variations 14 1960 6’00’’ 10 CeBeDeM

Coppens, Claude 4 Lichte stukken 1964 14’30’’ 4

Coppens, Claude Sonate structure 1 1964 11’30’’ 2

Coppens, Claude Etude concertante rythme et contrepoint VI - VII 1971 8’30’’ 1

Coppens, Claude Klavierbüchlein 1972 17’00’’ 4

Coppens, Claude ‘Just so’ studies 1980 10

Coppens, Claude Impromptu in D 1982 6’00’’ 1

Coppens, Claude Fin-de-siècle étude pour ‘sirènes’ 1993 5’00’’ 1

Coryn, Roland Drie Stukken voor pianosolo 2 1970 8’35’’ 3 Maurer

Coryn, Roland Per piano solo 5 1972 5’00’’ 1

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Coryn, Roland Vier Miniaturen voor piano 6 1973 8’00’’ 4 Andel

Coryn, Roland Pianosuite voor de Jeugd 19 1979 11’00’’ 7 Maurer

Coryn, Roland Toccatella 18 1979 4’00’’ 1 Edition Centre

Coryn, Roland Sonata per due pianoforte 25 1982 17’00’’ 5

Coryn, Roland Sonatine voor piano 39 1989 5’00’’ 3 Maurer

Coryn, Roland Een Dansloze Suite voor jonge en andere pianisten 59 1996 8’00’’ 7 Golden River Music

Cox, Boudewijn Prelude 1998 5’00’’ 1 Metropolis

Cox, Boudewijn Bagatelle 1999 2’00’’ 1

Cox, Boudewijn Equinox 2002 9’00’’ 1

Cox, Boudewijn Caccia 2003 5’00’’ 1

Craenen, Paul black hand, white hand 1998 7’00’’ 3

Craenen, Paul Falco tinnunculus 1999 5’00’’ 1 HA’ Records 6003 2

Craens, Alain De geheimzinnige ruïne 1989 2’00’’ 1 Animato (Susato)

Craens, Alain De kleine harlekijn 1989 3’00’’ 1 Animato (Susato)

Craens, Alain Midnight Express 1989 2’00’’ 1 Animato (Susato)

Craens, Alain Valkenjacht 1989 3’00’’ 1 Animato (Susato)

Craens, Alain Zoals het klokje thuis tikt 1989 2’00’’ 1 Animato (Susato)

De Clerck, Patrick Elegia in memoriam 27 1997 8’00’’ 1 Dom Gorokhov

De Decker, George Sonatine 1973 5’00’’ 3 De Monte

De Decker, George Brahma Viharas 1975 7’00’’ 4

De Decker, George Tsjoen 1979 7’00’’ 3

De Haes, Tom Elegie en Toccata hommage aan Olivier Messiaen 2003 3’15’’ 2 DMP

de Jong, Marinus 3 Schilderijen uit een tentoonstelling 58 1950 9’30’’ 3 CeBeDeM Phaedra 92015

van Vincent van Gogh

de Jong, Marinus Sonatine 47 1950 6’00’’

de Jong, Marinus Boublitschki 59 1952 12’00’’

de Jong, Marinus Toccatino 57 1953 1’45’’ 1

de Jong, Marinus Etude “Praia da nocha” 55/2 1954 2’00’’ 1

de Jong, Marinus Nocturno II 66 1954 4’50’’

de Jong, Marinus Boschscène 1956 1

de Jong, Marinus Scherzo-idylle uit Hiawatha’s lied 68 1956 3’30’’ 1 CeBeDeM Phaedra 92015

de Jong, Marinus Sonatine 1959 6’00’’ 3

de Jong, Marinus 15 Fantasie-walsen 118 1960 30’00’’ 15

de Jong, Marinus Spaanse suite 1963 12’00’’ 6

de Jong, Marinus Variaties op een oud-Vlaams volkslied 1965 2’00’’ 1

de Jong, Marinus Congolese volksliederen 150/c 1968 8’00’’ 4

de Jong, Marinus 5 Insecten-bagatellen 153 1969 15’00’’ 5

de Jong, Marinus Kinderspelen naar het schilderij 165 1973 25’00’’ 25

van Pieter Brueghel

de Jong, Marinus Feestmars 1974 1

de Jong, Marinus Lentetover “Op huize meizang” 176 1978 6’00’’ 1

de Jong, Marinus Fantasiestukken 178 1980 4

de Jong, Marinus Triptiek 183 1980 3

de Jong, Marinus Variaties “Ik stond op hoge bergen” 184 1980 1

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

de Jong, Marinus Elegie 189 1982 4’00’’ 1

de Jong, Marinus Bruiloftsmarsch 195 1983 3’00’’ 1

de Jong, Marinus Droombeeld 193 1983 6’00’’ 1

De Jonghe, Marcel Galop 1979 1’45’’ 1 Euprint

De Jonghe, Marcel March van het logge zwaantje 1979 1’45’’ 1 Euprint

De Jonghe, Marcel Rondino alla marcia 1979 2’15’’ 1 Euprint

De Jonghe, Marcel Scottish 1979 1’00’’ 1 Euprint

De Jonghe, Marcel Toccatina 1979 3’00’’ 1 Euprint

De Jonghe, Marcel Elegietta 1982 3’00’’ 1 Euprint

De Jonghe, Marcel Hobbelpaardje 1982 1’30’’ 1 Euprint

De Jonghe, Marcel Little Chinese toy 1982 2’00’’ 1 Euprint

De Jonghe, Marcel Oude prent 1982 1’30’’ 1 Euprint

De Jonghe, Marcel The dream of Sebastian 1982 3’00’’ 1 Euprint

De Jonghe, Marcel Introspection I 1984 5’00’’ 1 Andel

De Jonghe, Marcel Introspection II 1986 5’00’’ 1 Maurer

De Jonghe, Marcel Introspection III 1987 9’00’’ 1 Lantro Music

De Jonghe, Marcel Introspection IV 1988 6’00’’ 1 Maurer

De Jonghe, Marcel Introspection V 1988 5’00’’ 1 Maurer

De Jonghe, Marcel Introspection VI 1990 9’39’’ 1 Lantro Music Pavane ADW 7290

De Jonghe, Marcel Gavotteske 1996 4’00’’ 1 Euprint

De Jonghe, Marcel Metronobile 1999 1’30’’ 1 Lantro Music

De Jonghe, Marcel Molak-suite 1999 2’30’’ 3 Lantro Music

De Jonghe, Marcel Uit grootvaders tijd 2000 6’00’’ 4 Lantro Music

De Maeyer, Jan Ritratto di sette dei romani 7/1 1982 12’00’’ 7 CeBeDeM

De Maeyer, Jan De kat en de muis 1983 1’30’’ 1 Metropolis

De Meester, Louis Petites variations 1954 8’00’’ 9 CeBeDeM

De Meester, Louis Toccata 1955 1’50’’ 1

De Meester, Louis Mimes 1958 10’00’’ 3 CeBeDeM

De Meester, Louis Sonatine 1964 12’00’’ 3 CeBeDeM

De Middeleer, Jean Sonatine 1963 15’00’’ 3 CeBeDeM

De Nef, Dirk Rond’Eau 1994 6’00’’ 1

De Nef, Dirk Pentona 1995 3’00’’ 1

De Nef, Dirk Spring-dance 1995 3’00’’ 1

De Nef, Dirk Enfantasie 1996 3’00’’ 1

De Nef, Dirk Actus Purus 1998 10’00’’ 1

De Pillecyn, Jurgen Sonatine 1996 7’00’’ 1

De Smet, Raoul Handgemeen 1961 8’00’’ 1 Lantro Music

De Smet, Raoul Twee preludes 1961 3’00’’ 2

De Smet, Raoul Meditatie 1 1963 3’30’’ 1 CeBeDeM Digi Classics 98 08032

De Smet, Raoul Meditatie 2 1965 2’20’’ 1 CeBeDeM Digi Classics 98 08032

De Smet, Raoul Meditatie 3 1965 3’50’’ 1 CeBeDeM Digi Classics 98 08032

De Smet, Raoul Meditatie 4 1965 3’30’’ 1 CeBeDeM Digi Classics 98 08032

De Smet, Raoul Sonata primitiva 1965 10’00’’ 3 Lantro Music

De Smet, Raoul Meditatie 5 1992 7’20’’ 1 CeBeDeM Digi Classics 98 08032

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

De Smet, Raoul Facetten 4 variaties op een thema 1993 3’40’’ 1 BMP

van Jeroen Raedschelders

De Smet, Raoul Blues Fantasy 1998 5’30’’ 1 Lantro Music

De Smet, Raoul Meditatie 6 1999 6’00’’ 1

De Smet, Raoul Meditatie 7 2001 3’20’’ 1

De Smet, Raoul Schets in zwart-wit 2003 2’30’’ 1

De Smet, Raoul Réfl exion sur les notes répétées 2004 2’30’’ 1

de Visscher, Eric Incidents I 1987 3’00’’ 1

de Visscher, Eric One more than three voor speelgoedpiano of piano 1990 16’00’’ 4

De Vocht, Lodewijk Fantastische rit 1950 1’41’’ 1

Decadt, Jan Prelude nr. 4 rituele dans 1955 2’45’’ 1

Decadt, Jan Prelude nr. 3 idylle 1960 2’08’’ 1 Metropolis

Decadt, Jan Prelude nr. 5 tanja 1960 4’00’’ 1

Decadt, Jan Kleengedichtjes I-II 1970 3’10’’ 2 Andel

Decadt, Jan Kleengedichtjes III-IV 1970 4’12’’ 2 Andel

Decadt, Jan Pas-de-deux 1970 1’50’’ 1

Decadt, Jan Kinderscènes 1971 3’00’’ 2 Schott

Decadt, Jan Scherzoso - Stoeierij 1976 5’30’’ 1 Andel

Decadt, Jan Diana 1982 4’57’’ 1 CeBeDeM

Decadt, Jan ¿ Porqué ...? 1e Prelude 1989 4’12’’ 1 CeBeDeM

Decancq, Raymond Miniatuurmars - Fata Morgana 1992 5’10’’ 2 Golden River Music

Decancq, Raymond Tango - Humoreske 1993 3’38’’ 2 Digital Music Print

Decancq, Raymond Danssuite 1995 12’25’’ 7 Golden River Music

Decancq, Raymond A portrait in music 1999 3’15’’ 1 Golden River Music

Decancq, Raymond A funny lady in triplicate 2002 4’35’’ 1

Dejoncker, Theo Sonate 1950

Dejonghe, Koen Arlequino an interrupted rondo 1980 3’00’’ 1

Dejonghe, Koen Ragtime 1988 2’00’’ 1

Dejonghe, Koen Barcarolle 1989 1’00’’ 1

Dejonghe, Koen Ritorno eterno 1989 6’00’’ 1

Dejonghe, Koen Vijf stukken voor een ballet 1989 12’00’’ 5 Sibeliusmusic

Dejonghe, Koen Preludio, toccata e aria 1990 7’00’’ 3

Dejonghe, Koen Canto nero o bianco 1991 3’00’’ 1

Dejonghe, Koen Iride 1991 4’00’’ 1

Dejonghe, Koen Hippodroom 1993 4’00’’ 1 DMP

Dejonghe, Koen Parade 1993 4’00’’ 1 DMP

Dejonghe, Koen A(n)dante naar Dante’s 1994 8’00’’ 3

“La divina commedia”

Dejonghe, Koen Introduktie en Scherzo 1995 3’00’’ 2

Dejonghe, Koen Passage 1995 3’00’’ 1

Dejonghe, Koen Akwarel 1997 1’00’’ 1

Dejonghe, Koen Lucky Luke’s Ragtime 2002 2’30’’ 1 Sibeliusmusic

Dejonghe, Koen Flowers in the desert miniature for piano 2003 1’00’’ 1 Sibeliusmusic

Delvaux, Albert Movimento 1981 1’10’’ 1

62 63

COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Devreese, Frédéric Mascarade 1953 12’00’’ 3 CeBeDeM Cyprès CYP 1619

Devreese, Frédéric Prélude 1972 1

Devreese, Frédéric Black & White 1984-90 15’00’’ 9 CeBeDeM Cyprès CYP 1619

Devreese, Frédéric Wiegelied voor Jesse 1992 1

Devreese, Frédéric Short Waltzes 1997 4

Devreese, Frédéric Mobile 2000 5’00’’ 1 CeBeDeM

Devreese, Frédéric 9 Waltzes 2001 27’30’’ 9 CeBeDeM

Devreese, Frédéric Soundtrack vol. I-III 1970-2001 70’00’’ 3 CeBeDeM

D’haene, Frédéric For declining times 1990

D’haene, Frédéric The peaks were...The valleys came in Musik für Lara 1992

D’Haene, Rafaël 9 Stukken 1968 9

D’Haene, Rafaël Sei canzone 1981 15’50’’ 6 CeBeDeM

D’hoe, Jeroen Piano Suite no. 1 1995 10’00’’ 5

D’hoe, Jeroen Toccata-Scherzo 2002 4’30’’ 1 CeBeDeM Cyprès CYP 9616

D’Hollander, Geert Sonata 22 1991 6’00’’ 4

Dubois, Chris Een habanera voor Miranda 1999 4’00’’ 1 Musica Flandrorum

Duijck, Johan Klavertjevier 5 1985 13’41’’ 4 Phaedra 92036

Duijck, Johan Illuminatio 7 1987 8’00’’ 1

Duijck, Johan Zeven-mijlslaarsjes 13 1993 8’08’’ 7 Phaedra 92036

Duijck, Johan Discretio 14 1994 9’04’’ 1 Phaedra 92036

Duijck, Johan The well-tempered pianist - Book I 19 2002 6’53’’ 12 Phaedra 92036

Duijck, Johan The well-tempered pianist - Book II 20 2002 8’02’’ 12 Phaedra 92036

Duijck, Johan The well-tempered pianist - Book III 21 2002 8’26’’ 12 Phaedra 92036

Duijck, Johan The well-tempered pianist - Book IV 22 2002 8’30’’ 12 Phaedra 92036

Duijck, Johan Le tombeau de Ravel 23 2003 12’00’’ 3

Durlet, Emmanuel Kerstverhaal 1950 1’30’’ 1 E. Durlet Fonds

Durlet, Emmanuel Kleine tango 1951 1’30’’ 1 E. Durlet Fonds

Durlet, Emmanuel Het laatste oordeel naar Dieudonné Raick 1952? 5’00’’ E. Durlet Fonds

Durlet, Emmanuel Studie in D naar Dieudonné Raick 1952? 3’50’’ 1 E. Durlet Fonds E. Durlet Fonds

Durlet, Emmanuel Het dal der goede gedachten 1954 4’00’’ E. Durlet Fonds E. Durlet Fonds

Durlet, Emmanuel Weet ge nog? 1959 1’20’’ 1 E. Durlet Fonds

Gevers, Emmanuel A.B.A. 1983 2’00’’ 1 Metropolis

Geysen, Frans Dé-Cis 1971 1’30’’ 1

Geysen, Frans Endeavour 1971 6’00’’ 1 CeBeDeM

Geysen, Frans Grootste beweging in kleinst 1971 2’00’’ 1

denkbare ruimet

Geysen, Frans Kanalisatie 1971 3’00’’ 1

Geysen, Frans HET 1972 5’30’’ 7

Geysen, Frans Frans’ze tuin I 1973 2’10’’ 1

Geysen, Frans De dingen die zullen komen 1974 30’00’’ 1

Geysen, Frans Frans’ze tuin II 1974 2’00’’ 1

Geysen, Frans 3 Pianostukken 1975 3’30’’ 3

Geysen, Frans Berts Pianoboek 1976 15’00’’ 23

Geysen, Frans Geerts Pianoboek 1976 18’00’’ 20

64 65

COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Geysen, Frans Leens Pianoboek 1976 14’00’’ 21

