Contemporary Music in Flanders Flemish Chamber Music since 1950 historical overview, discussion of selected works, and inventory

Edited by Mark Delaere, and Rebecca Diependaele

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CONTENT

PREFACE 4

MATRIX 7

A. HISTORICAL OVERVIEWChamber Music in Flanders since 1950 9by Jan Christiaens

B. DISCUSSION OF SELECTED WORKSBLOCKEEL Dirk: Ein Ring für Rainer Maria Rilke (1994) 19by Petra Philipsen

CORYN Roland: Trio for woodwind (1971) 23by Yves Knockaert

LOUEL Jean: Sonata for violin and piano (1960) 26by Pieter Van den Brande

NEYRINCK Frederik: Landscape Construction (2010) 28by Maarten Beirens

SLEICHIM Eric: Unter den Hämmern (2009) 31by Klaas Coulembier

SMETRYNS Thomas : La Création d’un Monde (2005) 35by Maarten Quanten

SWERTS Piet: Mi-Parti (1999) 37by Kristof Boucquet

VAN LANDEGHEM Jan: Sanpaku (1992) 39by Pauline Driesen

VAN PARYS Annelies: Phrases V (2001) 41by Daan Janssens

WESTERLINCK Wilfried: Landschappen IV (1981) 44by Mark Delaere

C. INVENTORYAlphabetical Inventory of Flemish Chamber Music since 1950 47

LIST OF PUBLISHERS AND RECORD COMPANIES 150

TRACK LIST CD 159

© 2011 MATRIX - New Music Centrewww.matrix-new-music.be

edition: Mark Delaere and Rebecca Diependaele production: Rebecca Diependaeletranslation: Anne Hodgkinson lay-out: Compagnie Maandachtprint: Acco (Leuven, Belgium)

The compilation cd is produced and mastered by℗ & © MATRIX 2011/01

D/2011/10.184/1ISBN 97890-77717-06-6

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PREFACE

This is the seventh volume in a series documenting contemporary music since 1950 from Flanders. The first volume on Flemish string quartets was published in 2004, the second on piano music in 2005, the third on symphonic music in 2006, the fourth on ensemble music in 2007, the fifth on music theatre in 2008 and the sixth on tape music in 2010.

With this series, MATRIX is meeting the criteria of its core activity: the documen-tation of contemporary music in general and Flemish contemporary music in particular (for more on MATRIX, go to www.matrix-new-music.be). 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 chamber music for 2 to 5 players (excluding electronics, string quartets and vocal music) produced in Flanders since 1950.

The inventory is preceded by a major essay in which the most important issues regarding style, instrumentation, tendencies and peculiarities of chamber music in Flanders 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 compositions are naturally compositions of high artistic quality, but this may be said of many other Flemish chamber music works. 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.

For budgetary reasons, a decision has been made not to provide a Dutch version of this text in print, but the Dutch texts will be available and downloadable on the MATRIX website.

We are very grateful to the composers for their additions and corrections to the inventory of works. Jan Christiaens provided us with a wonderful essay. We also thank the authors of the short discussions of the works for taking part on a voluntary basis. A word of thanks goes out to the Flemish Government (Ministry of Culture, Arts & Heritage Department) for supporting this publication, and to the Flanders Music Centre (Muziekcentrum Vlaanderen) for buying and distributing a number of copies of this book. A warm word of thank to all those who contributed to the production of a CD with representative 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 libraries, ensembles, concert organisers, music festivals and other interested parties both in Flanders and abroad.

MARK DELAEREREBECCA DIEPENDAELE

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MATRIX

MATRIX New Music Centre

Over a few short years, MATRIX, with its library of more than 24,000 scores and 13,000 recordings, has grown to become an important collection of music composed since 1950. Music from Flanders forms the core of this collection, but placing this Flemish repertoire in an international context is equally important. Thus a search for Boulez’ Structures in the online catalogue easily leads to a survey of all the works written in Flanders and elsewhere for the same scoring (two pianos).

The collection is the point of departure for two other areas of activity: musical heritage and educational activities. For the former MATRIX has undertaken a collaboration with ComAV. Conscious of the fact that today’s composition can be tomorrow’s threatened heritage, a pro-active heritage policy has been adopted, involving both conservation, drawing up an inventory and projects that open up the collection to a wider audience.

The Flanders Music Centre, an organization with a governmental mandate to promote all Flemish music (from jazz, pop and classical to folk music), draws on the resources of MATRIX for its documentation of contemporary classical Flemish music.

In 2004, MATRIX initiated its Contemporary Music in Flanders publication series, in which Flemish music since 1950 is being exhaustively inventoried by genre. The (bilingual) website comprises some 155 information files on contemporary Flemish composers providing extensive analyses of a selection of their works.

The educational activities are geared to music-school teachers, children, youth, band and choir conductors and the wider audience, all of whom are offered a chance to increase their awareness of contemporary (Flemish) music through workshops, productions, lectures and concert introductions.

The establishing of MATRIX vzw, a non-profit organization, has been made possible by Cera, an organization that supports social and cultural projects in their start-up phase. MATRIX also enjoys the support of K.U.Leuven, the Flemish Government, the City of Leuven, and the Province of Flemish Brabant.

AddressMinderbroedersstraat 48, B-3000 LeuvenTel.: +32 (0)16 33 20 43Fax.: +32 (0)16 33 20 40info@matrix-new-music.bewww.matrix-new-music.be

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A. Historical Overview

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FLEMISH CHAMBER MUSIC SINCE 1950

1. Chamber music: brief conceptual analysis To properly understand Flemish chamber music after 1950 it is first necessary to identify a few fundamental shifts in the short history of chamber music. Chamber music is actually a relatively new genre in the history of music. Joseph Haydn’s many string quartets and piano trios make him essentially the creator of the classic concept of chamber music. The chamber music aesthetic originated from the intimate setting of the chamber, that is, the chambers of aristocrats. It was music for talented amateurs, who could afford to play music in their spare time. In the hands of Mozart and especially Beethoven, chamber music evolved from music for talented aristocratic amateurs to technically demanding concert music. This possibility was inherent in the concept of chamber music from its beginnings. Since the instruments in a chamber-music setting are all played as solo parts, the performers are by definition equals, which made possible a high degree of contrapuntal and technical complexity.

The wave of revolution at the end of the 18th century reinforced the aesthetic revolution that was manifested in Beethoven’s chamber music. The aristocracy’s monopoly on chamber music was over; composers were now writing for professional performers, who were playing for a paying audience. Since it was now being played in concert halls as well as in private salons, the term “chamber music” was becoming somewhat inadequate. As significant as this evolution was, around the middle of the 19th century there were serious doubts about how long chamber music would survive. The “reformer” composers felt that chamber music had ended with Beethoven. Johannes Brahms, however, argued that chamber music, like any tradition, had the power to reform from within. The way he proved this as a com-poser made Brahms an important bridge-builder between Romantic and modern chamber music. For Arnold Schoenberg and other modernist composers working in an atonal context, Brahms’s technique of continuously elaborating a thematic idea (the so-called developing variation) turned out to be the ideal instrument to bring about the coherence that the tonal system had guaranteed until then. The dissatisfaction of many 20th-century composers with the long-windedness of late-Romantic orchestral music served to reawaken an interest in chamber music. Over the course of the 20th century, the traditional chamber music ensembles made way for new instrumental combinations, the addition of the human voice, new playing techniques and the use of tape and electronics.

This publication will discuss Flemish chamber music after 1950. It will be limited to music for two to five instruments, without the use of voices, tape or electronics. Works for string quartet or piano four-hands also fall outside the scope of this brochure. There is a separate publication devoted to the string quartet; music for piano four-hands is dealt with in the publication on Flemish piano music.

2. Sixty years of Flemish chamber music: global quantitative analysisA global quantitative analysis of chamber music production in Flanders between 1950 and 2011 reveals that the genre enjoyed a steady growth, even becoming explosive after the 1990s (see table below).

Several factors can be brought forward to explain this remarkable curve. First of all there is a demographic effect. A new generation of composers arose in the 1990s for whom chamber pieces using relatively small forces often served as a preliminary exercise for larger orchestral or ensemble works. An additional factor explaining the large number of compositions is the better odds of a chamber piece for only a few players being performed compared to a larger-scale work. Also, the correlation between the total number of compositions and the percentage of traditional forms must be pointed out. These traditional chamber music forms – the duo sonata, trio, quartet and quintet – are represented by an increasingly smaller share of the total number of compositions. An interesting aesthetic evolution is hiding behind these quantitative data. For the younger generation of composers, the chamber music tradition evidently carries much less weight. While the main task for the composers of the 1950s to 1970s was to manoeuvre themselves onto the chessboard of the venerable chamber music tradition, the younger generation instead takes pleasure in experimenting with new rules of the game and untested tactical moves. Cultural policy also plays a role in the evolution of Flemish chamber music which should not be underestimated. The leading composers of the 1950s and 1960s were working mainly as teachers, or they worked for the former national radio station (NIR). Thus composing was not their primary occupation, but rather something done in their scarce free time. This changed drastically after the 1990s, primarily through the Flemish government’s Music decree (1998) and the Art decree (2004), which provided a stable supporting framework for professional music ensembles as well as composers. In the eyes of policy-makers, creating Flemish music, chamber music included, was no longer a pleasant extracurricular activity, but a structural necessity for the nation’s cultural self-awareness.

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It is clear, among other things, from the many Flemish chamber music ensembles founded in the 1990s, how invaluable Flemish cultural policy, in particular the subsidies for commissioned musical works, has been in encouraging Flemish chamber music production. Although groups such as Ictus (1994), Aquarius (1995), the Goeyvaerts String Trio (1997), Het Collectief (1997), Emanon (1998), the HERMESensemble (1999) and Apsara (2000) may not be purely devoted to new music in general, they do attach great importance to premiering new Flemish works. This continuous presence of a professional performance circuit that is often contractually committed to premiering new Flemish music is the final factor explaining the growth spurt in Flemish chamber music.

3. The weight of traditionThe weight of tradition can be best felt in Flemish chamber music from the 1950s and 1960s, if only from the fact that the most important composers of this generation kept on writing for traditional chamber music forces, essentially traceable to a combination of piano and strings or woodwinds. A look at the musical language they employed confirms their ties to the tradition of the first generation of post-war chamber music composers. Their music can be classified under the heading of moderate modernism. They do not in theory reject atonal sounds, but at the same time do not wish to renounce tonal grammar. This means that they like to spice their music with atonal ingredients, without being tied to the syntax and sys-temic implications of atonality. A typical example of this school is the Quintet for Winds (1950) by August L. Baeyens. The composer described himself as “a seeker who was never averse to the means of modern music, yet wished to arrive at an in-dependent result with them”. Although Baeyens (1895-1966) readily linked up with the innovative trends of the international music scene in his pioneering years, his music written after World War II displays rather conservative characteristics. The first movement of the Quintet for Winds is a textbook example of rigorously carried out thematic elaboration. All the possibilities inherent in the motifs in the opening bars are developed in a virtually academic style, resulting in almost clinically pure music whose integrity borders on predictability. His Violin Sonata (1952) leaves the same impression. The musical characterization of these three movements could be plucked right out of the Romantic aesthetic. The first movement is dominated by thorough elaboration of the thematic material, and the slow middle movement by melodic development, introduced by a solo violin. The finale presents a kind of scherzando, with three-against-four rhythms providing some piquancy. The work of Vic Legley (1915-1994) also subscribes to this moderate modern aesthetic. For the sake of communication with the audience, Legley seeks a synthetic musical language in which elements of the late Romantic, atonality and even twelve-tone technique are blended to a moderately atonal sound with sufficient tonal reference points. In this way, Legley enjoys harking back to the classical forms, which he however likes to subtly modify as in his Clarinet Sonata (1952). This results in easily accessible music, which in its aesthetic bears a resemblance to the “divertimento music”. Legley takes this spirit further in his neoclassical Quintet for winds (1961).

Other important representatives of moderate modernism are Willem Kersters and Willem Pelemans. Kersters (1929-1998) went back to classical forms in works such as the Viola Sonata (1954) and Partita for violin and piano (1956). Elements of serial grammar appeared in his work after he concentrated on the study of twelve-tone music in the 1960s. From his background as a teacher and programmer at NIR, Willem Pelemans (1901-1991) had developed a kind of sixth sense for the balance between innovation and accessibility for a wide audience. While he used a rather radical language in his early works, his style became more moderate after the 1950s. The sound is that of extended tonality: chords and harmonies sound recognizable, without Pelemans having to reinstate classical harmony. Chamber music has an important place in Pelemans’ oeuvre. He is more or less the first Flemish composer of the 20th century to focus so strongly on this genre. His list of works abounds with traditional chamber music genres, especially the numerous duo sonatas. As Pelemans’ Clarinet Sonata (1961) shows, these works are also from the classical mould. Thematic duality in the first movement, a cantabile adagio in the middle movement, and a dance-like finale: a tried-and-true recipe that guarantees both coherence and variety.

“Tonality fulfils the role of gravity in nature”. With this quote, Peter Cabus (1923-2000) made his aesthetic standpoint unmistakeably clear. However, this did not mean he was not open to new compositional techniques. He used twelve-tone technique in his Clarinet Quartet (1962), attempting to reconcile it with what he called the “tonal foundation”. There is no better way to type Cabus’ chamber music than a predilection for proven formal patterns, transparent structures and themes that are easy on the ear, yet enriched with the accomplishments of the modernist school. In his Quartet for flute, violin, viola and cello (1964) Cabus gives the classical pattern a new face with a few unusual interventions. The first movement opens with a striking perpetuum mobile by the flute, which is gradually elaborated into an accompanying figure and in this form becomes the connecting thread in the movement. In the fourth movement, a solemn passacaglia, Cabus has the supporting bass line in the cello move to other instruments. Moreover, this “bass line”, which climbs to higher regions as well, is also transformed. Tradition – in particular the passacaglia procedure – does not function here as a lifeless shape, but as a springboard for inventive intervention.

4. New wine in old barrels Starting in the late 1970s, Flemish chamber compositions appeared which declared tradition to be alive and well, although their composers were anything but bent under its weight. On the contrary, out of a great familiarity with chamber music traditions, they brought the innovation of the same tradition – and it is precisely this which distinguishes them from the older generation. Luc Van Hove (°1957), the figurehead of this movement, is rooted in tradition, but keeps his eye on the modernist horizon at the same time. His preference for chamber-music genres like the duo sonata and trio, the self-sufficient formal patterns and the technique of deriving much of his sonic material from a relatively small group of pitches introduced in the beginning bars, are all elements that firmly place Van Hove in tradition.

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It is no coincidence that his Opus 1 is a Trio for oboe, clarinet and bassoon (1976). The music sounds like pure sound material, within the frame of reference of tonality. The argument is clear, inasmuch as the most of what can be heard can be traced back to the opening measures. In the second of Van Hove’s chamber works, a Quintet for clarinet and strings (1977), the first five bars form a kind of acknowledgement of tradition as a short rhythmically profiled motif is introduced in all the voices one by one. In Van Hove’s hands, themes and motifs are not thought of in the first place as melodies, but rather as interesting intervallic structures, loaded with possibilities for elaboration. This is clear from the first movement of his Quintet for woodwinds (1982), each note of which can be traced back to the basic motifs in the opening bars. In the second movement of the work, the attention shifts from the pitch ordering to the time articulation. Van Hove writes very many repeated notes in this movement (molto vivace), which means that the musical information there lies not so much in the pitch but in the temporal frictions that arise between the various instruments. This experiment with polyrhythmics betrays Van Hove’s fascination with the music of György Ligeti. That structural purity does not get in the way of expressiveness is proved by the Piano Quartet (2002). Like a connecting thread, the motif from the opening bars (c#-d-e-d) runs from one part to the other. In the second movement, Van Hove thins out the texture to make room for an im-pressive piano cadence bursting with expressiveness. The philosopher Theodor W. Adorno’s enigmatic words “being-so-and-not-being-able-to-be-otherwise”, used to describe the organic perfection of many of Ludwig van Beethoven’s compositions, could also express the listener’s impression of Van Hove’s music. Not a note is out of place. The music is at the same time surprising – “being-so” and irrefutably obvious – “not-being-able-to-be-otherwise”.

5. New wine in new barrels A third trend in the post-war Flemish chamber music landscape is that of modernism, which argues that new wine needs new barrels. In a sense, the music and aesthetic of Boudewijn Buckinx (°1945) forms a buffer zone between the traditionalist and modernist schools. Like no other, he worked tirelessly to free chamber music from its cocoon of the 19th-century work aesthetic. In his remarkable 1001 Sonatas (1985-88) for violin and piano, which altogether take 24 hours to perform, Buckinx mercilessly banished the highbrow requirements of chamber music to the margins. Most of the sonatas are very short, and are written-down musical flashes and ideas. Even though the collection is imbued with an atmosphere of mirth and plaisanterie, it makes the disjunction and alienation from classical chamber music tradition no less real.

There are also composers who, in line with musical modernism, continued the de-mands of chamber music using radical new means. They did so in three principal ways: experimenting with sound, programming a certain amount of freedom for the performers, and taking into account the spatial or musical context. Extensive experimentation with sound is one of the most conspicuous characteristics of the modern school. The term encompasses both alternative forms of sound production (new playing techniques, electronic sounds) and exploring the acoustical insides of the traditional instrumental sound.

Lucien Goethals (1931-2006) shows a lively interest in alternative forms of sound production in his chamber music, although he was primarily trying for visually interesting music. Goethals realized his idea of “instrumental theatre” in his Quebraduras (1969) for violin, viola, cello and piano – the classic piano quartet forces. He felt that performance of classical music should not be simply an auditory experience, but above all had to be drama. The musicians’ actions thus not only produced sound, they added visually to the value of the concert. This is certainly the case in Quebraduras, where the pianist in particular must excel in alternative playing techniques such as plucking the strings with the fingers or fingernails, or damping the strings before playing them. Goethals’ innovation of chamber music’s sonic arsenal reaches its high point in the second movement, when the string players drum with their fingers on the bodies of their instruments, while the piano produces short, impudent fragments of sound in its very lowest register.

While Goethals experimented using alternative playing techniques, Luc Brewaeys (°1959) instead explored the inner workings of sound, in the wake of the spectralists. Using spectral analysis Brewaeys gained access to the tremendous harmonic potential in the overtone spectrum of an instrumental sound. In “Aouellaouellaouelle!” (1988), a work written as a memorial to the sound composer par excellence Giacinto Scelsi (d. 1988), the violin is tuned a quarter-tone lower than the piano. The ubiquity of minor seconds in the “melodic” course of the violin and piano parts is proof that charming, graceful melodies were not paramount for Brewaeys. In the second movement, which features an incessant stream of fast notes in the piano, the violin lets fly at the piano pitches. What is important is not the pitches themselves, but that the gradations in colour of the “guts” of the sounds are made audible.

The minor second is also omnipresent in the work of Bart Vanhecke (°1964), if only for systemic reasons. Vanhecke uses the achievements of multiple serialism to come to grips with the final sound picture of his compositions. As in all his com-positions since 1997, in his piano quintet Que l’aube apporte la lumière (2006) he works with the same series of 54 pitches, which in turn is composed of three-tone cells. What is special about this series is that each three-tone cell contains at least one minor second (semitone). By using this particular serial ordering of the pitch material as a basis, guaranteeing a constant presence and even distribution of the semitone, Vanhecke achieves a systematically atonal sound palette. This also says that the composer subscribes to the post-serial tradition, which he appropriates in his own way.

While Vanhecke moves within the canon from what is acceptable and useful as sound in art music, Stefan Van Eycken (°1975) aims to break open that canon. He does so by putting “waste products”, noises which good taste does not admit to the sound canon, in the foreground. In Twilight Enclosures (2001) for oboe and piano, the oboe sound deviates sharply from the bucolic stereotypes traditionally associated with the instrument. Moreover, the degree of deviation from the standard oboe sound is actually consciously directed and indicated in the score as an instruction to the player.

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In other words, the deviation becomes an independent parameter with which to compose. The piano’s sound production is also subjected to a process of alienation, with in some places Van Eycken prescribing such a slow attack of the key that the string is not actually struck but touched. Following the French philosopher Derrida, for Van Eycken the margin (of the classical sound canon) is the place where real innovation is born.

A second current within the modernist school is that which re-assesses the relationship between the composer and performers. Several Flemish composers since the late 1960s have made room for the performers’ own input. Many chamber-music works have incidentally come about through close cooperation between composer and performers. In addition, it is easier to build in and guide a certain amount of freedom in a (smaller) chamber music ensemble than in an orchestra. The optional input from a performer can take various forms and has many gradations. Often it only involves choosing the order of pieces in a multi-movement cycle, as in Lucien Goethals’ Four pieces for bass clarinet and piano (1969). Although the performers’ input may seem rather limited here, there is already a yawning aesthetic chasm between this piece and the meticulously directed sequence of musical characters in the quartets and quintets by composers such as Legley and Cabus. Goethals also builds in a certain freedom within the individual pieces, albeit mostly in choice of tempo. This makes the interaction between the bass clarinet and piano a very delicate one, in piece number 3 due to the freedom allowed (tempo rubato, quasi cadenza), and in the last piece (Tempo rubato, con fantasia) because of the precise coordination required between the two instruments. Something similar happens in Luc Brewaeys’ five-movement Les méandres de la mémoire (1997) for recorder(s) and piano. There as well, the element of chance is not related to the tonal material itself but to the interactions between players, which in two of the five movements is largely left up to them. Peter Swinnen (°1965) goes a step further in his string trio Samoki (2005). The score of this piece looks like a mosaic of short coloured sound modules. Each of the three performers plays only the modules in “their” colour – thus far not very different from a traditional score. What is new is that the three parts turn out to be interchangeable. The score, which is also pro-jected during the performance, also has multiple levels. If a player gets to the end of a page (computer screen), they can choose what their colour plays in the next screen. In other words, the score is composed anew with each performance.

A third and last trend in modernist Flemish chamber music consists of taking the context, in several senses of the word, into account. The musical information is provided by not only the written notes (the “note text”), but other accompanying “texts” - con-texts – as well. This is done first of all in the literal sense, when the space in the hall and arrangement of the performers in that space is used as con-text (as co-supplier of musical information). In his Utopia for four violas (for Harry Halbreich, 2003-04), Luc Brewaeys goes so far as to limit the musical note text, in order to exploit the spatial context even more radically. The score has the following instruction: “The four players should be positioned as far as possible from each other; in the ideal case in the four corners around the audience.”

Here, chamber music becomes room-wide music. To highlight the spatial difference, Brewaeys chose to make the four parts as equal as possible. Thus he chose four of the same instrument, and the four players’ tonal material also is quite similar. Only this way is justice fully done to the concept of the piece – making the space audible. Secondly, the context can be employed also in a figurative sense, as musical context. While Brewaeys investigates the influence of spatial context on perception in Utopia, Joachim Brackx (°1975) in Pieci/Pieces (2003) undertakes, in his own words “a poetic quest for the interweaving of different musical forms and structures and their influence on perception”. The inspiration for the piece was one of Brackx’s own listening experiences, when he noticed that the modernist content of a Beethoven piano sonata comes to the ear more easily when it is flanked by two piano pieces by John Cage than when it is part of a completely classical concert programme. In Pieci/Pieces, Brackx aims to raise the question of the influence of the musical context on the listening experience in one and the same work. The composition consists of five separate pieces, for five string instruments (two violins, viola, cello and contrabass). The first four pieces have only two or three instruments playing; not until the fifth and last piece do we hear the complete quintet. The four previous pieces are interwoven in this last piece as a musical-philosophical reflection on the relationship between the pieces and the whole.

[JAN CHRISTIAENS]

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B. Discussion of Selected Works

DIRK BLOCKEEL (1955)Ein Ring für Rainer Maria Rilke: 12 Lieder für Oboe, Violoncello und Schlagzeug (1994)

‘Sei - und wisse zugleich des Nicht-Seins Bedingung’

This sentence from Die Sonette an Orpheus (1922) of Rainer Maria Rilke (1875-1926) gives an idea of the contrasts of life which is described here by Rilke and then es-pecially the tension between life and death. Orpheus appears to be the one who has access to both realms: the realm of life and the realm of death. That is why trans-formation - thus metamorphosis - acquires an important position in this cycle of poems. The cycle consists of two parts of 26 and 29 poems respectively and is mostly described as dark in tone and difficult to interpret. These poems from 1922 bear the dedication of Rilke: ‘Geschrieben als ein Grab-Mal für Wera Ouckama Knoop’. Wera was a young dancer who died at the age of nineteen, which deeply impressed Rilke.The 12 Lieder für Oboe, Violoncello und Schlagzeug derive from Die Sonette an Orpheus: the first six songs come from part I of the cycle of poems and the songs 7-12 from part II. The composition Ein Ring für Rainer Maria Rilke originated from an assignment for a project by the radio (then Radio 3, BRTN). The project was a col-laboration of the music production department and the word production department. The poems Die Sonette an Orpheus (in a translation of Stefan Hertmans) was given space in the radio broadcast. A.o. for this reason Dirk Blockeel chose purely instru-mental music without voice.

The instrumentation - oboe, violoncello and percussion - is rather exceptional for Dirk Blockeel. His instrumentation usually can be called classical or traditional and mostly involves an organ or harpsichord, played by Blockeel himself. Above all, Dirk Blockeel’s compositions are inspired by Johann Sebastian Bach, which is obvious in the use of certain techniques. According to him, he gets more inspiration from the past (Middle Ages, Renaissance and Baroque) and spirituality than from tendencies of contemporary music. Therefore, his compositions can rather be termed traditional and they are also conceived from a form of tonality. This is applicable to Ein Ring für Rainer Maria Rilke as well. Blockeel has consciously chosen for 12 songs out of the 55 poems of Rilke and ‘ein Ring’ in the title refers to the cyclic construction of the songs. Therefore, each song is determined by a tonal center through which all 12 tones occur. Furthermore, Blockeel related the songs symmetrically to each other by an interval ratio, namely the minor third:

C - G - F // f# - c# - g#a - e -b // Eb - Bb - D

(song 1: C, song 2: a; song 3: G etc.)

The symmetry runs slanting, as follows: C-Eb; G-Bb; F-D and a-f#; e-c#; b-g# and as such the songs from the first part are connected with the songs from the second part.

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As mentioned, the songs mainly display a tonal character that, for example, emerges through the use of explicit triads. Moreover, Blockeel lets the oboe and cello often play in thirds or sixths (for instance in song 5 and song 6), which also supports the tonal character. The influence of Bach appears particularly in the voice-leading. Blockeel uses imitation technique in most of the songs, sometimes extensive fuga-like with a contra voice (song 3), sometimes through short motifs which can be imitated in mirror form. The imitation often begins a third or a fifth higher or lower than the original theme. Furthermore voice-leading is conspicuous because he uses many rising and falling lines which is reminiscent of the rhetorical techniques anabasis and katabasis. However, Blockeel also makes use of chromatic progres-sions, which is clearly shown right in the beginning of song 1. Sometimes he even wants quarter tones. In general, the use of the instruments is traditional. When he explicitly wants to depict the text, he sometimes applies special playing techniques like the overblown of the oboe (at ‘ein unüberwindlicher Schrei’ in song 6) or a glis-sando of the timpani while the crotales or cymbals are lying on it (the beginning of song 7 to reproduce the inhaling and exhaling). A glass is used in song 8 ‘Sei allem Abschied voran’ that should be hit against the chimes and should be broken at the end of the song (the ending of strophe 2: ‘sei ein klingendes Glas, das sich im Klang schon zerschlug’).

Considering form and meter Blockeel is inspired through the text. For example, he indicates meter in some songs and in others he does not. In that case, the bar lines are merely formal in nature; they are used for instance when a voice is added or a new theme begins (for example song 1). The text music ratio is freely treated, in such a way that Blockeel approaches the poems differently. Sometimes he goes directly into the text like in song 6 where many text references are in the score. Other times he rather illustrates a feeling, mood or movement of the poem like in song 9 which is about dance and several words like ‘Wirbel’, ‘Schwingen’ and ‘Ekstase’ appear. The song is in a 3/4 measure with the indication Vivo and one can almost continuously hear a fast semiquaver arpeggio accompaniment figure.In summary one can say that many different techniques are used in Ein Ring für Rainer Maria Rilke, where the influence of Bach is perceived most clearly. That is why you can listen in the listening example to three songs which are different in approach and character, to be precise the songs 6,7 and 9. In song 6 the text is above all depicted, among others through the use of special playing techniques; in song 7 one can hear the imitation technique and tonality well and in song 9 the movement of the dance plays a role.

[PETRA PHILIPSEN]

Beginning of song 7: text expression and imitation technique

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6. Dich aber will ich nun, Dich, die ich kanntewie eine Blume, von der ich den Namen nicht weiß,noch ein Mal erinnern und ihnen zeigen, Entwandte,schöne Gespielin des unüberwindlichen Schrei’s.

Tänzerin erst, die plötzlich, den Körper voll Zögern,anhielt, als goß man ihr Jungsein in Erz;trauernd und lauschend —. Da, von den hohen Vermögernfiel ihr Musik in das veränderte Herz.

Nah war die Krankheit. Schon von den Schatten bemächtigt,drängte verdunkelt das Blut, doch, wie flüchtig verdächtigt,trieb es in seinen natürlichen Frühling hervor.

Wieder und wieder, von Dunkel und Sturz unterbrochen,glänzte es irdisch. Bis es nach schrecklichem Pochentrat in das trostlos offene Tor.

7. ATMEN, du unsichtbares Gedicht!Immerfort um das eigneSein rein eingetauschter Weltraum. Gegengewicht,in dem ich mich rhythmisch ereigne.

Einzige Welle, derenallmähliches Meer ich bin;sparsamstes du von allen möglichen Meeren, —Raumgewinn.

Wieviele von diesen Stellen der Räume waren schoninnen in mir. Manche Windesind wie mein Sohn.

Erkennst du mich, Luft, du, voll noch einst meiniger Orte?Du, einmal glatte Rinde,Rundung und Blatt meiner Worte.

9. TÄNZERIN: o du Verlegungalles Vergehens in Gang: wie brachtest du’s dar.Und der Wirbel am Schluß, dieser Baum aus Bewegung,nahm er nicht ganz in Besitz das erschwungene Jahr?

Blühte nicht, daß ihn dein Schwingen von vorhin umschwärme,plötzlich sein Wipfel von Stille? Und über ihr,war sie nicht Sonne, war sie nicht Sornmer, die Wärme,diese unzählige Wärme aus dir?

Aber er trug auch, er trug, dein Baum der Ekstase.Sind sie nicht seine ruhigen Früchte: der Krug,reifend gestreift, und die gereiftere Vase?

Und in den Bildern: ist nicht die Zeichnung geblieben,die deiner Braue dunkler Zugrasch an die Wandung der eigenen Wendung geschrieben?

ROLAND CORYN (1938)Trio for woodwind opus 3 (1972)

1. Andante2. Allegro vivace3. Andante quasi adagio4. Allegro vivo

The opening of Roland Coryn’s work list in 1964 is a Sonatina for viola, his own instrument. Since that moment, chamber music is an important part of his oeuvre, showing a certain preference for wind instruments as in the Trio for woodwind, written in 1972 and subject of this article, or finding the perfect balance between wind and strings, as in his most recent chamber music work, opus 81 (2010): A Kaleidoscope alike... for flute, oboe, clarinet, bassoon, violin, viola, cello and double bass. For many years Roland Coryn played the piano in the Vlaams Pianokwartet; as a member of the Belgisch Kamerorkest from 1964 till 1977, he played the viola. That can partly explain his passion for chamber music, for smaller and bigger formations.

In his vocal music, Coryn likes to communicate a convincing message, based on deep human feelings and values. His chamber music on the other hand is always absolute music, without title or any reference to the outside world. Here he becomes a “sound builder” with clear structures, where the expression emerges from the sound combinations. For him, a certain emotion “disappears” in the music during the composition process, to break out again and reach the ear of the listener during the performance. The possibility of emotional experience for the listener must stay totally free and open, and also remains clearly separated from the expression felt by the composer during the composition process. Coryn says: “It is absolutely not my thing to explain something with words. It is my observation afterwards that my whole personality is embedded in every composition. I only consider the sounds when I am composing. The expression comes out the music itself. And what’s more, I believe that I am allergic to titles and explanations. Maybe that’s my way to create a distance to the general tendency since 1950 to have to explain everything with words.”

A typical structural element in the compositions of Roland Coryn is cell development. From his earliest works, such as the Trio for woodwind, the cell is present as a cornerstone for the structure. In the first measures of the Trio, the basic cell of two notes is expanded by addition of notes, alternating with the repetition of the presentation of the original cell. The original cell consists of a short-long rhythm with an ascending ninth as interval and functions as a signal motive. The additional notes follow a free chromatic chain. In every phase of the development of the cell, more short notes are added and at the same time the long duration of the original cell is shortened. The result is an inside acceleration and a total acceleration at the same time. Cell construction, acceleration, structure and tempo are related to each other.

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And also the treatment of the intervals is not independent of the structural evolution and the rhythmic-melodic course. The composer shows an apparent preference for the interval of the (minor) second, used in chromatic and nearly chromatic progressions. The minor second can also seem to disappear, to be replaced by related intervals: the major seventh (as complementary interval) and the minor ninth (minor second plus octave), the original cell in the Trio. The nearly chromatic progressions always have an expressive meaning, aimed or not by the composer: split, uncertainty, internal contradiction.

The structure of the Trio is cyclic. The second movement, Allegro vivace, starts with the same cell, the ascending ninth interval in the oboe, imitated by the other instruments. The interval is repeated and developed as a germ for the whole movement: the signal function is stronger than in the first movement. The cell is also present in inversion, prolonged with anapest rhythms. Of course the second progressions are also present in the course of this movement, particularly in the clarinet cadenza.

The third movement, Andante quasi adagio, starts again with the second chain, already present in the first movement. But here, the symmetrical structure is the most important element: ascending and descending lines are in balance, ascending intervals are answered by their inversion: a classical approach that can be compared with Brahms, and guarantees a solid construction. This is a nice opposition with the Wagner allusion due to the multitude of chromaticism, appearing more than once in this composition.

In the final movement, Allegro vivo, the basic cell is present in another form: as a chord upon the chromatic collection. The chord consists of a seventh in oboe and clarinet: it is the “vertical” opening cell. Transforming melodic elements in a “vertical” way, as chords, is also characteristic of Coryn’s compositional style.

The final movement of the Trio for woodwind is not really an Allegro vivo, as indicated on the score. In the course of the movement, the tempo becomes more and more unstable, with many rallentandi and few careful accelerandi. The result of this tempo treatment in the final movement, is that the global evolution of the composition goes from Andante and accelerations in the first movement and the Allegro vivace of the second movement, towards a continuous slowing down in the slow third movement and the repeated “brake moments” in the final movement. For the listener, the effect of repeated slowing down and the internal contradictions between the Allegro vivo and the rallentandi, are not explained by the composer: they stay abstract indications of the “brake character” and the listener is free to give it an emotional connotation. The continuous movement with a great internal mobility forms another characteristic of the compositional style of Coryn. He explains it as follows: “I have a preference for the beginning of something that is not pushed towards its end, but is started again in another direction, giving the whole evolution its dynamics. Sometimes, when I am composing, I feel the need of a long and beautiful melody in the composition, but that’s not part of me and that’s why I can’t write it down.

The same happens to the final movements of my compositions: it is very difficult for me to end ‘con brio’: that would be against my own feelings. The final move-ments are mostly slow. It doesn’t mean that the fast moments are absent, but they appear in other movements.” [YVES KNOCKAERT]

I. Andante, bars 1-8

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The playing techniques proposed in this Sonata are quite conventional. Louël writes some natural harmonics and left hand pizzicatos for the violin, but most of the time the instruments are played in a ‘normal’ way. This does not mean however that the composer does not make high demands on the musicians. Both pianist and violinist face some challenges and a certain degree of virtuosity is necessary to interpret Louël’s complex writing.