Geysen, Frans Lieves Pianoboek 1976 18’00’’ 20

Geysen, Frans 4 Korte stukken 1977 3’50’’ 4 CeBeDeM

Geysen, Frans Muziek voor toetsenbord 1977 5’00’’ 1 CeBeDeM

Geysen, Frans Nutslen 1977 7’35’’ 1

Geysen, Frans Denkbare muziek 1982 6’00’’ 1 CeBeDeM

Geysen, Frans A+B=A/B 1984 1’30’’ 1

Geysen, Frans Regen in Gent 1984 3’00’’ 1

Geysen, Frans Tonen-trappenhuisje voor Hanne 1984 0’30’’ 1

Geysen, Frans 50 x Hedwig Speliers 1985 2’00’’ 1

Geysen, Frans Gedwarrel 1985 0’30’’ 1

Geysen, Frans Tussenstuk in rood 1990 3’00’’ 1 CeBeDeM

Geysen, Frans Voorstuk in paars 1990 7’00’’ 1 CeBeDeM

Geysen, Frans Eerbetoon aan Jan Michiels 1991 1’30’’ 1

Geysen, Frans Het pianoboek van Antje Speliers 1992 16’00’’ 17

Geysen, Frans Wereld van volheid 1992 6’00’’ 1

Geysen, Frans Evident, effi ciënt, consequent 1993 5’00’’ 1

Geysen, Frans Intuitief, wel standvastig 1993 2’45’’ 1

Geysen, Frans 3 Klavierstukken 1994 10’30’’ 3

Geysen, Frans 8 Klavierstukken 1994 13’33’’ 8 CeBeDeM

Geysen, Frans Gestuurd handwerk voor vingers 1994 3’12’’ 1

Geysen, Frans I Fratelli della Carità 1994 3’15’’ 1

Geysen, Frans Karel Goeyvaerts-memoriaal 1994 6’40’’ 1

Geysen, Frans Aanzet 1995 2’10’’ 1

Geysen, Frans Balorig 1996 2’06’’ 1

Geysen, Frans Hoe alles draait en keert 1996 1’36’’ 1

Geysen, Frans Hulpeloos 1996 2’24’’ 1

Geysen, Frans Onnoembaar 1996 5’42’’ 1

Geysen, Frans Smook 1996 1’48’’ 1

Geysen, Frans Toetsenstuk voor Lucien Goethals 1996 7’00’’ 1

Geysen, Frans Tristitia aurea 1996 5’20’’ 1

Geysen, Frans Gehoor op oneindig I 1997 1’30’’ 1

Geysen, Frans Muziek voor toetsenbord I 1998 27’30’’ 13

Geysen, Frans De rusten maken het verschil 1999 4’00’’ 1

Geysen, Frans Er binnenin 1999 2’00’’ 1

Geysen, Frans Even zweven 1999 1’40’’ 1

Geysen, Frans Gehoor op oneindig II 1999 1’30’’ 1

Geysen, Frans Muziek voor toetsenbord II 1999 27’54’’ 15

Geysen, Frans Testdag 1999 3’15’’ 1

Geysen, Frans 4 Tweeluiken 2000 8’12’’ 4

Geysen, Frans Alles heeft zijn tijd nr. 4 2000 5’00’’ 1

Geysen, Frans Alles heeft zijn tijd nr. 5 2000 3’00’’ 1

Geysen, Frans Alles heeft zijn tijd nr. 8 2000 1’40’’ 1

Geysen, Frans Alles komt terug nr. 5 2000 5’45’’ 1

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Geysen, Frans Benadering van de kern 2000 2’00’’ 1

Geysen, Frans Drievoudig 2000 2’45’’ 1

Geysen, Frans Toetsing 2000 2’12’’ 1

Geysen, Frans Ik kan het ook niet helpen 2001 3’00’’ 1

Geysen, Frans Möbiusband nrs. 1-14 2001 42’30’’ 14

Geysen, Frans Tussendoortje 2001 5’00’’ 1

Geysen, Frans 4 Klankvlakken met dubbellijn 2002 2’48’’ 1

Geysen, Frans 4.3.5.5.3.4 2002 2’00’’ 1

Geysen, Frans Alleen klank zij eer nrs. 1,2,4,5,6,7 2002 17’32’’ 6

Geysen, Frans Kinderspel 2002 12’42’’ 9

Geysen, Frans Nastuk in blauw 2002 4’12’’ 1

Geysen, Frans Rechts en averechts 2002 2’48’’ 1

Geysen, Frans ‘s Zomers 2002 5’36’’ 1

Geysen, Frans Voor 2 handen 2002 1’12’’ 1

Geysen, Frans Binst de begrenzing 2003 3’30’’ 1

Geysen, Frans De kleuring 2003 1’40’’ 1

Geysen, Frans De ommekeer 2003 3’46’’ 1

Geysen, Frans Het onvoorspelbare 2003 3’48’’ 1

Geysen, Frans Het verschijnen en verdwijnen 2003 1’42’’ 1

Geysen, Frans Melodie binnen de perken 2003 0’51’’ 1

Geysen, Frans Zee 2003 18’33’’ 5

Geysen, Frans “Wat is daar nu aan?” 2004 3’42’’ 1

Geysen, Frans Al op enen wintersen dag 2004 1’20’’ 1

Geysen, Frans De rusten maken het ritme 2004 2’36’’ 1

Geysen, Frans Epifanie van alfabes 2004 1’48’’ 1

Geysen, Frans Gedachtenloos 2004 2’52’’ 1

Geysen, Frans Heelal 2004 8’07’’ 5

Geysen, Frans Laat werk 1-18 2004 65’00’’ 18

Geysen, Frans Muziek om het geld de baas 2004 1’10’’ 1

en het leven aan te kunnen

Geysen, Frans Van alle druk ontheven 2004 9’00’’ 1

Geysen, Frans Yo so yo 2004 2’27’’ 1

Gilles, Jules Fantasia 6/4 1973 4’00’’ 1

Gilles, Jules Boertig Toccata (3 Kleine Stukken) 11/3 1975 2’00’’ 1 DMP

Gilles, Jules Een scabreus, vuyl ende onwelvoegelic vooisken 12/3 1976 3’00’’ 1

Gilles, Jules Hommage à Raf Belmans 13/4 1978 8’00’’ 1

Gilles, Jules Noël 14/3 1978 5’00’’ 1

Gilles, Jules Mutatis mutandis variations sur deux 16/1 1980 10’00’’ 1 Copa

chants populaires

Gilles, Jules Kleine Berceuse 18/5 1983 2’00’’ 1

Gilles, Jules Moloïse (3 Kleine Stukken) 20/6 1985 7’00’’ 1 DMP

Gilles, Jules Menuet (3 Kleine Stukken) 21/1 1993 5’00’’ 1 DMP

Gilles, Jules Ragtime en Fuga 21/3 1995 9’00’’ 2 DMP

Gilles, Jules Oorlog en vrede 25/2 1998 8’00’’ 3

68 69

COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Gistelinck, Daniel Résonances 1987 6’00’’ 1 Andel De Rode Pomp RP-GMA 25

Gistelinck, Elias Kleine Treurmuziek voor Che 22a 1974 2’36’’ 1 René Gailly 87 113

Gistelinck, Elias 5 Preludes for a little boy 29 1982 12’00’’ 5 René Gailly

87 113 + 87 002

Gistelinck, Elias Prelude 6 34 1986 4’12’’ 1 René Gailly 87 113

Gistelinck, Elias Clowns suite 45a 1990 12’00’’ 10 René Gailly 87 113

Gistelinck, Elias Prelude 12 66 2003 2’30’’ 1 CeBeDeM

Gistelinck, Elias Prelude 13 67 2003 2’40’’ 1 CeBeDeM

Gistelinck, Elias Prelude 14 68 2003 2’00’’ 1 CeBeDeM

Gistelinck, Elias Prelude 15 69 2003 2’35’’ 1 CeBeDeM

Gistelinck, Elias Prelude 16 70 2003 2’00’’ 1 CeBeDeM

Gistelinck, Elias Prelude 17 71 2003 2’45’’ 1 CeBeDeM

Gistelinck, Elias Preludes 7-8-9-10-11 65 2003 6’40’’ 5 CeBeDeM

Gistelinck, Elias Suite for piano preludes 18-22 72-76 2003 15’15’’ 5 CeBeDeM

Goddaer, Norbert Waltzing Cats 1994 2’00’’ 1 Lantro Music

Goddaer, Norbert Six Flâneries 1996 13’00’’ 6 DMP

Goddaer, Norbert TLC (Tender Loving Care) 1998 2’00’’ 1 Lantro Music

Goddaer, Norbert Sonatina 2003 16’00’’ 4 Lantro Music

Goddaer, Norbert Six Inventions 2004 14’00’’ 6 Lantro Music

Goethals, Lucien Burletta 1953 2’00’’ 1

Goethals, Lucien 2 Capriccio’s 11 1959 4’00’’ 2 CeBeDeM

Goethals, Lucien 2 Dodecafonische gestalten 1959 6’00’’ 2

Goethals, Lucien Música Dodecafónica 1959 3’00’’ 1

Goethals, Lucien 2 Kristallen 21 1961 6’00’’ 2

Goethals, Lucien 2 Tekeningen 20 1961 4’00’’ 2

Goethals, Lucien Pentagoon 1963 5’00’’ 1

Goethals, Lucien Tweehandige Inventie 1991 10’00’’ 1 CeBeDeM

Goeyvaerts, Karel Litanie I 1979 10’09’’ 1 CeBeDeM Megadisc 7848

Goeyvaerts, Karel Aquarius-tango 1984 2’00’’ 1 CeBeDeM Megadisc 7848

Goeyvaerts, Karel Pas à pas 1985 6’10’’ 1 CeBeDeM Megadisc 7848

Gyselynck, Franklin Tre ricercari 1975

Gyselynck, Franklin Cosmos 1980

Gyselynck, Franklin Night and day 1980

Gyselynck, Franklin Lacrimosa 1978-82 10’00’’ 1

Gyselynck, Franklin For a better world II 1982-87 15’00’’ 1 HA’ Records 6003 2

Henderickx, Wim Spielerei 1987 3’00’’ 3 Davidsfonds Davidsfonds

Henderickx, Wim 6 Miniaturen 1988 5’00’’ 6

Henderickx, Wim Toccata 1988 3’00’’ 3 Animato (Susato)

Henderickx, Wim Elegie 1989 4’00’’ 1

Henderickx, Wim Untitled 1989 4’00’’ 1

Herberigs, Robert Etude concertante 1956 3’00’’ 1 CeBeDeM

Hus, Walter Toccata 1994 11’00’’ 1 Scores

Hus, Walter 4 (Ping Pong) Preludes 1995 27’00’’ 4 Scores

Hus, Walter Nox aeterna 1996 17’00’’ 1 Scores

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Hus, Walter Preludes and Fugues book I 1998 47’00’’ 12 Scores De Rode Pomp - GMA 012

Joly, Mark Recitativo en Scherzo 1983 3’00’’ 2 Metropolis

Kersters, Willem 4 Bagatelles 4 1955 7’30’’ 4

Kersters, Willem 6 Tweestemmige Inventionen 16 1959 10’00’’ 6

Kersters, Willem 4 Klavierstukken 33 1965 13’30’’ 4 CeBeDeM

Kersters, Willem 3 Preludes 56 1971 10’50’’ 3 CeBeDeM

Kersters, Willem Sonate 77 1985 16’00’’ 3 CeBeDeM

Kersters, Willem 6 Preludes 82 1986 9’00’’ 6 CeBeDeM

Kersters, Willem Scherzo insolito / An unusual scherzo 99 1995 6’00’’ 1 CeBeDeM

Knockaert, Yves Third interlude uit het ballet “MacLuhan 1985 4’10’’ 1 CeBeDeM

at MacDonalds”

Laporte, André Sonata 1954 8’00’’ 3 CeBeDeM

Laporte, André Ascension 1967 8’00’’ 1 Tonos

Laporte, André Three pieces 1997 4’00’’ 3 CeBeDeM

Laporte, André Toccataglia sul nome di Herman Sabbe 2002 4’00’’ 1 CeBeDeM

Legley, Vic 5 Portraits 46 1955 10’00’’ 5 CeBeDeM

Legley, Vic La farce des deux nues 59 1963 15’00’’

Legley, Vic Brindilles 18 petites pièces 80 1974 18’00’’ 18 CeBeDeM

Legley, Vic Sonate nr. 2 in des 84/1 1974 6’29’’ 1 CeBeDeM Phaedra 92015

Legley, Vic Sonate nr. 3 84/2 1977 8’30’’ 3 CeBeDeM

Legley, Vic Sonate nr. 4 107 1985 6’42’’ 1 CeBeDeM Phaedra 92015

Logghe, Geert The Idea of North 1988-98

Louel, Jean Toccata 1972 10’00’’ 1

Louel, Jean De kunst van het grootvaderschap I 1981 10’00’’ 5 CeBeDeM

Louel, Jean De kunst van het grootvaderschap II 1981 8’30’’ 5 CeBeDeM

Maes, Jef Etude nr. 2 in mi bémol 1960 4’00’’ 1 CeBeDeM

Maes, Jef Divertimento nr. 1 1970 3’50’’ 1 CeBeDeM

Maes, Jef Divertimento nr. 2 1977 4’25’’ 1 CeBeDeM

Maes, Jef Serenade voor Sylvia 1981

Matthys, Marc Oud verhaal 1993 1’30’’ 1 Golden River Music

Matthys, Marc Sad Waltz 1993 5’00’’ 1 Golden River Music MMP 004

Matthys, Marc Elegie en Rondo 1995 8’00’’ 2 CMP 1003

Matthys, Marc Variations for piano 1999 9’00’’ 1

Matthys, Marc Lamento 2001 5’00’’ 1

Matthys, Marc Miami beach 2002 4’00’’ 1

Matthys, Marc Una noche en Salamanca 2002 5’00’’ 1

Matthys, Marc Nostalgia 2004 5’00’’ 1

Meulemans, Arthur Préludes 1951 21’00’’ 5 CeBeDeM

Meulemans, Arthur Sonate nr. 4 1951 14’00’’ 3 CeBeDeM

Meulemans, Arthur Atmosferiliën 1962 10’00’’ 3 CeBeDeM

Meuris, Ingrid Les épisodes mystiques inspiré par la vie et les paroles 5 1999 5 Euprint

de Saint Jean Vianney

Meuris, Ingrid Dabau! Davai! 14 2001 1

Meylaers, Stefan An Hungarian Summer 1996 5’45’’ 1 DMP Phaedra 92024

72 73

COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Nuyts, Frank Adagio 1980 5’00’’ 1

Nuyts, Frank Sonate nr. 1 1980 5’00’’ 4

Nuyts, Frank Uit een verborgen lade from a hidden drawer 1982 8’00’’ 6

Nuyts, Frank The 5th wheel 1985 5’00’’ 1 Eigentijds Muziek

Nuyts, Frank Cloudscapes 1986 14’00’’ 3 MuPro WW-IG-09

Nuyts, Frank Za-va-pa 1989 5’00’’ 1

Nuyts, Frank They’re no better than they should be 1991 8’00’’ 9

Nuyts, Frank A rule of thumb sonata 1st Pianosonata 1992 20’00’’ 3

Nuyts, Frank De ladders zat au bout des gammes 1993 8’00’’ 5

Nuyts, Frank Edgeways 1994 9’00’’ 3

Nuyts, Frank Mock-up rock 1996 13’00’’ 6

Nuyts, Frank 2nd Pianosonata nomen nudum 2002 25’00’’ 3 HRDSCR Editions (in preparation)

Nuyts, Frank 3rd Pianosonata ...et voces, praetereaque nihil... 2002 26’00’’ 3 HRDSCR Editions (in preparation)

Nuyts, Frank 4th Pianosonate adde parum parvo 2002 28’00’’ 3 HRDSCR Editions

Nuyts, Frank 5th Pianosonata blue rays - ry’s blue 2003 27’00’’ 6

Oelbrandt, Kris 3 Miniaturen 1 1998 5’00’’ 3

Oelbrandt, Kris Arabesk 2 1998 5’00’’ 1

Oelbrandt, Kris Micrologica 3 11 2001 2’24’’ 1

Oelbrandt, Kris Micrologica 4 16 2002 7’00’’ 1

Peeters, Flor 10 Bagatelles 88 1958 21’00’’ 10

Peeters, Flor Toccata 51a 1961 7’00’’ 1

Peeters, Flor 12 Koraalpreluden 114 1964 12 Peters

Peeters, Flor Preambulum op de naam van Jan de Smedt 138b 1984 1

Pelemans, Willem Toccata nr. 2 1951 5’00’’ 1

Pelemans, Willem Toccata nr. 3 1951 5’00’’ 1

Pelemans, Willem Allegro fl amenco 1956 3’00’’ 1

Pelemans, Willem Suite (nr. 5?) 1961 5

Pelemans, Willem Sonate nr. 17 1968 12’00’’ 4 Maurer

Pelemans, Willem Sonate nr. 18 1969 12’00’’ 4 Maurer

Pelemans, Willem Sonate nr. 19 1969 20’00’’ 4

Pelemans, Willem Etude 1973 4’00’’ 1

Pelemans, Willem Sonate 1977 3

Poot, Marcel Etude 1951 8’00’’ 1 Eschig / Schott

Poot, Marcel Variations 1952 12’00’’ 1

Poot, Marcel Ballade 1958 8’00’’ 1 Eschig / Schott

Poot, Marcel Sonatine nr. 2 1975 10’00’’ 3 Eschig / Schott

Posman, Lucien 12 Dodecafonische Schietgebeden 1 1984 16’00’’ 12

Posman, Lucien Oeioeioeioeioei 1986 8’00’’ 5 Andel MuPro WW-IG-09

Posman, Lucien Conte de L’Etude Modeste 2001 8’00’’ 1 De Rode Pomp RP- GMA 25

Prins, Stefan Etude Interieure 1 voor piano en knikkers 2004 13’00’’ 1 CD-A n° 01