This Sonata for violin and piano may have been somewhat archaic in the 1950’s, in that it did not make use of serialist principles, but rather continued on a more expressionistic track. The way Louël gathers influences from different styles and periods – impressionism, modernism, etc. – nevertheless looks forward to a post-modern manner of writing that came into more general use more than a decade after this work was written.

[PIETER VAN DEN BRANDE]

JEAN LOUËL (1914-2005)Sonata for violin and piano (1953, second version 1960)

Jean Louël was born in Ostend in 1914. Besides his activities as a composer, he had a very diverse musical career. Not only did he perform regularly as a pianist with the Brussels Kamerorkest and as a conductor of, among others, the symphony orchestra of the Belgian radio broadcasting company (NIR). He also was a piano teacher at the conservatory of Ghent and taught harmony and counterpoint at the Brussels conservatory later on. From 1956 until 1979, he was a supervisor for the Dutch speaking music education, after having been headmaster of two music academies for several years. This close relationship with education led him to write music that combines a classical approach to virtuosity with some modern compositional features, which was awarded at different points in his career: in 1943 he won the Belgian Prix de Rome for his cantata La Navigation d’Ulysse and in 1971 his Violin concerto was selected for the Queen Elisabeth Competition. For that matter, Louël maintained good relationships with the organisation of this musical competition, teaching counterpoint in the Queen Elisabeth Music Chapel and residing in the competition jury.

Like many of his compositions, Jean Louël’s Sonata for violin and piano reflects a wide range of different stylistic influences and dramatic qualities, while nonetheless remaining a coherent work. The first version dates from 1953 but in the revised 1960 version almost twenty minutes (or sixteen pages) of music were discarded. The entire first movement consists of a constant, often very sudden succession of lyrical outbursts and dance-like passages. The rest of the Sonata shows a more consistent form, the second part sounding like a pompous funeral march and the third part at times like an expressionistic etude.

The opening movement of the sonata introduces some quite contradictory musical worlds. The first gesture in the piano is an expressive falling melodic progression that sounds almost romantic, despite its atonal structure. It is followed by black-key pentatonics in the left hand to provide an impressionistic accompaniment for the violin, which on its turn obstinately refuses to fit in and enters with harsh dissonance. After some time, it nonetheless adopts some of the piano’s pentatonics, but never for long. Both instruments seem forever in doubt between atonality and a more or less pentatonic or modal harmony.

Louël’s use of classical principles like ostinato bass patterns, motives that unfold and change gradually and return in different places, arpeggios, etcetera, shows his thorough classical training. The way he works them out, however, may seem somewhat strange. Never really very much interested in dodecaphony or its heirs, he adopted a kind of polytonality that combines his early influences by French composers like Fauré and Ravel with a strong tendency to atonality. Added to that, Louël’s admiration for Bartók shines through in his use of irregular time signatures and vivid rhythms. At certain points in the Sonata, like in the Allegro moderato of the first movement, this influence comes very much to the fore.

There, the pizzicato motive of the violin, combined with an explicitly stated non legato in the piano, forms an independent, repetitive pattern, reminiscent of the aksak-meters in Eastern-European folk music. Stated in a 4/4 time signature at first, it develops into more complicated, cut-up motives in odd times like 5½/4 and 7/8.

Deel I, Allegro molto, bars 13-18

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FREDERIK NEYRINCK (1985)Landscape Construction (2010)

The young composer Frederik Neyrinck conceived his cycle Landscape Construction for Plan Libre, a project involving four musicians (Bertel Schollaert on saxophone, Seraphine Stragier on cello, Tim Vandenbergh on double bass and the composer himself on piano), performing a combination of these compositions with improvisa-tions. The common theme behind this project, featured in improvisations and com-positions alike, were the ideas on architecture of the French architect Le Corbusier (1887-1965). Among these was the concept of a ‘plan libre’, an open floor plan: with the use of reinforced concrete, it became possible to build structures that no longer needed supporting walls, which in turn allowed to freely design floors and subdivide it into spaces. Le Corbusier’s ‘plan libre’ provided the aesthetic dimension of this technical breakthrough: the possibility to define spaces based on other (aesthetic) concerns than the necessity to include (supporting) walls at certain fixed positions.

It is tempting to find in Le Corbusier’s concept an analogy for the liberty any contemporary composer may find, with disregard for established restrictions, to define and develop his sound-events within time and space. Such an approach of composition is certainly to be found in Neyrinck’s Landscape Construction. The spatial dimension is parti-cularly important in Landscape Construction III and Landscape Construction IV, where the musicians are divided over the performance space, surrounding the audience (in III: piano in front, cello on the right side, double bass on the left and soprano saxophone behind the audience; in IV only the cello and double bass posi-tioned right and left). More fundamental, perhaps, is the conception of the music as a series of abstract landscapes, displaying an interplay of ‘natural lines’. The four pieces, which may be performed either as a cycle or separately, are meant to represent different perspectives of such an idealized ‘natural’ landscape within an artificial – musical – construction. Landscape Constructions I, II and III are respectively subtitled as an ”almost silent”, “colorful”, and “spatial” “impression of a musical architecture based on natural lines”, while the fourth piece provides a “short echo of a musical architecture based on natural lines”.

The ‘architectural’ approach also appears in the choice to work with a vast array of ‘building materials’ from which different structural relations can be generated. The four instruments are used in four different combinations: a duo for soprano saxophone and piano (I), a duo for cello and piano (II), the full quartet (soprano saxophone, cello, double bass and piano) (III) and a duo of cello and double bass (IV). For each of these instruments, Frederik Neyrinck meticulously lays down a set of alternative playing techniques. The post-Lachenmann-like exploration of each instrument’s range of technical possibilities is not only used to effectively create considerable musical diversity within a collection of non-standard sounds, but also allows for the extensive exploration of sonorous categories across the different instruments. Example 2. Landscape Construction III, bars 7-8

Example 1

Harmonics can be played on the piano as well as on the saxophone or string instruments; in Landscape Construction I, heavy piano resonance blends with saxophone multiphonics; the first 24 measures of Landscape Construction IV are a straightforward and systematic exploration of mostly double-stopped glissandi (first in tremolos, later in trills); Landscape Construction III features towards the end a passage (mm. 21-37) where slap tongue playing on the saxophone relates to pizzicato playing in the strings, etc. Such combinations of playing techniques are numerous and generate several different connections, defining and exploring sound qualities that are not specific to any individual instrument. As in Lachenmann’s work, the music is often on the brink of silence and shows a preference for subtle, soft sounds and eerie textures, exemplified by the abundant use of harmonics and trills, although some violent outbursts do occur. Given the emphasis on certain playing techniques and the focus on concise musical material, each of the four Landscape Constructions takes the appearance of a short etude, although the recurrence of certain elements does provide a sense of continuity across the four pieces.

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(For instance, it would be hard not to consider Landscape Construction IV as an extension, reflection or echo of Landscape Construction III.)

The ‘natural lines’ that the title refers to can, for all its Le Corbusier-related conceptual dimension, also be found on a more literal level in the design of the musical material. With prominent sustenance of tones, slow glissandi, long trills and similar techniques, the music displays an obviously linear quality. Musical elements generally cover clear trajectories: from one pitch to the other (as in glis-sando), from one sonorous quality to the other (as in the gradual movement from ‘sul ponticello’ to ‘ordinario’ and back again in the string instruments, see exemple 1), or between different dynamic levels (such as the steady increase in volume, as well as in activity in the piano part of Landscape Construction III, mm. 37-44). The second example (III/mm. 7-8) shows the characteristic combination of many of such sustained ‘linear’ elements: trills (soprano saxophone), natural harmonics in glissando (cello), tremolo on natural harmonics (double bass) and harmonics on the piano with extensive resonance because of the use of the sustain pedal. All four pieces roughly follow the same structure, analogous with a classical ABA’-outline: they start from a rather static point with sustained elements and the emphasis on the sound qualities implied in the specific use of selected playing techniques, then move towards a central section of a more active nature involving a brief outburst of motivic movement and some sense of contrapuntal interplay, before returning to the static, ‘linear’ constellations of sustained musical elements.

[MAARTEN BEIRENS]

ERIC SLEICHIM (1958)Unter den Hämmern (2009)

Eric Sleichim is fascinated by sounds. Already in 1988, when he founded the saxo-phone quartet BL!NDMAN, his main ambition was to explore the possibilities of the saxophone in making all sorts of noises that – until then – were not yet, or not often used in a musical context. The involuntary sounds of the clapping of the keys, the sound of blowing through the instrument without making the reed vibrate, slap tongue techniques and any other imaginable sound were used in the music he composed and performed in close collaboration with his colleagues of the quartet.Besides the fascination with sound, Sleichim became more and more interested in the dramatic and theatrical aspects of music. Most of the projects BL!NDMAN – which has grown out to be a real collective comprising no less than four quartets – designs today deal with theatrical elements, so that every concert has a drama-turgic concept as well. A very recent example was the project Utopia :: 47 for the entire BL!NDMAN family, with a solo soprano and two lecturers. In this project, music by Heinrich Schütz was coupled with new music by Sleichim, in combination with texts that were read out loud and newly composed video images by Kurt D’Haeseleer. This opera/performance makes the connection between Sleichim’s quest for new sounds and his occupation with the theatrical component of music performance.

Eric Sleichim’s musical language can be defined as a mixture of different influences, ranging from modernist composition to jazz improvisation. This last aspect is of course closely related with the saxophone dominating his first steps as a composer. The aim of BL!NDMAN, and of several other projects he was involved in, also was to tear down the walls between high and low culture, to create music that is artistically honest but at the same time audience-friendly. With this image in mind, what to expect from a composition for saxophone and piano, commissioned by the modernism-oriented TRANSIT festival.

In Unter den Hämmern, Eric Sleichim continues his search for sounds in a very subtle manner. The sound range is very limited, both in dynamics and sound colour. The composition is ruled by soft, etheric sounds, often in unmeasured time, except for some piano outbursts. The leading part is played by the piano, with the saxophone (and in the first version of the composition also some modest electronics) acting as a sort of resonator. Both voices in this intimate duet blend together into one single musical gesture. According to the introductory notes of the composer, the compo-sition “emphasizes different natures of resonance”. The composition consists of six movements, marked in the score by the letters A to F. In each movement, the behaviour of the instruments changes and their mutual relationship is altered.

Considering the piano part, we can identify four types of material. First, there are aggressive clusters played by using the entire forearm, either on the black keys of the piano or on the white keys. Second, there are shaped clusters resulting from a specific movement of the arm.

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Sleichim divides the pianist’s arms in fingertips, thenar (the ball of the tumb), elbow, hand and arm, indicated in the score by the letters v, m, e, h and a. The order in which these letters occur, in combination with the register they are applied to, defines the shape of the cluster. A third element consists of simple chords, often with no more than two pitches. The fourth element consists of single notes that sometimes form motifs or melodies, often in a mid-high register. In each move-ment, a different constellation of these basic ideas can be found. Movement A is built exclusively on forearm clusters. In movement B, the shaped clusters are combined with an increasing amount of thematic material. Movement C abandons the clusters and consists of single notes and chords, used in a somewhat repetitive way. Movement D marks the return of the forearm clusters, this time in a more rhythmicized manner and in combination with thematic material. Movement E relates to movement C, as similar chords are used, albeit in a simplified version. Movement F is a sort of recomposition of the previous movement, leading to the tranquil end of the composition.

Regarding the saxophone part, hardly any common saxophone sound is heard during the entire composition. As mentioned, the instrument acts as an acoustic prolon-gation of the piano, and this is reflected in the musical material. In movement A, multiphonics are played simultaneous with the clusters of the piano, but in very soft dynamics and damped with a piece of cloth in the bell. As the sounds of the piano clusters evaporate, the saxophone becomes audible.

In movement B, only very long and soft sustained notes are played, starting in the lower register (C sharp) and rising towards a high E. The effect aimed at is that of single piano strings that resonate separately from the others, so most of these long notes are in unison with passing notes from the piano melody. In movement C, the sparse texture of the piano part is counterbalanced by rapid figurations with a ‘voiceless’ sound in the saxophone. These passages are rhythmically independent, and through the course of the movement, the sound is changing from entirely voiceless to saxophone-like. The saxophone does not play during movement D, but becomes the protagonist in movement E. Starting with long notes as in movement B, the saxophone accelerates and after a while plays solo. At this point, the well-tempered tuning is abandoned, and Pythagorean temperament should be applied. The last movement combines the long sustained notes and the ambiguous tem-perament: two very slow glissandi are to be played, the first over a rising major third, the second over a descending major third. To summarize, the material of the saxophone consists of multiphonics, long sustained notes, rapid figurations with more air than sound, microtonal melody (according to Pythagorean tuning) and glissandi.

Over the course of the composition, the saxophone gets more and more detached from the piano, still without dissolving the unity between the two. In the first move-ment, the saxophone is completely overshadowed by the piano. By the third move-ment, the instruments play independently, and in the last movement, the glissandi of the saxophone are the farthest removed from the piano sounds, where such glissandi are impossible by the nature of the instrument.

Without going into detail, we can discuss some features of the musical construction that show how Sleichim ordered the musical material. In the first movement, the first twelve clusters are played in a non-metrical context, their durations being indicated in seconds. The first series of durations is 11” – 7” – 4” – 3” – 1”. This is a Fibonacci-like construction (11-7=4, 7-4=3, …). The following series is the Fibonacci series itself: 8” – 5” – 3” – 2” – 1” (– 1” – 3”).

The melodic fragments that gradually take shape during the course of movement B are constructed from a number of limited pitch collections, some of which are clearly audible (for instance the collection C – C# – D – G). These motifs reoccur on different occasions in the next movements, creating unity and coherence over the course of the composition.

The combination of different types of musical material is governed by the idea of combinatoriality, as can be seen in Figure 2. Some material types reoccur, but always in different constellations. We can see the transition from aggressive clusters to soft melodies in the course of the first three movements. In fact, this transition is repeated in the last three movements, as the end of movement D introduces softer clusters resembling the shaped clusters of movement B.

Figure1: beginning of Movement B, with shaped clusters in the piano part and a sustained note in the saxophone part

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Figure 2: combinations of different types of musical material

MOVEMENT A B C D E F

PIANO aggressive shaped chords + aggressive chords + chords + clusters clusters + melody clusters melody melody melody

SAXOPHONE multiphonics sustained rapid tacet sustained glissandi notes ‘voiceless’ notes + figurations Pythagorean melody

Each movement in Unter den Hämmern follows its own logic and structure. What connects the different movements is the overall dramaturgy of the piece. First, different relations between the two musicians are explored, ranging from complete synthesis (the saxophone multiphonics blending with the aggressive clusters of the piano) to a more or less antithetical position (glissandi and microtones as unbridgeable different from the sound of the piano). Parallel with this large-scale evolution is the tendency in the saxophone part to more and more stand out in relation to the piano part. Second, the composition follows a two-part form, with the aggressive clusters marking the beginning of each section. These two sections show a gradual de-intensification towards utter quietness at the end.

[KLAAS COULEMBIER]

THOMAS SMETRYNS (1977)La Création d’un Monde (2005)

By using the title La Création d’un Monde, Thomas Smetryns refers unambiguously to Darius Milhaud’s La Création du monde. Even more, the tonal material is a literal retrograde of the overture to Milhaud’s ballet. But the sonic similarity ends there. Smetryns’ score is vertically divided into three parts, but in principle the number of performers, and the instrumentation, can be freely chosen. In this sense, the work can be performed as a small chamber piece (as it is on the CD accompanying this publication), but equally well by larger ensembles, an orchestra or even a soloist. The score’s horizontal segmentation consists of eight sections (A - H) each of which is ten to eighteen measures long. Each of these parts is characterized by, among other things, a given texture, range, rhythmic organization and density. And although these characteristics are clearly identifiable in the notation, they absolutely do not need to be heard in performance. This is a consequence of the very free interpretation of the score that Smetryns allows the performers. All that is indicated for each section is how many pitches must be selected for each part. In doing so, the musician can make his or her own score before the first rehearsal, without having to take into account the choices of the other players. In choosing the rhythmic values, the player can follow the duration noted in the “basic score” or not quite follow it, follow or circumvent the general course of the ambitus curve between the sections, and accent or avoid tonal successions, reminiscences of Milhaud’s grammar, etc.

With La Création du monde, Darius Milhaud composed a musical narrative, the meaning of which is inextricably bound up with a firm and unchangeable linear progression. Every point in this history is a local consequence of a previous one, a sequence of sounds, a teleological development set down for all time. The creation of a sonorous world, with “in the beginning” the tonic, the centre around which the composer creates the theme …et in saecula saeculorum. During the 20th century, there was a profound questioning of the rigid musical structures and the “authoritarian” role played by composers in their design, notably by “experimental” composers such as John Cage, Cornelius Cardew and Christian Wolff.

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The ideas and work of these three were a great source of inspiration for Thomas Smetryns. “Du” (of the) became “d’un” (of a), the composer creating another possibility, simply by looking at the existing construction from another perspective. The alter-native comes about almost automatically, but, having become a “new truth”, could just as easily become ossified in this capacity. Smetryns by contrast considers this structure only a precondition for an infinite number of sonic worlds, constructions over which he relinquishes control and which must be partly created by the performers. The composer is no longer the almighty Creator, but rather a designer of possibilities. Each performer assembles their part from the basic structure. And lastly, the rehearsal process also has a very important impact on the end result, since the musical communication between performers may result in adaptations or new structures. Which of these three phases in the genesis of the sounding work has the greatest impact on the result depends on the musicians and, often, also on the context created by the chosen instrumentation. The intimate setting of an electric guitar and piano can induce a different creative atmosphere than a twelve-piece ensemble with conductor or a group of youngsters digging for undiscovered sonic possibilities of their instruments using Smetryns’ score.

Although Thomas Smetryns’ music is often labelled “postmodern”, the term can be called problematic in a musical context, as in the case of many other humanistic disciplines. All too often it is used as an umbrella term for all sorts of musical expressions which do not fit or less easily fit the – thereby no less problematic – categories such as “modernism” or “experimentalism”. For example, Smetryns does use tonal principles in his music, and even classical themes. But unlike some of his Flemish colleagues – also classified as postmodern – he does not take refuge in the past, and largely ignores the last sixty years of music history. Smetryns experiments with musical and multimedia concepts which are difficult to label, but he seeks to connect them with diverse ideas, idioms and schools of thought, without becoming set in stone. Perhaps, thus, Thomas Smetryns can be called one of Flanders’ most “postmodern” young composers.

[MAARTEN QUANTEN]

PIET SWERTS (1960)Mi-Parti for flute and string quartet (1999)

Mi-Parti was written in 1999 for flute and string quartet. The title of this work, which it shares with a composition for orchestra (1975-76) by the Polish composer Witold Lutosławski, could be literally translated as ‘divided in two parts’. This expression possibly refers to the two distinct compositional techniques successively used in this work. Typical for the first two movements is the absence of a strict metrical and rhythmical co-ordination of the voices, in contrast to the final Presto where the several parts do share a common metrical pulse. In the first movement, the metrical freedom is expressed by the absence of bar lines, so that the arrangement of the parts on the sheet gives only an approximation of their temporal coordination (see example 1). The score indicates the points where the instruments should start or conclude a musical figure, but leaves the temporal filling-out of these figures (usually composed of repeated phrases) and the correlation of the parts to the individual interpreters’ feeling of timing. A similar, although more radical application of this technique is found in Lutosławski’s String Quartet (1964). In contrast to the metrical freedom, which has to support the quasi-improvisatory quality of the first movement, the pitch material is strictly controlled. The cello opens with an ostinato C, serving as a fundamental tone throughout the entire movement. The alto then presents the second basic idea in the shape of a chromatic interval (trill figure sul ponticello). Subsequently, the flute adopts both ideas and develops out of them a free cantilena. Following the first general pause, a new start brings the chromatic neighbour C#/Db to the fore as recurring reference tone in combination with the earlier C. The rhapsodic character is gradually reinforced by the increasing rhythmical vitality and by imitative figures in all parts.

Example 1

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In the central Lento the instrumental groups are clearly divided. The four strings invariably play pianissimo, sul tasto and con sordino, creating a homogeneous sound tapestry against which the flute initially presents a repeated tone E (see example 2). Here too, the composer aims at a kind of metrical freedom by the indication that the rhythmical values of the whole notes in the strings are only relative and can be varied by each player in function of the colour of the specific chords. However, this freedom is more or less contradicted by the systemic way in which the chromatic chord of the strings evolves: in each subsequent ‘bar’, one constituent tone of the chord descends by a half or whole step, thereby creating an overlapping movement which results in a very gradual shift downwards of the chord. When in the middle of the movement this chord has reached a position a fifth below its position of the opening, it returns to that original position and repeats the descending motion during the second half. This time, however, the flute breaks free from its repeated tone E and presents a free melody. Despite its seemingly independent nature, this flute cantilena fulfills a central role within the work as a whole: the repeated C’s refer back to the first movement, while a characteristic motive of three chromatic adjacent pitches creates an anticipation of the final movement.

The final movement is conceived as a boisterous Presto. For the first time there is a clear metrical and rhythmical co-ordination of all parts. The basic material consists mainly of imitative, chromatic ascending and descending figures of three or four notes, alternated with shared fortissimo chords in the strings. This texture, in combi-nation with the frequent use of the open fifth and tritone interval and the strong presence of ostinato tones, immediately evokes the sound world of Bartók’s string quartets. The form of the movement is bipartite: following a brief introduction, the alto presents a repeated or ostinato D which is almost invariably maintained during the first section. The second section is based on an ostinato A in the cello and offers a varied repetition of the first section, by transposing its material up a fifth and by mutually exchanging the functions of alto and cello. A rising chromatic movement in all five voices and a final figure in which all earlier motives are combined, bring this finale to a proper close.

[KRISTOF BOUCQUET]

JAN VAN LANDEGHEM (1954)Sanpaku (1992)

In his threefold activity as organist, conductor and composer, Jan Van Landeghem is able to turn his hand to anything. Whereas his organ concerts lead him into the world of ancient and baroque music, and his conducting skills made him familiarize with the great classic-romantic repertoire, as a composer he stands in the present-day, aspiring to a new and contemporary music. However, Van Landeghem seems to be strongly influenced by his activities as a performing musician, assuming a somewhat polystylistic manner of writing. As by consequence, his oeuvre encompasses a wide range of the most diverse genres. This abundance of different stylistic aspects does, however, no harm to the originality of his music, which often combines a very traditional grammar with more progressive and daring tactics.Jan Van Landeghem has always been fascinated by non-Western cultures, which repeatedly incited him to the composition of a new piece. As such, he has written works inspired by the serene Buddhism as well as by the effervescent African cult of magic. Sanpaku is another such a composition, written in 1992, this time inspired by Japanese culture. It might come as a surprise that it is written for recorder quartet, a medium we generally associate with Western, especially ancient music. Nevertheless, also Japanese composers often used it, and they still do. By means of a special blowing technique, these composers aim to evoke the sound of a shakuhashi flute on a recorder. Since most of their compositions involve both recorders and shakuhashi flutes, a very particular sound synthesis arises. In this respect, also the four recorders of Sanpaku, ranging from the regular tenor to the Japanese shakuhashi flute, evoke a surprisingly Eastern sound world.

The mysterious title of the work comes from a Japanese term, literally meaning ‘three halves empty’. This cryptical definition generally refers to a small iris that only fills one quarter of the eye. The particular eye condition indicates a physical or mental imbalance, or at least it does so in Japanese culture. In our Western world, we generally interpret this as symptomatic of an extreme form of chronic tiredness. ‘Sanpaku’ depicts a state of ‘being dead alive’. It is exactly this struggle that is pre-sented in the four pieces that constitute Van Landeghem’s same titled composition.Each of the four pieces takes one aspect of Japanese culture as its point of departure, indicated as such by its title: Zen, Samoerai, Kabuki and Karate canon. Never-theless, it is the first piece, Zen, that sounds the most ‘Japanese’ of all four. Its use of four shakuhashi flutes contributes to this particular sound atmosphere. The shakuhashi is a flute made out of bamboo that originates from China but very soon enjoyed great popularity in Japan. Over the centuries, the shakuhashi established a strong relationship with Zen Buddhism, since it was often played by monks while meditating or wandering around. With its five finger holes the shakuhashi naturally produces a pentatonic scale. However, by changing the mouth pressure the pitch can alter at about half a tone, and the same goes for not wholly covered finger holes. The shakuhashi evokes a very broad range of sounds, from a whispering piano to a widely resonating forte. By consequence, this instrument proved to be very attractive to modern Western-style composers, both in Japan and abroad.

Example 2

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As such, it also reached Van Landeghem, who had always been sensitive for this kind of unique and exotic sonorities. The term Zen refers to a particular form of Buddhism, in which the body is brought into a complete, resting balance. As such, the so-titled opening piece can be interpreted as a first attempt to re-establish this balance as broken by ‘sanpaku’. The long solo of the first shakuhashi flute at the beginning is the first to promise such a therapeutic effect. Rather than describing an ongoing melodic line, it dwells on particular moments, circling around in numerous thrillers and large-scale vibratos. The meditative character is emphasised by an only approximately notated rhythm, which escapes every clear pulsation. A small gong concludes the individual phrases of the flute, seemingly willing to penetrate the inner body of the listener with its reverberating sound. Joined by a second shakuhashi, the imploring tone of the flutes becomes all the more powerful. Only two dramatic moments involve the full quartet – with two basses joining the two tenor shakuhashis –, each time realizing a vivid breakout of the meditative discourse.

Samoerai, the second piece, displays a sudden contrast with this atmosphere. The traditional Japanese fighters are depicted in their march towards the battlefield: strong and unstopping. The perpetual rhythmical movement in the three bass voices lays out the foundation for a more frivolous line in the tenor. Two times, the ongoing march is put to a stop by sudden interludes that display a diatonic descending line, legato e lyrico, in which all four parts are involved. However, each time the battle is taken up again, at every turn more agitated and convinced.

Kabuki is one of the official forms of traditional Japanese theatre. In Sanpaku, however, it is the third piece in row. Its theatre-based origins seem to come to the fore in some solo and duo passages, that expose a rather speech like rhythm and melody. Moreover, Van Landeghem in these particular passages explores a special recorder technique, already used in the foregoing pieces but not to this extent. Next to their playing the recorder, the musicians now also have to sing while playing, which brings about an impure sound close to the didgeridoo. The performance of these ‘recorder-actors’ is framed and intervened by interludes of undulating lines – once in parallel motion, then in contrary motion –, which seem to take along the listener into another realm of time, a process common to theatre and in particular opera praxis.

The Karate canon finally involves a traditional Western technique. However, the con-trapuntal technique of the canon is not strictly treated, but its emblematic motion is preserved. Again there is the heat and movement of a battle, intensified by the canon technique that fastens the discourse. Its perpetuum mobile reminds of Baroque mu-sic, a reminiscence that becomes all the stronger by a chromatic descending figure, dramatically empowered by numerous delays. The superposition of these typically Western techniques with a Japanese thematic and sounding atmosphere makes this piece, and to a broader extent the whole Sanpaku cycle, to a true synthesis and promoter of the art of Jan Van Landeghem.

[PAULINE DRIESEN]

ANNELIES VAN PARYS (1975)Phrases V (2001)

Annelies Van Parys wrote her short composition Phrases V in 2001, just after having finished her piano and composition studies at the Ghent Royal Conservatory.Phrases V was written for the Ictus International Composition Seminar 2001. During this seminar Van Parys had the opportunity to further develop and reflect some musical ideas while the Brussels-based Ictus ensemble rehearsed the piece. The official world premiere of Phrases V took place the same year in Bruges by the ensemble Contr’Art. Annelies Van Parys herself played the piano during this performance. In 2002, Van Parys received the prestigious Flanders/Quebec com-position prize for Phrases V. Since this occasion, Van Parys started to collaborate with major Flemish and internationally established ensembles and festivals. The composition can thus be seen as the starting point for her career as a composer.

A striking aspect of Phrases V is the instrumental combination of guitar, harp, piano and percussion. Of course, in larger ensemble works, these instruments are often combined, but a quartet with this instrumental combination is rather unique. Actually, this unusual quartet formation was suggested by the Ictus Ensemble as one of the possible formations the participants of the Composition Seminar could write a work for. Van Parys was intrigued by this unusual combination and its timbral possibilities, as it can be used to sound as four different timbral identities, but at the same time the instruments can be made to blend together in one ‘metatimbre’. The choice for vibraphone and crotales as the main percussion instruments (instruments which perfectly mix with both harp and piano) strengthens this idea. The title of the work refers to the fifth sentence of Phrases, a prose poem of the famous, but still somehow inscrutable bundle Illuminations by the French symbolist writer Arthur Rimbaud (1854-1891): ‘J’ai tendu des cordes de clocher à clocher; des guirlandes de fenêtre à fenêtre; des chaînes d’or d’étoile à étoile, et je danse’. Nevertheless, it was certainly not Van Parys’ initial intention to evoke the atmosphere of Rimbaud’s poem in the music, as the composition was already finished for a while when it received its title.

Phrases V – having a duration of about seven minutes – can be divided in four sections:

- A first section (0’00” – 1’34”; beginning until rehearsal mark VI) starts fortissi-mo with an ‘upbeat’ by the guitar and the gong, followed immediately by soft piano notes in a higher register. In the score, the notation of this passage is rather free, only indicating which pitches are to be played, or which groups of notes should be repeated. As for the tempo, there is only the following indication: ‘not too quickly and not too regularly’. The pitch material is organised around the pitches E and B (clearly audible around 8”, 18”, 44”…). The choice for these two pitches is not a coincidence, but is inspired by an early work by Pierre Boulez (1925): Number eight from his piano solo composition 12 Notations (1945).

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In this composition Boulez rhythmically alternates the pitches Eb and Bb. Van Parys transposed this pitches half a step up, to E – B, so she had more possibilities with the open strings and natural harmonics of the guitar (which is tuned E-A-D-G-B-E). Shortly after the piano introduction, the other instruments come in. The harp also plays repeated groups, the guitar and percussion add some rhythmical impulses. The first section ends with a sudden forte glissando from the harp, immediately followed by section two.

- In the second section (1’34” – ca.3’30”; rehearsal mark VI until page 3, end of first system), the piano and crotales play a very slow melody. This melodic line is, also as a form of citation, a time stretch of a Gregorian chant. The guitar, harp, wood-blocks, cymbal and vibraphone add some colours to this melody, or add elements which briefly interrupt the rather static atmosphere. From time to time, we hear a short reminiscence of the alternating pitches e and b (e.g. in the guitar around 2’23’’, in the harp around 3’). Whereas the first section made use of a freer nota-tion, the notation in the second part is metrical (MM max. 42).

- The short third section (3’30” – 4’16”; page 3, beginning of second system until rehearsal mark X) is characterized by the idea of organic growth. It uses again a freer, spatial notation in which the musicians repeat different note or sound groups in a constant crescendo. All instruments start ppp and end fff. The section ends very similarly to the beginning of the piece: with a fortissimo hit of the gong, immediately followed by soft piano notes in a higher register.- The fourth and last section (4’16” – 7’19”; rehearsal mark X until end), is a reca-pitulation in which some elements from the previous sections are combined: the repeated note groups in the higher register of the piano, some chords of the slow melody of section two, and the alternating pitches e and b (e.g. in the piano around 5’06”, in the harp around 5’42’’, in the guitar around 5’58’’…). At the beginning of section four, from time to time the rather soft piano sounds are interrupted by sudden accents in the guitar, harp and percussion. Near the end of the piece, all instruments melt together to a soft musical environment.

Phrases V is an early piece in the musical production of Annelies Van Parys. We see clear differences with the music she wrote later, certainly with respect to the pitch organisation (in her later music, Van Parys uses complex chords, quarter tones…). Nevertheless, in this composition, some characteristic elements of the style she developed later on, such as a fine ear for sonorities and a natural feeling for musical structure are already clearly present.

[DAAN JANSSENS]

Excerpt from page 2 of the score

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WILFRIED WESTERLINCK (1945)Landschappen IV [Landscapes IV] for flute, harp, and string trio (1981)

Wilfried Westerlinck is at home in more intimate musical genres such as songs and chamber music. Three orchestral compositions notwithstanding, Westerlinck only wrote small-scale vocal works, compositions for solo instruments, and chamber music pieces. An opera would go against the grain of his musical nature. In Flanders, not a single composer of art music has been able to build up a livelihood from his or her creative work alone. Westerlinck has been more than fortunate in that respect since his professional activities matched his artistic preferences to perfection. Until his retirement in 2001, Westerlinck worked for the Flemish public radio VRT, where he was the producer for chamber music in the context of its Third Pro-gramme (Radio 3).

Westerlinck wrote a series of five Landscapes for different combinations of instru-ments between 1977 and 1983. All five works are in one movement, but smaller sections succeed each other without interruption. Westerlinck carefully bridges contrasts in tempo, harmony and texture between these sections. It is above all in the field of harmony that the cyclical nature of the five Landscapes is obvious. Each composition starts from a single chord that acts as the source for the entire harmonic construction of the piece. In Landscapes III to V the source chord is sym-metric and presented in different musical contexts. Each different bass tone of the central chord, texture, tempo, or articulation (pizzicato, legato) brings with it its own expressive content.

The source chord of Landschappen IV is presented at the very opening of the com-position (example 1). It consists of the combination of the 4/6 F-major chord and the 3/6 c#-minor chord. This combination yields a bitonal aggregate, which can be perceived as such because of the remote tonal relationship of its components. Each pitch is tonally neutralized because of the presence of a chromatic adjacent pitch. The instrumentation clarifies the bitonality as well, since the F-major and c#-minor regions are coupled with the cello and violin/viola respectively. By putting the two components of this bitonal aggregate in root position the perfect symmetric nature of the aggregate becomes clear. The highly dissonant kernel consists of the chromatic dyads e-f and g#-a a minor third apart, and this kernel is expanded with the same interval of the minor third (above: a-c; below c#-e) (example 2). Such a perfectly symmetric chord harbours many constructive possibilities, which is exactly what can be expected from a source chord.

First page of the score

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Compared to the other works from this cycle Landschappen IV has more and sharper contrasts between sections. Numerous tempi and expressive registers succeed each other, and the composition techniques applied are likewise quite contrasting. One could point out – among other things – the non-synchronized passages ‘senza misura’ in which each layer nevertheless has its own harmonic identity; or the march section with a highly virtuosic flute part displaying large interval leaps in a continuous triplets rhythm; or the musical ‘catch-me-if-you-can’ canon between flute and violin over a rhythmic ostinato; or the slow waltz (Valse lente) with its contrasting middle section, a fast waltz in a rather dissonant harmonic setting.

[MARK DELAERE]

highly dissonant kernel, consisting of the chromatic dyads e-f and g#-a and expanded with a-c above and c#-e below

C. Inventory

The alphabetical inventory displays Flemish chamber music composed between January 1950 and December 2010, part of which can be consulted at the MATRIX archive (both scores/sketches and recordings). Availability of the materials can be checked in the online catalogue at www.matrix-new-music.be. This website also offers detailed discussions of the biography and works of most of these composers, as well as their contact information. When composers explicitly mentioned the availability of a (published) score or recording that is distributed by the author himself/herself, we mentioned ‘author’ in the inventory. For their e-mail or addresses, MATRIX may be contacted at info@matrix-new-music.be

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ALPHABETICAL INVENTORY OF FLEMISH CHAMBER MUSIC SINCE 1950

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Adriaenssens, Paul Inserts 1977 2 to 6 ad lib, modulator var ca. 9’ Adriaenssens, Paul Protocol voor antagonisten 1977 3 ad lib var Aerts, Hans Quintet 3 1989 cl, 2 vl, vla, vlc 12’ Aerts, Hans Quartet 2 1990 fl, vl, vla, vlc 6’ Aerts, Hans 2 Dansen 2 1992 rec quartet 5’ Aerts, Hans Airs de Ballet 7 2003 fl, ob, sax, cl 12’ Aerts, Hans Trio 3 2003 cl/vl, vlc, pf 9’ Aerts, Hans Summer Scenes 1 2005 fl quartet 6’10” Agsteribbe, Frank Another story for Michiel 1 8 1990 fl, pf 4’ Lantro Music Cassa Nova Records; PhaedraAgsteribbe, Frank Parafrasen 1 9 1990 fl (picc), bn, pf 4’30” Agsteribbe, Frank 5 dernières chances pour 5 21 1991 cl, vlc, pf 7’ Lantro Music éviter le modernismeAgsteribbe, Frank Haydn-variaties 1 19 1991 fl, ob, cl, hn, bn 15’ Agsteribbe, Frank Het Optreden 24 22 1991 cl quartet 14’ Agsteribbe, Frank Pavane pour un défunt 1 18 1991 2 pf 5’35” Agsteribbe, Frank It is like a big tree 1 28 1992 fl, pf 10’ Agsteribbe, Frank Pas de Cis 1 27 1992 fl, hpsd 10’ Agsteribbe, Frank Tallis Variations 1 29 1992 fl, org 15’ Agsteribbe, Frank 5 dernières chances pour éviter 5 1993 cl, vl, pf 7’ le modernisme Agsteribbe, Frank Susanna III 1 44 1994 hpsd, ad lib 10’ Agsteribbe, Frank La mouche a miel 1 47 1995 vl/fl , pf/hpsd 2’ Lantro Music Agsteribbe, Frank Cantus prius factus 1 54 1997 2 vl, vla 11’ Lantro Music Agsteribbe, Frank Drie dansen voor de Lange Wapper 6 59 1998 fl, gtr 14’ Lantro Music I Cherubini Agsteribbe, Frank 2 Interludes 2 65 2001 afl, bfl, bn, mba 7’ Agsteribbe, Frank Antibiotica 1 79 2005 trp, trb, vlc, db 2’ Agsteribbe, Frank Saudade 1 81 2006 vla da gamba, trec, bcl, hpsd 9’ November Music Agsteribbe, Frank Piamozartet 3 80 2006 vl, vla, vlc, pf (hist instr) 12’ Albert, Karel Kwintet 1954 fl, ob, vl, vla, vlc Albert, Karel Kwintet voor kopers 1962 2 trp, trb, hn, tb 14’ CeBeDeM Albert, Karel Kwartet 1963 2 trp, hn, trb 18’15” CeBeDeM Albert, Karel Kwintet 1963 fl, ob, cl, hn, bn 22’15 CeBeDeM Appermont, Bert Colors for Trombone 4 1999 trb, pf 15’ Beriato Music - Kameleon Editions Appermont, Bert Impressions 2002 cl, pf 9’ Golden River Music Appermont, Bert Summer Serenade 2002 fl, pf 8’ Golden River Music Appermont, Bert Seaside Suite 5 2004 sax quartet 25’ Beriato Music - Kam. Ed. Appermont, Bert Sketches of Spring 2005 trp, pf 10’ Beriato Music - Kam. Ed. Appermont, Bert Little Rhapsody 2006 cl, pf 5’ Beriato Music - Kam. Ed. Appermont, Bert Hymn & Dance 2007 cl, pf 5’ Beriato Music - Kam. Ed. Baert, Bernard Prelude 1983 vl, pf Baert, Bernard Identities op. 2 1992 vl, pf Baert, Bernard Trio op. 4 1992 vl, vlc, pf

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Baert, Bernard Woodwind quintet op. 5 1992 fl, ob, cl, hn, bn Baert, Bernard Brass quintet 5 op. 6 1993 2 trp, trb, hn, tb Baert, Bernard Pianokwartet op. 25 1998 vl, vla, vlc, pf Baert, Bernard Trio nr. 2 op. 37 2002 vl, vlc, pf Baert, Bernard Klarinetkwartet op. 14 1995-1996 cl, vl, vla, vlc Baert, Bernard Divertimento kwartet voor viool, klarinet, 2 op. 28 s.d. cl, vl, vlc, pf cello en pianoBaeyens, August Kwintet voor blazers 3 1950 fl, ob, cl, hn, bn 18’30” CeBeDeM Baeyens, August Sonate: voor viool en piano 3 1952 vl, pf 20’ CeBeDeM Bataillie, Luc Twee duetten 2 1980 (1) vl, vlc; (2) vl, trb 4’ Bataillie, Luc Decamerone 2 1984 vl, ob/ehn 4’ Bataillie, Luc Vijf duetten Ouverture / Wiegelied / Portret / 5 1987 vl, fl 8’ Bij de Kandelaar / LouteringBataillie, Luc Twee Vioolduo’s Improvisatie / Tweezang 2 1989 2 vl 5’ bij Sanders Doopvont Bataillie, Luc Carnaval in Duinkerke 1990 4 fl, picc ad lib Digital Music Print Bataillie, Luc Plato en Aristoteles Capriccio voor viool, gitaar en piano 1992 vl, gtr, pf 4’ Bataillie, Luc De Bremer Stadsmuzik. (versie 2) 1993 fl, vl, pf 6’ Bataillie, Luc Trio Ex Libris / Ex Vita 2 1994 vl, bn, pf 8’ Bataillie, Luc Muziek bij 3 schilderijen van Frank Bogaert De Illusie van Vrijheid / 3 1998 vl, pf 11’ Museumbezoek / Vergankelijkheid Bataillie, Luc Rapsodie der Eurozone 2000 2 vl, bn, pf 9’ Bataillie, Luc Deliciae poculi (versie 1) 2001 2 vl, vlc, pf 3’ Bataillie, Luc Deliciae poculi (versie 2) 2001 2 vl, pf 3’ Bataillie, Luc Deliciae poculi (versie 3) 2001 vl, vla, pf 3’ Bataillie, Luc Een ruiker Orchideeën Aubade / Rendez-vous / Vlaamse 8 2003 2 vl, vlc, trb, org 10’ Ridderoptocht / Feestklanken / Bruiloftsmars / Mars der Gulden Sporen / Al Rivedersi Bataillie, Luc De Geheime Tafelmuz. van Walter Mitty Ontbijt / Middagmaal / Avondmaal 3 2004 2 vl, pf 10’ Bataillie, Luc Siësta - Dromen 2005 vl, vla/vlc, pf 6’ Bataillie, Luc Tafellied 2006 fl, sax, vl 2’ Bataillie, Luc Witte Mars der Ongespeelde Partit. 2006 vl, vla, pf 9’30” Bataillie, Luc Introductie & Tango 2007 sax quartet 3’ Bataillie, Luc Bicinia super Carminibus Levibus, nr. 1 2007 vl, vla 5’30” Bataillie, Luc Gebed tegen de Opwarming v/d Aarde 2007 pf, mba, vl, vla, vlc 1’30” Bataillie, Luc Liturgie tegen de Opwarming van de Aarde (versie 1) 2007 vl, mba 5’30” Bataillie, Luc Liturgie tegen de Opwarming van de Aarde (versie 2) 2007 vl, vla, pf 6’ Bataillie, Luc Bicinia super Carminibus Levibus, nr. 2 2008 vl, vla 5’ Bataillie, Luc Brugse Pikanterie 2008 vl, vla, pf 7’30” Bataillie, Luc Bicinia super Carminibus Levibus, nr. 3 2009 vl, vla 4’30” Bataillie, Luc Forellentrio 2009 vl, vla, pf 5’15” Bataillie, Luc Rond de Oude Vleugel 2010 vl, vla, vlc 5’

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Beelaerts, Paul 35 Mirlitonnades 1982 fl, pf 5’55” Beelaerts, Paul Mijn Bach, mijn Bach, Recitatief / Aria 2 1990 2 ob, ehn “Cassa Nova Antwerpen waarom hebt gij mij verlaten? CNR 590821“Beelaerts, Paul Zakouski-variations 13 1996 2 hpsd Biesemans, Janpieter Tequila para tres op. 3 1981 cl, pf4 6’ Biesemans, Janpieter Mooi voor slagwerker en hoboïst op. 41 1987 ob, perc 11’50” Biesemans, Janpieter Mijn muze in foetushouding op. 44 1988 rec, hn, pf 11’30” Biesemans, Janpieter La vera vita sull’ isola utopia Fontana d’amore di aphrodite / 3 op. 45 1989 rec, 2 vl, vla, vlc Lantro Music La bellezza di ares / Eros, fior fiore dell’ amore profundo !!! Biesemans, Janpieter Why not, Hans! op. 48 1990 sax, pf 8’53” Biesemans, Janpieter De schone en het beest op. 60 1993 2 sax Lantro MusicBiesemans, Janpieter Chichén Itzà op. 63 1996 rec, mba 4’40” Biesemans, Janpieter Metamorphosen Pan / Echo / Narcissus 10 op. 99 2003 rec, gtr, theorbe Lantro MusicBiesemans, Janpieter Saltarello 2003 rec, gtr 2’12” Biesemans, Janpieter Dialogi Sororum Versus primus / Versus secundus op. 109 2005 vla, vlc Lantro MusicBiesemans, Janpieter Quo vadis homo ludens, op. 111 2005 rec, perc Lantro Music homo sapiens !?Biesemans, Janpieter Kapriolen op. 117 2006 rec, pf Lantro MusicBiesemans, Janpieter Dialeg del desig ardent op. 121 2006 rec, vl 5’ Biesemans, Janpieter Musamente furioso stravaganza op. 134 2008 rec, vlc, hpsd 6’50” Biesemans, Janpieter Het Tony Simons pianokwintet Toga / Pleidooi / Konkluzie op. 49 1990-1991 2 vl, vla, vlc, pf 22’ Biesemans, Janpieter Brieven aan een Koerdische vriend Raffoer / Gul / Heider op. 61 1993-1994 2 trp, trb, hn, tb 6’15” Biesemans, Valentijn Status Nascendi op. 3 1992 ob, pf 6’53” Biesemans, Valentijn Kreet op. 4 1994 vlc, pf 2’36” Lantro Music Biesemans, Valentijn Capriccio interrotto 1994 ob, 2 cl Biesemans, Valentijn Dialoog 1994 2 vlc Biesemans, Valentijn Dulce et decorum est op. 6/1 2002 cl, vl, vla, vlc, pf Lantro Music Grupetto III/05Biesemans, Valentijn Blighty Blues op. 6/2 2003 cl, trp/vl, vla, vlc, pf Grupetto III/05Biesemans, Valentijn De Wachtkamer Proloog / Thema van de Eeuwige op. 5 1996-1997 bcl, vlc, musical saw 10’40” Vreemdeling / Schrijnend Liefdes- thema / DroomscèneBikkembergs, Kurt Sonatine 3 1984 trp, pf 6’ Scherzando Bikkembergs, Kurt Kontrast 1984 sax trio Bikkembergs, Kurt Playboy 3 bewegingen voor euph en tuba 3 1985 euph, tb 6’ Maurer Bikkembergs, Kurt Without Filter 1986 3 euph, tb 3’ Maurer Bikkembergs, Kurt Two Impressions 2 1987 btb, org 5’ Lantro Music Bikkembergs, Kurt Une petite sonatine Française 3 1987 vl, pf 6’ Maurer Bikkembergs, Kurt Symmetrical Tune 1988 2 trp, trb, hn, tb 2’30” Bikkembergs, Kurt Clouds 4 1991 tb quartet 7’30” Lantro Music Bikkembergs, Kurt Voices 3 1991 sax quartet 5’ Lantro Music Bikkembergs, Kurt Three Towerstreet Dog Tunes 3 1991 asax, vib, tb 6’ Bikkembergs, Kurt Altomobiel 1992 vla, pf 5’ Euprint Bikkembergs, Kurt Romania III 1998 vl, vla, vlc, pf 9’ Lantro Music René GaillyBikkembergs, Kurt Traffic 4 1999 rec quartet 7’ Uitg. Musicerende Jeugd

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Blockeel, Dirk Heracruces Six imitatios in commemoration 1990 ob, cl of six murdered JesuitsBlockeel, Dirk Après une lecture d’Elie Wiesel 1991 2 cl Blockeel, Dirk Pastocorale 1991 hn, org Blockeel, Dirk In paradisum 1992 vlc, org 3’20” Blockeel, Dirk Sonata per violino e organo 1992 vl, org Blockeel, Dirk d’Ecclesiaste 12 pezzi per flauto grande e violino 12 1993 fl, vl Blockeel, Dirk Ein Ring für Rainer Maria Rilke 12 Lieder für Oboe, Violoncello 1994 ob, vlc, perc De Rode Pomp Band 598 und SchlagzeugBlockeel, Dirk Epitaffio senza parole (in memoriam Hans Decroos) 1994 fl, vl, vla, vlc Blockeel, Dirk Sonata per violino e pianoforte 1996 vl, pf De Rode Pomp Blockeel, Dirk O gloriosa virginum 1996 vlc, org Blockeel, Dirk Subida al monte Carmelo piezas nocturnas para dos violines 15 1998 2 vl De Rode Pomp Blockeel, Dirk Dat ik brand’ in Uwe min spirituele panelen voor twee 1999 2 ob, org hobo’s en orgelBlockeel, Dirk Sonata per violoncello e organo Rappresentazione / Refe della 2002 vlc, org Madonna / Rondo rutilanteBlockeel, Dirk Preludium en fuga over “Laetare” 2003 2 ob, org Blockeel, Dirk Mariaal drieluik drie antifonen voor celloduo 2006 2 vlc Blockeel, Dirk Requiem 29 bedenkingen bij gedichten 2006 ob, trb, bn van Xavier TricotBlockeel, Dirk Sonate in a voor klavier 2006 vlc, hpsd en cello (gamba) Blockeel, Dirk Memo Messiaen V 2008 vlc, org Blockeel, Dirk Zeven vormen van paard 1986-1996 fl, hpsd Blockeel, Dirk Achtsaitiges Stundenbuch Hesseblätter für zwei Violoncelli 2006-2007 2 vlc Bondue, Yves Oktober variaties 1991 vl, pf Bondue, Yves Tch’i 1991 fl, pf Bondue, Yves Isolectio 1994 fl, vl, vla, vlc Bondue, Yves Vier ruïnes Ruinerie d’un vieuxtemps / 4 1995 vl, vlc, pf 11’45” Violonsolemnello / Connerie de la rose + croix / Begin van het eindeBondue, Yves R.E.M. rapid ear movements 1997 vl, vlc, pf 7’30” Bondue, Yves Parabolus in Musica 1998 bcl, 2 acc Bondue, Yves Magma 1999 vl, vlc, pf Lantro MusicBondue, Yves Trisagion 1999 cl/trp, pf 11’ Lantro MusicBondue, Yves Zabava Klarinettenkwartet nr. 2 2002 cl quartet Bondue, Yves Five senses of birds Velvet Wax-wing / Oyster Pearl-hen / 5 2007 picc, pf 12’ Astrapia Felspar / Cinnamon Horn-bill / OrioleBondue, Yves Klokhuis haiku for flute (recorder) and mba s.d. rec, mba 2’30” Lantro Music Bondue, Yves Tussen stof en oud hout History of darnkness / Nocturne / 3 s.d. cl quartet Lantro Music SpiritsBondue, Yves 2 spelen en interakties 6 s.d. fl, cl, bn 18’23” Brackx, Joachim Dualog 1998 2 vl

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Brackx, Joachim Quiet beings 5 1998 cl, pf Brackx, Joachim Ikeru 2000 vla, vlc 1’48” CC Sint-Niklaas CCSN.01 Brackx, Joachim Pieci pieces 2003 2 vl, vla, vlc, db 11’ Brackx, Joachim Peach blossoms thicken with rain 2005 2 gtr 3’ Brackx, Joachim Music for Tunnelrat 11 2008 vla, pf 10’ Brewaeys, Luc Het Raadsel van de Sfinks 1983 5 Brewaeys, Luc Aouellaouellaouelle! 1988 vl, pf 10’ CeBeDeM Brewaeys, Luc The Zappa album Inca roads / I’m stealing the 7 1989 vl, vlc, pf 42’ towels / Strictly genteel / Sad Jane / Penis dimension / SOFA nr. 1 / Five-five-FIVEBrewaeys, Luc Knockando 1991 perc, pf 8’ Brewaeys, Luc Las minute piece 1996 ob, cl 1’30” Composer Megadisc Classics MDC 7827/28 Brewaeys, Luc Les méandres de la mémoire for recorder(s) and piano 1997 rec, pf 13’ Brewaeys, Luc AES golden anniversary fantasy upon three notes 1998 2 trp, trb, hn Lantro Music for brass quartetBrewaeys, Luc Nobody is perfect! Jonathan Harvey sixty 1999 fl, cl, pf 2’10” Composer for flute, clarinet and pianoBrewaeys, Luc Nobody is perfect! Joao Pedro Oliveira fourty 1999 vl, vla, vlc 2’40” Composer for string trioBrewaeys, Luc Violacello! 2000 vla, vlc 2’ Composer CC Sint-Niklaas CCSN.01Brewaeys, Luc Mozart’s Ghosts 2006 cl, hn, vla, vlc, hpsd 8’ Composer Brewaeys, Luc Three miniatures 2008 vl, vlc 2’30” Composer Transit 2009Brewaeys, Luc Utopia 2003-2004 4 vla 9’ Composer Brossé, Dirk Elegie s.d. bcl, 2 vl, vla, vlc 7’ Phaedra CD 92020Brossé, Dirk & Frank Nuyts Kaleidoscope 2002 2 vl, vla, vlc, db Bruyland, Paul Kwartet voor hout en koper 1969 wind quartet Bruyland, Paul Sonate voor trompet en piano 1971 trp, pf Bruyland, Paul Capriccio nr. 1 1975 vl, pf Bruyland, Paul Sonate voor hobo en piano 1976 ob, pf Bruyland, Paul Strijkkwintet nr. 1 1996 2 vl, vla, vlc, db Bruyland, Paul Trio nr. 1 1998 vl, vlc, pf 24’ Bruyland, Paul Triton Duet voor 2 violen 3 1998 2 vl 7’ Bruyland, Paul Contrasten voor vijf instrumenten 1999 5 instruments Bruyland, Paul Sonate voor cello en piano 1999 vlc, pf Bruyland, Paul Summertime op. 41 2001 fl, vlc, acc, pf 15’30” Buckinx, Boudewijn Dodekafonische sonate op. 23 nr. 1 1959.36 1959 2 vl 5’ Buckinx, Boudewijn Dodekafonische sonatine op. 23 nr. 2 2 1959.37 1959 2 vl, metronome 10’ Buckinx, Boudewijn Kleine [valse] suite in tien delen, 1959.13 1959 vl, rec, mel 15’ op.9 (d klein) Buckinx, Boudewijn 2de schetsboek 1960.40 1960 2 à 4 vl 10’ Buckinx, Boudewijn Divertimentootje 1960.66 1960 vl, vla, pf 6’ Buckinx, Boudewijn Duo Toneel II 1960.65 1960 2 vl 6’

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Buckinx, Boudewijn Kompozitie 1960.68 1960 vl, pf, perc 3’30” Buckinx, Boudewijn Mensenleven op. 2 3 1960.50 1960 vl, pf 20’ Buckinx, Boudewijn Sonatiene 1960.54 1960 4 vl, pf 15’ Buckinx, Boudewijn Oevertuurtje en slot 1961.14 1961 2 trp 2’ Lantro Music Buckinx, Boudewijn 20 duo’s 1961.05 1961 2 vl 120’ Buckinx, Boudewijn Vioolkwartet 1961.28 1961 4 vl 8’ Buckinx, Boudewijn 2e vioolkwartet 1962.01 1962 4 vl 15’ Buckinx, Boudewijn Bagatellen 4 1962.09 1962 2 vl, pf, perc 35’ Buckinx, Boudewijn Kompozisi II 1962.04 1962 vl, vla, pf 1’ Buckinx, Boudewijn Fiksasi van een improvizasi 1963.06 1963 3 rec 5’ voor dri blokfluitenBuckinx, Boudewijn Trio in de stijl van 1928 1963.01 1963 2 vl, vla 12’ Buckinx, Boudewijn [zonder titel] 1964.14 1964 2 pf 10’ Buckinx, Boudewijn Symbiose 1964.09 1964 vl, pf, perc 10’ Buckinx, Boudewijn Simpozisi 1966.01 1966 sax, db, perc var Buckinx, Boudewijn Dekromasie (Dekromatie) 1967.03 1967 vla, vedel, gtr 10’ Buckinx, Boudewijn Raramuziek 1967.01 1967 2 random musici var Buckinx, Boudewijn Atoom 1968.06 1968 fl, ob, cl, bn, hn [random] var Buckinx, Boudewijn Burokrasie B 1968.04 1968 fl/rec, vl 5’ Buckinx, Boudewijn Blumophonie 1969.05 1969 2 fl, 2+ assistants 120’ Buckinx, Boudewijn De juiste klank op de juiste plaats 1969.03 1969 1 player, 1 listener [random] var Buckinx, Boudewijn [zonder titel] 1973.01 1973 vl, vla, pf 15’ Buckinx, Boudewijn Geheime stukken 1973.03 1973 2 vl, vla, spinet 10’ Buckinx, Boudewijn 17-7-76 1976.01 1974 vl, spinet 30” Buckinx, Boudewijn Sinfonia a quattro velocipedi 1974.01 1974 4 prep. bicycles (4 players) var Buckinx, Boudewijn 124 maten voor 62 snaren 1976.02 1976 vl, vla, pf (right hand) 7’ Buckinx, Boudewijn Raraty 1976.04 1976 2 pl. (2x3 music boxes, ad lib) 3’ Buckinx, Boudewijn De apotheose van Sabbe 1978.05 1978 vl, vlc, pf 2’ Yang Buckinx, Boudewijn Basho’s Travel Sketches, an introd. 1979.04 1979 rec, fl, ob, bn, hpsd 10’ Buckinx, Boudewijn Heb jij ooit voor blaaskwintet 1979.08 1979 fl, ob, cl, bn, hn 10’ geschreven? Buckinx, Boudewijn Kashima (a visit to the Kashima Shrine, Basho) 1979.01 1979 fl, vl, vla, vlc 15’ Buckinx, Boudewijn Opus 413-421 1979.07 1979 vl, pf 10’ Buckinx, Boudewijn Sibabo 1979.06 1979 vl, vla, vlc 5’ Buckinx, Boudewijn Cheval Marin 1981.01 1981 4 cl, leaking tap 15’ Buckinx, Boudewijn Hypokrisis “ter gelegenheid van 1983.01 1983 hn, vib 15’ de krisis van de jaren tachtig Buckinx, Boudewijn Vóór het vertrek (op vakantie) 1984.21 1984 fl, pf 1’30” Lantro Music Phaedra CD 92009 Buckinx, Boudewijn [zonder titel] 1984.26 1984 3 bn, cbn 10’ Buckinx, Boudewijn [zonder titel] [twee stukjes] 1984.29 1984 vl, hurdy-gurdy 6’ Buckinx, Boudewijn Et in Arcadia ego 1984.16 1984 vl, pf 15’ Buckinx, Boudewijn Leo 1984.20 1984 2 trb 10’ Buckinx, Boudewijn P.C. Bloem 1984.02 1984 vl, pf 10’ Buckinx, Boudewijn Sengai en Basho 1984.08 1984 trb, pf 15’ Buckinx, Boudewijn T. Storm 1984.07 1984 vlc, pf 7’

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Buckinx, Boudewijn Vermoedens over Verdi en Vieuxtemps 1984.30 1984 clst, hrm 10’ Buckinx, Boudewijn Voor bastubaof zoiets 1984.05 1984 btb, pf [random] 5’ en piano of zoietsBuckinx, Boudewijn Weird spring 1984.14 1984 vl, vlc 8’ Buckinx, Boudewijn Winterslaap als wensdroom 1984.25 1984 3 tb 10’ Buckinx, Boudewijn Als de blaere vallen 1985.12 1985 ob, pf 5’ Buckinx, Boudewijn Met een rode beuk (100 jaar) in 1985.13 1985 2 vl 15’ de mist in het achterhoofdBuckinx, Boudewijn Primum vivere 1985.11 1985 fl, ob, cl, pf 5’ Buckinx, Boudewijn Stuk voor althobo en piano 1985.05 1985 ehn, pf 5’ Buckinx, Boudewijn Verregend 1985.02 1985 cl, vib 7’ Buckinx, Boudewijn In de buurt van Neptunus 1987.15 1987 vlc, pf 9’ Lantro Music Cassa Nova REC CNR 950821Buckinx, Boudewijn Dagdromen 1987.07 1987 2 pf 10’ Lantro Music Buckinx, Boudewijn Korte liedjes duren niet lang 1987.14 1987 fl, pf 15’ Lantro Music Buckinx, Boudewijn Après-ski 1987.13 1987 fl, pf 10’ Buckinx, Boudewijn De waterval van Reichenbach of het 1987.04 1987 rec, pf 5’ ongewisse lot van Sherlock HolmesBuckinx, Boudewijn Klakkeloos 1987.02 1987 vl, vla, vlc 15’ Buckinx, Boudewijn Le Malentendu 1987.18 1987 vl, pf 18’ Buckinx, Boudewijn 1.001 sonates 1988.09 1988 vl, pf ca. 24h René Gailly CD 87905 / PKP 001Buckinx, Boudewijn Nazomer 88 1988.14 1988 fl, ob, cl, pf 10’ Lantro Music Buckinx, Boudewijn [zonder titel] [1. Voor Brahms; 1988.22 1988 vlc, pf 4’ 2. Voor Satie; 3. ----]Buckinx, Boudewijn 8 april 88 1988.07 1988 vl, vla, pf 1’ Buckinx, Boudewijn Identifikatie 1988.18 1988 fl, bn, pf 10’ Buckinx, Boudewijn In de roze olifant 1988.05 1988 3 trp 15’ Buckinx, Boudewijn Inclinatorische divergenties 1988.23 1988 ob, rec, pf 9’ Buckinx, Boudewijn Kom, piano, kom 1988.17 1988 vl, pf 2’ Buckinx, Boudewijn Voor eigen gebruik 1988.12 1988 vl, vla, pf 7’ Buckinx, Boudewijn Walmingen Herinneringen aan stoom- 1988.06 1988 ehn, rec, pf 15’ lokomotieven, frituren, atoom- wapens, straatmakers, onder- werelden, sigaren en SibeliusBuckinx, Boudewijn Trio nr. 1 1989.21 1989 vl, vlc, pf 10’ Lantro Music Rode Pomp GMA 013Buckinx, Boudewijn For H.C. 1989.20 1989 ob, pf 5’ Buckinx, Boudewijn Klein maar dapper 1989.07 1989 vla, pf 1’ Buckinx, Boudewijn Silenciosaurus 1989.05 1989 asax, pf 10’ Buckinx, Boudewijn Sonate voor altviool en piano 1989.08 1989 vla, pf 20’ Buckinx, Boudewijn Vijf stukken 1989.15 1989 cl, pf 8’ Buckinx, Boudewijn Trio nr. 2 (“Nunc stans”) 1990.03 1990 vl, vlc, pf 18’ Lantro Music Rode Pomp GMA 013Buckinx, Boudewijn [zonder titel] 1990.07 1990 vlc, pf 3’ Buckinx, Boudewijn Als twee druppels water 1990.21 1990 fl, vl, pf 20’ Buckinx, Boudewijn De tijd op een kier zetten 1990.22 1990 fl, ob, cl, bn, hn 10’ Buckinx, Boudewijn Gletsjer 1990.10 1990 4 cl 15’ Buckinx, Boudewijn Kwintet voor klarinet en strijkkw. 1990.18 1990 cl, 2 vl, vla, vlc 15’

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Buckinx, Boudewijn Nachtschade 1990.23 1990 sax, vlc, pf 18’ Buckinx, Boudewijn Tetralogie of de Monfriedidylle 1990.29 1990 trp, pf 10’ Buckinx, Boudewijn Verre vijftalligheden 1990.11 1990 5 rec 20’ Buckinx, Boudewijn Vijf duo’s 1990.02 1990 2 vl 10’ Buckinx, Boudewijn De auto niet terugvinden in 1991.18 1991 cl, pf 7’ een onderaardse parking Buckinx, Boudewijn Der Traumpeter 1991.22 1991 trp, pf 15’ Buckinx, Boudewijn Drietje 1991.11 1991 cl, vlc, pf 5’Buckinx, Boudewijn Ima(d)ginary cop(p)y 1991.05 1991 2 pf 10’Buckinx, Boudewijn To wish happiness 1991.17 1991 cl, pf 8’Buckinx, Boudewijn Begeleidingsmuziek bij non- 1992.14 1992 fl, ob, cl, bn, hn 1’ conformistische eensgezindheidBuckinx, Boudewijn ‘T Tweetje 1992.31 1992 vl, vlc 3’Buckinx, Boudewijn Variations on nothing 1992.21 1992 fl, vlc, pf 20’Buckinx, Boudewijn Variations 2 on nothing 1992.22 1992 fl, vlc, pf 15’Buckinx, Boudewijn Anmut 1993.04 1993 vla, pf 4’Buckinx, Boudewijn In de Rode Pomp 1993.08 1993 vl, vlc 10’Buckinx, Boudewijn Muziek voor een open Denkraam 1993.06 1993 sax, 2 vl, vla, vlc 15’Buckinx, Boudewijn P.V.B.A. 1993.01 1993 fl, pf 1’Buckinx, Boudewijn Silenciosaural Aura 1993.21 1993 db, pf 8’Buckinx, Boudewijn Strijkkwintet 3 1993.15 1993 2 vl, vla, vlc, db 15’Buckinx, Boudewijn Dreaming of Li-Po 1994.15 1994 vl, gu-zheng/koto 7’Buckinx, Boudewijn Eerste zon 1994.02 1994 vl, pf 20’Buckinx, Boudewijn Eind goed 1994.16 1994 rec, mba 5’Buckinx, Boudewijn Ex cello de coelo 1995.10 1995 vlc, pf 15’ Lantro Music Buckinx, Boudewijn For you four 1995.11 1995 rec quartet 10’ Buckinx, Boudewijn GEFIENGEERT, niet gefingeerd 1995.12 1995 bcl, pf4 (2 players) 2’ Buckinx, Boudewijn Kruiwagen in Venetië 1995.16 1995 mdln, db 2’30” Buckinx, Boudewijn Biografie van 24 wilgenblaadjes 1996.13 1996 rec, pf 25’ Lantro Music Buckinx, Boudewijn Air “Tes Bienfaits” 1996.09 1996 fl, pf 1’ Buckinx, Boudewijn Gent per gondel 1996.06 1996 mdln, org 13’ Buckinx, Boudewijn AB 1997.24 1997 fl, 2 vl, vla, vlc 10’ Paul Klinck Productions 014Buckinx, Boudewijn Verbeiden : ... 1997.28 1997 bcl, pf 2’ Buckinx, Boudewijn Voor Roger Raveel 1998.06 1998 vl, pf 2’ Lantro Music Buckinx, Boudewijn A en B zeggen 1998.21 1998 2 fl 20” Buckinx, Boudewijn Discursul Muzical 1998.31 1998 vl, cl, acc 10’ Buckinx, Boudewijn Elias 1998.05 1998 fl, hpsd 1’ Buckinx, Boudewijn Gändler 1998.14 1998 2 vl 7’ Buckinx, Boudewijn Liederen en dansen van Madoc 1998.30 1998 vl, pf 18’ Buckinx, Boudewijn Menselijke wezens met... 2 1998.04 1998 vl, vla, pf 10’ Buckinx, Boudewijn Naschrift 1998.18 1998 vlc, pf 2’ Buckinx, Boudewijn Nefer 1998.11 1998 2 vl, pf 10’ Buckinx, Boudewijn Romanesca 1998.36 1998 vlc, pf 5’ Buckinx, Boudewijn Stille Zuidzee 1998.27 1998 fl, gtr 3’30” Buckinx, Boudewijn Vanitas vanitatum et omnia vanitas 1998.37 1998 cl, vl, vlc, pf 4’

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Buckinx, Boudewijn Trio # 3 (Salix Integra) 1999.09 1999 vl, vlc, pf 16’ Lantro Music Rode Pomp GMA 013Buckinx, Boudewijn Trio # 4 1999.15 1999 vl, vlc, pf 10’ Lantro Music Rode Pomp GMA 013Buckinx, Boudewijn Het Chinese Jaar van het Konijn 1999.03 1999 vl, vla, pf 9’ Lantro Music Buckinx, Boudewijn Bijna Niets 1999.06 1999 vl, pf 2’ Buckinx, Boudewijn Herfst 1999.13 1999 vl, pf 5’ Buckinx, Boudewijn Lelies van het veld 1999.17 1999 vlc, pf, flexaton, musical saw 7’ Buckinx, Boudewijn Sonnet 2000.04 2000 vla, vlc 2’ Buckinx, Boudewijn Traces of a Lost Opera 2000.13 2000 vl, vlc, pf 10’ Buckinx, Boudewijn Trio # 5 2000.14 2000 vl, vlc, pf 30’ Buckinx, Boudewijn 180 2001.24 2001 vl, pf Lantro Music Buckinx, Boudewijn Hibiscus 2001.25 2001 vl, pf Buckinx, Boudewijn Pianokwartet # 1 2001.16 2001 vl, vla, vlc, pf 25’ Buckinx, Boudewijn Pianokwartet # 2 2001.29 2001 vl, vla, vlc, pf 10’ Buckinx, Boudewijn Bucolica I 2002.16 2002 cl, pf 7’ Lantro Music Etcetera 65.41 (ECCD-2071)Buckinx, Boudewijn Bucolica II 2002.17 2002 cl, vla 7’ Lantro Music Etcetera 65.41 (ECCD-2071)Buckinx, Boudewijn Trifoon 2002.06 2002 cl, vlc, pf 15’ Lantro Music Buckinx, Boudewijn Bucolica III 2002.20 2002 cl, hn, hp 5’ Buckinx, Boudewijn Bucolica IV 2002.21 2002 ob, vl, vla 5’ Buckinx, Boudewijn Johannes 2002.03 2002 fl, pf 1’ Buckinx, Boudewijn KPHTH 2002.11 2002 vl, vlc 15’ Buckinx, Boudewijn WAM 2002.12 2002 3 rec, vlc 15’ Buckinx, Boudewijn Begegnungen in Wien 2003.02 2003 vl, pf 5’ Lantro Music Buckinx, Boudewijn Fijnbesnaarde Streken 2003.10 2003 vl, pf 20’ Lantro Music Buckinx, Boudewijn Waarheid met opklaringen 2003.33 2003 ob, vl, vla, vlc 15’ Lantro Music Buckinx, Boudewijn Bucolica IX 2003.21 2003 thn, perc 3’ Buckinx, Boudewijn Bucolica VI 2003.18 2003 2 hn 5’ Buckinx, Boudewijn Bucolica VII 2003.19 2003 ob, vlc 2’ Buckinx, Boudewijn Bucolica VIII 2003.20 2003 ob, cl, bn 3’ Buckinx, Boudewijn Bucolica XI 2003.24 2003 fl, ob, cl, vlc 4’ Buckinx, Boudewijn Bucolica XII 2003.27 2003 hn, vlc 2’ Buckinx, Boudewijn Bucolica XIII 2003.28 2003 ob, euph 3’ Buckinx, Boudewijn Bucolica XIV 2003.32 2003 fl, cl 5’ Buckinx, Boudewijn FrRzw 2003.05 2003 2 pf 15’ Buckinx, Boudewijn Liederen van Saturnus 2003.34 2003 cl, pf, acc 10’ Buckinx, Boudewijn Met twee langs de atollen surfen 2003.14 2003 2 pf 13’30” Buckinx, Boudewijn Midwinter 2003.30 2003 2 pf 10’ Buckinx, Boudewijn Ozewiezewoze 2004.01 2004 tb, clst 2’ Lantro MusicBuckinx, Boudewijn Alicia’s Droom van Luna 2004.04 2004 fl, pf 2’ Buckinx, Boudewijn celesta etcetera 2004.27 2004 bn, pf, clst, perc 7’ Buckinx, Boudewijn Met Vier 2004.14 2004 3 vl, pf 4’ Buckinx, Boudewijn a tr tr 2005.09 2005 trp, 2 trb 1’45” Lantro MusicBuckinx, Boudewijn Als het Gras gemaaid is 2005.13 2005 cl, pf 2’ Lantro MusicBuckinx, Boudewijn 4.30 a.m. 2005.12 2005 ehn, org 5’ Buckinx, Boudewijn ar...ar...artCHIE 2005.37 2005 pf, acc 1’40” Buckinx, Boudewijn Cherubino va se traversire 2005.14 2005 hrmn, glockenspiel, 1’25” ondes martenot