Raes, Godfried-Willem Studies in Fuzzy Harmony 1-8 1996-97 22’00’’ 8 Logos Foundation Logos 21099

Raes, Godfried-Willem Hin damit! Fuzzy Harmony Study nr. 11 2004 3’30’’ 1 Logos Foundation

Roels, Hans Allegro 1989 8’00’’ 1

Roels, Hans Act III Scene IV 1990 5’00’’ 2

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Roels, Hans Piano Piece 1993 4’00’’ 1

Roelstraete, Herman Prelude 18 1952 4’30’’ 1

Roelstraete, Herman Sonatine 35 1957 9’00’’ 3 Metropolis

Roelstraete, Herman 4 Nocturnes 40 1960 10’00’’ 4 CeBeDeM

Roelstraete, Herman 5 Bagatellen 51 1963 11’00’’ 5

Roelstraete, Herman 6 Inventies 79/1 1969 8’15’’ 6

Roelstraete, Herman Jeugdalbum: 4 sonatines 119 1973 4 Musica Flandrorum

Roelstraete, Herman 12 klavierstukjes 141/2 1982 12

Roelstraete, Herman 2 Suiten 141/3 1982 2

Roelstraete, Herman Mijn eerste pianoboek 141/1 1982 14

Roelstraete, Herman 10 Klavierstukjes op oude Vlaamse liedekens 143 1983 10

Schroyens, Daniël Vijf Stukken 1974-75 5’00’’ 5

Schroyens, Daniël Prélude non-mesuré 1988 6’30’’ 1 CeBeDeM

Schroyens, Daniël Berceuse 1997 6’30’’ 1 Lantro Music

Schroyens, Raymond Bij het graf van Grieg 1953 7’30’’ 1

Schroyens, Raymond Sonate 1964 10’00’’ 3

Schroyens, Raymond Three Birthday Presents for Daniël 1972-75 10’30’’ 3

Schroyens, Raymond My love is like a red, red rose 1984 4’30’’ 1

Schroyens, Raymond Indiaanse sonatine voor Ruben 1991 5’30’’ 3

Schroyens, Raymond Zij bouwen een paleis 1991 13’30’’ 10 DMP

Schroyens, Raymond Garlands and Chimes for Peter 1993 6’30’’ 1

Schroyens, Raymond Stars in Zenith, for Alleine 1994 6’30’’ 1

Schroyens, Raymond Halt im Gedächtnis hommage aan Bach 1995 11’30’’ 1

Schroyens, Raymond De nacht noemt vele namen 2000 9’00’’ 1

Sluys, Johan (Te) veel verkeer 2001 2’00’’ 1 Euprint

Sluys, Johan Toccata 2001 7’00’’ 1

Sluys, Johan Arpie 2002 5’30’’ 1

Sluys, Johan 7 Intervalvariaties 2003 2’00’’ 1 DMP

Sluys, Johan De Pestkop 2003 3’30’’ 1 DMP

Soenen, Willy Sonate 1987 13’30’’ 3 Lantro Music

Sommereyns, Gwendolyn Sémira 1998 6’30’’ 1

Sommereyns, Gwendolyn Variatie op thema van A. Diabelli 2003 2’15’’ 1

Steegmans, Paul Fantasie allen die willen te kaap’ren varen 1981 4’30’’ 1

Steegmans, Paul Jazzsuite 1985 16’00’’ 5

Steegmans, Paul Dans 1987 2’00’’ 1 Animato (Susato)

Steegmans, Paul Fantasie-Impromptu 1987 5’30’’ 1 Nikki

Steegmans, Paul Fantasie op een lied van A. Meulemans 1990 5’00’’ 1

“Lieve Vrouwe van ons land”

Steegmans, Paul Kleine Suite 1990 6’00’’ 3 Davidsfonds + Euprint

Steegmans, Paul Variatie op een thema van J. Raedschelders 1990 2’00’’ 1 BMP

Steegmans, Paul Scherzo 1992 3’00’’ 1 DMP

Steegmans, Paul Katharsis 1994 5’00’’ 1

Steegmans, Paul 12 Chopin-variaties naar de polonaise in c 1995 17’00’’ 12 Nikki

Steegmans, Paul 5 Voordrachtstukjes 2003 8’00’’ 5 Euprint

76 77

COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Steegmans, Paul Limburgs Volkslied pianofantasie 2003 3’30’’ 1

Steegmans, Paul 6 Miniaturen 2004 7’00’’ 6

Steegmans, Paul Bach Tijdloos 2004 3’00’’ 1

Sternefeld, Daniël Rossiniazata 1981 30’00’’ 12

Swerts, Piet Tempo di valsi 1973 2’00’’ 1

Swerts, Piet Wals 1974 3’00’’ 1

Swerts, Piet Ballade 1983 2’00’’ 1 Metropolis

Swerts, Piet Burlesca 1983 1’13’’ 1 Metropolis Eufoda 1251

Swerts, Piet Partita in memoriam J. S. Bach 1986 15’00’’ 7 Eufoda 1251

Swerts, Piet Sonetto 61 del Petrarca 1986 5’00’’ 1 CeBeDeM Eufoda 1251

Swerts, Piet Bagatelle 1987 1’30’’ 1

Swerts, Piet Galop 1990 3’40’’ 1 Eufoda 1251

Swerts, Piet Premiers Bravos 8 petites pièces faciles 1990 12’00’’ 8 Schott Eufoda 1251

Swerts, Piet 5 Tweestemmige Inventies 1991 14’00’’ 5 Eufoda 1251

Swerts, Piet Valse tendre 1991 3’00’’ 1 Ascolta Eufoda 1251

Swerts, Piet 12 Gemakkelijke Studies 1992 15’00’’ 12

Swerts, Piet 2 Volksliedjes 1993 3’00’’ 2 Eufoda 1251

Swerts, Piet 5 Préludes à la Mémoire de F. Chopin 1993 7’00’’ 5 Ascolta Eufoda 1251

Swerts, Piet 6 Variaties op ‘Kortjakje’ 1993 8’00’’ 1 Chiola Music Press Eufoda 1251

Swerts, Piet 2 Nocturnes 1994 8’00’’ 2 Chiola Music Press Eufoda 1251

Swerts, Piet 8 Variaties op ‘Sur le Pont d’Avignon’ 1997 6’00’’ 1 Heinrichshofen Verlag

Swerts, Piet 8 Variaties op ‘As I sat on a Sunny Bank’ 1997 6’00’’ 1 Heinrichshofen Verlag

Swerts, Piet 8 Variaties op ‘Greensleeves’ 1997 6’00’’ 1 Heinrichshofen Verlag

Swerts, Piet Piano Sonata ...seeker of truth... 1997 12’00’’ 1 CeBeDeM

Swerts, Piet Pianorama didactische methode 1997 16’00’’ 36

Swerts, Piet Berceuse 1998 3’00’’ 1

Swerts, Piet Christmas Carols 1998 30’00’’ 36 De Haske

Swerts, Piet Greetings from... 14 postcards 1998 30’00’’ 14 De Haske

Swerts, Piet Profi el 1998 6’00’’ 1

Swerts, Piet 8 Little Pieces 2003 6’00’’ 8

Swerts, Piet Le Jardin à Giverny prelude 2003 5’00’’ 1

Swerts, Piet Lichtenberg prelude 2003 4’00’’ 1

Swerts, Piet Variaties op ‘Broeder Jakob’ 2004 4’00’’ 1 Heinrichshofen

Swinnen, Peter DaliRium tentazione per pianoforte 1990 5’00’’ 1 Lantro Music

Swinnen, Peter Xedalvu omaggio a Paul Delvaux 1995 7’00’’ 1 Lantro Music

Swinnen, Peter Arabesque 1998 6’00’’ 1 Lantro Music

Swinnen, Peter Bachatelle 2001 1’08’’ 1 Lantro Music

Swinnen, Peter Palindroom 2003 1’00’’ 1 Lantro Music

Tas, Rudi Dagdromen 8 fantasiestukken 1980-81 10’00’’ 8

Tas, Rudi 2 Sonatinen op oude Vlaamsche liedekens 1985 4’00’’ 2

Tas, Rudi 2 Sonatinen 1986 4’00’’ 2

Tas, Rudi Tre pezzi 1987 6’00’’ 3

Tas, Rudi Cool Intonation in memoriam Leonard Bernstein 1992 6’00’’ 1 CNR 590821

Tas, Rudi Harry’s studie 2001 2’00’’ 1

78 79

COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Van Cleemput, Marc Inventie voor piano 16 1981 1’45’’ 1

Van de Moortel, Arie Toccata 7 1952 5’00’’ 1

Van de Moortel, Arie Kies een kaart 17/1 1955 4’00’’ 1

Van de Moortel, Arie Weerbericht 29 1966 4’00’’ 1

van der Eyken, Ernest Sonatine voor Sofi e 1983 10’00’’ 1

Van der Roost, Jan Divertimento 1982 8’00’’ 3 Maurer

Van der Straeten, Geert Contramine 1 20 2002 7’00’’ 1

Van der Straeten, Geert Contramine 2 24 2002 5’15’’ 1

Van der Velden, Renier Andante espressivo 1955 8’00’’ 1

Van der Velden, Renier Nocturne voor beeldhouwer Mark Macken 1958 6’00’’ 1

Van der Velden, Renier Nocturne en studie 1968 15’00’’ 2 CeBeDeM

Van der Velden, Renier Nocturne 1974 5’00’’ 1

Van der Velden, Renier Prelude nr. 7 1980 6’00’’ 1

Van Durme, Jef 4 Lyrische stukken 47 1950 4

Van Durme, Jef Sonate nr. 2 52 1952 25’00’’ 4

Van Durme, Jef Allegro capriccioso 1963 9’00’’ 1 CeBeDeM

Van Eycken, Stefan overrun-abord 1996 6’00’’ 1

Van Eycken, Stefan campo minato voor piano solo met assistent 1997 7’00’’ 1

Van Eycken, Stefan supplement (...tinfoil tiaras...) voor piano solo met 5 e-bows 2002 6’00’’ 1

(assistent)

Van Geert, Octaaf A. Ballade 1980 4’00’’ 1

Van Geert, Octaaf A. Heb je ‘t al onder de duim 1990 1’00’’ 1

Van Geert, Octaaf A. Molto, molto, molto 1990 4’00’’ 1

Van Geert, Octaaf A. O duim 1990 1’00’’ 1

Van Geert, Octaaf A. Clips 2003 4’51’’ 5 ISME 8847-2

Van Hoof, Jef Kinder-klank klavierstukjes voor de jeugd 1954 7

Van Hove, Luc 5 Preludiën 2 1979 7’30’’ 5

Van Hove, Luc Sonatine 11 1982 7’00’’ 3 CeBeDeM

Van Hove, Luc 5 Inventions 20 1987 10’00’’ 5

Van Landeghem, Jan De kleine wildernis pianocyclus voor kinderen 1988-92 15’00’’ 5 Digital Music Print

Van Landeghem, Jan Refl ection I chickhai bardo 2001 12’00’’ 1

Van Parys, Annelies 5 Short Stories muziek bij een animatiefi lm 2001 7’30’’ 5

Van Parys, Annelies Absence 2003 8’40’’ 1

Van Parys, Annelies Petite Pièce 2004 1’00’’ 1

Van Puymbroeck, Stefan 3 Etudes 1995 6’00’’ 3 (in preparation)

Van Puymbroeck, Stefan Sonate nr. 1 2002 15’00’’ 2 (in preparation)

Van Puymbroeck, Stefan Sonate nr. 2 2003 17’00’’ 3 (in preparation)

Van Puymbroeck, Stefan Sonate nr. 3 2004 28’00’’ 4 (in preparation)

Vande Ginste, Stephane 3 Préludes voor Jan Michiels 1988-90 8’00’’ 3 DMP

Vande Ginste, Stephane 3 Miniatures 1991 4’00’’ 3 Lantro Music

Vande Ginste, Stephane 3 Easy Pieces for Children voor Helga Dewaele 1994 4’00’’ 3 DMP

Vande Ginste, Stephane Ide-fi x 1994 12’00’’ 1 Lantro Music

Vande Ginste, Stephane 6 Korte Variaties op een Tango-Thema 1995 3’50’’ 1 DMP

Vande Ginste, Stephane On the road aan Marcel Worms 1997 3’00’’ 1 Lantro Music

Vande Ginste, Stephane Sonatine bewerking van het Concertino 2001 5’00’’ 3 Lantro Music

voor jonge pianist

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COMPOSER TITLE SUBTITLE OPUS YEAR DURATION MOVEMENTS PUBLICATION CD RECORDING

Vande Ginste, Stephane Rock’romatique aan Marcel Worms 2002 3’50’’ 1 Lantro Music

Vande Ginste, Stephane Het boekje van Michiel aan mijn zoon Michiel 2004 10’00’’ 20 Lantro Music

Vande Ginste, Stephane Het circus komt 2004 3’00’’ 1 Lantro Music

Vandenheede, Jan 4 Bagatellen 2001 4’00’’ 4

Vanhecke, Bart Monodie 1992 9’00’’ 1

Vanhecke, Bart Les racines du monde 1998 8’00’’ 1

Verbesselt, August “Z” 1985 6’00’’ 1

Verbraeken, Carl Glinsterend tokkelstuk toccata 1982 10’00’’ 1

Verbraeken, Carl Oud-Brusselse taferelen 1991-92 58’00’’ 22

Verbraeken, Carl Sonate 1999 35’00’’ 4

Verbraeken, Carl Voorspelen 1996-99 25’00’’ 12

Verbraeken, Carl Ruyterliederen 1983-00 65’00’’ 12

Verbraeken, Carl Behaaglijkheden en geheimpjes 1998-02 22’00’’ 8

Verbraeken, Carl Treurzangen 1999-02 46’00’’ 24

Verbraeken, Carl Walsen 1979-02 20’00’’ 9

Verbraeken, Carl Bloemenstukken 1995-04 43’00’’ 16

Verbraeken, Carl Herinneringen, ijlheden, innigheden 1999-04 45’00’’ 20

en naspelen

Veremans, Renaat Scherzo 1957 11’00’’ 1

Verhaegen, Marc Rhapsodie 1974 8’00’’ 1 Lantro Music

Verhaegen, Marc Suite voor Nele 1978 10’00’’ 5 De Notenboom

Verhaegen, Marc Toccata 1983 11’00’’ 1 Maurer

Verhaegen, Marc 4 Stukken 1984 9’00’’ 4 Maurer

Verhaegen, Marc Ballade 1986 2’30’’ 1 Lantro Music

Verhaegen, Marc Roemeense Dans 1986 1’30’’ 1 Lantro Music

Verhaegen, Marc Sonatine 1987 12’00’’ 3 Lantro Music

Verhaegen, Marc Seguedillas 1997 7’00’’ 1 Lantro Music

Verstockt, Serge Noumena II 2004 25’00’’ 1

Verstrepen, Rik Binot 1998 4’00’’ 1

Verstrepen, Rik Per 2003 12’00’’ 1

Wauters, Christian-Adolphe Preludium, Fughetta en Cadenza 31 1983 4’00’’ 1 Maurer

over de naam Roelstraete

Wauters, Christian-Adolphe Sonata eclectica 50 1989 15’05’’ 3

Wauters, Christian-Adolphe Sonata in tre movimenti 53 1991 12’55’’ 3

Wauters, Christian-Adolphe Sonata in quattro movimenti 54 1992 20’25’’ 4

Welffens, Peter Aspekten 1983 6’00’’ 5 Metropolis

Welffens, Peter Bitonalia 6 miniaturen voor piano 1992 13’00’’ 6

Westerlinck, Wilfried Sonate nr. 1 1983 16’00’’ 2

Westerlinck, Wilfried Kleine Wals 1984 3’40’’ 1 CeBeDeM

Westerlinck, Wilfried Sonate nr. 2 1985 12’00’’ 3

Westerlinck, Wilfried Variaties op een thema van Paganini 1985 16’00’’ 1

Westerlinck, Wilfried 4 Bagatellen 1967-86 14’00’’ 4

Westerlinck, Wilfried Sonate nr. 3 fantasia-sonata 1986 7’30’’ 3

Westerlinck, Wilfried El Abanico 5 Spaanse miniaturen 2004-05 9’00’’ 5

CHRONOLOGICAL INVENTORY OF FLEMISH PIANO MUSIC SINCE 1950

82 83

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1950 Cabus, Peter Preludium 2’00’’ 1

1950 Cabus, Peter Sonatine nr. 1 5’30’’ 3 Maurer

1950 de Jong, Marinus 3 Schilderijen uit een tentoon- 58 9’30’’ 3 CeBeDeM Phaedra 92015

stelling van Vincent van Gogh

1950 de Jong, Marinus Sonatine 47 6’00’’

1950 De Vocht, Lodewijk Fantastische rit 1’41’’ 1

1950 Dejoncker, Theo Sonate

1950 Durlet, Emmanuel Kerstverhaal 1’30’’ 1 E. Durlet Fonds

1950 Van Durme, Jef 4 Lyrische stukken 47 4

1951 Albert, Karel Sonatine nr. 2 in G 8’00’’ 3

1951 Durlet, Emmanuel Kleine tango 1’30’’ 1 E. Durlet Fonds

1951 Meulemans, Arthur Préludes 21’00’’ 5 CeBeDeM

1951 Meulemans, Arthur Sonate nr. 4 14’00’’ 3 CeBeDeM

1951 Pelemans, Willem Toccata nr. 2 5’00’’ 1

1951 Pelemans, Willem Toccata nr. 3 5’00’’ 1

1951 Poot, Marcel Etude 8’00’’ 1 Eschig / Schott

1952 de Jong, Marinus Boublitschki 59 12’00’’

1952 Poot, Marcel Variations 12’00’’ 1

1952 Roelstraete, Herman Prelude 18 4’30’’ 1

1952 Van de Moortel, Arie Toccata 7 5’00’’ 1

1952 Van Durme, Jef Sonate nr. 2 52 25’00’’ 4

1952? Durlet, Emmanuel Het laatste oordeel naar Dieudonné Raick 5’00’’ E. Durlet Fonds

1952? Durlet, Emmanuel Studie in D naar Dieudonné Raick 3’50’’ 1 E. Durlet Fonds E. Durlet Fonds

1953 de Jong, Marinus Toccatino 57 1’45’’ 1

1953 Devreese, Frédéric Mascarade 12’00’’ 3 CeBeDeM Cyprès CYP 1619

1953 Goethals, Lucien Burletta 2’00’’ 1

1953 Schroyens, Raymond Bij het graf van Grieg 7’30’’ 1

1954 Cabus, Peter Fantasie 5’00’’ 1

1954 de Jong, Marinus Etude “Praia da nocha” 55/2 2’00’’ 1

1954 de Jong, Marinus Nocturno II 66 4’50’’

1954 De Meester, Louis Petites variations 8’00’’ 9 CeBeDeM

1954 Durlet, Emmanuel Het dal der goede gedachten 4’00’’ E. Durlet Fonds E. Durlet Fonds

1954 Laporte, André Sonata 8’00’’ 3 CeBeDeM

1954 Van Hoof, Jef Kinder-klank klavierstukjes voor de jeugd 7

1955 Albert, Karel Suite 5’30’’ 3

1955 Albert, Karel Thema met variaties 1

1955 Cabus, Peter Sonatine nr. 2 4’00’’ 3 Maurer KW 1103

1955 De Meester, Louis Toccata 1’50’’ 1

1955 Decadt, Jan Prelude nr. 4 rituele dans 2’45’’ 1

1955 Kersters, Willem 4 Bagatelles 4 7’30’’ 4

1955 Legley, Vic 5 Portraits 46 10’00’’ 5 CeBeDeM

1955 Van de Moortel, Arie Kies een kaart 17/1 4’00’’ 1

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YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1955 Van der Velden, Renier Andante espressivo 8’00’’ 1

1956 Albert, Karel Bloeiende Lotus 3’15’’ 1

1956 Albert, Karel Sonatine nr. 3 7’00’’ 3

1956 Cabus, Peter Preludium e Tema con Variazioni 6’54’’ 2 Maurer KW 1103

1956 Ceulemans, Ivo 3 Stemmingen 88 3

1956 de Jong, Marinus Boschscène 1

1956 de Jong, Marinus Scherzo-idylle uit Hiawatha’s lied 68 3’30’’ 1 CeBeDeM Phaedra 92015

1956 Herberigs, Robert Etude concertante 3’00’’ 1 CeBeDeM

1956 Pelemans, Willem Allegro fl amenco 3’00’’ 1

1957 Roelstraete, Herman Sonatine 35 9’00’’ 3 Metropolis

1957 Veremans, Renaat Scherzo 11’00’’ 1

1958 Cabus, Peter Sonate nr. 1 16’00’’ 4 Maurer KW 1103

1958 Ceulemans, Ivo Toccata 89 2’15’’ 1

1958 De Meester, Louis Mimes 10’00’’ 3 CeBeDeM

1958 Peeters, Flor 10 Bagatelles 88 21’00’’ 10

1958 Poot, Marcel Ballade 8’00’’ 1 Eschig / Schott

1958 Van der Velden, Renier Nocturne voor beeldhouwer 6’00’’ 1

Mark Macken

1959 Buckinx, Boudewijn Cappricioso 1959.53 1’00’’ 1

1959 Buckinx, Boudewijn Sonate in e 1959.16 8’00’’ 2

1959 Cabus, Peter Concertstudie nr. 1 4’40’’ 2 Maurer Arcobaleno SBCD-1519

1959 Cabus, Peter Sonatine nr. 3 5’25’’ 3 Maurer KW 1103

1959 de Jong, Marinus Sonatine 6’00’’ 3

1959 Durlet, Emmanuel Weet ge nog? 1’20’’ 1 E. Durlet Fonds

1959 Goethals, Lucien 2 Capriccio’s 11 4’00’’ 2 CeBeDeM

1959 Goethals, Lucien 2 Dodecafonische gestalten 6’00’’ 2

1959 Goethals, Lucien Música Dodecafónica 3’00’’ 1

1959 Kersters, Willem 6 Tweestemmige Inventionen 16 10’00’’ 6

1960 Albert, Karel Triptiek 3 stukken voor piano 4’30’’ 3

1960 Buckinx, Boudewijn 18 December 1960.63 4’10’’ 1

1960 Buckinx, Boudewijn 4 Augustus 1960.43 8’00’’ 1

1960 Buckinx, Boudewijn Amai 1960.37 4’00’’ 1

1960 Buckinx, Boudewijn Pianosonate 1960.39 15’00’’ 3

1960 Buckinx, Boudewijn Sonate 1960.62 15’00’’ 3

1960 Buckinx, Boudewijn Sonatine (cis) 1960.20 10’00’’ 2

1960 Buckinx, Boudewijn Triomf van een lyrisch burger 1960.56 2’00’’ 1

1960 Cabus, Peter Sonatine nr. 4 6’00’’ 3 Maurer

1960 Ceulemans, Ivo Nostalgico 97 2’15’’ 1

1960 Coppens, Claude Série et variations 14 6’00’’ 10 CeBeDeM

1960 de Jong, Marinus 15 Fantasie-walsen 118 30’00’’ 15

1960 Decadt, Jan Prelude nr. 3 idylle 2’08’’ 1 Metropolis

1960 Decadt, Jan Prelude nr. 5 tanja 4’00’’ 1

1960 Maes, Jef Etude nr. 2 in mi bémol 4’00’’ 1 CeBeDeM

1960 Roelstraete, Herman 4 Nocturnes 40 10’00’’ 4 CeBeDeM

86 87

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1961 Buckinx, Boudewijn Bagatel 1961.11 6’00’’ 1

1961 Buckinx, Boudewijn Poerperen Wand 1961.15 5’00’’ 1

1961 De Smet, Raoul Handgemeen 8’00’’ 1 Lantro Music

1961 De Smet, Raoul Twee preludes 3’00’’ 2

1961 Goethals, Lucien 2 Kristallen 21 6’00’’ 2

1961 Goethals, Lucien 2 Tekeningen 20 4’00’’ 2

1961 Peeters, Flor Toccata 51a 7’00’’ 1

1961 Pelemans, Willem Suite (nr. 5?) 5

1962 Buckinx, Boudewijn Newton 1962.12 5’00’’ 1

1962 Cabus, Peter 6 Gemakkelijke Stukjes 7’10’’ 6 Maurer

1962 Meulemans, Arthur Atmosferiliën 10’00’’ 3 CeBeDeM

1963 de Jong, Marinus Spaanse suite 12’00’’ 6

1963 De Middeleer, Jean Sonatine 15’00’’ 3 CeBeDeM

1963 De Smet, Raoul Meditatie 1 3’30’’ 1 CeBeDeM Digi Classics 98 08032

1963 Goethals, Lucien Pentagoon 5’00’’ 1

1963 Legley, Vic La farce des deux nues 59 15’00’’

1963 Roelstraete, Herman 5 Bagatellen 51 11’00’’ 5

1963 Van Durme, Jef Allegro capriccioso 9’00’’ 1 CeBeDeM

1964 Albert, Karel Marionetten 2’45’’ 1

1964 Buckinx, Boudewijn [zonder titel] 1964.10 2’00’’ 1

1964 Cabus, Peter 2 Dansen 5’00’’ 2 Metropolis

1964 Coppens, Claude 4 Lichte stukken 14’30’’ 4

1964 Coppens, Claude Sonate structure 1 11’30’’ 2

1964 De Meester, Louis Sonatine 12’00’’ 3 CeBeDeM

1964 Peeters, Flor 12 Koraalpreluden 114 12 Peters

1964 Schroyens, Raymond Sonate 10’00’’ 3

1965 Buckinx, Boudewijn Miniatuur I 1965.07 5’00’’ 1

1965 de Jong, Marinus Variaties op een 2’00’’ 1

oud-Vlaams volkslied

1965 De Smet, Raoul Meditatie 2 2’20’’ 1 CeBeDeM Digi Classics 98 08032

1965 De Smet, Raoul Meditatie 3 3’50’’ 1 CeBeDeM Digi Classics 98 08032

1965 De Smet, Raoul Meditatie 4 3’30’’ 1 CeBeDeM Digi Classics 98 08032

1965 De Smet, Raoul Sonata primitiva 10’00’’ 3 Lantro Music

1965 Kersters, Willem 4 Klavierstukken 33 13’30’’ 4 CeBeDeM

1966 Van de Moortel, Arie Weerbericht 29 4’00’’ 1

1967 Laporte, André Ascension 8’00’’ 1 Tonos

1968 Buckinx, Boudewijn Burokrasie A 1968.05 10’00’’ 1

1968 de Jong, Marinus Congolese volksliederen 150/c 8’00’’ 4

1968 D’Haene, Rafaël 9 Stukken 9

1968 Pelemans, Willem Sonate nr. 17 12’00’’ 4 Maurer

1968 Van der Velden, Renier Nocturne en studie 15’00’’ 2 CeBeDeM

1969 Albert, Karel Klaverblad 4’00’’ 3

1969 Albert, Karel Wandelingen 8’00’’ 5

1969 de Jong, Marinus 5 Insecten-bagatellen 153 15’00’’ 5

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YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1969 Pelemans, Willem Sonate nr. 18 12’00’’ 4 Maurer

1969 Pelemans, Willem Sonate nr. 19 20’00’’ 4

1969 Roelstraete, Herman 6 Inventies 79/1 8’15’’ 6

1970 Coryn, Roland Drie Stukken voor pianosolo 2 8’35’’ 3 Maurer

1970 Decadt, Jan Kleengedichtjes I-II 3’10’’ 2 Andel

1970 Decadt, Jan Kleengedichtjes III-IV 4’12’’ 2 Andel

1970 Decadt, Jan Pas-de-deux 1’50’’ 1

1970 Maes, Jef Divertimento nr. 1 3’50’’ 1 CeBeDeM

1971 Coppens, Claude Etude concertante rythme et contrepoint VI - VII 8’30’’ 1

1971 Decadt, Jan Kinderscènes 3’00’’ 2 Schott

1971 Geysen, Frans Dé-Cis 1’30’’ 1

1971 Geysen, Frans Endeavour 6’00’’ 1 CeBeDeM

1971 Geysen, Frans Grootste beweging in kleinst 2’00’’ 1

denkbare ruimet

1971 Geysen, Frans Kanalisatie 3’00’’ 1

1971 Kersters, Willem 3 Preludes 56 10’50’’ 3 CeBeDeM

1972 Cabus, Peter 9 Miniaturen 5’46’’ 9 Maurer KW 1103

1972 Coppens, Claude Klavierbüchlein 17’00’’ 4

1972 Coryn, Roland Per piano solo 5 5’00’’ 1

1972 Devreese, Frédéric Prélude 1

1972 Geysen, Frans HET 5’30’’ 7

1972 Louel, Jean Toccata 10’00’’ 1

1973 Albert, Karel Sonatine nr. 4 8’00’’ 3

1973 Coryn, Roland Vier Miniaturen voor piano 6 8’00’’ 4 Andel

1973 De Decker, George Sonatine 5’00’’ 3 De Monte

1973 de Jong, Marinus Kinderspelen naar het schilderij 165 25’00’’ 25

van Pieter Brueghel

1973 Geysen, Frans Frans’ze tuin I 2’10’’ 1

1973 Gilles, Jules Fantasia 6/4 4’00’’ 1

1973 Pelemans, Willem Etude 4’00’’ 1

1973 Roelstraete, Herman Jeugdalbum: 4 sonatines 119 4 Musica Flandrorum

1973 Swerts, Piet Tempo di valsi 2’00’’ 1

1974 Cabus, Peter Sonate nr. 2 14’25’’ 2 Maurer KW 1103

1974 de Jong, Marinus Feestmars 1

1974 Geysen, Frans De dingen die zullen komen 30’00’’ 1

1974 Geysen, Frans Frans’ze tuin II 2’00’’ 1

1974 Gistelinck, Elias Kleine Treurmuziek voor Che 22a 2’36’’ 1 René Gailly 87 113

1974 Legley, Vic Brindilles 18 petites pièces 80 18’00’’ 18 CeBeDeM

1974 Legley, Vic Sonate nr. 2 in des 84/1 6’29’’ 1 CeBeDeM Phaedra 92015

1974 Swerts, Piet Wals 3’00’’ 1

1974 Van der Velden, Renier Nocturne 5’00’’ 1

1974 Verhaegen, Marc Rhapsodie 8’00’’ 1 Lantro Music

1975 Albert, Karel Een dag uit het leven 18’30’’ 11

van Janneke en Mieke

90 91

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1975 Cabus, Peter 3 Bewegingen 5’00’’ 3 Edition Centre

1975 De Decker, George Brahma Viharas 7’00’’ 4

1975 Geysen, Frans 3 Pianostukken 3’30’’ 3

1975 Gilles, Jules Boertig Toccata (3 Kleine Stukken) 11/3 2’00’’ 1 DMP

1975 Gyselynck, Franklin Tre ricercari

1975 Poot, Marcel Sonatine nr. 2 10’00’’ 3 Eschig / Schott

1974-75 Schroyens, Daniël Vijf Stukken 5’00’’ 5

1972-75 Schroyens, Raymond Three Birthday Presents for Daniël 10’30’’ 3

1976 Decadt, Jan Scherzoso - Stoeierij 5’30’’ 1 Andel

1976 Geysen, Frans Berts Pianoboek 15’00’’ 23

1976 Geysen, Frans Geerts Pianoboek 18’00’’ 20

1976 Geysen, Frans Leens Pianoboek 14’00’’ 21

1976 Geysen, Frans Lieves Pianoboek 18’00’’ 20

1976 Gilles, Jules Een scabreus, vuyl ende 12/3 3’00’’ 1

onwelvoegelic vooisken

1977 Albert, Karel Metamorfose 3’00’’ 1

1977 Geysen, Frans 4 Korte stukken 3’50’’ 4 CeBeDeM

1977 Geysen, Frans Muziek voor toetsenbord 5’00’’ 1 CeBeDeM

1977 Geysen, Frans Nutslen 7’35’’ 1

1977 Legley, Vic Sonate nr. 3 84/2 8’30’’ 3 CeBeDeM

1977 Maes, Jef Divertimento nr. 2 4’25’’ 1 CeBeDeM

1977 Pelemans, Willem Sonate 3

1978 Buckinx, Boudewijn [zonder titel] 1978.01 1’00’’ 1

1978 Buckinx, Boudewijn Tancho 1978.02 5’00’’ 1

1978 Cabus, Peter 11 Bagatellen 11’55’’ 11 Maurer

1978 de Jong, Marinus Lentetover “Op huize meizang” 176 6’00’’ 1

1978 Gilles, Jules Hommage à Raf Belmans 13/4 8’00’’ 1

1978 Gilles, Jules Noël 14/3 5’00’’ 1

1978 Verhaegen, Marc Suite voor Nele 10’00’’ 5 De Notenboom

1979 Albert, Karel Sonatine nr. 5 3

1979 Baert, Bernard Habanera 1

1979 Buckinx, Boudewijn Sarashina (Basho) 1979.02 5’00’’ 1

1979 Cabus, Peter G’schichten aus dem Hertogenwald

1979 Coryn, Roland Pianosuite voor de Jeugd 19 11’00’’ 7 Maurer

1979 Coryn, Roland Toccatella 18 4’00’’ 1 Edition Centre

1979 De Decker, George Tsjoen 7’00’’ 3

1979 De Jonghe, Marcel Galop 1’45’’ 1 Euprint

1979 De Jonghe, Marcel March van het logge zwaantje 1’45’’ 1 Euprint

1979 De Jonghe, Marcel Rondino alla marcia 2’15’’ 1 Euprint

1979 De Jonghe, Marcel Scottish 1’00’’ 1 Euprint

1979 De Jonghe, Marcel Toccatina 3’00’’ 1 Euprint

1979 Goeyvaerts, Karel Litanie I 10’09’’ 1 CeBeDeM Megadisc 7848

1979 Van Hove, Luc 5 Preludiën 2 7’30’’ 5

1980 Biesemans, Janpieter Aubade 2 12’00’’ 1

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YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1980 Biesemans, Janpieter Nocturne 1 10’00’’ 1