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Buckinx, Boudewijn Die Welt als Stille und Lärm 2005.10 2005 ehn, org 5’ Buckinx, Boudewijn Driestreek 2005.16 2005 vl, vla, vlc 3’30” Buckinx, Boudewijn Forecast 2005.35 2005 ob, pf 10’ Buckinx, Boudewijn Kein betreff 2005.15 2005 4 hn 2’ Buckinx, Boudewijn New from a Nebula 2005.20 2005 db, pf 4’ Buckinx, Boudewijn Vlav 2005.26 2005 vl, vla 4’30” Buckinx, Boudewijn welwel, wie had dat gedacht!? 2005.06 2005 vl, vla, vlc 1’ Arnold!Buckinx, Boudewijn Tango 2007.25 2007 4 gtr 2’30” Lantro MusicBuckinx, Boudewijn ¡Venga, ya! 2007.22 2007 vl, vla, pf 4’ Buckinx, Boudewijn ¿Verdad? 2007.03 2007 vla, pf 5’30” Buckinx, Boudewijn Al Anochecer 2007.06 2007 vla, hpsd 3’ Buckinx, Boudewijn Bronce 2007.23 2007 2 trp, hn, trb, tb 3’ Buckinx, Boudewijn Bucolica XV 2007.30 2007 ehn, bcl, hn, vib 2’30” Buckinx, Boudewijn Bucolica XVI 2007.43 2007 bn, hn, trp, clst 3’Buckinx, Boudewijn Bucolica XVII 2007.44 2007 fl, bn, vl 1’30”Buckinx, Boudewijn Bucolica XVIII 2007.45 2007 ehn, pf 2’30”Buckinx, Boudewijn Bucolica XIX 2007.47 2007 hn, vl, vla, vlc 2’ Buckinx, Boudewijn De Nada 2007.05 2007 vl, vla 2’Buckinx, Boudewijn Despejado 2007.28 2007 vl, pf 2’20”Buckinx, Boudewijn Ein Genius serviert ein kleines 2007.46 2007 vla, euph, hrmn 3’40” Frühstück, Engel bringt das Gewünschte (Klee)Buckinx, Boudewijn El lucero del alba 2007.07 2007 vl, pf 3’Buckinx, Boudewijn El Plumero 2007.26 2007 acl, cornet, euph, vl, vlc 1’40”Buckinx, Boudewijn El Radiante 2007.04 2007 pf, spinet 2’20Buckinx, Boudewijn El tiempo y la soledad 1 2007.38 2007 cl, vl, vlc 4’15”Buckinx, Boudewijn El tiempo y la soledad 2 2007.39 2007 ob, cl, pf 2’40”Buckinx, Boudewijn El tiempo y la soledad 3 2007.40 2007 ob, cl, pf, vl, vlc 4’30”Buckinx, Boudewijn Encantado 2007.32 2007 vlc, pf 2’45”Buckinx, Boudewijn La Magrugada 2007.09 2007 vl, vla, pf 3’Buckinx, Boudewijn Luneto 2007.36 2007 vl, pf 16’30”Buckinx, Boudewijn Maart 2007.14 2007 vla, hpsd 1’30”Buckinx, Boudewijn Pianokwartet 3 2007.15 2007 vl, vla, vlc, pf 5’Buckinx, Boudewijn Todavía 2007.35 2007 vl, pf 1’30”Buckinx, Boudewijn ¡Hasta pronto! 2008.41 2008 vla, pf 2’15”Buckinx, Boudewijn Begin van het jaar 2008.01 2008 vl, pf 1’30”Buckinx, Boudewijn Bucolica XX 2008.03 2008 afl, hp 2’Buckinx, Boudewijn Bucolica XXII 2008.13 2008 fl, ob, bn 2’40”Buckinx, Boudewijn Bucolica XXIII 2008.21 2008 afl, pf 1’40”Buckinx, Boudewijn Bucolica XXIV 2008.39 2008 bn, hn, pf 3’Buckinx, Boudewijn Contra viento y marea 2008.23 2008 vl, hp 2’30”Buckinx, Boudewijn Een Zaak 2008.19 2008 2 vl 1’30”Buckinx, Boudewijn El campo 2008.28 2008 vla, pf 2’Buckinx, Boudewijn Goya and the Enlightenment 2008.06 2008 flugelhorn, ondes 3’30” martenot, hrmn

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Buckinx, Boudewijn Imagen onírica 2008.46 2008 fl, vl, vla, vlc 3’30”Buckinx, Boudewijn La Corazonada 2008.10 2008 fl (picc), ob, bcl, bn, pf 4’Buckinx, Boudewijn La puesta del sol 2008.45 2008 vlc, pf 2’Buckinx, Boudewijn La vuelta 2008.34 2008 vl, pf 1’Buckinx, Boudewijn less than 2 minutes 2008.22 2008 vla, db 1’50” Buckinx, Boudewijn Los tres musicos 2008.15 2008 vl, vla, vlc 2’25” Buckinx, Boudewijn Mediterráneo 2008.53 2008 fl, cl, hn, pf 4’30” Buckinx, Boudewijn Musica sombreada 2008.16 2008 vlc, pf 4’ Buckinx, Boudewijn Nichtsdestoweniger 2008.02 2008 flugelhorn, pf 2’ Buckinx, Boudewijn Nidada abandonada del pájero 2008.55 2008 2 vl, 2 vla, vlc 4’10” Buckinx, Boudewijn Pianokwartet 4 2008.07 2008 vl, vla, vlc, pf 5’30” Buckinx, Boudewijn Pieza 2008.40 2008 vl, pf 2’10” Buckinx, Boudewijn Poce de bronce 2008.17 2008 2 trp, hn, trb, tb 2’30” Buckinx, Boudewijn Poniente 2008.31 2008 vl, vla 1’55” Buckinx, Boudewijn Sequoia court 2008.42 2008 vla, pf 2’15” Buckinx, Boudewijn Sin perspectiva 2008.47 2008 vl, vla, vlc 2’20” Buckinx, Boudewijn Stadsbuurt 2008.27 2008 asax, pf 2’ Buckinx, Boudewijn Stuk 2008.30 2008 vlc, pf 2’20” Buckinx, Boudewijn Tango triste 2008.29 2008 cl, hn, db 4’15” Buckinx, Boudewijn Trío para cuerda 2008.25 2008 vl, vla, vlc 4’20” Buckinx, Boudewijn Un llamamiento al pueblo 2008.11 2008 vlc, pf 2’10”Buckinx, Boudewijn Una Chispa 2008.04 2008 trb, tb, hrmn 2’45”Buckinx, Boudewijn Vanuit de Stilte 2008.20 2008 db, clst 2’35”Buckinx, Boudewijn ¿Qué? 2009.11 2009 cl, hn, vl, vla 58”Buckinx, Boudewijn Anyway 2009.22 2009 vl, vla, vlc, pf 2’40”Buckinx, Boudewijn Away 2009.23 2009 vla, vlc, pf 1’45”Buckinx, Boudewijn By the Way 2009.21 2009 2 vl, vla, vlc, pf 4’Buckinx, Boudewijn La luna llena 2009.02 2009 vla, pf 1’53”Buckinx, Boudewijn Valavond 2009.16 2009 cl, vl, pf 2’15”Buckinx, Boudewijn Verzet (je) 2009.13 2009 ehn, cl, bn 2’10”Buckinx, Boudewijn El dia lozano 2010.07 2010 fl, bn, hn 5’Buckinx, Boudewijn En el yermo de la historia 2010.12 2010 ob, vl, vla, vlc 5’Buckinx, Boudewijn Enero 2010.02 2010 ob, pf 4’30”Buckinx, Boudewijn La davija 2010.08 2010 2 vla 4’30”Buckinx, Boudewijn Nefer 2 2010.04 2010 2 vl, pf 5’30”Buckinx, Boudewijn Nefer 3 2010.05 2010 2 vl, pf 7’Buckinx, Boudewijn Ola de frio 2010.03 2010 vl, vla, bn 6’30”Buckinx, Boudewijn Tram 4 2010.10 2010 vla, 2 hn, euph 5’Buckinx, Boudewijn Unas frascas 2010.09 2010 2 vl, vlc, hrmn 5’10”Budai, Erika Fantasia voor twee dwarsfluiten 1987 2 fl 3’Budai, Erika Barcarole 1990 fl, pf 4’05”Budai, Erika The secret garden 1991 fl, pf 2’05”Budai, Erika Mauve-ments 1997 fl, pf 5’20”Budai, Erika Pianokwartet nr. 1 “Male Cocktail” 2 1998 vl, vla, vlc, pf 13’35”Buyl, Maarten ARC voor strijktrio 2003 vl, vla, vlc

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Byloo, Jean-Paul Bagatellen 1989 fl, vl, vla, pf Byloo, Jean-Paul Klarinetkwintet 1989 cl, 2 vl, vla, vlc Byloo, Jean-Paul Le Indelebili Verità 1989 2 pf Byloo, Jean-Paul Blaaskwintet 2 1991 fl, ob, cl, hn, bn 17’Byloo, Jean-Paul Density 1992 vl, pf Byloo, Jean-Paul Prelude en litanie 1992 vib, mba, synth 13’Byloo, Jean-Paul Sonate voor hobo en piano 1992 ob, pf 13’30”Byloo, Jean-Paul Catch that catch can 1993 vib, mba, pf Byloo, Jean-Paul Akwarellen 1994 fl, hp Byloo, Jean-Paul Ineengestrengeld ob, cl, bn Cabus, Peter Andante cantabile 1950 cl, pf 2’20” MaurerCabus, Peter Klaviertrio 1956 vl, vlc, pf MaurerCabus, Peter Fuga en toccata 1958 trb, pf 7’40” MaurerCabus, Peter Aria 1960 vla/vlc, pf 4’25” MaurerCabus, Peter Lento 1960 2 trp, 2 trb 12’ MaurerCabus, Peter Drie bewegingen 3 1962 3 trp 2’30” MaurerCabus, Peter Duo 1962 2 trp 1’10” MaurerCabus, Peter Klarinetkwartet 5 1962 4 cl MaurerCabus, Peter Sonata a tre trio voor kopers 4 1962 trp, hn, trb MaurerCabus, Peter Twee stukken 1963 ob, hp Cabus, Peter Elegia 1964 2 trp, hn, 2 trb 3’ MaurerCabus, Peter Kwart. voor fluit, viool, altv. en cello 4 1964 fl, vl, vla, vlc 19’30” MaurerCabus, Peter Intrada en hymne voor 4 Thebaanse trompetten 1964 4 Theb trp 3’15” Cabus, Peter Sonate 3 1966 vl, pf 13’ MaurerCabus, Peter Rondo ostinato 1967 trp, pf 1’45” MaurerCabus, Peter Sonate 5 1967 4 cl, hp/pf MaurerCabus, Peter Sonatine voor viool, cello en piano 1967 vl, vlc, 2 pf Cabus, Peter Sonate 3 1968 fl, pf 11’ MaurerCabus, Peter Beweging in sonatevorm 1968 trp/trb/hn, pf 4’45” Cabus, Peter Kleine fanfare voor de honderdste voorstelling 1968 2 trp, hn, trb 1’35” van een poppenspelCabus, Peter Sonatina 2 1970 fl, pf 5’30” SchottCabus, Peter Twee bewegingen 1971 trp, pf 6’ MaurerCabus, Peter Variaties 9 1971 2 trp, hn, trb, tb MaurerCabus, Peter Overwegingen bij een Zuid- 1972 trb, pf 4’30” Maurer Amerikaans motiefCabus, Peter Twee dansen 2 1972 trp, pf 4’45” Cabus, Peter Canto e ballo 1974 hn, pf 4’ MaurerCabus, Peter Concertstuk 1974 trb, pf 4’10’ MaurerCabus, Peter Facetten 6 1974 sax, pf 13’30” MaurerCabus, Peter Rhapsodie over twee Vlaamse volksliederen 1974 4 cl 8’ MaurerCabus, Peter Divertimento voor fluit, viool en altv. 8 1975 fl, vl, vla 13’ Cabus, Peter Klarinetkwintet 4 1976 cl, 2 vl, vla, vlc 17’20” Cabus, Peter Rhapsodie over twee Oud-Vl. liederen 5 1976 2 sax, perc, pf Cabus, Peter Arioso en dans 1977 vla, pf 6’45”

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Cabus, Peter Sonate voor 2 piano’s 1977 2 pf 17’15” Cabus, Peter Blaaskwintet 1978 fl, ob, cl, hn, bn MaurerCabus, Peter Ballade voor trombone en piano 1978 trb, pf Cabus, Peter Fantasia voor koperkwintet 1978 2 trp, hn, trb, tb 6’10” Cabus, Peter Suite voor blazerskwintet 10 1978 fl, ob, cl, hn, bn 14’30” Cabus, Peter Trio voor viool, fluit en piano 3 1980 vl, fl, pf Cabus, Peter Zeven inventies voor dubbelrietkw. 7 1981 ob, ehn, 2 bn Cabus, Peter Kwartet voor saxofonen 6 1983 sax quartet 12’30” MaurerCabus, Peter Rondoletto burlesco 1983 2 trp, trb, hn, tb Cabus, Peter Grottesco 1984 2 trp, trb, hn, tb 3’10” Cabus, Peter Divertimento voor 3 fagotten 5 1985 3 bn 11’55” Cabus, Peter Sonate voor cello en piano ommagio a Claudio Monteverdi 1988 vlc, pf 22’45” Cabus, Peter Alla caccia 1989 trb, pf 7’20” Andel Cabus, Peter Gioco 1989 trp, pf 5’40” Andel Cabus, Peter Kwartet voor fluiten 4 1989 4 fl 10’ Maurer Cabus, Peter Tien stukken voor houtblazerstrio 10 1989 ob, cl, bn 16’30” Cabus, Peter Drie études voor 2 piano’s 1990 2 pf 8’45” Cabus, Peter Sonate voor trompet, trombone 3 1990 trp, trb, pf4 25’ en vierhandig klavierCabus, Peter Preludium en Fuga 1991 rec, pf Cabus, Peter 10 eenvoudige stukken voor fluit 10 1992 fl, pf 10’20” Maurer Cabus, Peter Na een concert 2 schetsen voor cello en piano 2 1992 vlc, pf Cabus, Peter Een paar anonieme variaties 1995 vl, vla (waaronder zelfs een posthume) over een populair liedCabus, Peter 3 stukken Danza / Canzona / Finale 3 1996 2 cl, vlc, pf 8’30” Maurer Cabus, Peter Piccola partita festiva per violoncello 4 1996 vlc, pf 6’40” e pianoforte Ouverture (Incontro) / Corrente (Sequentia) / Sarabanda canonica (alla quarta e all’ ottavo) / Quodlibet (= ratatouille) quasi Giga (hulde aan Satie). Cabus, Peter Canzonetta 1997 4 db Cabus, Peter Sonatina per contrabasso solo per amico Vic e sua sposa Dora 5 1997 db, pf 7’15” Cabus, Peter Pezzi a tre Preludio / Fuga Prima / Cadenze 5 1998 trp, hn, trb 13’ / Fuga Secunda / SoneriaCabus, Peter Modale mars voor cornet (trompet of bugel) 1999 cornet, pf in Bes met piano en/of slagwerk Cabus, Peter Notturno 1999 hn, gtr 5’ Cabus, Peter Muziek voor het poppenspel 13 s.d. fl, vib, vla, vlc “De Indische waterlelies”Cabus, Peter Danssuite voor viool en piano 4 s.d. vl, pf Cabus, Peter Drie schetsen voor kopers Trois esquisses pour quivres s.d. 3 trp, 2 trb Cabus, Peter Duo voor hoorns s.d. 2 hn Cabus, Peter In memoriam R. Veremans s.d. trp, org Vlaanderen

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Cabus, Peter Muziek voor de Hanswijkprocessie s.d. 3 trp, trb Cabus, Peter Stuk voor koperblazers 2 s.d. 4 trp Cabus, Peter Adagio s.d. mel ad lib, pf 1’50” Cabus, Peter Strijktrio 3 s.d. 2 vl, vlc 8’30” Casteels, Robert Trio pour violon, flûte alto et clavecin Eclaté / Murmurant / Eclatant 3 1983 vl, fl, clav 11’ Composer Casteels, Robert Vagatio Super Fuga Vocibus 1983 fl, ob, cl, hn, bn 12’35” Composer Tribus et Tubis Quinque Casteels, Robert Convocation Fanfare 1 1 1995 3 trp 18” Casteels, Robert Convocation Fanfare 2 1 1995 2 trp, trb, hn, tb 43” Casteels, Robert The Irremediable 1 1999 vib, 2 pf, keyboard 7’36” Casteels, Robert Sound Journey 2006 3 perc 13’30” Casteels, Robert Trio 1 2007 vl, vlc, pf 4’ Casteels, Robert Rakhmania 1 2009 2 pf 4’30” Composer Casteels, Robert Trois-vingts 1 2009 vl, vlc, hp, pf 5’ Celis, Frits Sonate in D op. 3 1951 vl, pf 17’ CeBeDeM Celis, Frits Trio in één beweging op. 5 1958 vl, vla/vlc, pf 14’ CeBeDeM Celis, Frits Sonate 3 op. 6 1963 vlc, pf 21’ CeBeDeM Celis, Frits Intrada e toccata op. 9 1972 ob/cl, pf 3’30” CeBeDeM Celis, Frits Notturno e danza op. 12 1975 4 fl 8’ CeBeDeM Alpha DBM-N272Celis, Frits Trio op. 13 1977 fl, vla, hp 14’ CeBeDeM Celis, Frits Sonatina op. 21 1986 ob, cl, bn 8’ CeBeDeM Celis, Frits A hypocritical funeral music Hypocriete Treurmuziek op. 23 1987 2 trp, trb, hn, tb 4’ DMP Antwerpen Beaux Arts Brass Quintet BBQ 001Celis, Frits Quartetto op. 24 1987 fl, vl, vla, vlc 10’ CeBeDeM René Gailly CD 87 169Celis, Frits Da uno a cinque op. 27 1989 fl, ob, cl, bcl, bn 13’30” CeBeDeM Celis, Frits Da uno a cinque op. 27bis 1989 bcl, pf / bcl, 2 vl, vla, vlc 13’30” CeBeDeM Celis, Frits Divertimento 7 op. 32 1990 fl, ob, cl, hn, bn 16’ CeBeDeM Celis, Frits Sonata 3 op. 34 1991 bcl, perc 14’30” CeBeDeM Celis, Frits Duo concertante op. 35 1991 afl, gtr 15’ CeBeDeM Celis, Frits Concertino op. 38 1992 bn, vl, vla, vlc 15’30” CeBeDeM Galaxy Studio’s 96-01Celis, Frits Capriccio op. 37 1992 trp, hn, trb 13’ CeBeDeM Celis, Frits Rapsodia op. 39 1992 cl/trp, pf 7’ CeBeDeM Celis, Frits Chimes op. 42 1993 fl, pf 3’30” CeBeDeM Celis, Frits Fantasia op. 45 1993 fl, cl, hn, bn / 4 cl / 4 sax 9’ CeBeDeM Celis, Frits Musica quasi eroica A nearly heroic music op. 47 1993 2 trp, trb, hn, tb 16’ CeBeDeM Celis, Frits n Fluiten-echtpaar... Married flutes 5 op. 43 1993 2 fl 19’ CeBeDeM Celis, Frits Notturno op. 44 1993 fl/ob, hp 7’ CeBeDeM Celis, Frits Grote en kleine klokken op. 42 1993 fl, pf Musica Appassionata Celis, Frits Elegie voor Willy op. 50 1994 4 bn / 4 bcl / 4 vlc / 4 vla 5’ CeBeDeM Celis, Frits Sonate n° 2 op. 49 1994 vl, pf 22’ CeBeDeM Celis, Frits Spilliaert-tryptiek Vrouw op de dijk / De windstoot / op. 55 1995 vl, pf 16’30” CeBeDeM Molenaar EenzaamheidCelis, Frits Quintetto 3 op. 57 1996 ob/cl, 2 vl, vla, vlc 16’30” CeBeDeM Phaedra CD 92014Celis, Frits Barcarolle op. 60/2 1997 bn, pf 4’ CeBeDeM Celis, Frits Visioni 5 op. 64 1998 vla, pf 16’ CeBeDeM

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Celis, Frits Odissea I op. 66 1999 fl, vlc, pf 14’ CeBeDeM Celis, Frits Odissea II op. 67 1999 cl, vl, acc 13’30” CeBeDeM Celis, Frits Cinque Canzoni op. 65 1999 2 trp, 2 trb, btrb 13’ DMP Antwerpen Celis, Frits Elégie pour un Faon op. 69 2000 fl, 2 vl, vla, vlc 10’ CeBeDeM Celis, Frits Invocazioni op. 68 2000 vl, vla, vlc, pf 17’ CeBeDeM Celis, Frits Odissea III naar het gedicht O guardador de op. 70 2001 2 fl, perc 8’ CeBeDeM rebanhos van Alberto CaeiroCelis, Frits Sonata op. 73 2004 bcl, pf CeBeDeM Celis, Frits Episodes op. 10 1973-1997 vla, hpsd/pf 8’ CeBeDeM Celis, Frits Adagietto s.d. vla, vlc 1’30” CC Sint-Niklaas CCSN.01Ceuleers, Willem Allemande s.d. vla, vlc 2’28” CC Sint-Niklaas CCSN.01Ceulemans, Ivo Twee krabbels op. 34 1952 3 vl 4’ CeBeDeM Ceulemans, Ivo Partita op. 80 1956 vl, pf 10’30” CeBeDeM Ceulemans, Ivo Sonatine op. 73 1956 cl/vla, pf 7’15” CeBeDeM Ceulemans, Ivo Suite op. 74 1956 trp, hn, bn 8’ CeBeDeM Ceulemans, Ivo Quartetto per clarinetti op. 108 1963 cl quartet 10’20” CeBeDeM Alpha DBM-V187Ceulemans, Ivo Etude n°8 op. 109 1963 perc, pf 3’ CeBeDeM Ceulemans, Ivo Suite op. 167 1963 2 trp, trb, hn, tb 7’30” CeBeDeMCeulemans, Ivo Martinade op. 110 1964 2 vl 2’ CeBeDeMCeulemans, Ivo Serenata op. 111 1964 fl, ob, cl, hn, bn 8’35” CeBeDeMCeulemans, Ivo Adagio e Marcia op. 126 1971 4 hn 7’30” CeBeDeMCeulemans, Ivo Capriccio op. 123 1971 vl/vla, pf 4’30” CeBeDeMCeulemans, Ivo Corale e variazioni op. 124 1971 vlc/db, pf 5’ CeBeDeMCeulemans, Ivo Humoreske op. 125 1971 fl, cl, trp, trb 4’ CeBeDeMCeulemans, Ivo Duetto giocoso op. 127 1972 cl/vla, pf 9’15” CeBeDeMCeulemans, Ivo Arioso e Rondino op. 137 1973 vl/vla, pf 4’ CeBeDeMCeulemans, Ivo Dissonantenwalsje op. 131 1973 2 vl 1’45” CeBeDeMCeulemans, Ivo Koraal op. 129 1973 2 vl 50” CeBeDeMCeulemans, Ivo Melodie op. 136 1973 fl/ob, pf 2’30” CeBeDeMCeulemans, Ivo Oud lied op. 138 1973 fl, cl 2’ CeBeDeMCeulemans, Ivo Quodlibet op. 134 1973 fl, cl, trb 7’ CeBeDeMCeulemans, Ivo Spel op. 133 1973 fl, ob 3’ CeBeDeMCeulemans, Ivo Introduzione e danza op. 144 1974 4 hn 4’ CeBeDeMCeulemans, Ivo Tre trasformazioni op. 139 1974 vl, vla, vlc, pf 16’30” CeBeDeMCeulemans, Ivo Gerdaliliana op. 148 1975 2 vl, vla 1’45” CeBeDeMCeulemans, Ivo Haagschool op. 149 1975 2 vl, vla 1’30” CeBeDeMCeulemans, Ivo Point - point op. 151 1975 vl, pf CeBeDeMCeulemans, Ivo Petit Ballet op. 155 1976 fl, cl, hn, bn 15’15” CeBeDeMCeulemans, Ivo Clari-quattro-netti op. 158 1977 cl quartet 20’ CeBeDeMCeulemans, Ivo Kwintet op. 167 1980 2 trp, trb, hn, tb 10’30” CeBeDeMCeulemans, Ivo Tre miniature op. 169 1980 vl, vla, vlc 10’303 CeBeDeMCeulemans, Ivo Trilogo I op. 168 1980 cl, vl, pf 7’30” CeBeDeMCeulemans, Ivo Colloque condissonant op. 177 1981 sax quartet 10’ CeBeDeMCeulemans, Ivo Septimus rex op. 173 1981 fl, pf 5’30” CeBeDeMCeulemans, Ivo Trenote op. 174 1981 fl, pf 4’15” CeBeDeM

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Ceulemans, Ivo Trecorde op. 179 1982 2 vl, vlc 5’ CeBeDeMCeulemans, Ivo Pastorale op. 183 1983 fl, hn 8’30” CeBeDeMCeulemans, Ivo Tierserie op. 188 1984 2 vl 7’ CeBeDeMCeulemans, Ivo Bede op. 106/b 1988 bn, org 1’30” CeBeDeMCeulemans, Ivo Chroma-koraal op. 106/c 1988 bn, org 4’ CeBeDeM Ceulemans, Ivo Dialogo I, II & III op. 162 1978-1979 cl, bn 14’50” CeBeDeM Ceulemans, Ivo Miniatuur Serenade op. 104 s.d. fl, ob, hn, vl, vlc 7’15” CeBeDeM Claesen, Ludo Four miniatures Prelude / Rondesque / Elegy / 1956 sax quartet 12’ Phaedra CD 292 006 HungaresqueClaesen, Ludo Bolero traversias s.d. pf, 2 perc Beurskens Claesen, Ludo Membra Impressions Nr. 1 s.d. 2 perc Beurskens Claesen, Ludo Beceuse s.d. cl, pf Maurer Coeck, Jan Sonate en sol 1970 vlc, pf 8’ CeBeDeM Coeck, Jan Drie madrigalen 1979 2 trp, trb, hn, tb CeBeDeM Coeck, Jan Per Ottoni 1979 2 trp, trb, hn, btb 13’ CeBeDeM Coeck, Jan Promenade 1980 btb, pf 6’15” CeBeDeM Coeck, Jan Intrada 1983 hn, 2 trp, 2 trb 5’ CeBeDeM Coeck, Jan Moesopólos I, II en III 1983 cl quartet 12’ CeBeDeM Coeck, Jan Quintetto classico 1983 cl, 2 vl, vla, vlc 16’30” CeBeDeM Coeck, Jan Things 1986 cl quartet 18’05” CeBeDeM Coeck, Jan Petite sérénade 3 1987 2 vl 11’20” CeBeDeM Coeck, Jan Sonate à cinq 1993 cl, 2 vl, vla, vlc 16’ CeBeDeM Coppens, Claude Le tombeau d’Anton Webern 1966 fl, vlc, pf 20’ CeBeDeM Coppens, Claude Pieces for two 1968 2 pf 11’42” Alpha DBM-N223Coppens, Claude Wheels within wheels II 1973 2 pf, 2 perc 20’36” Alpha DBM-N223Coppens, Claude The horn of plenty 1978 hn, perc 5’26” Radio 3 R3 98007Coppens, Claude The taming of the shrewd 1985 fl, ob, cl, bn CeBeDeM 1.1, 1.2, 1.3, 1.4Coppens, Claude The taming of the shrewd 1985 hn, trp, trb, tb CeBeDeM 2.1, 2.2, 2.3, 2.4Coppens, Claude Poïêtikon (A+B) 1986 vl, pf 6’15” CeBeDeM Coppens, Claude ...l’ombre que tu devins... for violin with accompanying 1992 vl, pf 6’ CeBeDeM piano (3 pedals)Coppens, Claude ..., sweet murderers of men,... 1993 2 vl, vla, vlc, perc CeBeDeM Coppens, Claude ...und alle Fragen offen pour tcheng et percussion 1993 tcheng, perc CeBeDeM Coppens, Claude Roei 2 1993 rec, pf 8’11” CeBeDeM Coppens, Claude D.L.A. Diffusion Limited Aggregate fractal 1994 rec quartet Coppens, Claude (H,X,h) or the space where fractals live The Mandelbrot set 2000 rec quartet, perc 13’ Coppens, Claude Saxophone quartet 1979-1980 sax quartet 13’30” CeBeDeM Coppens, Claude Sonata 1981-1982 fl, vlc Coryn, Roland Trio voor houtblazers 4 opus 3 1971 ob, cl, bn 15’ Composer VRT Coryn, Roland Twee stukken voor cello en piano Voor Herwig opus 11 1975 vlc, pf 7’ CeBeDeM VRT Coryn, Roland Divertimento voor Klarinet en Piano 3 opus 13 1976 cl, pf 10’ Composer VRT

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Coryn, Roland Sonatine voor 2 klarinetten 4 opus 15 1977 2 cl 13’ CeBeDeM VRT Coryn, Roland Ballade voor Trompet en Piano opus 16 1978 trp, pf 5’ Composer Coryn, Roland Sonatine voor viool en piano opus 21 1980 vl, pf 5’ Maurer Coryn, Roland Sonate voor 2 Piano’s Prologo / Scherzo / Monochromie / opus 25 1982 2 pf 20’ CeBeDeM Terpsichore 1982 029 Variazioni - EpilogoCoryn, Roland Kwartetbeweging voor 3 opus 27 1983 3 ttb, btb 8’ Composer Tenortuba’s en bastubaCoryn, Roland Saxofoonkwartet opus 31 1984 sax quartet 20’ Composer VRT Cox, Boudewijn Ghiotteneria 1 1993 2 10-string gtr 7’ Cox, Boudewijn Sonate 3 1998 fl, pf 14’ Lantro Music Cox, Boudewijn Gordia 1 1998 gtr, mdln 14’ Vogt&Fritz Cox, Boudewijn Niim 1 2003 rec, gtr 6’ Craenen, Paul Moment Trouvé 2000 vla, jazzgtr Craenen, Paul Touw Muzikale acrobatie voor vijf 2002 fl, cl, vl, vlc, pf muzikantenCraenen, Paul Mondstuk Compositie voor drie 2005 3 rec 12’ tenorblokfluitkopstukkenCraens, Alain Twee Visioenen 1978 trb, pf 6’ ScherzandoCraens, Alain Divertimento 1985 ob, cl, bn 10’ CrescendoCraens, Alain Divertimento 1985 cl, acl, bcl 10’ MetropolisCraens, Alain Invocazione 1988 ob, pf 4’ BillaudotCraens, Alain Retrograde 1989 3 cl, bcl 12’ Craens, Alain Karma 1991 pf, brass ad lib 6’ Craens, Alain Experience 1992 bcl, pf 7’ CrescendoCraens, Alain Interlude to the sea 1994 ob, bn, pf 14’ CeBeDeMCraens, Alain A little piece for four large reeds 1994 4 bn / 4 bcl 4’ ComposerCraens, Alain Mystery 1995 fl, ob, cl, hn, bn 15’ Craens, Alain Mandala 1996 ob, vl, vla, vlc 13’ Craens, Alain Oase 1998 fl, vla/bn, pf/hp 12’ Lantro MusicCraens, Alain Mokuso 2002 woodwind ad lib, pf 7’ Lantro MusicDe Baerdemacker, Kris Study #8 2000 player piano, <piperola> De Baerdemacker, Kris Study #10 2002 player piano, <harma>, <vibi> De Baerdemacker, Kris Verse... 2005 fl, cl, vl, vlc, pf 11’ De Baerdemacker, Kris Etude n° 2 for organ and mechanical 2008 org, mechanical org organ <Qt>De Baerdemacker, Kris Pas de tango s.d. rec, gtr Composer De Clerck, Patrick A string trio 6 1990 vl, vla, vlc 17’21” Megadisc Classics MDC7866De Clerck, Patrick Up north 6 1991 fl, trp, vlc, pf De Clerck, Patrick Già 1993 vl, pf 4’11” Megadisc Classics MDC7866De Clerck, Patrick Pianokwintet 5 1993 2 vl, vla, vlc, pf 29’29” Megadisc Classics MDC7866De Clerck, Patrick Canto III 1996 pf, 2 perc 16’16” Megadisc Classics MDC7847De Clerck, Patrick Lettres nouvelles 4 1996 vla, pf De Clerck, Patrick Variations without a theme 1998 fl, cl Dom Gorokhov Publ. De Clerck, Patrick Duet voor viool en cimbalon 2000 vl, cimbalon

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De Clerck, Patrick Sine form 2002 3 fl, afl, sax Dom Gorokhov Publ. De Clerck, Patrick Water verses version for early 19th century 2003 vl, vlc, pf Dom Gorokhov Publ. instruments (violino, violoncello and fortepiano)De Clerck, Patrick Die überraschenden dialektischen 2006 cl, vl, pf Qualitäten eines KoboldsDe Decker, George Just a distant hum 1995 fl, pf Composer De Jonghe, Marcel Elegie 1978 fl, pf De Jonghe, Marcel A goodie moodie day Morning bossa-nova / High-noon 5 1986 3 gtr Lantro Music ragtime / Afternoon blues / Evening beat / Late-night waltzDe Jonghe, Marcel Fantasques 1997 cl/sax, pf Lantro Music De Jonghe, Marcel Take 3 3 2001 perc, pf Lantro Music De Jonghe, Marcel TriMoods 3 2003 fl/cl/sax, pf Lantro Music De Jonghe, Marcel Promenades Near the castle / At the beach / 5 2005 3 gtr Lantro Music EMI 7243/5567182/0 In a Chinese garden / In town / On a fairDe Jonghe, Marcel Take 2 Drums & Piano 2009 perc, pf Lantro Music De Jonghe, Marcel Bitter sweet tonics Pentatonic / Chromatonic / 4 s.d. vl, vla, vlc, pf 12’50” René Gailly 87177 Multitonic / MarcatonicDe Jonghe, Marcel Impressions s.d. gtr, vl Lantro Music De Jonghe, Marcel Peanotes 5 sketches for clarinet quartet 5 s.d. cl quartet Lantro Music De Jonghe, Marcel Sonatine s.d. fl, gtr Lantro Music De Jonghe, Marcel Hyberical suite Vivisections / Delirium tremolens / 4 s.d. trp, org 16’ Dreamscape / DualityDe Jonghe, Marcel The Jazzette Swingette / Bluesette / Valsette / 4 s.d. sax quartet TrainetteDe Lange, Stefaan Sonata Ibérica 3 2000 fl, pf 12’ De Lange, Stefaan Two Miró-paintings 2 2001 vl, pf 7’ De Lange, Stefaan Move Closer + Game 2 2002 sax quartet / cl quartet 6’30” De Lange, Stefaan Homenaje a Manuel De Falla 4 2004 fl, cl, gtr, vla, vlc 18’ MUPRODe Lange, Stefaan Zacatín 1 2007 fl, vl, pf 4’30” De Maeyer, Jan Sonatina op. 1 1979 ob, pf 9’ CeBeDeMDe Maeyer, Jan La consolazione op. 2/2 1980 2 trp, trb, hn, tb 10’30” CeBeDeMDe Maeyer, Jan La goia op. 2/3 1980 ob, cl, bn 7’ CeBeDeMDe Maeyer, Jan Sonata 3 op. 4/2 1982 vlc, pf 16’30” CeBeDeMDe Maeyer, Jan Divertimento op. 14 1985 3 fl 13’ CeBeDeMDe Maeyer, Jan Suita op. 16/2 1986 trb/hn, pf 9’30” CeBeDeMDe Maeyer, Jan Sonata piccola op. 16/3 1986 sax/cl, pf 8’30” EuprintDe Maeyer, Jan Occhi Tesi op. 20/3 1989 vl, vlc 17’30” CeBeDeMDe Maeyer, Jan Sonata rapsodica op. 20/2 1989 vl, pf 21’ CeBeDeMDe Maeyer, Jan Lesbos op. 29 1992 ob, vl, pf 9’30” CeBeDeMDe Maeyer, Jan Quintetto op. 30b 1994 fl, ob, cl, hn, bn 13’ CeBeDeMDe Maeyer, Jan Die Geburt der Saxodie op. 42 1996 sax quartet 12’30” CeBeDeMDe Maeyer, Jan Rapsodische metamorfosen op. 36 1996 vl, vlc, pf 13’30” CeBeDeM over Die Gedanken sind frei

8584

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

De Maeyer, Jan Basium XX op. 51 2001 trp, hn, trb 12’30” CeBeDeMDe Maeyer, Jan Ottoniana op. 19/2 s.d. 3 brass ad lib 12’ CeBeDeMDe Maeyer, Jan Regalo para dos queridos alumnos op. 41 s.d. rec, gtr 10’30” CeBeDeMDe Meester, Louis Trio à cordes 1950 vl, vla, vlc 12’ De Meester, Louis Tafelmuziek Petit concert à cinque 1953 fl, ob, vl, vla, vlc 14’ CeBeDeM De Meester, Louis Sonatine à quattre (naar Loeillet) 1954 fl, vl, vla, vlc 15’ De Meester, Louis Pavane 1955 trp, pf 2’45” De Meester, Louis Sonate à quattre nr. 2 (naar Pieter van Maldere) 1956 fl, vl, vla, vlc 13’ De Meester, Louis Sonate voor viool en piano 1957 vl, pf 15’ De Meester, Louis Lupanar 1965 fl, 2 tom-toms, tamb 2’30” De Meester, Louis Divertimento à quattre 1970 vl, vla, vlc, pf 12’ CeBeDeM De Meester, Louis 3 interludes voor fluit en orgel 3 1975 fl, org 8’ De Meester, Louis Point final 1979 vlc, pf 1’ De Meester, Louis Divertimento à cinque 1982 fl, ob, ehn, hn, bn De Meester, Louis Bagatelles 1958 2 pf 7’30” & David Van de WoestijneDe Meester, Louis Ballade 1958 2 pf 5’ & David Van de WoestijneDe Meester, Louis Inventions 1958 2 pf 12’ & David Van de Woestijne De Meester, Louis Suite 1958 2 pf 7’30” & David Van de Woestijne De Nef, Dirk Circumsonus 1993 vl, pf 7’ MUPRO WW-IG-09De Nef, Dirk Mixed grill 2000 vl, vla, vlc, pf De Nef, Dirk De navel van de agave J’azzteken / orgelpijpcactus / Tequilla 2001 cl, vla, pf De Nef, Dirk Mouvement 2001 vl, pf De Nef, Dirk S’paintings recuerdos de los recuerdos 3 2002 gtr, 2 vl, vla, vlc De Nef, Dirk Thema met variaties 2003 vl, pf De Nef, Dirk Pianotrio nr. 1 2 2005 vl, vlc, pf De Nef, Dirk Spel 3 2005 4 gtr De Pillecyn, Jurgen Trio voor viool, cello en piano 1995 vl, vlc, pf De Pillecyn, Jurgen Pittoresque 1997 fl, pf CeBeDeM De Pillecyn, Jurgen Athena Parthenos 2001 fl/ob/cl/sax, pf 6’30” CeBeDeM De Pillecyn, Jurgen D’un jardin secret 2004 vl, pf CeBeDeM De Pillecyn, Jurgen Suoni ostinati 2006 trp, org CeBeDeM De Pillecyn, Jurgen Schattenbilder 2007 vl, pf CeBeDeM De Smedt, Kristin Dialogo 2 1988 vl, vlc 8’ De Smedt, Kristin Impulsion 1 1996 vla, pf 11’30” De Smedt, Kristin Visions nocturnes Kwartet voor klarinet, hoorn, 5 2007 cl, hn, vl, vlc 18’ viool en cello De Smet, Raoul Divertimento 5 1956 vl, vla, vlc 7’ CeBeDeM De Smet, Raoul Avatar 1 1972 fl, vlc 4’ CeBeDeM De Smet, Raoul Drvgs 1972 2 cl/bag Lantro Music De Smet, Raoul Avatar 2 1973 fl, vla 4’30” CeBeDeM De Smet, Raoul Vijf tensemas marisae uxori 5 1973 ob, cl, bn IPEM

8786

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

De Smet, Raoul Pièce antique 1973 fl, pf 6’30” Lantro Music De Smet, Raoul Shots 1974 2 rec/sax 3’ Lantro Music De Smet, Raoul Muzikale opdracht Prelude / Morceau de salon / 6 1975 fl, bn, vl, hpsd 12’ CeBeDeM Onderbroken dialoog / Intermezzo / Scherzo - toccata / AriaDe Smet, Raoul Tri-logie 1 3 1975 3 ob 11’ CeBeDeM De Smet, Raoul Avatar 3 1975 vl, vla 4’30” De Smet, Raoul Avatar 4 1976 fl, vl, vla, vlc 3’30” CeBeDeM De Smet, Raoul Vier aforismen 4 1976 4 hn 2’ CeBeDeM De Smet, Raoul De Bakchanten 1976 rec, perc 9’ De Smet, Raoul Partita II voor een Sinjeur 4 1977 ob, trb, vla, vlc, pf 10’ CeBeDeM De Smet, Raoul Reminiscenties 1 1982 fl, hpsd 10’15” CeBeDeM Digi Classics DC 98 08032De Smet, Raoul Partita III 4 1982 fl, ob, vla, vlc 10’ CeBeDeM De Smet, Raoul Tri-logie 2 1984 fl, bcl, pf 9’ CeBeDeM De Smet, Raoul Cuadrante oriental divertimento II 3 1985 fl, vl, vib, pf 8’ CeBeDeM De Smet, Raoul Beschouwingen over de naam Bach 1985 fl, vib 4’30” Lantro Music De Smet, Raoul Gnomons III 4 1986 4 ad lib CeBeDeM De Smet, Raoul Cuadrante occidental 1987 fl, ob, db, pf 7’ CeBeDeM De Smet, Raoul Drie haikoe’s Haiku ichiban / Haiku niban / 3 1987 ob, pf CeBeDeM Haiku sambanDe Smet, Raoul Gnomons III 1990 sax quartet 8’30” CeBeDeM Cassa Nova Antwerpen CNR 590821 De Smet, Raoul Avatar 5 1990 vl, vlc 5’30” CeBeDeM De Smet, Raoul Khammsa II 1990 fl, ob, cl, hn, bn 16’ CeBeDeM De Smet, Raoul Schets en houtsnede 1990 rec quartet 4’ CeBeDeM De Smet, Raoul Trivertimento 1990 fl, vl, pf 9’ Lantro Music De Smet, Raoul Escapade 1991 cl, 2 vl, vla, vlc 8’30” Lantro Music De Smet, Raoul Op oude gronden 1991 fl/cl quartet 7’ Lantro Music De Smet, Raoul Tussen kreeft en steenbok Meditativo / Dinamico / Misterioso / 5 1991 cl, 2 vl, vla, vlc 22’ Lantro Music Scherzo / Variaties op een thema van Amadé voor Boudewijn BuckinxDe Smet, Raoul Hop signor! deux chimères inspirées par 2 1992 rec, hpsd 5’30” CeBeDeM Michel de GhelderodeDe Smet, Raoul Tensemas II 1992 vl, vlc, pf 6’ Lantro Music De Smet, Raoul A bocanadas Ieratico-vigorosa / Misterioso / 1992 bcl, perc 7’ Trasognato / AllegroDe Smet, Raoul Noche serena (bis) 1994 fl, gtr 10’ CeBeDeM De Smet, Raoul Trilogie 2 bis the phoenix version 1994 fl, vlc, pf 8’ CeBeDeM De Smet, Raoul Duetten (in) de chambrette 1994 rec, mba 15’ De Smet, Raoul Zuil 1995 2 trp, trb, hn, tb 4’ CeBeDeM De Smet, Raoul Nocturne 2 1995 vl, acc De Smet, Raoul Nocturne nr. 2 1995 vl, acc 12’ De Smet, Raoul Gnomons IV 1996 4 gtr 10’ CeBeDeM De Smet, Raoul Tensemas 3 for Modus-trio 4 1996 fl, ob, bn 5’ CeBeDeM De Smet, Raoul Reminiscenties II 3 1996 2 vl 9’50” Lantro Music

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

De Smet, Raoul Reminiscenties 2 1997 2 vl 9’48” Digi Classics DC 98 08032De Smet, Raoul Nocturne III Zomerstorm 1997 1997 cl, pf 6’ CeBeDeM De Smet, Raoul Reminiscenties III 1998 vlc, pf 5’30” CeBeDeM De Smet, Raoul Truly dors 1998 cl, vl, acc 7’30” CeBeDeM De Smet, Raoul Melodie 2 1998 vl, pf Lantro Music De Smet, Raoul Scents of Odessa 1998 2 fl 5’ Lantro Music De Smet, Raoul Melodie 1 1998 vl/vla, pf De Smet, Raoul Caprices d’Uranus 1999 vlc, acc 7’ CeBeDeM De Smet, Raoul Zes apocriefen Proloog / Betoog / Achterklap / 1999 4 bn 8’ CeBeDeM Debat / Controverse / NabesprekingDe Smet, Raoul Bribes d’Avatar 2000 vla, vlc 2’ CeBeDeM CC Sint-Niklaas CCSN.01De Smet, Raoul Flinters vier duetten voor saxofoons 2000 2 sax 6’40” CeBeDeM De Smet, Raoul Avatar 7 Ô saisons, ô châteaux... 2001 vl, vla, vlc 5’ CeBeDeM De Smet, Raoul Cuadrante Boreal Ontspannen / Attacca: koel / 2001 fl, acc, vlc, pf 13’ CeBeDeM Ijskoud / EntoesiastDe Smet, Raoul Morgen-Raga 2001 2 vlc 7’50” CeBeDeM De Smet, Raoul Drvgs (bis) 2003 fl, cl 5’ CeBeDeM De Smet, Raoul Pêle-Mêle 2003 bcl, vl, vlc, pf4 7’50” CeBeDeM De Smet, Raoul Raga 1 2003 cl quartet 10’ CeBeDeM De Smet, Raoul Reminiscenties IV 2003 2 rec CeBeDeM De Smet, Raoul Raga 2 2004 vl, acc, pf 5’30” CeBeDeM De Smet, Raoul Twee fragmenten uit Ulrike, 2 2004 vl, vla, vlc, pf 8’ CeBeDeM een antieke tragedieDe Smet, Raoul Reminiscenties V aan de zeven ideogrammen 2005 rec, vlc 5’ Lantro Music De Smet, Raoul Ulrike’s Last Tango 2009 vl, pf, bayan 3’ De Smet, Raoul Ulrike’s Swan Song 2009 vl, pf, bayan 1’40” De Smet, Raoul Melopee 2010 vl, pf 2’30” De Smet, Raoul Dialoog nrs. 1 & 2 1970-1984 vl, pf Lantro Music Digi Classics DC 98 08032De Smet, Raoul Colloqium 1973-1974 fl, vl, vla, vlc 8’ CeBeDeM De Smet, Raoul Avatar 6 1976-2002 fl, vl 3’ CeBeDeM De Smet, Raoul Khammsa 1 1977-1978 5 trb 12’ CeBeDeM De Smet, Raoul Sax meets Lassus meets sax: Mia benigna Fortuna / Io son si stanco 1994-1998 sax quartet 3’ CeBeDeM 2 madrigalen de Visscher, Erik Landscape 1985 ob, cl, vlc de Visscher, Erik From scratch 1986 2 sax de Visscher, Erik Not from scratch 1995 cl quartet de Visscher, Erik Within Sound 1988-1991 2 vlc, perc De Vleeschhouwer, Ward A taste for red, blue and yellow 1998 pf, perc De Vleeschhouwer, Ward Looping Marvels 1999 fl, cl, vl, vlc, pf De Vleeschhouwer, Ward Morning Glory/Tryst 2000 vl, vlc, pf De Vleeschhouwer, Ward Atlantis 2001 sax, 2 e-gtr, 2 perc, keyboard De Vleeschhouwer, Ward Zaouli 2002 gtr, cl, djembé, dunun, balafoon De Vleeschhouwer, Ward Slì Chorca Dhuibhne The Dingle Way 2004 sax, cl, pf Thelema 2006De Vleeschhouwer, Ward Kwela 2006 2 rec, gtr Pas de tango 2006De Vleeschhouwer, Ward Skellig Monks 2006 sax, cl, pf

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

De Vleeschhouwer, Ward Gwoni 2000-2005 2 gtr, balafoon / vl, 2 e-gtr, 2 perc Decancq, Raymond Sicilienne 1 1965 fl, pf 2’05 De Haske Decancq, Raymond Andante Semplice 1 1966 hn, pf 2’30 De Haske Decancq, Raymond Variaties op een oud volkslied 1 1978 5 cl 4’05 Andel Decancq, Raymond Variaties op een oud volkslied 1 1980 2 trp, trb, hn, tb 4’05 DMP Antwerpen Beaux Arts Brass Quintet BBQ 001Decancq, Raymond A Playful Quartet 1 1980 cl quartet / sax quartet 5’58 DMP Antwerpen BRT CD890021Decancq, Raymond Kleine Triptiek 3 1982 trp/trb/tb , pf 4’10 DMP Antwerpen Decancq, Raymond Twee Inventies 2 1983 4 trp/trb/tb 4’22 Andel Contrumporary FTQ 001Decancq, Raymond Twee Contrasten 2 1990 cl quartet / sax quartet 5’30 Andel Decancq, Raymond Prélude en Dans 2 1996 ob, pf 3’45 Andel Decancq, Raymond Drie Intermezzi 3 1997 cl/sax, pf 4’38 Andel Decancq, Raymond A Promenade for Horn 1 1999 hn, pf 1’40 Golden River Music Decancq, Raymond A Story for Alto Saxophone 1 1999 sax, pf 2’30 Golden River Music Decancq, Raymond A Story for Tenor Saxophone 1 1999 sax, pf 2’30 Golden River Music Decancq, Raymond Schalkse Suite Met 8 bekende volksiederen 1 2005 2 trp, trb, hn, tb 5’15 Golden River Music Decancq, Raymond In a Celtic Way 2006 2 hp Golden River Music Decancq, Raymond Romantic Ballad 3 2006 ob/vl, pf 4’15 Golden River Music Decancq, Raymond Holiday Suite 3 2008 2 fl, hp 10’40 Golden River Music Defoort, Kris De aftelling 1993 2 pf, 3 perc Defoort, Kris Innocent and goodlooking Muziek bij de film 1996 fl, cl, vib, pf Dejonghe, Koen To play or not to play 1985 cl, vl, pf 3’15” Maurer Dejonghe, Koen Capriols on a Caprice of Paganini 9 1987 cl, pf 6’ CeBeDeM Dejonghe, Koen Memo-Holiday 1987 cl, pf 3’30” Scherzando Dejonghe, Koen Tune for a quartet Introduzione / Tune / March-tuned / 5 1988 fl, ob, pf, db 8’ CeBeDeM Piccolo-notturno / Tune-rememberingDejonghe, Koen Four pieces for cello-quartet Preludio / Siesta interrumpida / 4 1989 4 vlc 21’ CeBeDeM Una habanera extrana / La guitarra de cadaquèsDejonghe, Koen Suite voor 2 piano’s In the mist / March / Strange 4 1990 2 pf 11’ CeBeDeM fruit on the road / WaltzDejonghe, Koen Kwintet voor koperblazers 1991 2 trp, trb, hn, tb 11’ CeBeDeM Dejonghe, Koen Lullaby 1991 vlc, pf 3’ CeBeDeM Dejonghe, Koen Trio voor houtblazers 1991 ob, cl, bn 8’ CeBeDeM Dejonghe, Koen Trio voor strijkers 1992 vl, vla, vlc 10’ CeBeDeM Dejonghe, Koen Kopergravure 1993 2 trp, trb, hn, tb 3’30” CeBeDeM Dejonghe, Koen Look out 1993 vl, vlc, pf 3’ CeBeDeM Dejonghe, Koen Three miniatures 3 1994 fl/cl, pf 7’ Metropolis Phaedra CD 92032Dejonghe, Koen Surfing-trio Tango / Internet-zo / Kado 3 1995 cl, vl, vlc 11’ Composer Dejonghe, Koen Reminiscenza... 1996 vl, pf 6’30” CeBeDeM Dejonghe, Koen Reminiscenza al inizio 2 1996 vl, pf 6’30” Dejonghe, Koen Tijdingen Ochtendmuziek / Middagmuziek / 4 1997 cl, vlc, pf 16’ CeBeDeM Phaedra CD 92032 Avondmuziek / NachtmuziekDejonghe, Koen Kwintet voor gitaar en strijkers 1997 gtr, 2 vl, vla, vlc

9392

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Dejonghe, Koen Hommage à Alfred Schnittke 1998 vl, vlc, pf 5’ CeBeDeM Dejonghe, Koen Never mind! 1998 sax, pf 2’ CeBeDeM Dejonghe, Koen Vier temperamenten 1998 sax, pf 16’ CeBeDeM Dejonghe, Koen A sensual night 2003 fl, 2 vl, vla, vlc 9’ Composer Dejonghe, Koen Hotmail 2004 vl/vla, pf 3’ CeBeDeM Dejonghe, Koen So what? 2004 cl/sax/trp, pf 1’ CeBeDeM Dejonghe, Koen A lovely day 2005 3 vl CeBeDeM Dejonghe, Koen Down-up Echoes from a folktune 2005 cl, pf 1’30” CeBeDeM Dejonghe, Koen Fusions of Wonder 2007 cl, vl, pf Composer Dejonghe, Koen Duo voor cello en piano 1992-1994 vlc, pf 15’ MUPRO WW-IG-09Dejonghe, Koen Fanciful duo 1992-2004 trp, pf 2’ Composer Dejonghe, Koen Tango 1996-2002 cl, vlc, pf / cl, acc, db / cl, pf 4’ Composer Dejonghe, Koen A Russian tango 1996-2004 div trio, quartet & quintet 4’ Composer Dejonghe, Koen Panta rhei s.d. fl, ob, cl, hn, bn 10’30” CeBeDeM Delvaux, Albert Sonatine 1956 ob/vl, p, 8’30” CeBeDeM Delvaux, Albert Cinque Impromptus 1959 fl, ob, cl, pf 13’ CeBeDeM Delvaux, Albert Trio nr. 2 1961 vl, vla, vlc 16’30” CeBeDeM Alpha DBM-V174Delvaux, Albert Sonate 1962 vl, pf 17’ CeBeDeM Delvaux, Albert Cinque pièces 1964 vl, vla, vlc, pf 15’45” CeBeDeM Delvaux, Albert Sonata a quattro 1964 cl quartet / fl, ob, cl, bn 10’ CeBeDeM Delvaux, Albert Walliser Suite 1965 fl, ob, cl, hn, bn 15’ CeBeDeM Delvaux, Albert Cassazione 1966 ob, cl, vl, vlc 15’ CeBeDeM Delvaux, Albert Pièce 1967 cl/vl, pf 3’15” CeBeDeM Delvaux, Albert Andante e scherzando 1972 vl, pf 5’ CeBeDeMDelvaux, Albert Introduzione 1972 vla/vlc/db, pf 5’ CeBeDeMDelvaux, Albert Sonatine 1978 vlc, pf 3’40” CeBeDeMDelvaux, Albert Prélude, choral, finale 1980 2 trp, trb, hn, tb 8’ CeBeDeMDelvaux, Albert 5 Piccolezze 1981 bn/vlc, pf 3’ CeBeDeMDelvaux, Albert Andante - Scherzetto 1981 vl, pf 3’20” CeBeDeMDelvaux, Albert Quattr pezzi 1981 cl/vla, pf 7’25” CeBeDeMDelvaux, Albert Sonatine 1981 fl, gtr 4’ CeBeDeMDelvaux, Albert Adagio-Scherzo 1982 fl, vl, vla, vlc, hp 12’ CeBeDeMDelvaux, Albert Quartetto per sassofoni 1982 sax quartet 9’55” CeBeDeMDelvaux, Albert Duo 1985 fl/vl, hp 7’ CeBeDeMDelvaux, Albert Ballata 1987 hn, pf 5’30” CeBeDeMDelvaux, Albert Duo per clarinetti 1987 2 cl 9’ CeBeDeMDelvaux, Albert Quattro miniaturi 1987 trp, pf CeBeDeMDelvaux, Albert Sonata per duo violoncelli 1990 2 vlc 18’ CeBeDeMDelvaux, Albert Trio 1991 vl, vlc, pf 20’30” CeBeDeMDelvaux, Albert Deux impromptus 1992 cl, vl, vlc, hp/hpsd 15’30” CeBeDeMDelvaux, Albert Ballata 1993 2 vl, vla, vlc, db 17’ CeBeDeMDelvaux, Albert Herfstindrukken 1994 vl, vlc 8’ CeBeDeMDelvaux, Albert Duo - Sonatine 1995 cl, vla 5’30” CeBeDeMDelvaux, Albert Trio 1995 cl, vla, pf 20’30” CeBeDeMDelvaux, Albert Trio 1996 vl, hn, pf 5’30” CeBeDeM

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Delvaux, Albert Kwintet 1998 2 vl, vla, vlc, db 27’30” CeBeDeMDelvaux, Albert Trio 1998 vl, vlc, pf 15’ CeBeDeMDelvaux, Albert Intermezzo 2000 ob, hn, vl, vlc 7’ CeBeDeMDelvaux, Albert Prélude - Final 2000 ob, hn, vl, vlc 12’30” CeBeDeMDelvaux, Albert Trio nr. 3 2000 vl, vla, vlc 18’ CeBeDeMDelvaux, Albert Trio 2001 ob, cl, bn 15’30” CeBeDeMDelvaux, Albert Prelude - Scherzo - Intermezzo 2002 vla, vlc 15’ CeBeDeMDeneire, Hanne Fumalt 1999 fl, vla, mba Deneire, Hanne Douce 2000 cl, vla, pf Deneire, Hanne Klarinetkwartet 2000 cl quartet Deneire, Hanne Syd 2000 sax quartet Deneire, Hanne Trio 2000 fl, vla, pf Deneire, Hanne Exit 2001 cl, vlc Deneire, Hanne Kwartet 2002 fl, cl, vl, vlc Deneire, Hanne Kwintet 2002 fl, trb, vl, vla, vlc Deneire, Hanne Pupil Scruti 16 2003 fl, ob, cl, hn, bn 6’ Deneire, Hanne Hemel 2005 cl, bcl Deneire, Hanne Dama 2008 vl, vla, vlc, pf Deneire, Hanne Promenade 2008 4 ad lib Deneire, Hanne Lotus 2002-2004 vl, vlc, pf Devreese, Fréderic Suite for Brass Quintet no. 1 “Hommage to James Ensor” 1980 2 trp, trn, hn, tb Beaux Arts Brass Quintet BBQ 001Devreese, Fréderic Gemini Suite for 2 pianos 1980 2 pf 26’17” CeBeDeM Cyprès CYP 1619 Devreese, Fréderic Benvenuta 1983 vl/vla, pf CeBeDeM Devreese, Fréderic Valse sacrée 1987 vl, pf CeBeDeM Devreese, Fréderic Sax Blues 1989 sax, pf CeBeDeM Devreese, Fréderic Benvenuta Suite for violin, cello & piano 1990 vl, vlc, pf CeBeDeM Devreese, Fréderic Berceuse et finale 1991 fl/vl, pf CeBeDeMDevreese, Fréderic Suite 1998 cl/sax/vlc, pf CeBeDeMDevreese, Fréderic Blues 2001 cl/trp, pf CeBeDeMDevreese, Fréderic Canti 2001 vlc, pf CeBeDeMDevreese, Fréderic Cinque divertimenti per quattro sax 2001 sax quartet Devreese, Fréderic 3 Pieces Country Dance / Melody / 2002 fl/cl/sax, pf CeBeDeM French-Can canDevreese, Fréderic Passage à 5 2002 vl, gtr, acc, db, pf CeBeDeMDevreese, Fréderic 4 Final Games 2003 vl, gtr, acc, db, pf CeBeDeMDevreese, Fréderic Circles 2007 sax/vl/vla/vlc/db, pf CeBeDeMDevreese, Fréderic Butterfly s.d. fl, mba CeBeDeMDevreese, Fréderic Passage à deux s.d. vl, pf CeBeDeMD’Haene, Rafaël Sonate op. 3 1969 trp, pf 13’ CeBeDeMD’Haene, Rafaël Cassazione op. 15 1985 vl, vlc, pf 21’ CeBeDeMD’Haene, Rafaël Dithyramben op. 18 1988 vl, vlc, pf 18’ CeBeDeMD’Haene, Rafaël Trio voor strijkers op. 20 1992 vl, vla, vlc 23’ CeBeDeMD’Haene, Rafaël Sonate op. 26 2003 vl, pf 26’ CeBeDeMD’Hoe, Jeroen Partita 1995 rec quartet

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

D’Hoe, Jeroen Waves 1995 ob, pf D’Hoe, Jeroen Toccatas 2003 fl, vlc, pf D’Hoe, Jeroen Petit concert...du diable 2007 cl, hn, vl, pf D’Hoe, Jeroen Sonate 3 s.d. db, vib D’Hoe, Jeroen Suite voor asaxofoon en contrabas Andante / Presto / 4 s.d. sax, db Introduktie tot de blues / BluesDuijck, Guy Introductie en Dans 1957 sax, pf Duijck, Guy Sonate 1958 fl, bn, pf Duijck, Guy Contest + 5 1971 fl, ob, cl, bn / sax, pf Duijck, Guy Aria for Peter 1972 cl, pf De Haske Duijck, Guy Sonata de camera 1974 ob, cl, ehn, sax, pf Duijck, Guy Tuphonia 1981 4 tb Duijck, Guy Suite voor koperkwintet 4 op. 120 s.d. 2 trp, trn, hn, tb Favoreel, Johan Zebus 1984 bass cl, pf 5’50” MetropolisFavoreel, Johan Notus 1994 bass cl, mba 4’ Favoreel, Johan Hunky Funky 1999 3 cl 3’ Flecijn, Eddy The Birds 1997 fl quartet 6’ Golden River MusicFlecijn, Eddy Chorale & Toccata 2 1998 koperkwintet 6’ ComposerFlecijn, Eddy Festive Mood 1998 vl, vla, vlc, acc / acc quartet 3’ ComposerFlecijn, Eddy Ode aan de doorvliegers van de lucht 1998 fl, acc 2’ ComposerFlecijn, Eddy Waves On Fire 1 1998 fl quartet 8’ ComposerFlecijn, Eddy Duo 1 1999 cl, accordeon 9’ ComposerFlecijn, Eddy Een gedreven kunstenaar 1999 pf, acc 4’ ComposerFlecijn, Eddy Dualoog een kort geanimeerd gesprek 2000 vla, vlc 2’ ComposerFlecijn, Eddy Kwartet Rapa Nui, Paaseiland 1 2001 fl, acc, vlc, pf 13’ ComposerFlecijn, Eddy Triatlon Zwemmen 1 2001 trp, hn, trb 3’ ComposerFlecijn, Eddy From the Wood 1 2003 fl, perc 7’ ComposerFlecijn, Eddy Ballade 2004 vlc, pf 3’ ComposerFlecijn, Eddy Een bloem langs onze weg 2004 cl, pf 2’ ComposerFlecijn, Eddy 3 Duo’s voor accordeon en piano 3 2004 pf, acc 12’ Golden River MusicFlecijn, Eddy Hilda-suite Muziek bij het theaterstuk 8 2005 cl, accordeon 15’ Composer “Hilda” van Marie NDiayeFlecijn, Eddy Hongaarse Dans 1 2008 pf, acc 3’ ComposerFlecijn, Eddy Concertsuite Fuga / Funk / Swing / Tango 4 2009 vl, cl, acc 13’ ComposerFlecijn, Eddy Toccata 1 2009 vlc, pf/acc 6’ ComposerGeloen, Ludo All the time Kairos / Chronos / Shrine 3 1995 vlc, pf, perc Geloen, Ludo Et incarnatus est de Spiritu Sancto 3 1997 gtr, org ex Maria VirgineGeloen, Ludo Canzona op. 9 1998 vlc, org 4’06” Geloen, Ludo Verstilde nacht triptiek voor hobo, gitaar en orgel 3 1998 ob, gtr, org Geloen, Ludo Obelisk Ik, Paulus op. 58 2002 vlc, pf Geloen, Ludo L’Isola Vestita op. 73 2003 trp, org 6’ Geloen, Ludo Tabulatura op. 63 2003 3 gtr, org Geloen, Ludo FO op. 81 2005 fl, org 5’45” Geysen, Frans Kanon-gevolg in sol 1971 ad lib 5’ CeBeDeM

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Geysen, Frans Mam 1972 rec quartet 1’ CeBeDeMGeysen, Frans Nonak 1972 rec quartet 1’ CeBeDeMGeysen, Frans Periferisch-Diagonaal-Concentrisch 1972 rec quartet 4’10” CeBeDeMGeysen, Frans Slegov erar 1972 2 vl, vla, vlc, pf 1’40” CeBeDeMGeysen, Frans Sneeuw 1973 5 ad lib 7’30” CeBeDeMGeysen, Frans Wingerd in een natte zomer 1974 2 ad lib 1’15” CeBeDeM Geysen, Frans Titel-loos 1975 fl, vl, vla, vlc 5’ CeBeDeM Geysen, Frans Saxo-trio 1976 2 sax, pf 6’30” CeBeDeM Geysen, Frans Snarenkwintet 1976 2 vl, vla, vlc, db 5’ CeBeDeM Geysen, Frans Vier korte stukken 1976 2 ad lib 3’50” CeBeDeM Geysen, Frans Omtrent Sib. 1977 3 ob 23’ CeBeDeM Geysen, Frans Drie fluiten 1979 3 fl 2’40” CeBeDeM Geysen, Frans Jef Verheyen, le peintre flamand 1980 5 trb 6’ CeBeDeM Geysen, Frans Koperen kwintet 1981 2 trp, trb, hn, btrb 3’55” CeBeDeM Radio 3 R3 98007Geysen, Frans De stockmansinstallaties 1983 rec quartet 20’ CeBeDeM Geysen, Frans Grensverleggend grijs 1983 xyl, mba 5’17” CeBeDeM Geysen, Frans Installaties 1983 rec quartet 5’ CeBeDeM Geysen, Frans Late spiegels 1984 fl, ob, pf, db 7’07” CeBeDeM Geysen, Frans Omtrent A-B-C 1984 5 rec 15’ CeBeDeM Geysen, Frans De overbodige onthulling 1985 fl, pf 2’15” CeBeDeM Geysen, Frans Digitaal -Analoog - Identiek 1986 rec quartet 11’45” CeBeDeM Geysen, Frans Le bal du Rat mort 1988 vl, pf 4’ CeBeDeMGeysen, Frans Blaaskwintet 1989 fl, ob, cl, hn, bn 17’ CeBeDeMGeysen, Frans Irigatie 1989 fl, bn, pf 4’ CeBeDeMGeysen, Frans Langs hoeken en kanten 1990 rec quartet 21’ CeBeDeMGeysen, Frans Monolieten 1 1990 3 perc 15’ CeBeDeMGeysen, Frans Groot kwartetboek 1992 rec quartet 10’ CeBeDeMGeysen, Frans Woekering tot aan de grens 1992 rec, pf/hpsd 1’ CeBeDeMGeysen, Frans Niet elke minuut duurt even lang 1993 rec, perc 15’ CeBeDeMGeysen, Frans Sax-Memorial 1994 sax quartet 8’30” CeBeDeMGeysen, Frans Stemmingen 1994 trp, org 9’15” CeBeDeMGeysen, Frans Stemmingen temeer 1994 trp, org 8’42” CeBeDeMGeysen, Frans De Hamelrijck-musieken Stoet-intro / Meditatieve agressie/ 1994 mba, pf agressieve meditatie / De grote boog / Ondergravend contrapunt / Weidse deunGeysen, Frans Erste Begegnung 1995 rec, pf 5’24” CeBeDeMGeysen, Frans Lichtspleten 1996 rec quartet 12’ CeBeDeMGeysen, Frans Energie ter plekke 2 1997 2 trp, trb, hn, tb 7’30” CeBeDeMGeysen, Frans Energie ter plekke 3 1997 trp, org 2’30” CeBeDeMGeysen, Frans Le charme des impossibilités 1997 fl, vl, pf 7’ CeBeDeMGeysen, Frans Trio 1998 3 cl 11’30” CeBeDeMGeysen, Frans Hulde aan Lucien Goethals 1999 4 trp 1’ CeBeDeMGeysen, Frans Palindromata 1999 fl, vl, vlc, pf 5’15” CeBeDeMGeysen, Frans Tijdsrekking 1999 rec, pf/hpsd 6’ CeBeDeM

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Geysen, Frans Twee-delingen 1999 vl, vla, vlc 4’ CeBeDeMGeysen, Frans 2 trompetten in ut 2000 2 trp 1’12” CeBeDeMGeysen, Frans Alles heeft zijn tijd - 07 2000 trp, hb, cl, bn 3’10” CeBeDeMGeysen, Frans Alles heeft zijn tijd - 09 2000 4 trp 1’20” CeBeDeMGeysen, Frans Rechttoe-rechtaan 2000 5 trp 1’50” CeBeDeMGeysen, Frans Sliert van miniaturen 2000 bn, pf 9’20” CeBeDeMGeysen, Frans City of smile 2001 5 rec 60’ CeBeDeMGeysen, Frans Met vel, rand en tand 2001 3 perc 11’20” CeBeDeMGeysen, Frans Op de fles 2001 rec quartet 4’30” CeBeDeMGeysen, Frans Met gekend elan 2002 rec/ob/fl, org 4’40” CeBeDeMGeysen, Frans Nevel tot leven 2002 3 rec 6’30” CeBeDeMGeysen, Frans Noodzaak van ommekeer - 2004 rec quartet 3’30” CeBeDeM ommekeer van noodzaakGeysen, Frans Vooralsnog 2004 trp, trb, hn, tb 50” CeBeDeM Geysen, Frans De verstrengeling 2005 2 pf 3’ CeBeDeM Geysen, Frans Nog een miniaturensliert 2008 vl, vlc, pf 8’12” CeBeDeM Gilles, Jules Sonate voor twee violen op. 34 2010 2 vlc 15’ Gistelinck, Elias Drie bewegingen voor op. 2 1962 cl quartet 4’40” CeBeDeM klarinettenkwartet Gistelinck, Elias Suite voor blazerskwintet op. 4 1962 fl, ob, cl, hn, bn 5’20” CeBeDeM Gistelinck, Elias Trio op. 1 1962 fl, ob, bn CeBeDeM Gistelinck, Elias Koan I op. 16 1971 cl quartet 10’ CeBeDeM Gistelinck, Elias Kleine treurmuziek voor Che op. 22 1974 fl/vl, pf Euprint Gistelinck, Elias Funeral music for Ptah IV 3 op. 25 1975 vl, vlc, pf 10’ CeBeDeM René Gailly CD87 002Gistelinck, Elias Koan II op. 24 1975 hn/trp/trb/tb, pf CeBeDeM Gistelinck, Elias Lullaby for Nathalie op. 31 1984 vl, pf 3’ Maurer René Gailly CD87 002Gistelinck, Elias Music for René (R.G.I.P.) op. 35 1987 vl, pf 9’30” CeBeDeM René Gailly CD87 113 Gistelinck, Elias Music for Thanksgiving op. 36 1987 cl, pf CeBeDeM Gistelinck, Elias Portrait of Anne de Beauregard op. 37 1987 vl, vlc CeBeDeM Gistelinck, Elias Music for Andriane op. 38 1988 vlc, pf 13’ CeBeDeM Gistelinck, Elias Eleutheria op. 44 1989 cl, vl, vlc, pf 16’30” CeBeDeM Gistelinck, Elias Three movements for October op. 43 1989 fl/ob, pf CeBeDeM Gistelinck, Elias Horizon 250 op. 46 1990 vl, pf 15’10” CeBeDeM René Gailly CD87 113 Gistelinck, Elias Three songs for children 3 op. 49 1990 vl, pf 4’30” Euprint René Gailly CD87 113 Gistelinck, Elias Clowns II 6 easy pieces for violin and piano op. 47 1990 vl, pf Euprint Gistelinck, Elias Clowns III Dirk op. 48 1990 vla, pf Euprint Gistelinck, Elias Lia’s koan op. 55 1993 cl, vlc, pf 13’30” CeBeDeM René Gailly CD CD87 068Gistelinck, Elias Song for Béatrice for viola or violoncello and piano op. 54 1993 vla/vlc, pf 7’ CeBeDeM Gistelinck, Elias De profundis 1995 vl, pf 10’ Phaedra CD 87 165Gistelinck, Elias Drie kleine comp. voor Marc Sleen op. 59 1995 2 vl, vlc CeBeDeM Gistelinck, Elias Song for Miles op. 60 1996 trp/trb/btb, pf CeBeDeM Gistelinck, Elias Three easy pieces op. 61 2000 sax, vl, vlc CeBeDeM Goddaer, Norbert Fughetta 1990 sax/cl quartet Goddaer, Norbert Five mosaics 1992 cl quartet Goddaer, Norbert Motions 1994 sax quartet