1980 Coppens, Claude ‘Just so’ studies 10

1980 de Jong, Marinus Fantasiestukken 178 4

1980 de Jong, Marinus Triptiek 183 3

1980 de Jong, Marinus Variaties “Ik stond op hoge bergen” 184 1

1980 Dejonghe, Koen Arlequino an interrupted rondo 3’00’’ 1

1980 Gilles, Jules Mutatis mutandis variations sur 16/1 10’00’’ 1 Copa

deux chants populaires

1980 Gyselynck, Franklin Cosmos

1980 Gyselynck, Franklin Night and day

1980 Nuyts, Frank Adagio 5’00’’ 1

1980 Nuyts, Frank Sonate nr. 1 5’00’’ 4

1980 Van der Velden, Renier Prelude nr. 7 6’00’’ 1

1980 Van Geert, Octaaf A. Ballade 4’00’’ 1

1981 Biesemans, Janpieter Serenade 4 10’20’’ 1

1981 Delvaux, Albert Movimento 1’10’’ 1

1981 D’Haene, Rafaël Sei canzone 15’50’’ 6 CeBeDeM

1981 Louel, Jean De kunst van het grootvaderschap I 10’00’’ 5 CeBeDeM

1981 Louel, Jean De kunst van het grootvaderschap II 8’30’’ 5 CeBeDeM

1981 Maes, Jef Serenade voor Sylvia

1981 Steegmans, Paul Fantasie allen die willen te kaap’ren varen 4’30’’ 1

1981 Sternefeld, Daniël Rossiniazata 30’00’’ 12

1980-81 Tas, Rudi Dagdromen 8 fantasiestukken 10’00’’ 8

1981 Van Cleemput, Marc Inventie voor piano 16 1’45’’ 1

1982 Coppens, Claude Impromptu in D 6’00’’ 1

1982 Coryn, Roland Sonata per due pianoforte 25 17’00’’ 5

1982 de Jong, Marinus Elegie 189 4’00’’ 1

1982 De Jonghe, Marcel Elegietta 3’00’’ 1 Euprint

1982 De Jonghe, Marcel Hobbelpaardje 1’30’’ 1 Euprint

1982 De Jonghe, Marcel Little Chinese toy 2’00’’ 1 Euprint

1982 De Jonghe, Marcel Oude prent 1’30’’ 1 Euprint

1982 De Jonghe, Marcel The dream of Sebastian 3’00’’ 1 Euprint

1982 De Maeyer, Jan Ritratto di sette dei romani 7/1 12’00’’ 7 CeBeDeM

1982 Decadt, Jan Diana 4’57’’ 1 CeBeDeM

1982 Geysen, Frans Denkbare muziek 6’00’’ 1 CeBeDeM

1982 Gistelinck, Elias 5 Preludes for a little boy 29 12’00’’ 5 René Gailly

87 113 + 87 002

1978-82 Gyselynck, Franklin Lacrimosa 10’00’’ 1

1982 Nuyts, Frank Uit een verborgen lade from a hidden drawer 8’00’’ 6

1982 Roelstraete, Herman 12 klavierstukjes 141/2 12

1982 Roelstraete, Herman 2 Suiten 141/3 2

1982 Roelstraete, Herman Mijn eerste pianoboek 141/1 14

1982 Van der Roost, Jan Divertimento 8’00’’ 3 Maurer

1982 Van Hove, Luc Sonatine 11 7’00’’ 3 CeBeDeM

94 95

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1982 Verbraeken, Carl Glinsterend tokkelstuk toccata 10’00’’ 1

1983 Buckinx, Boudewijn Puerto Rey 1983.04 12’00’’ 7

1983 de Jong, Marinus Bruiloftsmarsch 195 3’00’’ 1

1983 de Jong, Marinus Droombeeld 193 6’00’’ 1

1983 De Maeyer, Jan De kat en de muis 1’30’’ 1 Metropolis

1983 Gevers, Emmanuel A.B.A. 2’00’’ 1 Metropolis

1983 Gilles, Jules Kleine Berceuse 18/5 2’00’’ 1

1983 Joly, Mark Recitativo en Scherzo 3’00’’ 2 Metropolis

1983 Roelstraete, Herman 10 Klavierstukjes 143 10

op oude Vlaamse liedekens

1983 Swerts, Piet Ballade 2’00’’ 1 Metropolis

1983 Swerts, Piet Burlesca 1’13’’ 1 Metropolis Eufoda 1251

1983 van der Eyken, Ernest Sonatine voor Sofi e 10’00’’ 1

1983 Verhaegen, Marc Toccata 11’00’’ 1 Maurer

1983 Wauters, Christian-Adolphe Preludium, Fughetta en Cadenza 31 4’00’’ 1 Maurer

over de naam Roelstraete

1983 Welffens, Peter Aspekten 6’00’’ 5 Metropolis

1983 Westerlinck, Wilfried Sonate nr. 1 16’00’’ 2

1984 Albert, Karel Sonatine nr. 6 3’30’’ 3

1984 Bikkemberg, Kurt Corrie 3’10’’ 1 Animato (Susato)

1984 Buckinx, Boudewijn Adagio (the famous one, of course) 1984.15 15’00’’ 1 AVK

1984 Buckinx, Boudewijn Aftertought 1984.10 2’20’’ 1 Lantro Music

1984 Buckinx, Boudewijn American Allemande 1984.19 1’00’’ 1

1984 Buckinx, Boudewijn Just for me, for me alone 1984.09 5’00’’ 1

1984 Buckinx, Boudewijn Op het nieuwe jaar 1984.31 3’00’’ 1

1984 Buckinx, Boudewijn Short Lived 1984.32 25’00’’ 6 Eigentijds Muziek De Rode Pomp RP-GMA13

1984 De Jonghe, Marcel Introspection I 5’00’’ 1 Andel

1984 Geysen, Frans A+B=A/B 1’30’’ 1

1984 Geysen, Frans Regen in Gent 3’00’’ 1

1984 Geysen, Frans Tonen-trappenhuisje voor Hanne 0’30’’ 1

1984 Goeyvaerts, Karel Aquarius-tango 2’00’’ 1 CeBeDeM Megadisc 7848

1984 Peeters, Flor Preambulum op de naam 138b 1

van Jan de Smedt

1984 Posman, Lucien 12 Dodecafonische Schietgebeden 1 16’00’’ 12

1984 Schroyens, Raymond My love is like a red, red rose 4’30’’ 1

1984 Verhaegen, Marc 4 Stukken 9’00’’ 4 Maurer

1984 Westerlinck, Wilfried Kleine Wals 3’40’’ 1 CeBeDeM

1985 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Diana 23 4’30’’ 1

1985 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Eva 20 13’00’’ 1

1985 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Régine 21 6’00’’ 1

1985 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Lidwina 26 7’40’’ 1

1985 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Dominique 22 7’00’’ 1

1985 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Daniëlle 24 10’00’’ 1

1985 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Catherine 25 7’10’’ 1

96 97

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1985 Buckinx, Boudewijn [zonder titel] 1985.03 5’00’’ 1

1985 Buckinx, Boudewijn Lied zonder zanger 1985.06 2’00’’ 1

1985 Claesen, Ludo Capriccio 4’00’’ 1 Animato (Susato)

1985 Duijck, Johan Klavertjevier 5 13’41’’ 4 Phaedra 92036

1985 Geysen, Frans 50 x Hedwig Speliers 2’00’’ 1

1985 Geysen, Frans Gedwarrel 0’30’’ 1

1985 Gilles, Jules Moloïse (3 Kleine Stukken) 20/6 7’00’’ 1 DMP

1985 Goeyvaerts, Karel Pas à pas 6’10’’ 1 CeBeDeM Megadisc 7848

1985 Kersters, Willem Sonate 77 16’00’’ 3 CeBeDeM

1985 Knockaert, Yves Third interlude uit het ballet “MacLuhan 4’10’’ 1 CeBeDeM

at MacDonalds”

1985 Legley, Vic Sonate nr. 4 107 6’42’’ 1 CeBeDeM Phaedra 92015

1985 Nuyts, Frank The 5th wheel 5’00’’ 1 Eigentijds Muziek

1985 Steegmans, Paul Jazzsuite 16’00’’ 5

1985 Tas, Rudi 2 Sonatinen op 4’00’’ 2

oude Vlaamsche liedekens

1985 Verbesselt, August “Z” 6’00’’ 1

1985 Westerlinck, Wilfried Sonate nr. 2 12’00’’ 3

1985 Westerlinck, Wilfried Variaties op een thema van Paganini 16’00’’ 1

1986 Biesemans, Janpieter L’Yberia 32-34 12’50’’ 3

1986 Buckinx, Boudewijn Uit het gietijzeren kasteel 1986.04 5’00’’ 1

1986 Cabus, Peter Epiloog

1986 Carron, Willy Paesaggi con Bach 12 invenzioni per pianoforte 18’00’’ 12 CeBeDeM

1986 De Jonghe, Marcel Introspection II 5’00’’ 1 Maurer

1986 Gistelinck, Elias Prelude 6 34 4’12’’ 1 René Gailly 87 113

1986 Kersters, Willem 6 Preludes 82 9’00’’ 6 CeBeDeM

1986 Nuyts, Frank Cloudscapes 14’00’’ 3 MuPro WW-IG-09

1986 Posman, Lucien Oeioeioeioeioei 8’00’’ 5 Andel MuPro WW-IG-09

1986 Swerts, Piet Partita in memoriam J. S. Bach 15’00’’ 7 Eufoda 1251

1986 Swerts, Piet Sonetto 61 del Petrarca 5’00’’ 1 CeBeDeM Eufoda 1251

1986 Tas, Rudi 2 Sonatinen 4’00’’ 2

1986 Verhaegen, Marc Ballade 2’30’’ 1 Lantro Music

1986 Verhaegen, Marc Roemeense Dans 1’30’’ 1 Lantro Music

1967-86 Westerlinck, Wilfried 4 Bagatellen 14’00’’ 4

1986 Westerlinck, Wilfried Sonate nr. 3 fantasia-sonata 7’30’’ 3

1987 Claesen, Ludo Scherzando 2’00’’ 1 Animato (Susato) Klara CD 9503

1987 De Jonghe, Marcel Introspection III 9’00’’ 1 Lantro Music

1987 de Visscher, Eric Incidents I 3’00’’ 1

1987 Duijck, Johan Illuminatio 7 8’00’’ 1

1987 Gistelinck, Daniel Résonances 6’00’’ 1 Andel De Rode Pomp RP-GMA 25

1982-87 Gyselynck, Franklin For a better world II 15’00’’ 1 HA’ Records 6003 2

1987 Henderickx, Wim Spielerei 3’00’’ 3 Davidsfonds Davidsfonds

1987 Soenen, Willy Sonate 13’30’’ 3 Lantro Music

1987 Steegmans, Paul Dans 2’00’’ 1 Animato (Susato)

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1987 Steegmans, Paul Fantasie-Impromptu 5’30’’ 1 Nikki

1987 Swerts, Piet Bagatelle 1’30’’ 1

1987 Tas, Rudi Tre pezzi 6’00’’ 3

1987 Van Hove, Luc 5 Inventions 20 10’00’’ 5

1987 Verhaegen, Marc Sonatine 12’00’’ 3 Lantro Music

1988 Cabus, Peter Concertstudie nr. 2 3’00’’ 1 Arcobaleno SBCD-1519

1988 De Jonghe, Marcel Introspection IV 6’00’’ 1 Maurer

1988 De Jonghe, Marcel Introspection V 5’00’’ 1 Maurer

1988 Dejonghe, Koen Ragtime 2’00’’ 1

1988 Henderickx, Wim 6 Miniaturen 5’00’’ 6

1988 Henderickx, Wim Toccata 3’00’’ 3 Animato (Susato)

1988 Schroyens, Daniël Prélude non-mesuré 6’30’’ 1 CeBeDeM

1989 Blockeel, Dirk Pas à pascallia 4’02’’ 1

1989 Bondue, Yves Bärenfang I 8’00’’ 4 Lantro Music

1989 Brewaeys, Luc Pyramids in Siberia 16’00’’ 1

1989 Buckinx, Boudewijn [zonder titel] 1989.22 3’00’’ 1

1989 Buckinx, Boudewijn [zonder titel] 1989.04 1’00’’ 1

1989 Buckinx, Boudewijn B.Z. 1989.11 1’00’’ 1

1989 Buckinx, Boudewijn De controversiële avonturen 1989.17 8’00’’ 6 Chiola

van Boduognat

1989 Cabus, Peter Klein impromptu 1’45’’ 1

1989 Cabus, Peter Sonatine nr. 6 3’25’’ 2

1989 Coryn, Roland Sonatine voor piano 39 5’00’’ 3 Maurer

1989 Craens, Alain De geheimzinnige ruïne 2’00’’ 1 Animato (Susato)

1989 Craens, Alain De kleine harlekijn 3’00’’ 1 Animato (Susato)

1989 Craens, Alain Midnight Express 2’00’’ 1 Animato (Susato)

1989 Craens, Alain Valkenjacht 3’00’’ 1 Animato (Susato)

1989 Craens, Alain Zoals het klokje thuis tikt 2’00’’ 1 Animato (Susato)

1989 Decadt, Jan ¿ Porqué ...? 1e Prelude 4’12’’ 1 CeBeDeM

1989 Dejonghe, Koen Barcarolle 1’00’’ 1

1989 Dejonghe, Koen Ritorno eterno 6’00’’ 1

1989 Dejonghe, Koen Vijf stukken voor een ballet 12’00’’ 5 Sibeliusmusic

1989 Henderickx, Wim Elegie 4’00’’ 1

1989 Henderickx, Wim Untitled 4’00’’ 1

1989 Nuyts, Frank Za-va-pa 5’00’’ 1

1989 Roels, Hans Allegro 8’00’’ 1

1989 Wauters, Christian-Adolphe Sonata eclectica 50 15’05’’ 3

1990 Agsteribbe, Frank Bossuniana 13 3’30’’ 1 Lantro Music

1990 Agsteribbe, Frank Piano Sonata 1 14 8’00’’ 1

1990 Bondue, Yves 7 Haïku’s 7’00’’ 7 Golden River Music

1990 Bondue, Yves Bärenfang II 8’00’’ 4 Lantro Music

1990 Buckinx, Boudewijn [zonder titel] 1990.15 2’00’’ 1

1990 Buckinx, Boudewijn 8.4.1990 1990.08 2’00’’ 1

1990 Buckinx, Boudewijn Simonne’s Amerikaanse Toespraak 1990.17 2’00’’ 1

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YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1990 Buckinx, Boudewijn Straatnamen 1990.14 13’00’’ 2

1990 Buckinx, Boudewijn Three Studies in Free Tonality 1990.13 5’00’’ 3 Chiola

1990 Buckinx, Boudewijn Vele groetjes 1990.05 25’00’’ 25 AVK

1990 De Jonghe, Marcel Introspection VI 9’39’’ 1 Lantro Music Pavane ADW 7290

1990 de Visscher, Eric One more than three voor speelgoedpiano of piano 16’00’’ 4

1990 Dejonghe, Koen Preludio, toccata e aria 7’00’’ 3

1984-90 Devreese, Frédéric Black & White 15’00’’ 9 CeBeDeM Cyprès CYP 1619

1990 D’haene, Frédéric For declining times

1990 Geysen, Frans Tussenstuk in rood 3’00’’ 1 CeBeDeM

1990 Geysen, Frans Voorstuk in paars 7’00’’ 1 CeBeDeM

1990 Gistelinck, Elias Clowns suite 45a 12’00’’ 10 René Gailly 87 113

1990 Roels, Hans Act III Scene IV 5’00’’ 2

1990 Steegmans, Paul Fantasie op een lied van A. Meulemans 5’00’’ 1

“Lieve Vrouwe van ons land”