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Goddaer, Norbert Sonate 1997 cl, perc Goddaer, Norbert Virtual effects 1997 es-cl, cl, bcl Goddaer, Norbert Aubade 1998 cl, pf Goddaer, Norbert Ballad 1998 bcl, pf Goddaer, Norbert Turbulences 1998 cl quartet Goddaer, Norbert Five Bagatelles 1999 cl, pf Goddaer, Norbert Musix 1999 5 cl Goddaer, Norbert Duetten 2000 2 cl Goddaer, Norbert Hardscore 2000 es-sax, pf Goddaer, Norbert Ni Hao 2000 5 cl/sax Goddaer, Norbert A flavour of brass 2001 2 trp, trb, hn, tb Goddaer, Norbert Ebbtide 2001 cl, vlc, p, Goddaer, Norbert Four Tests 2002 db, pf Goddaer, Norbert Passages 2002 cl quartet Goddaer, Norbert Safira 2004 cl, bn, pf Goethals, Lucien Drie essais op. 14 1959 fl, ob, cl, hn, bn 6’ CeBeDeMGoethals, Lucien Rituele suite 1959 2 trp, trb, hn, tb 7’ CeBeDeM Goethals, Lucien Sonate 2 1959 vl, pf 6’ CeBeDeM Goethals, Lucien Quebraduras 4 1969 vl, vla, vlc, pf 14’ CeBeDeM Goethals, Lucien Vier stukken 1969 bcl, pf 7’ Goethals, Lucien Superposiciones 1970 vl, vlc, bn, pf 20’ CeBeDeM Goethals, Lucien Fantasia 1975 rec, hpsd 6’ CeBeDeM Goethals, Lucien Fantasia en Humoreske 2 1975 2 ob, ehn 10’ CeBeDeM Goethals, Lucien Triptiek 3 1975 vl, hpsd 9’ CeBeDeM Goethals, Lucien Musica con cantus firmus triste 1978 fl, vl, vla, vlc 13’ CeBeDeM Radio 3 R3 98007 Goethals, Lucien Ofrenda 1980 trp, pf 11’ CeBeDeM Goethals, Lucien Trio 1980 fl, bcl/db, pf 18’ CeBeDeM Goethals, Lucien Beweging 1981 cl quartet 10’ CeBeDeM Goethals, Lucien Para cinco 1983 fl, ob, hn, vib, perc 15’ CeBeDeM Goethals, Lucien Drie inventies 1984 asax, bcl, 2 perc 16’ CeBeDeM Goethals, Lucien Duelos voor xylorimba en slagwerk 7 1984 3 perc 25’ CeBeDeM (twee slagwerkers)Goethals, Lucien Europa sonate 1989 fl, ob, pf, db 20’ CeBeDeM Goethals, Lucien Azulejos pour quatuor de guitares Azulejos polifonicos / Azulejos 1991 4 gtr 15’45” CeBeDeM magicos / Azulejos ritualesGoethals, Lucien Dos piezas para tromba en ut - bugle - 2 1993 2 trb, flugelhorn 14’ tromba en reGoethals, Lucien Isjtar 1999 rec, pf 11’ CeBeDeM Goethals, Lucien El laberinto de Euterpe 2001 rec quartet, perc 15’ CeBeDeM Goethals, Lucien Triptico Azul 3 2002 trp, org 11’30” CeBeDeM Goeyvaerts, Karel Stuk voor drie 1960 fl, vl, pf Goeyvaerts, Karel Parcours 1967 2, 3, 4, 5 of 6 vl CeBeDeM Goeyvaerts, Karel Actief-Reactief 1968 2 ob, 2 trp, pf 20’ CeBeDeM Goeyvaerts, Karel Catch à quattre action pour quattre mus. ambulants / 1969 4 ad lib actie voor vier rondtrekkende muz.Goeyvaerts, Karel Van uit de kern 1969 2 ad lib

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Goeyvaerts, Karel Une nuit à Monte-Carlo voor minstens 5 instrumenten 1974 5 ad lib 28’ CeBeDeM met verschillende tessituurGoeyvaerts, Karel Ach Golgatha! 1975 org, hp, 3 perc 21’05” CeBeDeM Goeyvaerts, Karel En rêvant d’un carillon pour deux instruments à clavier 1976 2 keyboard ad lib 8’ CeBeDeM (et accessoires)Goeyvaerts, Karel Litanie II 1979 3 perc 8’ Megadisc Classics MDC 7872/73Goeyvaerts, Karel After Shave 1979 pl, vl, clav 3’30” CeBeDeM Goeyvaerts, Karel Plikonamu micucona voor koperinstrumenten en piano 1979 brass ad lib, pf 2’40” CeBeDeM Goeyvaerts, Karel Instand OxO 1982 3 perc CeBeDeM Goeyvaerts, Karel Litanie V 1982 2+ hpsd 15’ CeBeDeM Goeyvaerts, Karel Aemstel-Kwartet 1985 fl, vl, vlc, hp 13’ CeBeDeM Goeyvaerts, Karel Veertien heilige Kwinten met aureool 1986 tsjeng, perc 4’30” CeBeDeM Goeyvaerts, Karel Chivas Regal 1988 hpsd, perc 15’ CeBeDeM Goeyvaerts, Karel Ambachtelijk weefsel voor sjakoehasji en 2 koto’s 1989 shk-fl, 2 koto CeBeDeM (13 snaren)Goeyvaerts, Karel Voor Harrie, Harry en René 1990 fl, bcl, pf CeBeDeM Goeyvaerts, Karel Sonate (Nr 1) voor twee piano’s 1950-1951 2 pf 9’25” CeBeDeM Megadisc Classics MDC 7845Gyselynck, Franklin Allegretto grazioso 1973 fl, pf Gyselynck, Franklin Sonate 1975 vl, pf Gyselynck, Franklin Ballade 1976 vl, pf Gyselynck, Franklin Movimento 1979 fl, ob, cl, hn, bn Hadermann, Jan Scherzo con bravura 1975 cl, pf De Haske Hadermann, Jan Faits divers voor koperkwintet 3 1997 2 trp, trb, hn, tb Henderickx, Wim Barbarian dance 1985 drums, pf 7’ CeBeDeM Henderickx, Wim Sonatine 3 1986 pf, perc 7’ CeBeDeM Henderickx, Wim Trio 5 1986 ob, cl, bn 10’ CeBeDeM Henderickx, Wim 6 Impressions 6 1987 trb, 2 perc 10’ CeBeDeM Henderickx, Wim Droombeelden 4 1988 ob, bn, pf 17’ CeBeDeM I Solisti del Vento and friends / ISdV96-01Henderickx, Wim Suite 6 1988 vl, pf 14’ CeBeDeM Henderickx, Wim 3 Interludes 3 1989 ob, hn, pf 7’ CeBeDeM Henderickx, Wim Torso 5 1989 trp, pf 10’ CeBeDeM Henderickx, Wim Four pieces 4 1990 cl, vl, vla, vlc 14’ CeBeDeM Henderickx, Wim African Suite 1992 vl, perc 9’ CeBeDeM Radio 3 R3 98007 - Stichting Kunstboek, Brugge (1998)Henderickx, Wim Circus Suite 5 1992 fl, pf 8’ CeBeDeM Henderickx, Wim Decors 1992 ob, bn 5’ CeBeDeM Henderickx, Wim Impression Nr 1 1993 fl, pf 5’ CeBeDeM Henderickx, Wim 2 Nocturnes 2 1994 fl, vl, vla, vlc, db 10’ CeBeDeM René Gailly CD 87 169 (200) ‘Identities’Henderickx, Wim Lamento 1994 4 bn 6’ CeBeDeM Henderickx, Wim Four bagatelles 4 1996 perc, pf 6’30” CeBeDeM

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Henderickx, Wim In deep silence II 7 2002 rec quartet 14’ CeBeDeM Henderickx, Wim Bolomakoté 4 2004 perc solo, 4 perc 25’ CeBeDeM Henderickx, Wim Circus Suite 5 2005 fl, ob, cl, hn, bn 7’ CeBeDeMHenderickx, Wim Searching 5 2005 bcl, mba 10’ CeBeDeMHenderickx, Wim Alla turca 5 2006 3 perc 15’ CeBeDeMHenderickx, Wim African Suite 2007 ssax, perc 9’ CeBeDeMHenderickx, Wim The seven chakras 7 2009 sax quartet 27’ CeBeDeMHenderickx, Wim Searching 5 1986-2003 vla/vl, mba 10’ CeBeDeMHenderickx, Wim Io 3 1991, 2 trp, trb, hn, tb / 12’ CeBeDeM rev. 2004 fl, ob, cl, hn, bnHulshagen, Ludo Sonatine voor houtblazers 1974 fl, ob, cl, bn Hulshagen, Ludo Recitatief 1978 ehn, pf Hulshagen, Ludo Koraal voor 4 Hoorns 1979 4 hn Hulshagen, Ludo Larghetto voor hoorn en piano 1979 hn, pf Hulshagen, Ludo Ballade voor fluit en piano 1980 fl, pf Hulshagen, Ludo Sonate voor cello en piano 1982 vlc, pf Hulshagen, Ludo Retrospectie 1983 fl, cl, vl Hulshagen, Ludo Recitativo Accompagnato 1990 cl, pf Hulshagen, Ludo Little Romance 1992 vl, pf Hulshagen, Ludo Notturno voor pianotrio 1992 vl, vlc, pf Hulshagen, Ludo Waltz 1992 hn, pf Hulshagen, Ludo Little Ballad 1993 fl, pf Hulshagen, Ludo Little Fantasy 1993 cl, pf Hulshagen, Ludo A simple melody 1995 fl, pf Hulshagen, Ludo Pianokwartet 1995 vl, vla, vlc, pf Hulshagen, Ludo Melodie 2002 ad lib, pf Hus, Walter Muurwerk for string trio 1985 vl, vla, vlc 11’20” Carbon 7 C7-008Hus, Walter Clic-clac pianokwartet 1990 4 pf Hus, Walter Leather Jacket Trio 1993 vl, cl, pf 30’ Hus, Walter La Théorie 1994 2 pf 30’ Hus, Walter Ohne Geduld Elegy 1995 vlc/cl, pf 13’ Hus, Walter Orfeo sonata 1995 2 pf 40’ Hus, Walter Le miroir 1998 cl quartet 25’ Hus, Walter Preludes & Fugues Book I (nrs. 2, 4 & 6) 1999 ob, cl, sax, bcl, bn 21’ Hus, Walter Preludes & Fugues, book II 6 2001 2 pf 60’ VRTHus, Walter Preludes & Fugues, book III 6 2004 2 pf 55’ Hus, Walter Preludes & Fugues, book IV 6 2004 2 pf Hus, Walter Niets s.d. vla, vlc 1’10” CC Sint-Niklaas CCSN.01Huylebroeck, Jan Amusingness 1993 trb, pf 6’10” Golden River Music Huylebroeck, Jan Fo(u)r Celebrities 1994 4 trp 3’10” Golden River Music Huylebroeck, Jan Mégané voor fluitkwartet 3 1997 fl, vl, vla, vlc 15’30” Golden River Music Huylebroeck, Jan Janneke Maan 2003 fl, vl, vla, vlc Huylebroeck, Jan Kay El’lem Arugula / Burrito / Enchilada 2006 picc, pf 16’25” Etcetera Records KTC 1296 Huylebroeck, Jan A little bird told me rhapsody in two parts for 2 2009 picc, pf extended piccolo and piano

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Huylebroeck, Jan Before s.d. 4 trp 5’30” Flanders Trumpet Quartet FTQ001Janssens, Daan ...Hommage... - (en sourdine) fragment for string trio 1 2006 vl, vla, vlc 3’30” Janssens, Daan Gegeven/...(Beweging)... for string trio 1 2004-2005 vl, vla, vlc 5’ Janssens, Daan (...nuit cassée.) (Passages IV) 4 2006-2007 vla (solo), cl, pf, perc, vlc 7’ Kersters, Willem Sonate 1952 vl, pf 22’ CeBeDeM Kersters, Willem Sonate op. 6 1954 vla, pf 14’ CeBeDeM Alpha DBM-V2188 Kersters, Willem Kwintet op. 5 1954 fl, ob, cl, hn, bn 12’ CeBeDeM Kersters, Willem Beceuse en humoreske 2 op. 8 1956 ob, cl, pf 5’ CeBeDeM Kersters, Willem Partita 5 op. 9 1956 vl, pf 10’ CeBeDeM Kersters, Willem Divertimento per archi 3 1958 2 vl, vla, vlc, db 11’ CeBeDeM Kersters, Willem Humoreske op. 14b 1959 bn, pf 2’30” CeBeDeM Kersters, Willem Meditatie op. 14a 1959 ob, pf 4’ CeBeDeM Kersters, Willem Kleine suite op. 25 1963 cl quartet 8’ CeBeDeM Kersters, Willem Etude n° 9 1965 perc, pf 2’ CeBeDeM Kersters, Willem Variaties op een thema van Giles Farnaby 7 op. 41 1967 cl quartet 9’30” CeBeDeM Kersters, Willem Drie rondos op. 48 1969 2 trp, trb, hn, tb 10’ CeBeDeM Kersters, Willem Variaties op. 49 1969 fl, ob, cl, bn 8’ CeBeDeM Kersters, Willem Quatuor 3 op. 53 1970 vl, vla, vlc, pf 12’30” CeBeDeM Conservatorium Antwerpen KVC 2000.001Kersters, Willem Ballade op. 52 1970 vl, pf 8’ CeBeDeM Jeugd & Muziek JM 5539 B Kersters, Willem Kwartet 3 op. 55 1971 cl, vl, vla, vlc 12’ CeBeDeM Kersters, Willem Diagrammen op. 64 1974 vl, vlc 10’ CeBeDeM Kersters, Willem Sontine op. 63 1974 ob/cl, pf 5’40” CeBeDeM, De Haske Kersters, Willem Aveniana op. 75 1984 ob, cl, bn 9’ CeBeDeM Kersters, Willem Sonate 4 op. 93 1993 vl, pf 17’ CeBeDeM Kersters, Willem Contrasts II op. 104 1998 perc, pf 7’ CeBeDeM Knockaert, Yves 987 - reduction I 1984 fl, ob, cl, pf IPEM Knockaert, Yves Louis in Noland 1985 5 rec IPEM Knockaert, Yves Altblokfluitkwartet 1989 rec quartet 13’30” Kuppens, Ann Sonata Impazienza 1 1996 vlc, pf 9’ Kuppens, Ann Quartetto per Pianoforte e Archi 1 2005 vl, vla, vlc, pf 22’ Kuppens, Ann Ballata e Tarantella 2 2006 fl, vlc, hp 15’ Laporte, André Sequenza II 10 1965 3 cl, bcl 6’24” René Gailly 87 011Laporte, André Story (Actus quasi-tragicus) 1967 2 vl, vlc, hpsd 8’ Tonos-Musikverlag René Gailly 87 011Laporte, André A flemish round 1980 cl, trb, vlc, pf 3’ René Gailly 87 011Laporte, André Winterpastorale 1991 4 bn, cbn/ 4 bcl, cbcl 6’ Laporte, André Seven Visions from the 1993 trp, org 34’ CeBeDeM Apocalypse of St JohnLaporte, André Introduzione e Scherzo 1996 fl, pf 4’ Laporte, André Divertimento accademico II 1997 ob, cl, bn, pf 12’ CeBeDeM Laporte, André Tribute to G.G. 1998 asax, pf 7’ P.J.Tonger Musikverlag Laporte, André Si fa Si contra Fa 2000 vla, vlc 3’ CC Sint-Niklaas CCSN.01Laporte, André Preludio e danza 2000 3 ehn 5’ Metropolis Laporte, André From a Pomo’s Diary 2002 vl, vlc, vlc, pf 12’ CeBeDeM

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Laporte, André Cinq transports de joie 2004 trp, org 12’ Laporte, André Postscriptum to the memory of Lucien Goethals 2007 fl, ob, cl, hn, bn 10’ Lauwers, Kristof Processing #1 1999 fl, gtr, acc 5’ Lauwers, Kristof Doskordianistick 2001 2 gtr 6’30” Lauwers, Kristof grafikc 2001 var var Legley, Victor Sonate 4 op. 40/3 1952 cl, pf 16’ CeBeDeM Legley, Victor Sonate op. 40/6 1953 trp, pf 12’ CeBeDeM Legley, Victor Sérénade 4 op. 44/1 1954 2 vl, pf 14’ CeBeDeM Legley, Victor Burlesque op. 48 1956 vl, pf 10’ CeBeDeM Legley, Victor Sérénade op. 44/3 1957 fl, vl, vlc 13’10” Alpha DBM-N212Legley, Victor Poème d’été op. 51/1 1957 vl, pf 13’ CeBeDeM Legley, Victor Sérénade op. 44/2 1957 fl, vl, vlc 12’ CeBeDeM Legley, Victor Cinq miniatures 5 op. 54 1958 sax quartet 6’ CeBeDeM Legley, Victor Poème du printemps op. 51/2 1958 vla, pf 10’ CeBeDeM Legley, Victor Trio 6 op. 55 1959 fl, vla, gtr 12’ CeBeDeM Legley, Victor Quintette à vent 6 op. 58 1961 fl, ob, cl, hn, bn 12’ CeBeDeM Legley, Victor Musique pour deux pianos op. 68 1966 2 pf 12’ CeBeDeM Legley, Victor Kamermuziek 3 op. 81/2 1973 vl, vlc, pf 15’ CeBeDeM Legley, Victor Kamermuziek 4 op. 81/3 1973 vl, vla, pf 15’ CeBeDeM Legley, Victor Pianokwartet op. 81/1 1973 vl, vla, vlc, pf 15’ CeBeDeM Legley, Victor Ballade nr. 1 op. 86/1 1975 vl, pf 3’30” CeBeDeM Legley, Victor Ballade nr. 2 op. 86/2 1975 vla, pf 3’30” CeBeDeM Legley, Victor Ballade nr. 3 op. 86/3 1975 vlc, pf 4’ CeBeDeM Legley, Victor Ballade nr. 4 op. 86/4 1975 db, pf 3’15” CeBeDeM Legley, Victor Parades I op. 93/1 1977 cl quartet CeBeDeM Legley, Victor Parades III op. 93/3 1981 4 hn CeBeDeM Legley, Victor Duo op. 101 1983 vl, vlc CeBeDeM Legley, Victor Caractères op. 106 1985 vla, gtr CeBeDeM Legley, Victor Melodie op. 117 1990 trp/trb, pf 4’ CeBeDeM Legley, Victor Romance op. 120 1991 vl, pf 4’15” EuprintLegley, Victor Drie meisjes-Sonate Jenny / Carmen / Ann-Sofie op. 108 1993 vl, pf 12’ CeBeDeMLegley, Victor Rhapsodie pour trompette en ut ou op. 69 s.d. trp, pf Leduc en sib et pianoLouël, Jean Trio 1951 trp, hn, trb 14’ CeBeDeMLouël, Jean Tema con variazioni 1953 vl, pf 17’ CeBeDeMLouël, Jean Sonatine 1955 2 vl, pf 12’ CeBeDeMLouël, Jean Quintette 1958 fl, ob, cl, hn, bn 4’ CeBeDeMLouël, Jean Sonate 1960 vl, pf 28’ CeBeDeMLouël, Jean Etude n° 15 1965 pf, 4 perc 5’ CeBeDeMLouël, Jean Suite 1967 fl, vlc, vib, hp 11’ CeBeDeMLouël, Jean Ritmico ed Arioso 1980 brass ad lib, pf 5’ CeBeDeMLouël, Jean Quatuor de saxophones 1984 sax quartet 18’ CeBeDeMLouël, Jean Suite 1989 2 trp, trb, hn, tb 20’ CeBeDeMLouël, Jean Sonate 1989 fl, pf 24’20” CeBeDeMLouël, Jean Quatuor de clarinettes 1990 cl quartet 20’ CeBeDeM

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Matthys, Marc Traumerei voor viool (fluit) en piano 1993 vl/fl, pf EuprintMatthys, Marc Introduction and allegro for double bass (cello) and piano 2 1996 db/vlc, pf Matthys, Marc Nocturne & Dance 1998 fl, 2 vl, vla, vlc 9’50” René Gailly CD 87 169Matthys, Marc Echoes 2 2006 picc, pf 10’ Mosaic Music Etcetera Records KTC 1296 Mertens, Wim Searching 1986 vla, mba Mertens, Wim Four pieces 1990 cl, 2 vl, vla, vlc Mertens, Wim Io 1991 2 trp, trb, hn, tb Mertens, Wim African Suite 1992 vl, perc Mertens, Wim In deep silence II 2002 rec quartet Mertens, Wim Bolomakoté 2004 5 perc Meuris, Ingrid Eternal strife Prologue: Angel of Evil / Assault 3 1991 fl, vlc, pf on The innocent god - Explosion / Contraposition - FightMeuris, Ingrid Charade op. 15 2002 vla, pf Euprint Meuris, Ingrid Combattimento op. 13 2003 fl, vlc, pf Euprint Meuris, Ingrid Helis in sanguine dwarsfluitkwartet naar de roman 2004 fl quartet Helis’ mythe van Kees OuwensMeuris, Ingrid Zdravo Gegroet s.d. fl, vla, pf Meylaers, Stefan Nocturne 1998 ob, pf 3’15” Phaedra CD 92024Meylaers, Stefan Meditation 1999 hn, pf Phaedra CD 92024Meylaers, Stefan Suite 4 1999 cl, pf 10’50” Phaedra CD 92024Meylaers, Stefan Waves 2000 vlc, pf Lantro Music Phaedra CD 92024Meylaers, Stefan Deserts for cello quartet and piano 2000 4 vlc, pf 8’ Phaedra CD 92024Meylaers, Stefan Lament 2000 ob, pf 4’45” Phaedra CD 92024Meylaers, Stefan Trio for clarinet, cello and piano 3 2000 cl, vlc, pf 10’ Phaedra CD 92024Meylaers, Stefan Evening Waltz 2000 4 vlc, pf Lantro Music Meylaers, Stefan The Spell 2001 ob, cl, bn, vlc, pf Lantro Music Meylaers, Stefan Hymn 2001 cl, vl, vlc, pf Meylaers, Stefan Aracoara (sunset) 2003 2 vl, vla, vlc, pf 10’50” Lantro Music Phaedra CD 92048Meylaers, Stefan Lost City 2003 sax/ob, pf 5’50” Lantro Music Phaedra CD 92048Meylaers, Stefan Love Song 2003 vl, pf 3’30” Lantro Music Phaedra CD 92048Meylaers, Stefan Summer Dance 2003 fl, pf 21’ Lantro Music Phaedra CD 92048Meylaers, Stefan Mango 2004 euph, pf 4’ Phaedra CD 92048Meylaers, Stefan The Garden 2005 pf, vib 8’20” Phaedra CD 92048Nees, Vic 2 X BAIE Le miroir de l’Escaut / 2 1989 2 trp, trb, hn, tb 5’ Le rameau des fleursNeyrinck, Frederik Processus no.1 1 2006 cl quartet 5’ Neyrinck, Frederik Processus no.2 1 2006 vl, vla, vlc 7’ Neyrinck, Frederik Processus no.3 3 2006 vlc, pf 15’ Neyrinck, Frederik Processus no.4 1 2007 rec, pf 7’30” Neyrinck, Frederik Processus no.5 1 2007 bar sax, pf 5’ Neyrinck, Frederik Vagheggiamento 1 2007 vl, vlc, pf 3’30” Neyrinck, Frederik Azul 1 2008 bn, vlc 8’ Neyrinck, Frederik Contr’action 1 2008 ob, pf 7’30” Neyrinck, Frederik Four darks in Red 1 2008 sax quartet 7’ Neyrinck, Frederik Echo des Dichters 1 2009 rec, pf 4’

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Neyrinck, Frederik Babushka 4 2010 asax, vlc, db, hrmn 10’30” Neyrinck, Frederik Contr’action IV 1 2010 fl, pf 5’ Neyrinck, Frederik Landscape Construction 4 2010 sax, vlc, db, pf 21’ Nuyts, Frank Le tombeau de Ravel 3 1975 asax/cl, vib, pf 10’ HRDSCR Editions kokopelli projectsNuyts, Frank 5 Preludes for Ancient Stones 5 1975 ob, pf 6’ Nuyts, Frank Alejándome del camino 5 1976 fl, pf 7’ HRDSCR Editions Nuyts, Frank Hommage à ... 3 1978 fl, perc 12’ HRDSCR Editions Nuyts, Frank Bombos del Sol 3 1981 2 perc 10’ Walpurgis records 007Nuyts, Frank La sale mère, le boeuf et le crampon 3 1981 sax quartet 13’ Nuyts, Frank Savannah 1 1982 hn, fl, 2 perc 5’ Nuyts, Frank Sprint 1 1982 perc, pf 5’ Nuyts, Frank Philtre 3 1984 fl, db 5’ Nuyts, Frank Vol au vent 1 1984 tb/bcl, pf 3’ Nuyts, Frank Two pieces for Pete 2 1985 ad lib, keyboard, perc 7’ Nuyts, Frank Rastapasta 1 1986 2 keyboard 3’30” HRDSCR Editions Nuyts, Frank Euphonic Movements 1 1986 2 pf, 2 perc 11’ Nuyts, Frank Give me your bunch of fives 7 1987 2 mar 7’ HRDSCR Editions Nuyts, Frank Up to scratch 5 pieces for violin and piano 1989 vl, pf 11’ Nuyts, Frank What poor an instrument 3 1990 perc, pf 8’ may do a noble deedNuyts, Frank Quadramania 3 1991 4 trp 12’ Contrumporary FTQ001Nuyts, Frank Schlemozzle 1 1992 5 perc 4’ HRDSCR Editions Nuyts, Frank And spring ran cold forever 3 1992 fl, ob, cl, hn, bn 11’ Nuyts, Frank Fast Wood quintet 1 1994 fl, ob, cl, hn, bn 5’ Nuyts, Frank Tohuwabohu 1 1994 rec, pf 5’ Nuyts, Frank Updated memories 10 1995 mba, pf 20’ HRDSCR Editions Nuyts, Frank Cocopolo 2 1995 rec, pf 5’ Nuyts, Frank Only heads and tails 3 1996 tsax, pf, mba 15’ Nuyts, Frank The odd moments 3 1996 tsax, pf, mba 7’ Nuyts, Frank Tripping fyfes 1997 rec quartet, prec 12’ Nuyts, Frank Interlude for Hard Scores 1 1998 pf, vib, mba 2’ for OrchestraNuyts, Frank Powerline 1 2001 Perc- pfo 6’ HRDSCR Editions Nuyts, Frank Busyness as usual 2 2002 clar- pfo 15’ HRDSCR Editions kokopelli projectsNuyts, Frank Sehnnen 1 2004 2 vla 8’ Nuyts, Frank Bajadillas 1 2005 cl, vlc, pf 10’ HRDSCR Editions kokopelli projectsNuyts, Frank Adam & Arnold 1 2005 org en perc. 12’ Nuyts, Frank The Trances 1 2006 4 perc 14’ HRDSCR Editions KlaraNuyts, Frank Low-key quartet 3 2006 4 perc 10’ HRDSCR Editions Nuyts, Frank 1st Suite (from “Bekket”) 3 2003-05 mar, pfo,perc. 12’30” Nuyts, Frank 2nd suite from “Bekket” 3 2003-07 cl, vlc, pf, perc 7’30 kokopelli projectsNuyts, Frank & Dirk Brossé Kaleidoscope 2002 2 vl, vla, vlc, db Nuyts, Gaston Intermezzo elegiaco per archi 2002 2 vl, vla, vlc, db 6’ CeBeDeM Oelbrandt, Kris Micrologica 1 op. 7 2000 vla, vlc 1’11” CeBeDeM CC Sint-Niklaas CCSN.01Oelbrandt, Kris Resonances op. 5 2000 vl, vlc, pf 12’

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Oelbrandt, Kris Sunyata for 3 bass recorders op. 16 2002 3 brec Peeters, Flor Suite op. 82 1955 4 trb 10’ CeBeDeM Peeters, Flor Chorale-Fantasy on op. 101 1960 2 trp, 2 trb, org 7’ CeBeDeM “Christ The Lord has risen”Peeters, Flor Larghetto op. 106 1961 vl, vlc, pf 7’ CeBeDeM Peeters, Flor Paraphrase über Regina Coeli op. 140 1986 vlc, org CeBeDeM Pelemans, Willem Concertino nr. 3 1950 fl, cl, vl, vla, vlc 13’ CeBeDeM Pelemans, Willem Sonate II pour deux pianos 1954 2 pf 13’ CeBeDeM Pelemans, Willem Sonate nr. 2 1954 2 pf 20’ CeBeDeM Pelemans, Willem Suite 1954 trp, pf 12’ CeBeDeM Pelemans, Willem Koperblazerssonate 1955 trp, hn, trb 9’ CeBeDeM Pelemans, Willem Mars in forte 1955 hn, pf 2’ CeBeDeM Pelemans, Willem Pas-de-trois 1955 vl, vlc, pf 12’ CeBeDeM Pelemans, Willem Sonate in trio 1955 fl, ob, pf 10’ CeBeDeM Pelemans, Willem Trio 1957 2 vl, pf 13’ CeBeDeM Pelemans, Willem Sonate 1959 vlc, pf 9’ CeBeDeM Pelemans, Willem Sonate 1959 fl, pf/hpsd 12’ CeBeDeM Pelemans, Willem Trio nr. 3 1960 ob, cl, bn 13’ CeBeDeM Pelemans, Willem Klarinettenkwartet nr. 1 1961 cl quartet 12’ CeBeDeM Pelemans, Willem Sonate 1961 cl, pf 11’ CeBeDeM Pelemans, Willem Harpkwintet 1962 hp, fl, vl, vla, vlc 11’ CeBeDeM Phaedra CD 92012Pelemans, Willem Blazerskwartet nr. 1 1965 fl, cl, hn, bn 14’ CeBeDeM Pelemans, Willem Klein duo 1965 fl, gtr 2’ CeBeDeM Pelemans, Willem Saxofoonkwartet 1965 sax quartet 12’ CeBeDeM Pelemans, Willem Sonate 1965 2 gtr 8’ CeBeDeM Pelemans, Willem Sonate nr. 2 in trio 1965 fl, ob, pf 10’ CeBeDeM Pelemans, Willem Sonate 1967 fl, hp 11’ CeBeDeM De Rode Pomp vol. 16Pelemans, Willem Concertstuk 1967 cl, pf 6’ CeBeDeM Pelemans, Willem Klavierkwartet 1967 vl, vla, vlc, pf 20’ CeBeDeMPelemans, Willem Sonatine 1967 cl, pf 9’ CeBeDeMPelemans, Willem Onder de appelbomen 1968 fl, ob, cl, bn 8’ CeBeDeMPelemans, Willem Suite 1968 2 gtr 16’ CeBeDeMPelemans, Willem Trio 1969 fl, vla, db 16’ CeBeDeMPelemans, Willem Sonate IV 1970 vl, pf 16’ CeBeDeMPelemans, Willem Trio 1971 2 ob, ehn 19’ CeBeDeMPelemans, Willem Pianotrio nr. 3 1972 vl, vlc, pf 13’ CeBeDeMPelemans, Willem Klarinettenkwartet nr. 2 1975 cl quartet 19’ CeBeDeMPelemans, Willem Zes preludes 6 1976 2 gtr 18’ CeBeDeMPelemans, Willem Blazerskwartet nr. 2 1977 fl, cl, hn, bn 20’ CeBeDeMPelemans, Willem Blazerskwintet nr. 2 1977 fl, ob, cl, hn, bn 15’ CeBeDeMPelemans, Willem Fluitkwartet 1979 fl, vl, vla,vlc 17’ CeBeDeMPelemans, Willem Intermezzo 1981 2 ob, 2 bn 7’ CeBeDeMPoot, Marcel Sarabande pour cor et piano 1953 hn, pf 8’ CeBeDeMPoot, Marcel Sicilienne pour flûte et piano 1953 fl, pf 4’ CeBeDeMPoot, Marcel Ballade 1954 ob, cl, bn Eschig

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Poot, Marcel Ballade 1955 fl, pf 8’ Eschig Poot, Marcel Légende 1958 hn, pf 4’52” Leduc MSR Classics MS 1266Poot, Marcel Concertino pour quatuor de saxophones 1962 sax quartet 11’ CeBeDeM Poot, Marcel Duo 1962 vl, vla 8’30” CeBeDeM Poot, Marcel Concertino per flauto, violino e violoncello 1963 fl, vl, vlc 12’ CeBeDeM Alpha DBM-N212 Poot, Marcel Musique pour quatuor à vent 1964 fl, ob, cl, bn 10’ CeBeDeM Poot, Marcel Terzetto pour 3 clarinettes en sib 3 1964 3 cl 9’ Leduc Poot, Marcel Trois petits duos pour trompettes 3 1964 2 trp Leduc Poot, Marcel Legende pour quatuor de saxophones 1967 sax/cl quartet 9’ CeBeDeM Poot, Marcel Quartetto pour cors 1969 4 hn 8’ CeBeDeM Poot, Marcel Musique de chambre pour piano, violon en violencelle 1971 vl, vlc, pf 15’ CeBeDeM Poot, Marcel Berceuse pour flûte et piano 1976 fl, pf 3’30” Leduc Poot, Marcel Trois Pièces pour flûte et piano Menuet / Alle Marcia / Valse 3 1976 fl, pf 8’ Leduc Poot, Marcel Fantasietta pour flûte et piano 1977 fl, pf 4’ Leduc Poot, Marcel Dialogo 1979 vl/vla/vlc/db, pf 5’ CeBeDeM Posman, Lucien Geen noodt, sapperloodt 5 1995 fl, 2vl, vla, vlc 15’ Golden River Music René Gailly CD 87 169 Posman, Lucien Pizziola & Pizziello 1998 vla, vlc 2’ Posman, Lucien Blaaskwintet 5 1998 fl, ob, cl, hn, bn 15’ Posman, Lucien Op hol 1999 vlc, bn 2’ Posman, Lucien Nocturne 2003 afl, 2vl, vls, vlc 7’ Posman, Lucien Bicellium 2004 2 vlc 6’ Posman, Lucien Ambrass 2006 brass ad lib, pf 5’ Lantro Music Posman, Lucien Mijnhere van Maldegem Geboortedorpvariaties 3 2006 sax quartet 3’ Posman, Lucien Illuminations (on Piccs du Midi) 2010 2 picc, pf 10’ Prins, Stefan No habra una sola cosa que 5 2003 fl (+ picc), ob (+ ehn), 14’ no sea una nube cl (+ bcl), bn (+ cbn)Prins, Stefan Erosie Memory Space #1 7 2005 vla, bayan 16’ Rathé, Filip Thatagathagarbha 1990 fl, vl, hpsd Roelstraete, Herman Voorspel en rondedans op. 42 1960 vla, pf Roelstraete, Herman Terzet op. 44 1961 vl, vla, vlc 19’ Goeyvaerts Trio Roelstraete, Herman Sonatine op. 67 1968 vl, vlc 7’ CeBeDeM Rosseau, Norbert Quintette pour instruments à vent 3 op. 54 1955 fl, ob, cl, hn, bn 12’ CeBeDeM Rosseau, Norbert Sonatine 3 op. 59 1956 cl, pf 15’ CeBeDeMRosseau, Norbert Rapsodie pour piano, flûte et basson op. 81 1958 fl, bn, pf 12’ CeBeDeMRosseau, Norbert Sicilienne op. 108 1970 vl, pf 7’ CeBeDeMRosseau, Norbert Quatuor à clavier 1975 vl, vla, vlc, pf 18’ CeBeDeMSall, Nico Erscheinungsbilder Bild nr. 1 2004 vl, vla, vlc Sall, Nico lx. 2006 hp, 2 gtr Sall, Nico Perspectives v.l. 2006 bcl, trb Sall, Nico Icons of pleasure 2008 4 gtr Schroyens, Daniël Rapsodie 1976 cl/sax quartet CeBeDeMSchroyens, Daniël Transparante kleurenstudie 1976 clst, hp, hpsd4 7’ CeBeDeMSchroyens, Daniël Chanson 1980 vl, pf CeBeDeMSchroyens, Daniël Zweeflied met turbulentie 1980 cl quartet CeBeDeMSchroyens, Daniël Parade 1982 2 pf 11’ CeBeDeM

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Schroyens, Daniël Kwintet 1993 2 vl, vla, vlc, pf 6’ CeBeDeMSchroyens, Raymond Sonata da Camera Intrada/Sinfonia/Gavotte I & 10 1965 rec quartet 10’ VDCV Antwerpen II/Pavane/Balletto/Piva/Furia/ Passepied I & IISchroyens, Raymond Sonatina Un poco allegro/Largo/Allegretto 4 1968 rec quartet 7’ De Monte grazioso/VivaceSchroyens, Raymond Templum Basis quadrata/Media pars 5 1991 2 trp, trb, hn, tb 14’ DMP Antwerpen octangula/Tenebrae malificae/ Salutaris lux/Rota/Vertex rotundusSchroyens, Raymond Divertimento “Acacia floreat” 1991 ob, cl, bn 12’ Schroyens, Raymond Dispuut 1997 2 vl 7’ Schroyens, Raymond Eleusis 1999 asax/acl, pf 16’ Schroyens, Raymond Beetles, butterflies and birds 2001 gtr, mdln 10’ T. Huesgen Schroyens, Raymond Enigma 2004 trp, org 9’ Schroyens, Raymond Carmina Flori Naar Flor Peeters 1983-1984 hpsd, chamber org Schroyens, Raymond Felsenbluhmen Naar Flor Peeters 1983-1984 hpsd, chamber org Schuermans, Pieter Alpenjagerslied naar het gelijknamige gedicht 1 1996 fl, vla, gtr 7’ Lantro Music van Paul Van OstaijenSchuermans, Pieter Per Contrabasso e Pianoforte 1 1997 db, pf 9’ Schuermans, Pieter Tango 1 1997 2 vl, vla, vlc, db 8’ Schuermans, Pieter Ciclo 1 1998 2 pf 2’ Schuermans, Pieter Per flauto e chitarra 1 1999 fl, gtr 14’ Schuermans, Pieter Looking Through Eardrums Suite 1 2001 cl, vl, vlc, db 13’ Schuermans, Pieter Boisterous Bass 1 2003 db, perc 5’ CeBeDeM Schuermans, Pieter Fuga, tempus fugat 1 2006 fl, 2 vl, vla, vlc 12’ Klara Schuermans, Pieter Double Dotted 1 2009 vl, vlc 12’ Sleichim, Eric Five movements for Beuys 1988 sax quartet Sleichim, Eric Verwikkelingen 5 projecties voor saxofoonkwartet 1992 sax quartet Sleichim, Eric Ouverture 1995 sax quartet Sleichim, Eric Unter den Hämmern 2009 sax, pf 13’ Sleichim, Eric Definicion piece for percuted saxophonequart. s.d. sax quartet Sleichim, Eric Rapta dansstuk voor saxofoonkwartet s.d. sax quartet Sleichim, Eric Ternura piece for choked saxophonequart. s.d. sax quartet Sleichim, Eric Union piece for basso continued s.d. sax quartet saxophonequartetSleichim, Eric Zangoefening op een klinker momentum act III, c ; voor s.d. sax quartet dadaïstisch saxofoonkwartetSlootmaekers, Martin 5 Bagatellen in oude stijl voor strijktrio 5 1993 vl, vla, vlc 13’ Slootmaekers, Martin Splinters s.d. cl, pf 6’ Sluys, Johan Icarus’ vlucht 1004 vl, pf 2’ CeBeDeMSluys, Johan Lumen de lumine 2008 vl, org Smetryns, Thomas Chorale 2000 cl, trp, pf, vl 6’ Smetryns, Thomas Fade out 2000 gtr, clst, hp, 2 perc 6’ Smetryns, Thomas Francis Song 2000 trp, trb, pf 6’ Smetryns, Thomas Eyes of Medusa 2001 5 ad lib

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Smetryns, Thomas ...First Shot missed Him... 2002 ad lib Smetryns, Thomas A Peace Anthem 2002 ad lib Smetryns, Thomas Bird environment 2002 4 ad lib 6’ Smetryns, Thomas Chottoh 2002 ad lib Smetryns, Thomas Heavy man gliding down a staircase 2002 2 pf 17’ Smetryns, Thomas Two women communicating 2002 2 gtr 8’ Smetryns, Thomas Guitar environment 2003 3 e-gtr 20’ Smetryns, Thomas The possibility of a new work 2003 3 gtr 10’ for 3 bowed guitarsSmetryns, Thomas Queue 2004 2 gtr, cl, pf 20’ Smetryns, Thomas La Création d’un Monde 2005 ad lib 7’30” Logos Public Domain 016Smetryns, Thomas A=a=A=a,... for percussion trio 2005 3 perc 8’ Smetryns, Thomas Amuz environment for string trio, drone and 2007 vl, vla, vlc, 2 ad lib improvising soloistSmetryns, Thomas String trio in G minor environment 2007 vl, vla, vlc Smetryns, Thomas UNTITLED Points and Lines / Moiré / Shading 2009 picc, perc 10’ Soenen, Willy Humoresque 1976 2 trp, hn, trb, btb 4’ Maurer Soenen, Willy Eruptio 1985 vlc, pf 7’ Musica Appassionata Soenen, Willy Trio Terzetto per clarinetto, tromba 4 1985 cl, trp, pf 8’ Musica Appassionata e pianoforteSoenen, Willy Divertimento 4 1988 cl, pf 6’ Musica Appassionata Soenen, Willy Intrada “Kind swijght, so moogh die hooren” 1993 2 trp, hn, trb, btb 2’ René Gailly - Noblesse - 87 093Soenen, Willy Concertino voor Henk 1993 cl, pf 13’ Musica Appassionata Soenen, Willy Bagatel 1993 cl quartet / sax quartet 4’ Musica Appassionata Soenen, Willy Variations on a theme by one 11 2001 cl, 2 vl, vla, vlc 16’ of Guido’s friendsSoenen, Willy Twee bewegingen 2 2001 cl, vlc, pf 6’ Soenen, Willy Contertino for Eddy 2004 cl, pf 13’ Gobelin Soenen, Willy Dromerij 2007 cl, vl, vla, vlc, pf 1’30” Soenen, Willy Een kleine ochtendmuziek 4 2007 vl, vlc, pf 6’ Soenen, Willy Drie momentopfamen 3 2008 fl, ob, cl, hn, bn 6’ Soenen, Willy Een kleine ochtendmuziek 4 2009 sopraansax, bcl, pf 6’ Sommereyns, Noor (Gwendolyn) Trio for violin, cello and piano Even a small breath / or blown 2001 vl, vlc, pf 14’ up dust from earth / becomes an echo to eternitySommereyns, Noor (Gwendolyn) Fleuves d’arbres 2003 ob, cl 10’ Sommereyns, Noor (Gwendolyn) Stone Dance 2004 vl, db 7’ Sommereyns, Noor (Gwendolyn) Urulu voor blaaskwintet en regenmaker 2006 fl, ob, cl, hn, bn 12’32” Steegmans, Paul Dans voor viool en piano 1993 vl, pf Euprint Steegmans, Paul Sonatine voor viool en piano 1993 vl, pf Euprint Steegmans, Paul Cantilene 1994 cl, pf Euprint Steegmans, Paul Idylle voor fluit/hobo en piano 1996 fl/ob, pf Euprint Steegmans, Paul Tombeau de J. S. Bach 2003 pf, hpsd, org Steegmans, Paul In memoriam Trio 2005 fl, vl, pf Steegmans, Paul Florida Beach s.d. vib, db, pf 2’10” Nikki Multimedia

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Steegmans, Paul Inventie voor viool, klarinet, s.d. vl, cl, pf, db 3’17” Nikki Multimedia piano en contrabasSteegmans, Paul Met Bach op de koffie s.d. fl, sax, pf, vib 4’55” Nikki Multimedia (naar het menuet in G)Steegmans, Paul Nocturne voor vib, piano en contrabas s.d. vib, db, pf 4’12” Nikki MultimediaSteegmans, Paul Kwartet voor viool, klarinet, cello en piano s.d. cl, vl, vlc, pf Steegmans, Paul Saxofoonkwartet 3 s.d. sax quartet 11’ Steegmans, Paul Trio voor klarinet in bes, altviool en piano s.d. cl, vla, pf Steegmans, Paul Trio voor viool, altviool en cello 3 s.d. vl, vla, vlc 20’ Swerts, Piet Rondo (allegretto scherzando) voor piano en twee 1972 2 rec, pf CeBeDeM sopraan-blokfluitenSwerts, Piet Parallaxis 4 1976 ob, cl, bn 10’ CeBeDeM Swerts, Piet Capriccio voor hobo of klarinet en 1980 ob/cl, org/pf 6’ CeBeDeM orgpositief of pianoSwerts, Piet Postludium 1980 fl, cl, 2 vl, gtr 5’ CeBeDeM Swerts, Piet Smile Music 1980 db, pf CeBeDeM Swerts, Piet Nocturnal dances a dreambook for the Composers 6 1981 4 db 11’ CeBeDeM delusionsSwerts, Piet The birth of liquid desires 1981 4 db 2’ CeBeDeM Swerts, Piet Kleine ouverture 1982 3 cl 2’ CeBeDeM Swerts, Piet Greensleeves 1984 fl, cl, hn, bn 6’ CeBeDeM Swerts, Piet Explosions 1985 vl, pf 6’ CeBeDeM Swerts, Piet Tenuto tune versie 1 1985 vl, acc, bn 1’ CeBeDeM Swerts, Piet Tenuto tune versie 2 1985 sax quartet, ob, db 1’ CeBeDeM Swerts, Piet Tenuto tune versie 3 1985 trp, mba, pf 1’ CeBeDeM Swerts, Piet Paganini-Digtral 1987 2 pf 17’ CeBeDeM Swerts, Piet Novellettes voor blokfluitkwartet 5 1990 rec quartet 11’ Bella Musica Edition B001PCLFRYSwerts, Piet Valse tendre gecomponeerd op de naam 1991 vlc, pf CeBeDeM M-i-c-h-el D’-hoo-gh-eSwerts, Piet Rapsodie 1991 bn, 2 vl, vla, vlc 14’ Swerts, Piet Klonos 1993 sax quartet, pf Ascolta Hänssler HAEN98220 Swerts, Piet Sonetto 61 del Petrarca 1995 vla, pf 5’ CeBeDeM Swerts, Piet Badinerie 1996 bcl, pf 3’ Swerts, Piet Epitaph 1997 2 trp, trb, hn, tb 6’ Swerts, Piet Three gadgets Catch phrases / Theatre of the 3 1998 rec quartet 11’ Aeolus AE - 10156 absurd / Flashing flutesSwerts, Piet Mi-Parti 1999 fl, 2 vl, vla, vlc René Gailly CD 87 169 Swerts, Piet Klarinetkwintet voor klarinet in A en strijkkwartet 5 2001 cl, 2 vl, vla, vlc 30’ CeBeDeM Swerts, Piet Signals 2002 hn, pf Swerts, Piet Tango in trouble for treble recorder quartet 2002 rec quartet Swerts, Piet Motion 2003 rec, hpsd 10’ EDS Bertem Swerts, Piet Pavane Hommage à Maurice Ravel 2003 cl, pf 4’ Swerts, Piet The six wives of Henry VIII voor blokfluitkwartet 6 2004 rec quartet 45’ Passacaille PAS 948 Swerts, Piet Le tombeau de Ravel 2009 picc, pf Zodiac Editions Etcetera KTC 4026

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Swinnen, Peter PaPazzia 1991 vl, pf Lantro Music Swinnen, Peter Six moods 1991 fl/vlc, pf Lantro Music Swinnen, Peter Escurial voor 2 piano’s 1991 2 pf 6’25” Swinnen, Peter DisEsch GrimmErNey 1992 vl, pf 6’ Lantro Music Swinnen, Peter Andres De dans ontsprongen 1992 ob, vl, vla, vlc, perc Swinnen, Peter AroPura hortus voluptatis 1992 fl, ob, cl, hn, bn 10’ Swinnen, Peter HitchCockTail 1992 fl, gtr, hpsd, acc 10’ Swinnen, Peter Sonetto I 1994 vl, pf 5’30” Chantraine Swinnen, Peter Sonetto II 1994 vla, pf 5’30” Chantraine Swinnen, Peter Sonetto III 1994 vlc, pf 5’30” Chantraine Swinnen, Peter Sonetto IV 1994 db, pf 5’30” Chantraine Swinnen, Peter Jaan 1995 cl, pf 13’ Swinnen, Peter JivDaKran 1995 afl, vla, gtr 14’ Swinnen, Peter Quar’l a quarrel per quartetto di clarinetti 1996 cl quartet 12’ Lantro Music ATMA Classique ACD22281Swinnen, Peter Antré Entrada 1996 hn, trp, trb 1’30” Lantro Music Swinnen, Peter Canzone 1996 vl, pf 7’ Swinnen, Peter Canzone 1997 vl, pf 5’30” CeBeDeM Swinnen, Peter Alísa per quartetto di violoncelli 1997 4 vlc 3’ Lantro Music Swinnen, Peter Bonang 1997 2 trp, trb, hn, tb, perc 12’30” Swinnen, Peter Melopee I 1998 vl, pf 6’ Lantro Music Swinnen, Peter Melopee II 1998 vla, pf 6’ Lantro Music Swinnen, Peter Melopee III 1998 vlc, pf 6’ Lantro Music Swinnen, Peter Melopee IV 1998 db, pf 6’ Lantro Music Swinnen, Peter Dorce V 1999 vl, vlc 6’30” Swinnen, Peter Dorce VI 1999 vla, vlc 6’30” Swinnen, Peter Dorce VII 1999 vl, vla 6’30” Swinnen, Peter Dorce VIII 1999 2 vl 6’30” Swinnen, Peter Dorce IX 1999 vl, vla, vlc 6’30” Swinnen, Peter Rinducele 1999 fl, hp, vl, vla, vlc 12’30” Swinnen, Peter Annotazione 2000 vla, vlc 2’15” Lantro Music CC Sint-Niklaas CCSN.01 Swinnen, Peter Ciaccona 2000 vl, pf 5’30” Lantro Music Swinnen, Peter Orbénhas 2000 picc, fl, glockenspiel 6’ Lantro Music Swinnen, Peter Invenzione 2001 2 rec 6’30” Lantro Music Swinnen, Peter Invenzione II 2002 fl, mba 6’30” Lantro Music Swinnen, Peter Ramagna 2005 rec, pf 10’ Swinnen, Peter Samoki Farbenklangspiel for string trio 2005 vl, vla, vlc and beamerSwinnen, Peter Ottarctra per violino, violoncello e pianoforte 2007 vl, vlc, pf 12’ Tas, Rudi Sonata for violin and piano 3 2000 vl, pf 17’ Thys, Peter Klarinetkwintet 1998 cl, 2 vl, vla, vlc Thys, Peter Kwartet 1998 fl, vl, vlc, gtr Thys, Peter Suite 1998 vl, vla, vlc, pf Thys, Peter Narcissos 2003 vla, vlc Valcke, Martin Pas de Deux 3 Dances 1994 vl, vla Valcke, Martin Roodkapje, de wolf en Rondo voor blokfluitkoor 1994 5 rec 6’ de zeven geitjes

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Valcke, Martin Duo 2000 lute, afl Valcke, Martin Promenades: for piano fourhanded After a set of pictures by 15 2001 pf4, perc and percussion Roeland Kotsch Valcke, Martin Shoka-Noh 2002 ehn, bcl, pf Van Camp, Bram Hidden facts 2004 fl, ob, cl, hn, bn 8’ Van Cleemput, Werner Vaudeville suite Curtain / For ladies only... / Black 4 1991 2 trp, hn, trb, tb 20’ is beautiful / The girlsVan Daele, Hans Klaviertrio 1998 vl, vlc, pf 10’ Van Daele, Hans Melodia, cadenze e tarantella 3 2002 vl / vla / vlc, pf 7’ Lantro Music Van Daele, Hans Lento misterioso, andantino e danza 3 2007 ehn, hp 8’ Van Daele, Hans Epona 2 2009 cl, bcl, pf 12’ van de Woestijne, David Muziek voor vijf muziekinstr. 2 1952 fl, ob, vl, vla, vlc 12’ CeBeDeM van de Woestijne, David Sonate 2 1955 2 pf 15’ CeBeDeM van de Woestijne, David Minuetto capriccioso 1976 trp, pf 6’ CeBeDeM van de Woestijne, David Muziek voor tuba-saxhorn (C) 1976 saxhn, pf 6’30” CeBeDeM en pianovan de Woestijne, David Notturno voor fluit en piano 1976 fl, pf 6’ CeBeDeM Van der Roost, Jan Renaissance Suite: from Souterliedekenssuite 1985 2 trp, hn, trb, tb 8’55” De Haske DHM 10.003-3 the Low CountriesVan der Roost, Jan Cuprioles 1987 2 trp, hn, 2 trb 4’52” Scherzando De Haske DHM 10.003-3Van der Roost, Jan Blaaskwintet 1991 fl, ob, cl, hn, bn Van der Roost, Jan Partita Toccatina / Arioso / Rondino burlesco 2001 4 gtr 13’ Van der Roost, Jan I continenti Afrika / Azië / Europa / Noord- 2002 rec quartet Amerika / Oceanië / Zuid-AmerikaVan der Roost, Jan Acquerelli 2009 gtr, pf Van der Straeten, Geert Groot koperkwintet Ouverture / Pezzo innocente / op. 1 1992 2 trp, hn, trb, tb 11’ Pezzo inquietoVan der Straeten, Geert Caleidoscoop Pianokwartet nr. 1 op. 14 1998 vl, vla, vlc, pf Van der Straeten, Geert Saxioma op. 18 nr. 2 2002 sax, pf 11’30” Van der Straeten, Geert Mindful op. 22 nr. 2 2003 cl, pf 3’13” 88447-2Van der Velden, Renier Concerto nr. 2 1955 fl, ob, cl, hn, bn 16’ CeBeDeM Van der Velden, Renier Divertimento 1957 ob, cl, bn 11’ CeBeDeM Van der Velden, Renier Beweging 1965 2 pf 8’ CeBeDeM Van der Velden, Renier Fantaisie 1967 cl quartet 10’ CeBeDeM Van der Velden, Renier Stuk 1970 fl, pf 9’ CeBeDeM Van der Velden, Renier Twee dialogen 1971 cl, pf 10’ CeBeDeM Van der Velden, Renier Etude nr. 16 1972 pf, perc 4’ CeBeDeM Van der Velden, Renier Triptiek 1977 2 trp, 2 trb 25’ CeBeDeM Van der Velden, Renier Vijf bagatellen 1977 fl, vla, vlc 18’ CeBeDeM Van Eycken, Stefan twilight enclosures 2001 ob, pf 9’ Van Eycken, Stefan cover [2] 2002 cl, vla, unamplified var bgtr, pf, percVan Eycken, Stefan (just like) starting over 2003 fl, cl, vl, vlc, pf 8’ Van Eycken, Stefan a feeling of something happening 2003 cl, e-gtr, pf, vlc, acc 5’ Van Eycken, Stefan solo Igor 2003 e-gtr, 2 bcl 5’

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Van Eycken, Stefan clear 2006 rec, e-gtr, db 8’ Van Eycken, Stefan in defence of the wind beneath 2008 e-gtr, 2vl, vla, vlc 12’ the doorVan Geert, Octaaf Processus geologico 1987 2 pf 14’ MUPRO WW-IG-09Van Geert, Octaaf Illusion 6 1992 trp, pf Van Geert, Octaaf Scène’s voor flauto dolce tenore, 1995 3 fl, mba soprano, basso en marimbaVan Geert, Octaaf Epitaphios logos per 4 flauti dolce 1997 4 fl 14’ Van Geert, Octaaf States 1998 2 vl 10’ Van Geert, Octaaf Collage 2007 trp/trb/tb/hn, pf 5’18” CeBeDeM Van Gorp, Dirk Matanzas used to be a rumba... 2002 db, pf Lantro Music Van Gorp, Dirk Circus the musical story of a tightrope 2004 db, pf 5’ Lantro Music walker who jumps also on a trampolineVan Haute, Mieke Moments 1971 2 trp, trb, hn, tb Van Haute, Mieke Dans voor fluittrio 1973 3 fl Van Haute, Mieke Schets voor klarinettenkwartet 1973 cl quartet Van Haute, Mieke Thema en variaties 1974 fl, ob, cl, bn Van Haute, Mieke Lucioles 1976 sax quartet Van Haute, Mieke Pantomimes 1980 fl, pf Van Haute, Mieke Epigraphes pour Voltaire 1982 sax quartet Van Haute, Mieke Sonate voor slagwerk en piano 1982 perc, pf Van Haute, Mieke Kwintet 1989 cl, 2 vl, vla, vlc Van Haute, Mieke Klarinetkwintet 1993 cl, 2 vl, vla, vlc Van Herck, Bert Adaese 2006 4 perc 6’Van Hove, Luc Klarinetkwintet op. 1, nr. 2 1977 cl, 2 vl, vla, vlc Van Hove, Luc Trio op. 1, nr. 1 1977 ob, cl, bn Van Hove, Luc Prelude en toccata opus 6 1981 perc, pf Van Hove, Luc Blaaskwintet opus 10 1982 fl, ob, cl, hn, bn Van Hove, Luc Dansen voor vier handen opus 23 1988 2 pf Van Hove, Luc Two pieces for three trumpets opus 22 1988 3 trp Van Hove, Luc Sonate opus 27 1991 vlc, pf Van Hove, Luc Le vieux porte de Marseille opus 35 1998 cl, pf Van Hove, Luc Klarinetkwintet opus 37 1999 cl, 2 vl, vla, vlc Van Hove, Luc Piano Quartet opus 40 2002 vl, vla, vlc, pf Van Ingelgem, Maarten Ruach 2001 cl, acc 6’Van Ingelgem, Maarten Verboden Vrucht 2001 4 perc 7’ Van Ingelgem, Maarten Soëos 2003 fl, 2vl, vla, vlc 5’ Van Ingelgem, Maarten Vly 2003 vl, vlc, pf 7’ Van Ingelgem, Maarten And darkness was upon 2005 ob, pf 5’ the face of the deepVan Ingelgem, Maarten Tivoli The Entertainers (I Piccoli 2008 fl quartet 8’ Jopliniani)/Stars at the Appian Way (Le Stelle della Via Appia) Van Ingelgem, Maarten “General Herman” - sécretaire 2009 3 perc (objects) 2’

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Van Landeghem, Jan Tres danzas festivas 3 1987 fl, gtr 12’ Van Landeghem, Jan Birds 1989 rec quartet 9’ CeBeDeM Van Landeghem, Jan Grappa ma non trappa 1989 cl, bcl 8’ CeBeDeM Van Landeghem, Jan Composition for recorder Jive / Emanention 1990 rec, perc and marimba (+ crotales) Van Landeghem, Jan Happartemento of de avonturen van Don José 1990 fl, ob, cl, hn, bn Van Landeghem, Jan Sanpaku Zen / Samoerai / Kabuki / 4 1992 rec quartet 12’ Flanders Recorder Karate canon Quartet 05002Van Landeghem, Jan Essere o non essere 1992 bcl, pf 7’ Van Landeghem, Jan Drie bagatellen Con amore / Träumerei / Whiplash 3 1994 fl, vl, vla, vlc, db 14’ Van Landeghem, Jan Carpe Diem 1995 trp, hn, trb, tb 5’ Van Landeghem, Jan Jobutsy Enlightment : for tenorrecorder 1995 rec, perc and low set crotalesVan Landeghem, Jan Pastorale Notturno 3 1995 cl, org 10’ Van Landeghem, Jan Klaviertrio Avo raniyam mahatoo maniyam 1996 vl, vlc, pf 12’ Pavane Brussel ADW 7523Van Landeghem, Jan Suite 4 1996 vl, gtr 10’ CeBeDeM Van Landeghem, Jan Marcatissimo 1997 vl, vla, vlc, pf 12’ Van Landeghem, Jan Menuet en scherzo muziek van Jan voor Piet over 1997 ob, org Joris en CorneelVan Landeghem, Jan Mia prima lezione di concorso 1998 vlc, pf Lantro Music Van Landeghem, Jan Trio 3 1998 cl, vl, pf 12’ Van Landeghem, Jan Türkischer Hummelflug Ein musikalischer Spass für 2002 rec quartet Heinrichshofen Blockflötenquartett über Themen von W.A. Mozart und N. Rimski-KorsakowVan Landeghem, Jan L’invisible pour les yeux Eclats de lumière / Le prince / 5 2003 vl, org 30’ Pavane Brussel ADW 7490 La rose / Les étoiles / Le renardVan Landeghem, Jan Piano Trio II wisdom, force & beauty Klaviertrio II : wijsheid, kracht, 3 2004 vl, vlc, pf 20’15” Pavane Brussel ADW 7523 schoonheidVan Landeghem, Jan Jiva Atma / Maya / Ananda 3 2004 ob, cl, bn 16’ Van Landeghem, Jan Musette 2005 vl, pf Metropolis Van Landeghem, Jan Suite gipsy music 4 2006 vl, gtr Metropolis Van Landeghem, Jan The kundalini of the playing koalas For marimba duo 2007 2 mba Beurskens Van Landeghem, Jan Verhaerentriptiek Le soir tombe / Oh! tes si douces 3 2007 vla, pf 12’ mains / Lorsque tu fermeras mes yeuxVan Landeghem, Jan Quasi uno minuto unisono s.d. vla, vlc 1’19” CC Sint-Niklaas CCSN.01Van Landeghem, Jan Three Crystals Rozenkwarts / Obsidiaan / s.d. 4 trp 10’14” Flanders Trumpet Quartet Zwarte Toermalijn FTQ001Van Parys, Annelies Poésies 2000 cl, vlc 1’30” Van Parys, Annelies Phrases V 2001 gtr, hp, pf, perc 7’15” ATMA Classique ACD22281Van Parys, Annelies Alba 2003 3 rec Van Parys, Annelies Tabula Rasa 2003 ob, hp 2’ Van Parys, Annelies Penta 2005 picc, 2 vl, vla, vlc 10’30”

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Van Parys, Annelies L’esprit Mozart 2006 vl, vlc, pf 11’ Van Parys, Annelies Poésis I s.d. vla, vlc 1’16” CC Sint-Niklaas CCSN.01Van Puymbroeck, Stefan Trio 1995 cl, vl, pf Van Puymbroeck, Stefan Quasi una fantasia für zwei Klaviere Wild / Gedehnnt / Äusserst agressiv 3 2007 2 pf 23’ Van San, Herman Microstructure 1952 3 pf 21” Vande Ginste, Stephane “Human Zoo” opus 1 An acting-music 3 1990 3 trb, 2 pf 5’ à 12’ Vande Ginste, Stephane Threnos 1991 pf, perc 7’ Vande Ginste, Stephane 12 fragmenten 12 1992 2 fl 4’50” Vande Ginste, Stephane A little tango 1995 vl, pf 3’ DMP Antwerpen Vande Ginste, Stephane 5 korte duo’s 5 1997 vlc, db 4’ Vande Ginste, Stephane 3 impressies 1998 fl, bcl 6’ Vande Ginste, Stephane 5 variations on a theme 1998 fl, sax, pf 7’ by Jean “Toots” ThielemansVande Ginste, Stephane Blue for two 2000 2 pf 6’50” Lantro Music Vande Ginste, Stephane Droef en blij 2002 ob, pf / vl, pf 2’50” Lantro Music Vande Ginste, Stephane Introduzione e Scherzo 2 2002 2 ob, bn 3’50” Vande Ginste, Stephane Epitaffio in memoriam Johan Smits 2003 fl, pf 3’50” Lantro Music Vande Ginste, Stephane Kleine Suite (op teksten van Paul Van Ostaijen) 4 2003 fl, cl, gtr, vla 6’ Lantro Music Vande Ginste, Stephane Rommelen, rommelen in de pot ... (op teksten van Paul Van Ostaijen) 4 2003 (b)cl, perc 4’ Vande Ginste, Stephane “Orphée ou le petit bestiaire” a set of pieces 6 2004 hn, pf 10’ Lantro Music Vande Ginste, Stephane Rondino 2004 fl, pf / vlc, pf 2’ Lantro Music Vande Ginste, Stephane “Et vous verrez comme variaties op een thema 2005 fl, gtr, vla 8’50” Lantro Music tout change ....” van Walter HeynenVande Ginste, Stephane Zweinstein Express 2005 cl, pf 2’ Lantro Music Vande Ginste, Stephane 3 dansen 3 2006 fl, pf 5’ Lantro Music Vande Ginste, Stephane Concertino “per aspera” 3 2008 2 pf Vandenheede, Jan Wendung 1 1994 fl, ob, cl 6’ Vandenheede, Jan Sonatine voor 2 piano’s 4 2007 2 pf 5’30” Vandenheede, Jan Sonatine voor altviool en piano 4 2007 vla, pf 5’30” Vandenheede, Jan Sonatine voor klarinet en piano 4 2007 cl, pf 5’30” Vandenheede, Jan Sonatine voor klaviertrio 4 2007 vl, vlc, pf 5’30” Vandenheede, Jan Sonatine voor trombone en piano 4 2007 trb, pf 5’30” Vandenheede, Jan Sonatine voor cello en piano 4 2008 vlc, pf 5’30” Vandenheede, Jan Sonatine voor fagot en piano 4 2009 bn, pf 5’30” Vandenheede, Jan Sonatine voor viool en piano 4 2009 vl, pf 5’30” Vanhecke, Bart Serenade 1 1991 2 picc, hp, perc 6’ Fuga Libera FUG 706Vanhecke, Bart Epitafium 5 1991 afl, gtr 20’ Vanhecke, Bart Ombra della sera 1 1992 ob, pf 10’ Vanhecke, Bart Kwintet for woodwinds 1 1994 afl, ehn, cbcl, hn, cbn 17’ Vanhecke, Bart Etoiles peintes string trio 1 2000 vl, vla, vlc 9’ Fuga Libera FUG 706Vanhecke, Bart Dans l’eau du songe for bass clarinet, cello and piano 1 2005 bcl, vlc, pf 13’ Fuga Libera FUG 706Vanhecke, Bart Qua l’aube apporte la lumière piano quintet 5 2008 2 vl, vla, vlc, pf 20’ Vanheertum, Stefaan Sonate 4 1991 vlc, pf Vanheertum, Stefaan Sonate 3 1992 fl, pf Vanheertum, Stefaan Sonate 1992 vl, pf

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Vanheertum, Stefaan Sonate 1994 vla, pf Vanheertum, Stefaan Suite Adagio / Largo / Dans 3 1995 3 sax Vanheertum, Stefaan Perpetuum mobile Triosonate 1996 fl, vl, hpsd Vanheertum, Stefaan Sonate Danses / Tableaux / Scène glaciale 3 1996 ob, pf Vanheertum, Stefaan Gran partita 3 1997 fl, pf Vanheertum, Stefaan The millenium sonate In a hurry / Confused / Finally! 3 1999 2 pf 10’ Verbesselt, August Metropolis 1987 fl, pf 10’ CeBeDeMVerbesselt, August Kristal 1990 cl, pf 10’ CeBeDeMVerbesselt, August Momo 1991 fl, pf 12’ CeBeDeMVerbesselt, August Suite Oosterse dans / Trage wals / 4 1995 ob, ehn 10’45” Habanera-rumba / Rondo-galopVerbraeken, Carl Klarinettenkwartet 4 1998 cl quartet Verbraeken, Carl Larghetto 1999 vl, vlc, org Verbraeken, Carl Verbeelding nr. 9 1999 sax, pf Verbraeken, Carl Wals 1999 vl, pf Verbraeken, Carl Gebarenspel 2000 fl, gtr Verbraeken, Carl Kleine verbeelding 2000 fl, vib / cl, pfVerbraeken, Carl Vergeefse tranen 2001 vl, pfVerbraeken, Carl Aankondiging nr. 1 2002 flugelhorn, pfVerbraeken, Carl Behoedzaamheid 2002 db, pfVerbraeken, Carl Huppelstuk nr. 1 2002 fl, pfVerbraeken, Carl Melodie 2002 fl, vlcVerbraeken, Carl Nachtklanken 2002 acc, dbVerbraeken, Carl Onbevangen 2002 cl, pfVerbraeken, Carl Vinnig tussenspel 2002 fl, pfVerbraeken, Carl Voorzegging 2002 bn, pfVerbraeken, Carl Woudzang nrs. 1 & 2 2002 ob, pfVerbraeken, Carl De diamanten band 3 2003 fl, gtr / 2 gtrVerbraeken, Carl De gouden band 4 2003 fl, gtr / 2 gtrVerbraeken, Carl De robijnen band 2 2003 fl, gtr / 2 gtrVerbraeken, Carl De smaragden band 1 2003 fl, gtr / 2 gtrVerbraeken, Carl Ontwikkeling 2003 cl, pfVerbraeken, Carl Verborgenheid 2003 db, pfVerbraeken, Carl Vlinderstuk 2003 fl, pfVerbraeken, Carl Allegro 2004 vl, vla, vlc Verbraeken, Carl Avond 2004 fl, vl, pfVerbraeken, Carl De oude kamer 2004 hn, pfVerbraeken, Carl Een knusse zondag 2004 trb, pfVerbraeken, Carl Engelachtige influistering 2004 cl, pfVerbraeken, Carl Het geheimzinnige eiland 2004 ob, pfVerbraeken, Carl Kleindans 2004 fl, gtr / 3 flVerbraeken, Carl Met volle teugen 2004 fl, pfVerbraeken, Carl Springdans nr. 2 2004 3 cl/sax/vlc / 4 dbVerbraeken, Carl Stille boodschap 2004 2 fl, bn, pf ad libVerbraeken, Carl Tussenspel 2004 hn/vla/vlc, pf