1990 Steegmans, Paul Kleine Suite 6’00’’ 3 Davidsfonds + Euprint

1990 Steegmans, Paul Variatie op een thema 2’00’’ 1 BMP

van J. Raedschelders

1990 Swerts, Piet Galop 3’40’’ 1 Eufoda 1251

1990 Swerts, Piet Premiers Bravos 8 petites pièces faciles 12’00’’ 8 Schott Eufoda 1251

1990 Swinnen, Peter DaliRium tentazione per pianoforte 5’00’’ 1 Lantro Music

1990 Van Geert, Octaaf A. Heb je ‘t al onder de duim 1’00’’ 1

1990 Van Geert, Octaaf A. Molto, molto, molto 4’00’’ 1

1990 Van Geert, Octaaf A. O duim 1’00’’ 1

1988-90 Vande Ginste, Stephane 3 Préludes voor Jan Michiels 8’00’’ 3 DMP

1991 Baert, Bernard Affekten boek 2

1991 Baert, Bernard Affekten boek 1

1991 Baert, Bernard Autumn Sounds 1

1991 Buckinx, Boudewijn [zonder titel] 1991.02 10’00’’ 4

1991 Buckinx, Boudewijn Blijf aan de lijn pièce téléphonique #2 1991.23 12’00’’ 1

1991 Buckinx, Boudewijn Faxletters to F. Rz. 1991.16 3’00’’ 3

1991 Dejonghe, Koen Canto nero o bianco 3’00’’ 1

1991 Dejonghe, Koen Iride 4’00’’ 1

1991 D’Hollander, Geert Sonata 22 6’00’’ 4

1991 Geysen, Frans Eerbetoon aan Jan Michiels 1’30’’ 1

1991 Goethals, Lucien Tweehandige Inventie 10’00’’ 1 CeBeDeM

1991 Nuyts, Frank They’re no better than they should be 8’00’’ 9

1991 Schroyens, Raymond Indiaanse sonatine voor Ruben 5’30’’ 3

1991 Schroyens, Raymond Zij bouwen een paleis 13’30’’ 10 DMP

1991 Swerts, Piet 5 Tweestemmige Inventies 14’00’’ 5 Eufoda 1251

1991 Swerts, Piet Valse tendre 3’00’’ 1 Ascolta Eufoda 1251

1991 Vande Ginste, Stephane 3 Miniatures 4’00’’ 3 Lantro Music

1991 Wauters, Christian-Adolphe Sonata in tre movimenti 53 12’55’’ 3

1992 Bondue, Yves Le sacre de l’enfant 5’00’’ 1

1992 Buckinx, Boudewijn “Uw brief van 18 september” 1992.29 1’00’’ 1 BMP

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1992 Buckinx, Boudewijn 5 Stukken 1992.28 10’00’’ 4

1992 Buckinx, Boudewijn Beste Claude 1992.02 15’00’’ 10

1992 Buckinx, Boudewijn Jan en Inge 1992.18 1’00’’ 1

1992 Buckinx, Boudewijn Los Capricchos 1992.11 15’00’’ 13 Lantro Music

1992 Buckinx, Boudewijn MXK 1992.27 1’00’’ 1

1992 Buckinx, Boudewijn Omoi Kittaru 1992.03 5’00’’ 1

1992 Cabus, Peter 3 Inventies over de naam 6’45’’ 3

Pierre Somers

1992 Cabus, Peter Herinnering aan een lied... 1’10’’ 1

1992 De Smet, Raoul Meditatie 5 7’20’’ 1 CeBeDeM Digi Classics 98 08032

1992 Decancq, Raymond Miniatuurmars - Fata Morgana 5’10’’ 2 Golden River Music

1992 Devreese, Frédéric Wiegelied voor Jesse 1

1992 D’haene, Frédéric The peaks were...The valleys came in Musik für Lara

1992 Geysen, Frans Het pianoboek van Antje Speliers 16’00’’ 17

1992 Geysen, Frans Wereld van volheid 6’00’’ 1

1992 Nuyts, Frank A rule of thumb sonata 1st Pianosonata 20’00’’ 3

1992 Steegmans, Paul Scherzo 3’00’’ 1 DMP

1992 Swerts, Piet 12 Gemakkelijke Studies 15’00’’ 12

1992 Tas, Rudi Cool Intonation in memoriam Leonard Bernstein 6’00’’ 1 CNR 590821

1988-92 Van Landeghem, Jan De kleine wildernis pianocyclus voor kinderen 15’00’’ 5 Digital Music Print

1992 Vanhecke, Bart Monodie 9’00’’ 1

1991-92 Verbraeken, Carl Oud-Brusselse taferelen 58’00’’ 22

1992 Wauters, Christian-Adolphe Sonata in quattro movimenti 54 20’25’’ 4

1992 Welffens, Peter Bitonalia 6 miniaturen voor piano 13’00’’ 6

1993 Aerts, Hans Berceuse triste 1’30’’ 1 DMP

1993 Aerts, Hans Canzonetta 1’30’’ 1 DMP

1993 Bondue, Yves Opus 22 in vitro musica 22 8’00’’ 1

1993 Buckinx, Boudewijn Jeu de boules 1993.02 5’00’’ 1

1993 Buckinx, Boudewijn Weltschmerz 1993.16 6’00’’ 1

1993 Budai, Erika Trollendans 1’30’’ 1

1993 Cabus, Peter 3 Hommages 9’25’’ 3 CeBeDeM

1993 Cabus, Peter Twee: een stel 12? 7’30’’ 12 Maurer

1993 Coeck, L. Jan 4 Cookies 8’55’’ 4

1993 Coppens, Claude Fin-de-siècle étude pour ‘sirènes’ 5’00’’ 1

1993 De Smet, Raoul Facetten 4 variaties op een thema 3’40’’ 1 BMP

van Jeroen Raedschelders

1993 Decancq, Raymond Tango - Humoreske 3’38’’ 2 Digital Music Print

1993 Dejonghe, Koen Hippodroom 4’00’’ 1 DMP

1993 Dejonghe, Koen Parade 4’00’’ 1 DMP

1993 Duijck, Johan Zeven-mijlslaarsjes 13 8’08’’ 7 Phaedra 92036

1993 Geysen, Frans Evident, effi ciënt, consequent 5’00’’ 1

1993 Geysen, Frans Intuitief, wel standvastig 2’45’’ 1

1993 Gilles, Jules Menuet (3 Kleine Stukken) 21/1 5’00’’ 1 DMP

1993 Matthys, Marc Oud verhaal 1’30’’ 1 Golden River Music

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YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1993 Matthys, Marc Sad Waltz 5’00’’ 1 Golden River Music MMP 004

1993 Nuyts, Frank De ladders zat au bout des gammes 8’00’’ 5

1993 Roels, Hans Piano Piece 4’00’’ 1

1993 Schroyens, Raymond Garlands and Chimes for Peter 6’30’’ 1

1993 Swerts, Piet 2 Volksliedjes 3’00’’ 2 Eufoda 1251

1993 Swerts, Piet 5 Préludes à la Mémoire 7’00’’ 5 Ascolta Eufoda 1251

de F. Chopin

1993 Swerts, Piet 6 Variaties op ‘Kortjakje’ 8’00’’ 1 Chiola Music Press Eufoda 1251

1994 Bondue, Yves 5 Haïku’s 6’30’’ 5 Golden River Music

1994 Bondue, Yves Habanera 5’00’’ 1 Golden River Music

1994 Buckinx, Boudewijn Der Werkverzeichner 1994.05 1’00’’ 1

1994 Buckinx, Boudewijn Per C 1994.10 80’00’’ 4

1994 Buckinx, Boudewijn Voor Anke 1994.07 1’00’’ 1

1994 Buckinx, Boudewijn Voor CC 1994.06 6’00’’ 1

1994 Cabus, Peter Piccola Rapsodia 6’00’’ 1

1962-94 Cabus, Peter Sonatine nr. 5 6’00’’ 3

1994 De Nef, Dirk Rond’Eau 6’00’’ 1

1994 Dejonghe, Koen A(n)dante naar Dante’s “La divina commedia” 8’00’’ 3

1994 Duijck, Johan Discretio 14 9’04’’ 1 Phaedra 92036

1994 Geysen, Frans 3 Klavierstukken 10’30’’ 3

1994 Geysen, Frans 8 Klavierstukken 13’33’’ 8 CeBeDeM

1994 Geysen, Frans Gestuurd handwerk voor vingers 3’12’’ 1

1994 Geysen, Frans I Fratelli della Carità 3’15’’ 1

1994 Geysen, Frans Karel Goeyvaerts-memoriaal 6’40’’ 1

1994 Goddaer, Norbert Waltzing Cats 2’00’’ 1 Lantro Music

1994 Hus, Walter Toccata 11’00’’ 1 Scores

1994 Nuyts, Frank Edgeways 9’00’’ 3

1994 Schroyens, Raymond Stars in Zenith, for Alleine 6’30’’ 1

1994 Steegmans, Paul Katharsis 5’00’’ 1

1994 Swerts, Piet 2 Nocturnes 8’00’’ 2 Chiola Music Press Eufoda 1251

1994 Vande Ginste, Stephane 3 Easy Pieces for Children voor Helga Dewaele 4’00’’ 3 DMP

1994 Vande Ginste, Stephane Ide-fi x 12’00’’ 1 Lantro Music

1995 Baert, Bernard 2 Klankgedichten 12 2

1995 Buckinx, Boudewijn Aster 1995.18 3’00’’ 1

1995 Buckinx, Boudewijn Diary I: Summer ‘95 1995.14 60’00’’ 1

1995 Buckinx, Boudewijn Diary II: Autunno ‘95 1995.19 30’00’’ 1

1995 Buckinx, Boudewijn Minne 1995.17 1’00’’ 1

1995 Buckinx, Boudewijn Nieuw jaar in oude vaten 1995.01 3’00’’ 1

1995 Buckinx, Boudewijn S.C. Simonne’s Copenhague Birthday 1995.06 1’00’’ 1

1995 Buckinx, Boudewijn Toen Onno kwam 1995.13 1’00’’ 1

1995 Buckinx, Boudewijn V.Z.W. ver-zacht-wijd 1995.05 10’00’’ 3

1995 Cafmeyer, Hans 7 pedagogische werkjes 10’00’’ 7

1995 De Nef, Dirk Pentona 3’00’’ 1

1995 De Nef, Dirk Spring-dance 3’00’’ 1

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1995 Decancq, Raymond Danssuite 12’25’’ 7 Golden River Music

1995 Dejonghe, Koen Introduktie en Scherzo 3’00’’ 2

1995 Dejonghe, Koen Passage 3’00’’ 1

1995 D’hoe, Jeroen Piano Suite no. 1 10’00’’ 5

1995 Geysen, Frans Aanzet 2’10’’ 1

1995 Gilles, Jules Ragtime en Fuga 21/3 9’00’’ 2 DMP

1995 Hus, Walter 4 (Ping Pong) Preludes 27’00’’ 4 Scores

1995 Kersters, Willem Scherzo insolito / 99 6’00’’ 1 CeBeDeM

An unusual scherzo

1995 Matthys, Marc Elegie en Rondo 8’00’’ 2 CMP 1003

1995 Schroyens, Raymond Halt im Gedächtnis hommage aan Bach 11’30’’ 1

1995 Steegmans, Paul 12 Chopin-variaties naar de polonaise in c 17’00’’ 12 Nikki

1995 Swinnen, Peter Xedalvu omaggio a Paul Delvaux 7’00’’ 1 Lantro Music

1995 Van Puymbroeck, Stefan 3 Etudes 6’00’’ 3 (in preparation)

1995 Vande Ginste, Stephane 6 Korte Variaties op 3’50’’ 1 DMP

een Tango-Thema

1992-96 Baert, Bernard Verzameling didactisch 15

e pianostukjes

1996 Brewaeys, Luc Nobody is perfect! Michael Finnissy Fifty 2’30’’ 1 Lantro Music

1996 Buckinx, Boudewijn Diary III: Aki 1996.23 15’00’’ 1

1996 Buckinx, Boudewijn Dr MOC 1996.16 1’00’’ 1

1996 Buckinx, Boudewijn Eline V 1996.15 1’00’’ 1

1996 Buckinx, Boudewijn F.D. 1996.02 0’30’’ 1

1996 Buckinx, Boudewijn Sokra’s 1+2 1996.07 3’00’’ 3

1996 Buckinx, Boudewijn Zwerfschoonheid 1996.12 5’00’’ 1

1996 Cabus, Peter Valse du Capucin Gourmand Hommage aan Chopin 3’30’’ 1

1996 Celis, Frits Preludio, Toccata ed Epilogo op de naam Christel (Kessels) 58 13’00’’ 3 DMP

1996 Coryn, Roland Een Dansloze Suite voor jonge en andere pianisten 59 8’00’’ 7 Golden River Music

1996 De Jonghe, Marcel Gavotteske 4’00’’ 1 Euprint

1996 De Nef, Dirk Enfantasie 3’00’’ 1

1996 De Pillecyn, Jurgen Sonatine 7’00’’ 1

1996 Geysen, Frans Balorig 2’06’’ 1

1996 Geysen, Frans Hoe alles draait en keert 1’36’’ 1

1996 Geysen, Frans Hulpeloos 2’24’’ 1

1996 Geysen, Frans Onnoembaar 5’42’’ 1

1996 Geysen, Frans Smook 1’48’’ 1

1996 Geysen, Frans Toetsenstuk voor Lucien Goethals 7’00’’ 1

1996 Geysen, Frans Tristitia aurea 5’20’’ 1

1996 Goddaer, Norbert Six Flâneries 13’00’’ 6 DMP

1996 Hus, Walter Nox aeterna 17’00’’ 1 Scores

1996 Meylaers, Stefan An Hungarian Summer 5’45’’ 1 DMP Phaedra 92024

1996 Nuyts, Frank Mock-up rock 13’00’’ 6

1996 Van Eycken, Stefan overrun-abord 6’00’’ 1

1997 Baert, Bernard Klankgedichten 3-4 24 2

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1997 Brewaeys, Luc In between... 1’30’’ 1

1997 Buckinx, Boudewijn Belangrijke stukken 1997.04 1’00’’ 3

1997 Buckinx, Boudewijn Care About Rescue of Love 1997.12 3’00’’ 1

1997 Buckinx, Boudewijn Diary IV: winter 1997.08 10’00’’ 1

1997 Buckinx, Boudewijn Diary V: Frühling 1997.11 15’00’’ 1

1997 Buckinx, Boudewijn Diary VI: Estate 1997.20 20’00’’ 1

1997 Buckinx, Boudewijn Diary: Herfst 1997.30 5’00’’ 1

1997 Buckinx, Boudewijn Pieter hier met Anke 1997.13 1’00’’ 1

1997 Buckinx, Boudewijn Valise oubliée consolation musicale & inutile 1997.31 1’00’’ 1

1997 Budai, Erika Sinterklaaslied 2’15’’ 1

1960-97 Cabus, Peter 12 Korte Pianostukjes 17’00’’ 12 Maurer René Gailly 87 101

1997 Cabus, Peter Quelques leçons d’histoire 2’15’’ 4

de la musique

1997 De Clerck, Patrick Elegia in memoriam 27 8’00’’ 1 Dom Gorokhov

1997 Dejonghe, Koen Akwarel 1’00’’ 1

1997 Devreese, Frédéric Short Waltzes 4

1997 Geysen, Frans Gehoor op oneindig I 1’30’’ 1

1997 Laporte, André Three pieces 4’00’’ 3 CeBeDeM

1996-97 Raes, Godfried-Willem Studies in Fuzzy Harmony 1-8 22’00’’ 8 Logos Foundation Logos 21099

1997 Schroyens, Daniël Berceuse 6’30’’ 1 Lantro Music

1997 Swerts, Piet 8 Variaties op ‘Sur le Pont d’Avignon’ 6’00’’ 1 Heinrichshofen Verlag

1997 Swerts, Piet 8 Variaties op ‘As I sat 6’00’’ 1 Heinrichshofen Verlag

on a Sunny Bank’

1997 Swerts, Piet 8 Variaties op ‘Greensleeves’ 6’00’’ 1 Heinrichshofen Verlag

1997 Swerts, Piet Piano Sonata ...seeker of truth... 12’00’’ 1 CeBeDeM

1997 Swerts, Piet Pianorama didactische methode 16’00’’ 36

1997 Van Eycken, Stefan campo minato voor piano solo met assistent 7’00’’ 1

1997 Vande Ginste, Stephane On the road aan Marcel Worms 3’00’’ 1 Lantro Music

1997 Verhaegen, Marc Seguedillas 7’00’’ 1 Lantro Music

1998 Baert, Bernard Oases 27 3

1998 Buckinx, Boudewijn 7 Haikoe’s 1998.09 5’00’’ 7

1998 Buckinx, Boudewijn Aan de andere kant 1998.08 4’00’’ 1

1998 Buckinx, Boudewijn De andere kant van het water 1998.12 4’00’’ 1

1998 Buckinx, Boudewijn Denken aan de andere kant 1998.07 5’00’’ 1

van het water

1998 Buckinx, Boudewijn Ink dd nfrt 1998.16 3’00’’ 1 Lantro Music

1998 Buckinx, Boudewijn Kasper 1998.02 1’00’’ 1

1998 Buckinx, Boudewijn Mein schönes Wunderland 1998.29 2’00’’ 1 Lantro Music

1998 Buckinx, Boudewijn Philmmuziek 1998.17 2’00’’ 1

1998 Buckinx, Boudewijn Présence de Hauke Harder 1998.38 1’00’’ 1

1998 Buckinx, Boudewijn Van het water 1998.15 3’00’’ 1

1998 Buckinx, Boudewijn Voor Claudio Giordano 1998.25 1’00’’ 1

1998 Buckinx, Boudewijn Voor Karl Heeremans 1998.26 1’00’’ 1

1998 Buckinx, Boudewijn Voor Niemand 1998.24 1’00’’ 1

110 111

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1998 Buckinx, Boudewijn Voor Niets 1998.23 1’00’’ 1