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Verbraeken, Carl Voorbijgang 2004 hn/bn, pfVerbraeken, Carl Waardige stilte 2004 vlc, pfVerbraeken, Carl Bevlogenheid 2005 fl, pfVerbraeken, Carl Bloemenstuk nr. 4 2005 fl/cl/sax/hn/vlc, pfVerbraeken, Carl Doorbraak 2005 bcl, pfVerbraeken, Carl Droefenis 2005 4 vlcVerbraeken, Carl Hoflied 2005 fl, gtrVerbraeken, Carl Rondgang 2005 ob, pfVerbraeken, Carl Uitgelaten 2005 fl, pfVerbraeken, Carl Uitgeleide 2005 vlc, pfVerbraeken, Carl Wonderzang 2005 hn, pfVerbraeken, Carl Lollig liedje 2007 fl, pfVerbraeken, Carl Ontwrikking 2007 vlc, pfVerbraeken, Carl Reinaart de vos en de kraai 2007 hn, pfVerbraeken, Carl Samenhorigheid 2007 trp/trb, pfVerbraeken, Carl Schets nr. 11 2007 cl, pfVerbraeken, Carl voorbetovering, harten 2007 fl, ob, cl, hn, bnVerbraeken, Carl voorbetovering, klaveren 2007 fl, ob, cl, hn, bnVerbraeken, Carl voorbetovering, ruiten 2007 fl, ob, cl, hn, bnVerbraeken, Carl voorbetovering, schoppen 2007 fl, ob, cl, hn, bnVerbraeken, Carl Vrouw Holle’s zang 2007 fl, hp/pf / 2 fl, hpVerbraeken, Carl Aanvang 2008 ob, pfVerbraeken, Carl Klankzang nr. 2 2008 picc/rec, pfVerbraeken, Carl Naar nieuwe verten 2008 hn/trb, pfVerbraeken, Carl Naverwerking 2008 vlc, pfVerbraeken, Carl Schemering 2008 sax, pfVerbraeken, Carl Vastberadenheid 2008 trb, pfVerbraeken, Carl Vrolijke feestzang 2008 cl/bn, pfVerbraeken, Carl Vrunte-wals 2008 vl/vla, pfVerbraeken, Carl Wiegelied nr. 6 2008 3 clVerbraeken, Carl Bezorgdheid 2009 vlc, pfVerbraeken, Carl De dansende bosgeest 2009 db, pfVerbraeken, Carl De Oude waarzegster 2009 cl/ehn/acl, pfVerbraeken, Carl De Tovereik 2009 picc, pfVerbraeken, Carl Edele voortschrijding 2009 hn/trb, pfVerbraeken, Carl Eerbetoon 2009 vl/vla/vlc, pfVerbraeken, Carl Landelijk bloementafereeltje 2009 fl/cl, pfVerbraeken, Carl Lied uit een hoekje 2009 sax, pfVerbraeken, Carl Oud verhaal 2009 vl/vla, pfVerbraeken, Carl Schoonzicht 2009 hn/trb, pfVerbraeken, Carl Wat de molenaar zei 2009 ob/vla, pfVerbraeken, Carl Frustratie 2010 fl, cl, pfVerbraeken, Carl Springstuk 1979-2004 ob, pf / ob, cl, bn / cl, perc, dbVerbraeken, Carl Blaaskwintet 4 1983-2004 fl, ob, cl, hn, bnVerbraeken, Carl De treurende elfjes 1983-2004 4 trp / vla, pf

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COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Verbraeken, Carl Poema 1984-2002 vl, pfVerbraeken, Carl Ruyterlied nr. 1, 7 & 16 1984-2002 bn, pfVerbraeken, Carl Ruyterlied nr. 1 1984-2002 hn, pf / 2 pfVerbraeken, Carl Ruyterlied nrs. 1, 2, 5 & 14 1984-2002 cl, pfVerbraeken, Carl Herdenking 3 1984-2007 vlc, pfVerbraeken, Carl Afscheid 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl Aria 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl De lichtgevende draaitol 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl De Toren 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl De trein aan het water 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl Gondeltrein 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl Haastige mensen 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl Springdans 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl Stapliedje 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hpVerbraeken, Carl Tweezang 1984-2008 fl/cl/vl, pf / hp, pf / fl, vla, pf / ob, vl, pf / 2 fl, hp / vla, vlcVerbraeken, Carl Ruyterlied nrs. 1, 2, 5, 6, 8 - 22 1984-2009 vl, pfVerbraeken, Carl Capriccio 1985-1999 2 trpVerbraeken, Carl Intermezzo 1985-1999 2 trpVerbraeken, Carl Stilleven 1985-1999 2 trpVerbraeken, Carl Uitbreiding 1985-1999 2 trpVerbraeken, Carl Verschuivinkje 1985-1999 2 trpVerbraeken, Carl Wildstuk 1985-1999 2 trpVerbraeken, Carl Mystieke schets 1985-2002 vl, pfVerbraeken, Carl De verdwaalde kabouter 4 1985-2007 fl/ob/cl/sax/rec, pfVerbraeken, Carl Ruyterlied nrs. 2 & 6 1986-2002 fl, pfVerbraeken, Carl Adagio ma non troppo 1986-2004 vl, vla, vlc, pf / 2 vl, vla, vlc, pfVerbraeken, Carl Concerto 1986-2004 2 pfVerbraeken, Carl Gematigd 1986-2004 4 percVerbraeken, Carl Introduzione e tema con variazioni 1986-2004 vl, vla, vlc, pf / 2 vl, vla, vlc, pfVerbraeken, Carl Levendig 1986-2004 4 percVerbraeken, Carl Moderato 1986-2004 vl, vla, vlc, pf / 2 vl, vla, vlc, pfVerbraeken, Carl Snel 1986-2004 4 percVerbraeken, Carl Traag 1986-2004 4 percVerbraeken, Carl Vivo 1986-2004 vl, vla, vlc, pf / 2 vl, vla, vlc, pf / 3 vla, vlc

143142

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Verbraeken, Carl Vlot en vrolijk 1986-2004 4 percVerbraeken, Carl Ruyterlied nrs. 1, 2, 3, 3bis, 4, 5, 7, 8, 12, 14 & 16 1987-2006 vlc, pfVerbraeken, Carl Ruyterlied nr. 4 1989-2002 ob, pfVerbraeken, Carl De Waterelf 1992-2002 vl/cl, pfVerbraeken, Carl Ogenblik nr. 1 1994-2004 fl/vl, pfVerbraeken, Carl Nachtlied 1994-2007 vla/vlc, pfVerbraeken, Carl Kleine droefenis 1994-2008 vl/vla/vlc, pfVerbraeken, Carl Treurzang nr. 9 1994-2008 vl/vla/vlc/db, pfVerbraeken, Carl Bergroep 1995-1999 hn, trbVerbraeken, Carl Lokroep 1995-1999 fl, vlcVerbraeken, Carl Ruimtezucht 1995-2002 fl, pfVerbraeken, Carl Zotte tweezang 1995-2002 cl, bnVerbraeken, Carl Schildering 1995-2006 hn, pfVerbraeken, Carl Waardigheid 1995-2009 fl, cl/vl, pf / 2 fl, hp / fl, vl, vlc, pfVerbraeken, Carl Verbeelding nrs. 2, 3, 6 & 16 1996-2002 fl, pfVerbraeken, Carl Verbeelding nr. 1, 4, 11, 12, 15 & 20 1996-2002 bn, pfVerbraeken, Carl Onrust nr. 1 1997-2000 3 vlaVerbraeken, Carl Verbeelding nrs. 5, 8, 14 & 23 1997-2002 vlc, pfVerbraeken, Carl Huppelstuk nrs. 1 & 3 1997-2008 vl, pfVerbraeken, Carl Gloed 1997-2009 fl, vl, gtrVerbraeken, Carl Zoetblad nrs. 2 & 3 1998-1999 2 gtrVerbraeken, Carl Berusting 1998-2002 fl, pfVerbraeken, Carl Verbeelding nr. 11 1998-2002 ob, pfVerbraeken, Carl Zoetblad nr. 2 1998-2002 fl, gtrVerbraeken, Carl Innige vreugde versie in a, versie in g 1998-2004 fl/cl, pf / fl, bn, hpVerbraeken, Carl Vensterlied 1998-2004 fl, gtr / gtr, pfVerbraeken, Carl Verbeelding nr. 7 & 13 1998-2004 cl, pfVerbraeken, Carl Droefenis 1999-2002 fl/vl, pfVerbraeken, Carl Verbeelding nr. 10 1999-2002 hn, pfVerbraeken, Carl Wiegelied nr. 1 1999-2002 fl/vl, pfVerbraeken, Carl Zomerwandeling 1999-2002 cl, bn / fl/cl, pf / fl, gtrVerbraeken, Carl Elegie nrs. 1 & 2 1999-2006 fl/vl/vla, pfVerbraeken, Carl Oproep 1999-2008 trp, pfVerbraeken, Carl Dartelheid 3 2000-2002 fl, pfVerbraeken, Carl Sprookje 2000-2002 vlc/db, pfVerbraeken, Carl Treurzang nr. 9 2000-2002 cl/sax/bn, pf / vl, vlc, orgVerbraeken, Carl Verbeelding nr. 22 2000-2002 bugel, pfVerbraeken, Carl Bedenksel 2001-2002 db, pfVerbraeken, Carl Ontmoeting nr. 1 2001-2002 bn, pfVerbraeken, Carl Opgetogen 2001-2002 fl, pfVerbraeken, Carl Vatting 2001-2002 fl/cl, pfVerbraeken, Carl Verlangen 2001-2002 vlc, pfVerbraeken, Carl Allegro 2001-2008 vl, vlc, pfVerbraeken, Carl Andante 2001-2008 vl, vlc, pfVerbraeken, Carl Kegelaar 2001-2008 vl, vlc, pf

145144

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Verbraeken, Carl Prestissimo 2001-2008 vl, vlc, pfVerbraeken, Carl Loslating 2002-2004 vlc/db, pfVerbraeken, Carl Toelichting 2002-2004 trp, pfVerbraeken, Carl Ruyterlied nrs. 1, 7, 9, 13, 21 & 22 2002-2009 vla, pfVerbraeken, Carl Aankondiging nr. 2 2003-2004 trp, pfVerbraeken, Carl Beschrijving nrs. 1 & 2 2004-2005 trb, pfVerbraeken, Carl Vaarlied 2004-2007 fl, pf / 2 fl, hpVerbraeken, Carl Beschrijving 2004-2008 hn/vla/vlc/db, pfVerbraeken, Carl Verbinding 2004-2010 fl, pf / sax, db / cl, vlc, pfVerbraeken, Carl Samenwerking 2005-2007 db, pfVerbraeken, Carl Wandeling 2005-2007 hn/ahn/trp, pfVerbraeken, Carl Zorgoosheid 2005-2007 bn, pfVerbraeken, Carl Zorglijkheid nr. 4 2005-2009 vl, pfVerbraeken, Carl De gedreven ijshaai 2006-2007 vl, pfVerbraeken, Carl Nevels 2006-2007 sax, pfVerbraeken, Carl Omschrijding 2006-2007 fl, gtr/hpsdVerbraeken, Carl Opgang 2006-2007 fl, pfVerbraeken, Carl Vertelling nr. 6 2006-2007 ob, pfVerbraeken, Carl Vooruitzicht 2006-2007 bcl, pfVerbraeken, Carl Waakzaamheid 2006-2007 bfl/hn, pfVerbraeken, Carl Begeleiding 2006-2008 bn, pfVerbraeken, Carl De vrolijke herder 2006-2008 2 recVerbraeken, Carl Gelukwens 2006-2008 cornet/trp, pfVerbraeken, Carl Hulde 2006-2008 trb, pfVerbraeken, Carl klaaglied 2006-2008 vlc, pfVerbraeken, Carl Muisjesmars 2006-2008 trp, pfVerbraeken, Carl Oud vensterlied 2006-2008 2 tbVerbraeken, Carl Oude smart 2006-2008 cl, acl, bcl, pfVerbraeken, Carl Verhaaltjes 2006-2008 vla, pfVerbraeken, Carl Voorzichtigheid 2006-2008 fl/cl, pfVerbraeken, Carl Speelsheid 2006-2009 fl/bn, pf Verbraeken, Carl Stommelings 2007-2008 bn, pfVerbraeken, Carl Verkwikking 2007-2008 db, pfVerbraeken, Carl Oud-Belgische dans 2007-2009 fl/cl/vl/vla/vlc, pf / cl quartetVerbraeken, Carl Wiegelied nr. 4 - Duifjes wiegelied 2007-2009 fl/vl, pfVerbraeken, Carl Speelsheid nr. 4 2007-2010 bn, pfVerbraeken, Carl Lentehnuppels 2008-2009 picc/fl, pfVerbraeken, Carl Loutering 2008-2009 picc/ob, pfVerbraeken, Carl Gemoedelijkheid 2009-2010 bn, pf Verhaegen, Marc Interludes 1975 vlc, pf 12’ Lantro Music Verhaegen, Marc Ballade voor viool en piano 1975 vl, pf Maurer Verhaegen, Marc Trio 1981 vl, vlc, pf 15’ Lantro Music Verhaegen, Marc Entrada en allegro for alto oboe or alto saxophone 1984 ehn/sax, pf 9’45” Lantro Music and piano

147146

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Verhaegen, Marc Trio 1985 cl, vl, pf 16’ Lantro Music Verhaegen, Marc Reminiscencias 1989 fl, ob, cl, hn, bn 12’ Lantro Music Verhaegen, Marc Capriccio 1992 cl, pf 8’ Lantro Music Verhaegen, Marc Quintet 1994 ob, 2 vl, vla, vlc 9’ Lantro Music Verhaegen, Marc Six predicaments 1996 trp, pf Verhaegen, Marc Gavotte 1998 vlc, pf Lantro Music Verhaegen, Marc Humoresque 1998 vl, pf Lantro Music Verhaegen, Marc Three ballads 1998 vlc, pf Lantro Music Verhaegen, Marc Variations on a theme of Brahms 1998 vlc, pf Lantro Music Verhaegen, Marc Vertelling 2001 ob, pf Lantro Music Vermeulen, Hans Sonate voor viool en piano 1985 vl, pf 10’15” Jeugd & Muziek JM 5539 B Vermote, Petra Tombe 1987 vla, vlc 5’35” Vermote, Petra Gebroken Wit 1996 (a)fl (+ picc), (b)cl, vlc 20’ Vermote, Petra Das Innere 3 1998 vl, cl, pf 10’ Vermote, Petra Pas de Deux 1999 vl, vla 10’ Vermote, Petra Sjrill 1999 rec quartet 12’ Vermote, Petra Conchiglia 2002 nat hn, rec 4’ Vermote, Petra Dark Blue Mine naar 5 gedichten van F.G.Lorca 2003 fl, 2vl, vla, vlc 7’22” Vermote, Petra Footnote to Mz naar een onafgewerkt muzikaal 2006 cl, 2vl, vla, vlc 12’ fragment van W.A.MozartVermote, Petra CINQUARTI 3 2010 4 gtr 10’ Verstockt, Serge DMAP 1991 ob, cl, 2 pf, perc Verstockt, Serge Noumena I 1994 vlc, pf Verstraeten, Bart Zweefvlucht 1 2002 fl, cl, pf 4’ Verstraeten, Bart Entr’acte 1 2003 ob, cl, bn 2’30” Verstraeten, Bart Alla Zingarese 1 2005 vl, vlc, pf 4’56” KlaraVerstraeten, Bart Blaaskwintet (these - anti-these - synthese) 3 2005 fl, ob, cl, bn 6’ Verstraeten, Bart Trio voor snaredrums 1 2007 3 sn-d 5’ Verstraeten, Bart Trio voor fluit, altviool en gtraar 3 2008 fl, vla, gtr 8’ Wauters, Christian-Adolphe Pavane, Antienne & Tombeau 1981 ob, cl, bn Wauters, Christian-Adolphe Wie die zarten Blüten im Winter 1988 hn, vl, pf Wauters, Christian-Adolphe Aforismo misterioso 2000 vla, vlc 1’40” CC Sint-Niklaas CCSN.01Wauters, Christian-Adolphe L’Anno delle Tredici Lune 2000 4 trp 3’45” Flanders Trumpet Quartet FTQ 001Wauters, Christian-Adolphe Kadish 2000 trb, pf Wauters, Christian-Adolphe Légendes Mosanes 2000 vl, vla, vlc Wauters, Christian-Adolphe Partita Hasteriana 2000 fl, pf Wauters, Christian-Adolphe Sonata per violino Sonara amara 2000 vl, pf Welffens, Peter Kaleidoscoop 1982 ob, pf 11’ CeBeDeM Westerlinck, Wilfried Klarinetten kwartet 3 1966 cl quartet 5’ Westerlinck, Wilfried Epigrammen voor strijktrio 4 1968 vl, vla, vlc 4’ CeBeDeM Westerlinck, Wilfried Luchtige Etuden voor een zomerwerk voor blaaskwartet 3 1970 fl, ob, cl, bn 6’ Metropolis Westerlinck, Wilfried Goezu - Aubade rond het thema paard, 1 1976 cl, 2 perc 5’ vogel en vrouw Westerlinck, Wilfried Aria Encuentro con la Virgen 2010 vl, vcl 4’10” CeBeDeM

149148

COMPOSER TITLE SUBTITLE(S) MOVEMENTS OPUS YEAR INSTRUMENTATION DURATION PUBLICATION RECORDING

Westerlinck, Wilfried Partita voor houtblazerstrio 4 1964, ob, cl, bn 6’ Metropolis rev. 2008Westerlinck, Wilfried Bicinium 4 1970, vla, vlc 14’ CeBeDeM rev. 2007Westerlinck, Wilfried Vier stukken voor klarinet en harp 4 2007-2009 cl, hp 15’ Westerlinck,Wilfried Landschappen I voor blaaskwintet 1 1977 fl, ob, cl, hn, bn 9’ CeBeDeM Westerlinck,Wilfried Landschappen III voor koperkwintet 1 1980 2 trp, hn, trb, tb 7’30” CeBeDeM Westerlinck,Wilfried Landschappen IV voor fluit,harp en strijktrio 1 1981 fl, hp, vl, vla, vlc 10’10” CeBeDeM Phaedra CD 92012 Westerlinck,Wilfried Drie Koraal-fanfares voor koperkwintet 3 1983 2 trp, hn, trb, tb 4’20” CeBeDeM Westerlinck,Wilfried Van Heinde en Verre voor basklarinet en mba 1 1990 bcl, mba 15’ Metropolis Phaedra CD 292005 Westerlinck,Wilfried Scarpette d’Italia voor hobo, oboe d’amore, 3 1992 ob, ob d’am, ehn, gtr 12’ althobo en gtraarWesterlinck,Wilfried Facing the Kasuga shrine voor altklarinet solo en percussie 1 1997 acl, prec 12’ Metropolis Westerlinck,Wilfried Pierrot hulde aan Albert Giraud 7 1999 cl,acl, bcl 12’ Metropolis Phaedra CD 92020 Westerlinck,Wilfried Berceuse van Tanchelijn 1 2002 vl, hn, pf 8’ Westerlinck,Wilfried Minneliederen voor twee harpen 1 2003 2 hp 8’ Westerlinck,Wilfried Chanson de l’olifan voor hoorn-choir 1 2007 5+ hn 3’40” Westerlinck,Wilfried Review voor twee piano’s 7 1970-1991 2 pf 28’ CeBeDeM Westerlinck,Wilfried Pessoa - Aubade voor twee fluiten en percussie 2 2003 fl, afl, perc 6’ rev. 2010

151150

LIST OF PUBLISHERS AND RECORD COMPANIES

PUBLISHERS

Andel EditionKlaprozenlaan 30, B-8400 Oostende (Belgium)tel +32 (0)59 70 32 22 - fax +32 (0)59 70 83 50info@andelmusic.be - www.andelmusic.be

Ascolta Music PublishingLupineoord 39, NL-3992 KK Houten (The Netherlands)tel +31 (0)30 637 42 37

Beriato Music - Kameleon EditionsMontfortstraat 1, B-2550 Kontich (Belgium)tel +32 (0)3 888 49 89 - fax +32 (0)3 888 62 16info@kameleon-editions.com - www.beriato.com

BeurskensOude Pastoriestraat 34, NL-5993 XX Maasbree (The Netherlands)tel + 31 (0)77 465 19 07 - fax +31 (0)77 465 38 83 contact@percussionbeurskens.com - percussionbeurskens.com

Billaudot14 rue de l’Échiquier, 75010 Paris (France) tel +33 (0)1 47 70 14 46 - fax +33 (0)1 45 23 22 54vente@billaudot.com - billaudot.com

CeBeDeMHavenlaan 86c bus 214, B-1000 Brussels (Belgium)tel +32 (0)2 230 94 30 - fax tel +32 (0)2 230 94 37info@cebedem.be - www.cebedem.be

Chantraine / Butz VerlagSiegburger Straße 73, D-53229 Bonn (Germany)tel +49 (0)228 946 949 24 - fax +49 (0) 228-946 949 25email@butz-verlag.de - www.butz-verlag.de

De HaskeBusinesspark Friesland-West 15, NL-8466 SL Heerenveen (The Netherlands)tel +32 (0)513 65 30 53 - fax +31 (0)513 65 32 91music@dehaske.com - www.dehaske.com

De Monte Korenmarkt 14, B-2800 Mechelen (Belgium)tel +32 (0)15 33 12 15 - fax +31 (0)15 33 12 18info@demonte.be - www.demonte.be

Digital Music PrintDe Waghemakerestraat 14, B-2060 Antwerpen (Belgium)tel +32 (0)3 232 21 51 - fax +32 (0)3 226 96 97master@dmp.be - www.dmp.be

Dom Gorokhov PublishingLange Varenweg 12, B-9031 Drongen (Belgium)tel +32 (0)9 227 53 58 - fax +32 (0)9 227 05 98info@dom-gorokhov.com - users.telenet.be/domgorokhov

EDS Bertem see Zodiac Editions

Eschig (Durand-Salabert-Eschig) (Universal Music Publishing Group)16 rue des Fossés Saint-Jacques - 75005 Paris (France)tel +33 (0)1 44 41 50 90 - fax +33 (0)1 44 41 50 91www.salabert.fr

EuprintParkbosstraat 3, B-3001 Heverlee (Belgium)tel +32 (0)16 40 40 49 - fax +32 (0)16 40 70 49info@euprint.be - www.euprint.be

Gobelin Music PublicationsHoofdweg 156, NL-9341 BM Veenhuizen (The Netherlands)tel: + 31 (0) 592 30 41 40 - fax: + 31 (0) 592 30 41 41info@gobelinmusic.com - www.gobelin.nl

Golden River MusicKorte Haagstraat 13, B-9200 Dendermonde (Belgium)tel +32 (0)52 22 11 87 - fax +32 (0)52 22 11 87goldenrivermusic@skynet.be - www.goldenrivermusic.be

Heinrichshofens VerlagLiebigstraße 16, D-26389 Wilhelmshaven (Germany)tel +49 (0) 4421 9267 0 - fax +49 (0) 4421 9267 99www.heinrichshofen.de

HRDSCR EditionsJakob Heremansstraat 74, B-9000 Gent (Belgium)tel +32 (0)9 220 87 53info@hardscore.be - www.hardscore.be

IPEM (Ghent University, IPEM - Dept. of Musicology)Blandijnberg 2, B-9000 Gent (Belgium) tel +32 (0)9 264 41 26 - fax +32 (0)9 264 41 43www.ipem.ugent.be

153152

Lantro Music Beigemsesteenweg 8, B-1850 Grimbergen (Belgium)tel & fax +32 (0)2 270 43 13 info@lantromusic.be - www.lantromusic.be

Leduc (Éditions Musicales Alphonse Leduc)175 rue Saint-Honoré - 75040 Paris cedex 01 (France)tel +33 (0)1 42 96 89 11 - fax +33 (0)1 42 86www.alphonseleduc.com

MaurerWatermanlaan 7 - B-1200 Brussels (Sint-Lambrechts-Woluwe) (Belgium)tel + 32 2 770 93 39maurermusic@hotmail.com

Metropolis Music PublishersKloosterstraat 2, B-2870 Ruisbroek-Puurs (Belgium ) tel +32 (0)486 20 88 42 - fax +32 3 400 50 15 office@metropolis-music.com - www.metropolis-music.be

Mosaic Music1644 North Honore, Suite 302, Chicago, IL 60622 (USA)www.mosaicmusic.com

Musica AppassionataPostbus 44, B-3200 Aarschot (Belgium)

P.J.Tonger MusikverlagHaid-und-Neu-Straße 18, 76131 Karlsruhe (Germany)tel + 49 (0)721-62 68 56 6info@tonger.de - www.tonger.de

Scherzandosee De Haske

Schott MusicWeihergarten 5, 55116 Mainz (Germany)tel +49 (0)6131 246-0 - fax +49 (0)6131 246-211info@schott-music.com - www.schott-muisc.com

T. Huesgen (Grenzland Verlag)Hauptstraße 6, D-52066 Aachen (Germany)tel +49 (0)241 601631 - fax +49 (0)241 607595theo.huesgen@online.de - www.grenzland-verlag.de

YangNow: nY - tijdschrift voor literatuur, kritiek en amusementny-web.be

Tonos Music Lange Straße 89a, 76530 Baden-Baden (Germany)tel +49 (0)7221 97370-0 - fax +49 (0)7221 97370-27 mail@tonosmusic.com - tonosmusic.com

Uitgeverij Musicerende Jeugdsee Euprint

VDCV AntwerpenAbsorbed by DanskantEd. Robeynslaan 29 A, B-3290 Diest (Belgium)tel +32 (0)13 32 76 13 - fax +32 (0)13 32 76 13info@danskant.be - www.danskant.be

Vogt & FritzAlbstrasse 59, 76275 Ettlingen (Germany)tel +49 (0)7243 332280 - fax +49 (0)7243 332281info@edition49.de - www.vogtundfritz.de

Zodiac Editionsinfo@zodiaceditions.eu - zodiaceditions.eu

RECORD COMPANIES

Aeolus Tonträger Postfach 300 226, D-41343 Korschenbroich (Germany) tel +49 (0) 2131 3672804 - fax +49 (0) 2131 3671062 mail@aeolus-music.com - www.aeolus-music.com

Alpha DBMThis label does no longer exist

ATMA Classique400 Avenue Atlantic, Suite 702, Montreal (Quebec) H2V 1A5 Canada info@atmaclassique.com - www.atmaclassique.com

Beaux Arts Brass Quintet p/a Gunter CarlierSint-Leonarduslaan 15A, B-1654 Huizingen (Belgium)tel +32 (0)2 356 28 72

Bella Musica Edition Eisenbahnstrasse 30, 77815 Bühl (Germany)tel +49 (0) 7223 808 35 60 - fax +49 (0) 7223 808 35 69bella-musica@bella-musica-edition.de - www.bella-musica-edition.de

155154

Carbon 7 Froissartstraat 85, B-1040 Brussel (Etterbeek) (Belgium)+32 (0)2 242 97 03 - fax +32 (0)2 245 38 85info@carbon-7.com - www.carbon-7.com

Cassa Nova ProductionsAmerikalei 172, B-2000 Antwerpen (Belgium)

CC Sint-NiklaasGrote Markt 1, B-9100 Sint-Niklaas (Belgium)tel +32 (0)3 760 91 50 52 53 - fax +32 (0)3 766 08 82cultuurcentrum@sint-niklaas.be - www.ccsint-niklaas.be

Paul Klinck Productionspaulklinck@hotmail.com

Conservatorium Antwerpen Artesis Hogeschool AntwerpenDesguinlei 25, B-2018 Antwerpen (Belgium)tel +32 (0)3 244 18 00 - fax + 32 (0)3 238 90 17conservatorium@artesis.be - www.artesis.be/conservatorium

Vlaams Ministerie van CultuurKunsten en ErfgoedArenbergstraat 9, B-1000 Brussel (Belgium)tel + 32 (0)2 553 68 42www.kunstenenerfgoed.be

Cyprès Rue d’Alost, 7 (Centre Dansaert), B-1000 Brussel (Belgium) tel +32 (0)2 213 36 65 - fax +32 (0)2 213 36 01 info@cypres-records.com - www.cypres-records.com

De HaskeBusinesspark Friesland-West 15, NL-8466 SL Heerenveen (The Netherlands)tel +32 (0)513 65 30 53 - fax +31 (0)513 65 32 91music@dehaske.com - www.dehaske.com

Digi Classics tel & fax +32 (0)9 233 31 33

EMI Music BelgiumPlace Jamblinne de Meux Plein 27, B-1030 Brussel (Belgium)tel +32 (0)2 702 24 11- fax +32 (0)2 702 24 00info@emimusic.be - www.emimusic.be

Etcetera Records Prinsengracht 17, 1015 DK Amsterdam (The Netherlands) tel +31 (0)20 61 29 724 - fax +31 (0)20 68 94 405

info@etcetera-records.com - etcetera-records.comFlanders Recorder Quartetwww.flanders-recorder-quartet.be

Flanders Trumpet QuartetWestvaartdijk 318, B-1851 Humbeek (Grimbergen) (Belgium)tel +32 (0)2 269 27 97 - fax +32 (0)2 269 27 97isabelle_vleminckx@skynet.be -

Fuga Libera Eikstraat 27, B-1000 Brussel (Belgium)tel + 32 (0)2 373 82 00info@fugalibera.com - www.fugalibera.com

Galaxy Studios Kievitstraat 42, B-2400 Mol (Belgium)tel + 32 (0)14 31 43 43 - fax+ 32 (0)14 32 12 24galaxy@galaxy.be - www.galaxy.be

Goeyvaerts TrioNieuwstraat 39, B-9100 Sint-Niklaastel +32 (0)3 296 43 89info@stringtrio.net - www.stringtrio.net

Grupetto Bergstraat 20, B-9660 Brakel (Belgium)tel & fax +32 (0)55 42 76 50 info@grupetto.be - www.grupetto.be

Hänssler ClassicIndustriegebiet Buch/Sol D , 71088 Holzgerlingen (Germany)tel +49 (0)70 31 74 140 www.haenssler-classic.de

I CherubiniThis label no longer existsContact: Jurgen De bruyn - jurgen@zefirotorna.be

I Solisti del VentoJan Van Rijswijcklaan 155, B-2018 Antwerpen (Belgium)tel +32 (0)3 241 01 34 www.isolistidelvento.be

Jeugd & Muziek Baron Hortastraat 13, B-1000 Brussel (Belgium) fax +32 (0)2 507 84 37www.jeugdenmuziek.be

157156

Kokopelli projectsPeerstraat 10, B-9000 Gent (Belgium)tel +32 (0)9 234 25 30info@kokopelliprojects.be - www.kokopelliprojects.be

Logos Public DomainKongostraat 35, B-9000 Gent (Belgium)tel +32 (0)9 223 80 89info@logosfoundation.org - www.logosfoundation.org

MegadiscLange Varenweg 12, B-9031 Drongen (Belgium)Tel +32 (0)9 227 53 58 - fax +32 (0)9 227 05 98mail@megadisc.be - www.megadisc.be

Molenaar EditionIndustrieweg 23, NL-1521 ND Wormerveer (The Netherlands)tel + 31 (0)75 6286859 - fax + 31 (0)756214991office@molenaar.com - www.molenaar.com

MSR ClassicsNewtown, Connecticut 06470 (USA)info@msrcd.com - www.msrcd.com

Muziekarchief Muizelhuisconcerten / MUPROMuizelhof 50, B-8531 Bavikhove (Belgium)tel + 32 (0)56 66 94 33 - fax+ 32 (0)56 44 34 80muizelhuiskoncerten@pandora.be

November MusicBoschdijkstraat 45, 5211 VD ’s-Hertogenbosch (The Netherlands)tel +31 (0)73 6122000info@novembermusic.net - www.novembermusic.net

Passacaille Termeeren 2, B-1500 Halle (Belgium)tel +32 (0)475 351490 - fax +32 (0)2 706 23 30info@passacaille.be - www.passacaille.be

PavaneDivision of La Boîte à Musique SACoudenberg 74, B-1000 Brussel (Belgium)tel +32 (0)2 513 09 65 - fax +32 (0)2 514 21 94www.pavane.com

Phaedra Donkerstraat 51, B-9120 Beveren (Belgium)info@phaedracd.com - www.phaedracd.com

Stichting KunstboekLegeweg 165, B-8020 Oostkamp (Belgium) tel +32 (0)50 46 19 10 - fax 32 (0)50 46 19 18info@stichtingkunstboek.com - www.stichtingkunstboek.com

Rode PompTussen ‘t Pas 3, B-9000 Gent (Belgium)tel +32 (0) 9 223 82 89 - fax +32 (0) 9 233 35 80rodepomp@telenet.be - www.rodepomp.be

René Gailly This label does no longer exist.Stock: Flanders Music CentreSteenstraat 25, B-1000 Brussel (Belgium)tel + 32 (0)2 504 90 90 - faxv+ 32 (0)2 502 81 03 info@muziekcentrum.be - www.muziekcentrum.be

TerpsichoreSee René Gailly

ThelemaProvenierstersstraat 2 E, B-9000 Gent (Belgium)tel +32 (0)494 08 67 75arcana@thelematrio.com - thelematrio.com

TRANSITBrusselsestraat 63, B-3000 Leuven (Belgium)tel +32 (0)16 20 05 40 - fax +32 (0)16 20 52 24info@festivalvlaamsbrabant.be - www.festivalvlaamsbrabant.be

VRT / Radio 3 / BRT / KlaraAudio ArchiveA. Reyerslaan 52, B-1043 Brussel (Belgium)chris.steyaert@vrt.be

Walpurgis Deurneleitje 6, B-2640 Mortsel (Belgium)tel +32 (0)3 235 66 62 - fax +32 (0)3 272 33 82info@walpurgis.be - www.walpurgis.be

159158

TRACK LIST CD

1-3. Dirk Blockeel [02:11] [3:05] [2:09] Ein Ring für Rainer Maria Rilke - Lied 6, 7 & 9Jan Wauters (oboe), Isabelle Brys (violoncello), Bart Bouckaert (percussion)℗ VRT

4. Roland Coryn [04:18]Trio for woodwind -IV. Allegro vivo Yf Bourry (oboe), Geert Baeckelandt (clarinet), Bart Snauwaert (bassoon)℗ VRT

5. Jean Louel [07:49]Sonata for violin and piano - I. Andante quasi adagio - Allegro moltoMaurice Raskin (violin), Jean Louel (piano)℗ VRT

6. Frederik Neyrinck [06:59]Landscape Construction IBertel Schollaert (saxophone), Frederik Neyrinck (piano)℗ Frederik Neyrinck

7. Eric Sleichim [13:03]Unter den Hämmern Marcus Weiss (saxophone), Yukiko Sugawara (piano)℗ Eric Sleichim / Marcus Weiss / Yukiko Sugawara

8. Thomas Smetryns [08:12]La Création d’un MondeThomas Smetryns (electric guitar), Heleen Van Haegenborgh (piano) ℗ Logos Public Domain

9. Piet Swerts [04:13]Mi-Parti -I. (no title)Arco Baleno℗ René Gailly Productions

10. Jan Van Landeghem [05:53]Sanpaku - 1. ZenFlanders Recorder Quartet℗ Flanders Recorder Quartet

11. Annelies Van Parys [07:25]Phrases VEnsemble de la SMCQ & Louise Besette (piano), cond. Walter Boudreau℗ ATMA Classique

12. Wilfried Westerlinck [09:22]Landschappen IVArpae ensemble℗ VRT

Total time: [76:23]

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