1998 Cox, Boudewijn Prelude 5’00’’ 1 Metropolis

1998 Craenen, Paul black hand, white hand 7’00’’ 3

1998 De Nef, Dirk Actus Purus 10’00’’ 1

1998 De Smet, Raoul Blues Fantasy 5’30’’ 1 Lantro Music

1998 Geysen, Frans Muziek voor toetsenbord I 27’30’’ 13

1998 Gilles, Jules Oorlog en vrede 25/2 8’00’’ 3

1998 Goddaer, Norbert TLC (Tender Loving Care) 2’00’’ 1 Lantro Music

1998 Hus, Walter Preludes and Fugues book I 47’00’’ 12 Scores De Rode Pomp - GMA 012

1988-98 Logghe, Geert The Idea of North

1998 Oelbrandt, Kris 3 Miniaturen 1 5’00’’ 3

1998 Oelbrandt, Kris Arabesk 2 5’00’’ 1

1998 Sommereyns, Gwendolyn Sémira 6’30’’ 1

1998 Swerts, Piet Berceuse 3’00’’ 1

1998 Swerts, Piet Christmas Carols 30’00’’ 36 De Haske

1998 Swerts, Piet Greetings from... 14 postcards 30’00’’ 14 De Haske

1998 Swerts, Piet Profi el 6’00’’ 1

1998 Swinnen, Peter Arabesque 6’00’’ 1 Lantro Music

1998 Vanhecke, Bart Les racines du monde 8’00’’ 1

1998 Verstrepen, Rik Binot 4’00’’ 1

1999 Agsteribbe, Frank 7 Nocturnes fumeux fume/it is like a big tree/ 61 13’00’’ 7 Lantro Music

(rondeau et variations)

1998-99 Blockeel, Dirk 14 Bagatellen 15’00’’ 14

1999 Bondue, Yves Clusters 9’00’’ 3 Golden River Music

1999 Buckinx, Boudewijn 1999.02 1999.02 2’00’’ 1

1999 Buckinx, Boudewijn De tussenseizoenen 1999.16 3’00’’ 3

1999 Buckinx, Boudewijn Estudos 1999.01 6’00’’ 3

1999 Buckinx, Boudewijn P.S. voor P.S. 1999.04 3’00’’ 6

1999 Buckinx, Boudewijn Qantas Noites [...] 1999.07 1’00’’ 1

1999 Buckinx, Boudewijn Small Sighs 1999.11 4’00’’ 6

1999 Buckinx, Boudewijn Spirit 1999.12 6’00’’ 6

1999 Buckinx, Boudewijn Stop Inhuman War in Kosovo 1999.08 2’00’’ 1

1999 Cox, Boudewijn Bagatelle 2’00’’ 1

1999 Craenen, Paul Falco tinnunculus 5’00’’ 1 HA’ Records 6003 2

1999 De Jonghe, Marcel Metronobile 1’30’’ 1 Lantro Music

1999 De Jonghe, Marcel Molak-suite 2’30’’ 3 Lantro Music

1999 De Smet, Raoul Meditatie 6 6’00’’ 1

1999 Decancq, Raymond A portrait in music 3’15’’ 1 Golden River Music

1999 Dubois, Chris Een habanera voor Miranda 4’00’’ 1 Musica Flandrorum

1999 Geysen, Frans De rusten maken het verschil 4’00’’ 1

1999 Geysen, Frans Er binnenin 2’00’’ 1

1999 Geysen, Frans Even zweven 1’40’’ 1

1999 Geysen, Frans Gehoor op oneindig II 1’30’’ 1

1999 Geysen, Frans Muziek voor toetsenbord II 27’54’’ 15

112 113

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

1999 Geysen, Frans Testdag 3’15’’ 1

1999 Matthys, Marc Variations for piano 9’00’’ 1

1999 Meuris, Ingrid Les episodes mystiques inspiré par la vie et les paroles 5 5 Euprint

de Saint Jean Vianney

1999 Verbraeken, Carl Sonate 35’00’’ 4

1996-99 Verbraeken, Carl Voorspelen 25’00’’ 12

2000 Biesemans, Janpieter 4 Bagamêlen 79-82 7’40’’ 4

2000 Buckinx, Boudewijn 15 september 2000.16 2’00’’ 1 Lantro Music

2000 Buckinx, Boudewijn Das Aha-Erlebnis im 2000.06 3’00’’ 1

analytischen Bereich

2000 Buckinx, Boudewijn Een week in september 2000.15 10’00’’ 5

2000 Buckinx, Boudewijn Opus Primum XXI. Seculi 2000.01 1’30’’ 1 Lantro Music

2000 Buckinx, Boudewijn Voor wie het vindt 2000.03 1’00’’ 1

2000 Budai, Erika Excellentia 3’25’’ 1

2000 De Jonghe, Marcel Uit grootvaders tijd 6’00’’ 4 Lantro Music

2000 Devreese, Frédéric Mobile 5’00’’ 1 CeBeDeM

2000 Geysen, Frans 4 Tweeluiken 8’12’’ 4

2000 Geysen, Frans Alles heeft zijn tijd nr. 4 5’00’’ 1

2000 Geysen, Frans Alles heeft zijn tijd nr. 5 3’00’’ 1

2000 Geysen, Frans Alles heeft zijn tijd nr. 8 1’40’’ 1

2000 Geysen, Frans Alles komt terug nr. 5 5’45’’ 1

2000 Geysen, Frans Benadering van de kern 2’00’’ 1

2000 Geysen, Frans Drievoudig 2’45’’ 1

2000 Geysen, Frans Toetsing 2’12’’ 1

2000 Schroyens, Raymond De nacht noemt vele namen 9’00’’ 1

1983-00 Verbraeken, Carl Ruyterliederen 65’00’’ 12

2001 Baert, Bernard Als een rode draad 33/1

2001 Baert, Bernard Portret 33/2

2001 Buckinx, Boudewijn Als kind was ik een kwint 2001.28 1’00’’ 1

2001 Buckinx, Boudewijn Blauw 2001.17 3’00’’ 1

2001 Buckinx, Boudewijn De achtertuin 2001.30 3’00’’ 1

2001 Buckinx, Boudewijn De draad van Ariadne 2001.27 7’00’’ 1 Lantro Music

2001 Buckinx, Boudewijn De kleine Fontanel 2001.10 4’00’’ 1

2001 Buckinx, Boudewijn Diary VIII 2001.01 10’00’’ 1

2001 Buckinx, Boudewijn For Victor Lachert 2001.03 0’15’’ 1 Chiola

2001 Buckinx, Boudewijn H S I 2001.18 2’00’’ 1

2001 Buckinx, Boudewijn Non giusto 2001.23 3’00’’ 1 Lantro Music

2001 Buckinx, Boudewijn Ochtendgym 2001.21 5’00’’ 4 Lantro Music

2001 Buckinx, Boudewijn Roger Raveel 80 2001.11 6’00’’ 1

2001 Buckinx, Boudewijn Rotweer 2001.20 1’00’’ 1

2001 Buckinx, Boudewijn Sonatine académique 2001.31 10’00’’ 3 Lantro Music

2001 Buckinx, Boudewijn There you are 2001.15 5’00’’ 1

2001 Buckinx, Boudewijn Toi toi 2001.26 8’00’’ 1

2001 Buckinx, Boudewijn Voor de achterblijvers 2001.19 1’00’’ 1

114 115

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

2001 De Smet, Raoul Meditatie 7 3’20’’ 1

2001 Devreese, Frédéric 9 Waltzes 27’30’’ 9 CeBeDeM

1970-01 Devreese, Frédéric Soundtrack vol. I-III 70’00’’ 3 CeBeDeM

2001 Geysen, Frans Ik kan het ook niet helpen 3’00’’ 1

2001 Geysen, Frans Möbiusband nrs. 1-14 42’30’’ 14

2001 Geysen, Frans Tussendoortje 5’00’’ 1

2001 Matthys, Marc Lamento 5’00’’ 1

2001 Meuris, Ingrid Dabau! Davai! 14 1

2001 Oelbrandt, Kris Micrologica 3 11 2’24’’ 1

2001 Posman, Lucien Conte de L’Etude Modeste 8’00’’ 1 De Rode Pomp RP- GMA 25

2001 Sluys, Johan (Te) veel verkeer 2’00’’ 1 Euprint

2001 Sluys, Johan Toccata 7’00’’ 1

2001 Swinnen, Peter Bachatelle 1’08’’ 1 Lantro Music

2001 Tas, Rudi Harry’s studie 2’00’’ 1

2001 Van Landeghem, Jan Refl ection I chickhai bardo 12’00’’ 1

2001 Van Parys, Annelies 5 Short Stories muziek bij een animatiefi lm 7’30’’ 5

2001 Vande Ginste, Stephane Sonatine bewerking van het Concertino 5’00’’ 3 Lantro Music

2001 Vandenheede, Jan 4 Bagatellen 4’00’’ 4

2002 Buckinx, Boudewijn 50x de mooiste maat 2002.01 3’00’’ 1

2002 Buckinx, Boudewijn Diary IX 2002.15 115’00’’ 1

2002 Buckinx, Boudewijn Hip Hip Hurrah 2002.18 3’00’’ 1

2002 Buckinx, Boudewijn Ieder-zijn-beurt-dag 2002.19 2’00’’ 1

2002 Buckinx, Boudewijn Naklank 2002.04 1’00’’ 1

2002 Buckinx, Boudewijn Volpension CC 2002.14 2’00’’ 1

2002 Buckinx, Boudewijn Wallenstein Sonate 2002.13 20’00’’ 3

2002 Buckinx, Boudewijn Walnoot de beste noten staan aan wal 2002.08 2’00’’ 1

2002 Cox, Boudewijn Equinox 9’00’’ 1

2002 Decancq, Raymond A funny lady in triplicate 4’35’’ 1

2002 Dejonghe, Koen Lucky Luke’s Ragtime 2’30’’ 1 Sibeliusmusic

2002 D’hoe, Jeroen Toccata-Scherzo 4’30’’ 1 CeBeDeM Cyprès CYP 9616

2002 Duijck, Johan The well-tempered pianist - Book I 19 6’53’’ 12 Phaedra 92036

2002 Duijck, Johan The well-tempered pianist - Book II 20 8’02’’ 12 Phaedra 92036

2002 Duijck, Johan The well-tempered pianist - Book III 21 8’26’’ 12 Phaedra 92036

2002 Duijck, Johan The well-tempered pianist - Book IV 22 8’30’’ 12 Phaedra 92036

2002 Geysen, Frans 4 Klankvlakken met dubbellijn 2’48’’ 1

2002 Geysen, Frans 4.3.5.5.3.4 2’00’’ 1

2002 Geysen, Frans Alleen klank zij eer nrs. 1,2,4,5,6,7 17’32’’ 6

2002 Geysen, Frans Kinderspel 12’42’’ 9

2002 Geysen, Frans Nastuk in blauw 4’12’’ 1

2002 Geysen, Frans Rechts en averechts 2’48’’ 1

2002 Geysen, Frans ‘s Zomers 5’36’’ 1

2002 Geysen, Frans Voor 2 handen 1’12’’ 1

2002 Laporte, André Toccataglia sul nome di Herman Sabbe 4’00’’ 1 CeBeDeM

2002 Matthys, Marc Miami beach 4’00’’ 1

116 117

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

2002 Matthys, Marc Una noche en Salamanca 5’00’’ 1

2002 Nuyts, Frank 2nd Pianosonata nomen nudum 25’00’’ 3 HRDSCR Editions (in preparation)

2002 Nuyts, Frank 3rd Pianosonata ...et voces, praetereaque nihil... 26’00’’ 3 HRDSCR Editions (in preparation)

2002 Nuyts, Frank 4th Pianosonate adde parum parvo 28’00’’ 3 HRDSCR Editions

2002 Oelbrandt, Kris Micrologica 4 16 7’00’’ 1

2002 Sluys, Johan Arpie 5’30’’ 1

2002 Van der Straeten, Geert Contramine 1 20 7’00’’ 1

2002 Van der Straeten, Geert Contramine 2 24 5’15’’ 1

2002 Van Eycken, Stefan supplement (...tinfoil tiaras...) voor piano solo 6’00’’ 1

met 5 e-bows (assistent)

2002 Van Puymbroeck, Stefan Sonate nr. 1 15’00’’ 2 (in preparation)

2002 Vande Ginste, Stephane Rock’romatique aan Marcel Worms 3’50’’ 1 Lantro Music

1998-02 Verbraeken, Carl Behaaglijkheden en geheimpjes 22’00’’ 8

1999-02 Verbraeken, Carl Treurzangen 46’00’’ 24

1979-02 Verbraeken, Carl Walsen 20’00’’ 9

2003 Bondue, Yves Etude for Prof. José Eduardo Martins 3’00’’ 1

2003 Buckinx, Boudewijn Antonio Eduardo in Tervuren 2003.11 3’00’’ 1 Lantro Music

2003 Buckinx, Boudewijn Codex Gandensis 2003.01B 45’00’’ 6

2003 Buckinx, Boudewijn De kleine Oden van november 2003.31 8’00’’ 6

2003 Buckinx, Boudewijn Equinox 2003.22 1’30’’ 1 Lantro Music

2003 Buckinx, Boudewijn Kalpa 2003.13 2’00’’ 1 Lantro Music

2003 Buckinx, Boudewijn Little Spots on the Earth 2003.09 7’00’’ 6 Lantro Music

2003 Buckinx, Boudewijn Peace for Piano 2003.06 20’00’’ 1

2003 Buckinx, Boudewijn Weegschaal 2003.26 3’00’’ 1 Lantro Music

2003 Budai, Erika Voiles 3’25’’ 1

2003 Cox, Boudewijn Caccia 5’00’’ 1

2003 De Haes, Tom Elegie en Toccata hommage aan Olivier Messiaen 3’15’’ 2 DMP

2003 De Smet, Raoul Schets in zwart-wit 2’30’’ 1

2003 Dejonghe, Koen Flowers in the desert miniature for piano 1’00’’ 1 Sibeliusmusic

2003 Duijck, Johan Le tombeau de Ravel 23 12’00’’ 3

2003 Geysen, Frans Binst de begrenzing 3’30’’ 1

2003 Geysen, Frans De kleuring 1’40’’ 1

2003 Geysen, Frans De ommekeer 3’46’’ 1

2003 Geysen, Frans Het onvoorspelbare 3’48’’ 1

2003 Geysen, Frans Het verschijnen en verdwijnen 1’42’’ 1

2003 Geysen, Frans Melodie binnen de perken 0’51’’ 1

2003 Geysen, Frans Zee 18’33’’ 5

2003 Gistelinck, Elias Prelude 12 66 2’30’’ 1 CeBeDeM

2003 Gistelinck, Elias Prelude 13 67 2’40’’ 1 CeBeDeM

2003 Gistelinck, Elias Prelude 14 68 2’00’’ 1 CeBeDeM

2003 Gistelinck, Elias Prelude 15 69 2’35’’ 1 CeBeDeM

2003 Gistelinck, Elias Prelude 16 70 2’00’’ 1 CeBeDeM

2003 Gistelinck, Elias Prelude 17 71 2’45’’ 1 CeBeDeM

2003 Gistelinck, Elias Preludes 7-8-9-10-11 65 6’40’’ 5 CeBeDeM

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

2003 Gistelinck, Elias Suite for piano preludes 18-22 72-76 15’15’’ 5 CeBeDeM

2003 Goddaer, Norbert Sonatina 16’00’’ 4 Lantro Music

2003 Nuyts, Frank 5th Pianosonata blue rays - ry’s blue 27’00’’ 6

2003 Sluys, Johan 7 Intervalvariaties 2’00’’ 1 DMP

2003 Sluys, Johan De Pestkop 3’30’’ 1 DMP

2003 Sommereyns, Gwendolyn Variatie op thema van A. Diabelli 2’15’’ 1

2003 Steegmans, Paul 5 Voordrachtstukjes 8’00’’ 5 Euprint

2003 Steegmans, Paul Limburgs Volkslied pianofantasie 3’30’’ 1

2003 Swerts, Piet 8 Little Pieces 6’00’’ 8

2003 Swerts, Piet Le Jardin à Giverny prelude 5’00’’ 1

2003 Swerts, Piet Lichtenberg prelude 4’00’’ 1

2003 Swinnen, Peter Palindroom 1’00’’ 1 Lantro Music

2003 Van Geert, Octaaf A. Clips 4’51’’ 5 ISME 8847-2

2003 Van Parys, Annelies Absence 8’40’’ 1

2003 Van Puymbroeck, Stefan Sonate nr. 2 17’00’’ 3 (in preparation)

2003 Verstrepen, Rik Per 12’00’’ 1

2004 Biesemans, Janpieter 8 Trancendenties over dé Vrouw Monica 102 8’00’’ 1

2004 Blockeel, Dirk Een tientje voor Louis 10 pianostukjes op thema’s 11’00’’ 10

van De Meesters Betje Trompet

2004 Buckinx, Boudewijn 040404 2004.16 1’00’’ 1

2004 Buckinx, Boudewijn Flotsam 2004.05 5’00’’ 1

2004 Buckinx, Boudewijn Forensic Waltz 2004.11 0’30’’ 1

2004 Buckinx, Boudewijn KAHNYN[kanoen=eve] 2004.26 6’30’’ 1

2004 Buckinx, Boudewijn Kukatari 2004.23 3’00’’ 1

2004 Buckinx, Boudewijn LS 2004.07 1’00’’ 1

2004 Buckinx, Boudewijn Middle Way 2004.12 1’00’’ 1

2004 Buckinx, Boudewijn Ophanden 2004.25 4’00’’ 1

2004 Buckinx, Boudewijn The Floating World 2004.05 22’00’’ 1

2004 Buckinx, Boudewijn Three Penny Sonata 2004.10 1’00’’ 1

2004 Buckinx, Boudewijn Zwarte Tulpen 2004.20 2’00’’ 1 Lantro Music

2004 De Smet, Raoul Réfl exion sur les notes répétées 2’30’’ 1

2004 Geysen, Frans “Wat is daar nu aan?” 3’42’’ 1

2004 Geysen, Frans Al op enen wintersen dag 1’20’’ 1

2004 Geysen, Frans De rusten maken het ritme 2’36’’ 1

2004 Geysen, Frans Epifanie van alfabes 1’48’’ 1

2004 Geysen, Frans Gedachtenloos 2’52’’ 1

2004 Geysen, Frans Heelal 8’07’’ 5

2004 Geysen, Frans Laat werk 1-18 65’00’’ 18

2004 Geysen, Frans Muziek om het geld de baas 1’10’’ 1

en het leven aan te kunnen

2004 Geysen, Frans Van alle druk ontheven 9’00’’ 1

2004 Geysen, Frans Yo so yo 2’27’’ 1

2004 Goddaer, Norbert Six Inventions 14’00’’ 6 Lantro Music

2004 Matthys, Marc Nostalgia 5’00’’ 1

118 119

YEAR COMPOSER TITLE SUBTITLE OPUS DURATION MOVEMENTS PUBLICATION CD RECORDING

2004 Prins, Stefan Etude Interieure 1 voor piano en knikkers 13’00’’ 1 CD-A n° 01

2004 Raes, Godfried-Willem Hin damit! Fuzzy Harmony Study nr. 11 3’30’’ 1 Logos Foundation

2004 Steegmans, Paul 6 Miniaturen 7’00’’ 6

2004 Steegmans, Paul Bach Tijdloos 3’00’’ 1

2004 Swerts, Piet Variaties op ‘Broeder Jakob’ 4’00’’ 1 Heinrichshofen

2004 Van Parys, Annelies Petite Pièce 1’00’’ 1

2004 Van Puymbroeck, Stefan Sonate nr. 3 28’00’’ 4 (in preparation)

2004 Vande Ginste, Stephane Het boekje van Michiel aan mijn zoon Michiel 10’00’’ 20 Lantro Music

2004 Vande Ginste, Stephane Het circus komt 3’00’’ 1 Lantro Music

1995-04 Verbraeken, Carl Bloemenstukken 43’00’’ 16

1999-04 Verbraeken, Carl Herinneringen, ijlheden, 45’00’’ 20

innigheden en naspelen

2004 Verstockt, Serge Noumena II 25’00’’ 1

2004-05 Westerlinck, Wilfried El Abanico 5 Spaanse miniaturen 9’00’’ 5

120 121

LIST OF PUBLISHERS AND RECORD COMPANIES

This list provides contact information of the publishers and record companies

which are mentioned in the inventories.

PUBLISHERS

AndelKlaprozenlaan 28-30, B-8400 Oostende (Belgium)tel +32 (0)59 70 32 22 – fax +32 (0)59 70 83 50andel@skynet.be - http://users.skynet.be/andel

Animato (Susato)Belfortstraat 6, B-9000 Ghent (Belgium)tel +32 (0)9 225 36 29 – fax +32 (0)9 225 36 29animato@pandora.be

Ascolta Music PublishingLupineoord 39, NL-3992 KK Houten (The Netherlands) tel +31 (0)30 637 42 37 – fax +31 (0)30 637 39 56info@ascolta.nl

BMP (Belgian Music Print)Arthur Meulemansstraat 12, B-3770 Riemst (Belgium)tel +32 (0)12 45 79 02 – fax +32 (0)12 45 79 02lucvergauwen@freegates.be

CeBeDeM – Belgian Centre for Music DocumentationAarlenstraat 75-77, B-1040 Brussels (Belgium)tel +32 (0)2 230 94 30 – fax +32 (0)2 230 94 37info@cebedem.be - www.cebedem.be

Chiola Music Press di Kamerton a.a., CP 53, I-65010 Spoltore (Italy)tel +39 (0)85 496 19 82 – fax +39 (0)85 496 19 82cmp@kamerton.com

CopaSchuttersstraat 24, 8840 B-Staden (Belgium)tel +32 (0)51 77 76 98info@copamusic.net – www.copamusic.net

DavidsfondsBlijde Inkomststraat 79-81, B-3000 Leuven (Belgium)tel +32 (0)16 31 06 00uitgeverij@davidsfonds.be - www.davidsfonds.be

De MonteWollemarkt 21, B-2800 Mechelen (Belgium)tel +32 (0)15 34 32 63 – fax +32 (0)15 34 32 63mobile +32 (0)495 92 83 13info@demonte.net – www.demonte.net/Demonte/index.asp

De NotenboomThis label does no longer exist

122 123

MetropolisJan Van Rijswijcklaan 7, B-2018 Antwerpen (Belgium)tel +32 (0)3 259 09 85 – fax +32 (0)3 259 09 88offi ce@metropolis-music.com – www.metropolis-music.com

Musica FlandrorumVichteplaats 10a, B-8570 Vichte (Belgium)tel +32 (0)56 77 76 52 – fax +32 (0)56 77 59 49

Peters MusikverlagKennedyallee 101, D-60596 Frankfurt am Main (Germany)tel +49 (0)69 630099 0 - fax +49 (0)69 630099 54info@edition-peters.de - www.edition-peters.com

SchottWeihergarten 5, D-55116 Mainz (Germany)tel +49 (0)61 31 246 0 - fax +49 (0)61 31 246 211info@schott-musik.de - www.schott-musik.de

Scores (Walter Hus)Koningsstraat 266, B-1210 Brussels (Belgium)fax +32 (0)2 219 79 58 - mobile +32 (0)479 99 57 94info@walterhus.org - www.walterhus.org

Sibeliusmusic“the largest collection of new scores on the web”www.sibeliusmusic.com

SusatoThis publisher does no longer exist - the publisher’s list has been taken over by Animato.

TonosHolzhofallee 15, D-64295 Darmstadt (Germany)tel +49 (0)6151 3904 0 – fax +49 (0)6151 3904-90mail@tonos-online.de – www.tonos-online.de

RECORD COMPANIES

ArcobalenoEmpire Master Sound Recordings and Productions170 W. 74th Street, USA-10023 New York (USA)

Casa Nova Records (CNR)Amerikalei 172, B-2000 Antwerpen (Belgium)

CD-A (Champ d’Action)Studio 3, Jan Van Rijswijcklaan 155, B-2018 Antwerp (Belgium)tel +32 (0)3 231 57 53 - fax +32 (0)3 203 04 77lowlands@innet.be – www.champdaction.be

Convivium Musicum (CMP)This label does no longer exist

CyprèsRuysdaelstraat 23, B-1070 Brussels (Belgium)tel +32 (0)2 647 47 14 - fax +32 (0)2 647 04 49info@cypres-records.com - www.cypres-records.com

Digital Music Print (DMP)De Waghemakerestraat 14, B-2060 Antwerp (Belgium)tel +32 (0)3 232 21 51 – fax +32 (0)226 96 97info@dmp.be - http://www.dmp.be

Dom Gorokhov (Patrick De Clerck)Lage Varenweg 12, B-9031 Drongen (Belgium)tel +32 (0)9 227 53 58 - fax +32 (0)9 227 05 98mobile +32 (0)496 10 68 29info@dom-gorokhov.com - www.dom-gorokhov.com

Eigentijdse Muziekvia Raoul De SmetRuytenburgstraat 58, B-2600 Berchem (Belgium)tel +32 (0)3 239 41 19

Emmanuel Durlet FondsJan Van Rijswijcklaan 168A (B9), B-2020 Antwerpen (Belgium)tel +32 (0)3 238 98 64 - fax +32 (0)3 238 98 64www.emmanueldurlet.be

Eschig (Editions Durand-Salabert-Eschig)5, rue du Helder, F-75009 Paris (France)tel +33 (0)1 53 24 80 01 - fax +33 (0)1 53 24 80 69durand-salabert-eschig@bmg.com - www.salabert.fr

EuprintParkbosstraat 3, B-3001 Leuven-Heverlee (Belgium)tel +32 (0)16 40 40 49 – fax +32 (0)16 40 70 49info@euprint.be – www.euprint.be

Golden River MusicDeken Debostraat 61, B-8791 Beveren-Leie (Belgium)tel +32 (0)56 71 98 20 – fax +32 (0)56 71 89 88goldenrivermusic@pandora.be – www.goldenrivermusic.be

HeinrichshofenLiebigstrasse 16, D-26389 Wilhelmshaven (Germany)tel +49 (0)4421 9267 0 – fax +49 (0)4421 9267 99holtz@heinrichshofen.de – www.heinrichshofen.de

HRDSCR Editions (Frank Nuyts)Jakob Heremansstraat 74 - B-9000 Ghent (Belgium)tel +32 (0)9 220 87 53 - fax +32 (0)9 220 81 76info@hardscore.be - www.hardscore.be

Lantro MusicBeigemsesteenweg 8, B-1850 Grimbergen (Belgium)tel +32 (0)2 270 43 13 – fax +32 (0)2 270 43 13info@lantromusic.be - www.lantromusic.be

Logos FoundationKongostraat 35, B-9000 Ghent (Belgium)tel +32 (0)9 223 80 89www.logosfoundation.org

MaurerWatermanlaan 7, B-1200 Brussels (Belgium)tel +32 (0)2 770 93 39 – fax +32 (0)2 770 93 39 – mobile +32 (0)495 53 16 42musicmaurer@hotmail.com

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De Kroon op het Werk (KW)Winterstraat 41, B-3201 Langdorp (Belgium)tel +32 (0)16 56 54 55kroon@wanadoo.be

De Rode PompDe verenigde cultuurfabriekenTussen ’t pas 3, B-9000 Ghent (Belgium)tel +32 (0)9 223 82 89 – fax +32 (0)9 233 35 80rodepomp@pandora.be - www.rodepomp.be

Digi ClassicsOverstraat 40, B-3473 Waanrode (Belgium)tel +32 (0)9 233 31 33 – fax +32 (0)9 233 31 33 mobile +32 (0)75 86 48 87

Emmanuel Durlet FondsJan Van Rijswijcklaan 168A (B9), B-2020 Antwerpen (Belgium)tel +32 (0)3 238 98 64 - fax +32 (0)3 238 98 64www.emmanueldurlet.be

Eufoda - DavidsfondsBlijde Inkomststraat 79-81, B-3000 Leuven (Belgium)tel +32 (0)16 31 06 00uitgeverij@davidsfonds.be - www.davidsfonds.be

HA’ RecordsKouter 29, B-9000 Ghent (Belgium)tel +32 (0)9 265 91 60 - fax +32 (0)9 233 55 76info@handelsbeurs.be - www.handelsbeurs.be

International Society for Music Education (ISME)Mrs Julienne Vermeulen-De CatMuggenberglei 40, B-2100 Deurne- Antwerpen (Belgium)

Klara (Flemish Classical Radio)Kamer 2B29, August Reyerslaan 52, B-1043 Brussels (Belgium)tel +32 (0)2 741 37 30 - tel +32 (0)2 741 55 54info@klara.be - www.klara.be

Maestro Music Productions (MMP)Markstraat 1, B-3680 Maaseik (Belgium)tel +32 (0)89 56 75 57 – fax +32 (0)89 56 11 17info@mmp.be – www.maestromusicproductions.com

MegadiscLage Varenweg 12, B-9031 Drongen (Belgium)tel +32 (0)9 227 53 58 – fax +32 (0)9 227 05 98mobile + 32 (0)496 106 829patrick@megadisc.be - www.megadisc.be

MuProMuizelhof 50, B-8531 Hulste (Belgium)tel +32 (0)56 66 94 33 – fax +32 (0)56 44 34 80muizelhuiskoncerten@pandora.be – www.muizelhuis.be

NikkiThis label does no longer exist

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Pavane RecordsRavensteinstraat 17, B-1000 Brussels (Belgium)tel +32 (0)2 513 09 65 – fax +32 (0)2 514 21 94info@pavane.com - www.pavane.com

PhaedraDonkerstraat 51, B-9120 Beveren (Belgium)tel +32 (0)3 755 40 37luc.famaey@pandora.be - www.phaedracd.com

René GaillyThis label does no longer exist - the publisher’s stock is owned by the Flanders Music Centre.

TRACK LIST CD

1. Marinus de Jong [6:02]Three Pictures from an Exhibition by Vincent Van Gogh (1950) - Sorrow (part 1), Kerktoren te Nuenen (part 2), by Jozef de BeenhouwerCD: In Flanders’ Fields vol.15: Piano Music by Peter Benoit, Lodewijk Mortelmans, Joseph Jongen, Marinus De Jong, Victor Legley [Phaedra 92015](p) & (c): vzw Klassieke Concerten – Phaedra CD 1998

2. Vic Legley [6:19]Sonate nr.2 (1974), by Jozef de BeenhouwerCD: In Flanders’ Fields vol.15: Piano Music by Peter Benoit, Lodewijk Mortelmans, Joseph Jongen, Marinus De Jong, Victor Legley [Phaedra 92015](p) & (c): vzw Klassieke Concerten – Phaedra CD 1998

3. Frédéric Devreese [3:59]Mascarade (1953) - 1st movement, by Daniel BlumenthalCD: Frédéric Devreese: Gemini: Orchestral & Piano Works [Cypres CYP1619](p) Enki Productions 1999 (c) Kastafi or 2005

4. Marc Verhaegen [3:38]Sonatine voor piano (1987) - 1st movement, by Dirk Rombaut(c) VRT – Radio 3 live 1987

5. Frank Nuyts [9:05]Pianosonate nr. 3 (2002) - 2nd movement, by Benjamin Van Esser(p) Frank Nuyts 2002

6. Lucien Posman [9:37]Conte de l’étude modeste (2000), by Jose MartinsCD: New Belgian Etudes [Rode Pomp RP/GMA 044](p) & (c) vzw Verenigde Cultuurfabrieken 2004

7. André Laporte [5:35]Ascencion (1967), by Dirk HertenCD: Een jong geluid [CERA JM 5539 B](p) & (c) Jeugd & Muziek Vlaanderen 1992

8. Peter Swinnen [5:35]Xedalvu (1995), by Jan Michiels(p) VRT – Radio 3 live 1995

9. Jeroen D’hoe [2:59]Toccata-Scherzo (2003) Prize of the Queen Elisabeth Competition for Belgian Composers 2003 (Sabam Prize),by Severin von Eckardstein, Grand Prize Queen Elisabeth Competition of Belgium 2003CD: Queen Elisabeth Competition: Piano 2003 [Cypres CYP9616](p) Enki Productions 2003 (c) Kastafi or 2005

10. Godfried-Willem Raes [2:29]Fuzzy Harmony: studie nr. 5 (1996-1997), by Heleen Van HaegenborghPublished by Logos Foundation Public Domain Series(p) Logos Foundation Sound Archives

11. Bart Vanhecke [7:21]Les Racines du Monde (1998), by Jan Michiels(p) VRT Radio 3 live 1998

12. Paul Craenen [4:42]Falco Tinnunculus (2000), by Frederik Croene CD: Frederik Croene: Piano [HA’ Records HA’04](p) & (c) Culture Records – HA’ Records 2003

Total time: [69:59]

Music selection by Stefan Prins. Mastered by Luc Brewaeys.This compilation is an initiative of the Flanders Music Centre.For promotional use only. Not for sale.(p) & (c) FMC 2005/07

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