Music ChapelA unique experience

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Main Sponsor

Music Chapel59 young artists in residence22 different nationalities

6 Masters in residence

Artemis Quartet, chamber musicJosé van Dam, voice

Chair granted by an anonymous donor

Augustin Dumay, violinChair granted by InBev-Baillet Latour

Gary Hoffman, celloMaria João Pires, piano

Chair granted by Fondation Futur21

Miguel da Silva, viola & chamber music

Co-sponsors

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Under the Honorary Chairmanship of Her Majesty Queen Paola

Music and the training of young people mean a lot to me, and I am delighted to see them here at the Queen Elisabeth Music Chapel. My dearest wish is that the level of excellence of the Music Chapel will help young talents to give their best and to create an international musical elite, beyond borders and cultures.

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Miguel da Silva, viola & chamber musicMaria João Pires, piano

Gary Hoffman, celloAugustin Dumay, violin

José van Dam, voice

Artemis Quartet, chamber music

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Enter the Laboratory!

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A Queen’s project

Inaugurated on 12 July 1939, the Queen Elisabeth Mu-sic Chapel provides high-level training to exceptional young talents. A training center of excellence with an international scope and reputation, its curriculum is reserved for outstanding musicians (the musical elite of tomorrow) in the disciplines of piano, violin, cello, viola, chamber music and voice. At the time of its crea-tion already, the renowned critic Emile Vuillermoz de-scribed the Music Chapel as a sort of “modern Villa Medici”.

An artistic project at the origin of the Music Chapel

Openness, flexibility and excellenceAn overhaul of the contents in 2004

Sixty-five years after the inauguration, the Music Chap-el set about reorganizing thoroughly its training and professional insertion program. The artistic training now rests on three pillars:

• Openness: although anchored in the Belgian land- scape, the Music Chapel has an international voca- tion;

• Flexibility: the Music Chapel seeks to adapt itself to each young artist’s profile by providing him or her with a tailor-made program (variable cycles);

• Excellence: the Masters in Residence – currently José van Dam, Miguel da Silva, Augustin Dumay, Maria João Pires, Gary Hoffman and the Artemis Quartet – and their guests (Frank Braley, Hervé Niquet, Christopher Warren-Green, Dietrich Henschel, Christian Arming, Gérard Caussé, Abdel Rahman El Bacha, Alain Garichot, Helmut Deutsch, June Anderson, Dmitri Bashkirov, Jean-Jacques Kantorow, and more) bear witness to the impor- tance of knowledge transmission from one genera- tion to the next.

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José van Dam & Diana GouglinaAugustin Dumay & Deborah Pae

Maria João Pires & Julien Brocal

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Transmission

Knowledge transmission has always existed. It is the most efficient way to pass on skills from one genera-tion to another. The twentieth century and modern life have in some ways changed the manner of organizing and experiencing knowledge transmission in the West-ern world. Today, how can we recover this true and genuine way of transmitting art, in particular music and its traditions, such as happened in previous centuries? And how can we at the same time be creative and live in our modern world and embrace its new complexity?

Queen Elisabeth Music Chapel is a laboratory where the artists in residence experience, every day, transmis-sion issues. Musicians of all ages, young talents, asso-ciated artists and experienced masters have to work in a spirit of knowledge transmission. Through concrete examples and testimonials from masters, the Music Chapel today is certainly one of the most interesting projects active in that field. Around the world, explicit knowledge is knowledge that has been codified. It is an operating procedure, a model, a written expression that is transmissible without the experience of a third person …

Tacit knowledge, by contrast, is knowledge that is comparable to know-how and has not necessarily been codified. It is the result of experience. It is this knowl-edge and the manner of its transmission that interest the Music Chapel. It is what often implies the notion of knowledge transmission specific to guilds.

The Music Chapel makes it possible for all to work in a spirit of knowledge transmission favorable to the

development and expression of each artist with rigor and sensitivity in order to help forge new generations of musicians and their audience. Rooted in its Belgian setting, the Music Chapel is pursuing its international vocation!

The founder of the Music Chapel, Eugène Ysaÿe (1858–1931), who was a leading personality of the Belgian violin school and who died just a few years before the creation of the Music Training Center (1939), had very clear ambitions, which are still topical:

• To prioritize long-term considerations which would enable young musicians to gain some sound know- ledge.

• At the same time, to encourage the development of a truly independent personality.

• And to prioritize comprehensive training to give musicians the general practice they so often lack.

In 2015, here are some thoughts from our masters about transmission…

One thing we can say about music is that we can do our best to grasp it and teach it, but there will always be one thing missing this way – grace – the unexpected miracle which gives music its true worth. Transmission is not only aesthetic, but ethical: music, like all art, is part of the mystery that shapes humans. Maria João Pires

We, the “elders”, have had the privilege of knowing, working with, and learning from prominent artists that

our students will never know and that are, however, at the basis of their learning and the foundations of their future. José van Dam

Find the necessary balance between the respect due to a work and the development of a personal interpreta-tion … There is a wonderful space of freedom available to us when we approach a work. One must in a sense impose a way of thinking but without imposing its end. Augustin Dumay

Music is a language which doesn’t require words, and thankfully so. There are thoughts and emotions that even leave words insufficient. The human element in the life of our beloved art which is music cannot be minimized. Teachers and performers are both pioneers and caretakers, and this must always be so. Gary Hoffman

Beyond their knowledge of tradition and solid crafts-manship, each artist, each ensemble needs a personal profile with something profound to say. My vision as a teacher is to give the young artists the knowledge nec-essary to find frank, authentic and convincing solutions. Eckart Runge (Artemis Quartet)

Transmitting musicianship means: sharing knowledge acquired through experience. An approach to the past offers a yardstick for tradition. Shaking off the burden of tradition in order to free up “one’s own music”. Miguel da Silva (Ysaÿe Quartet 1984-2014)

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A center of artistic excellence

Each musician’s training is individually tailored accord-ing to six axes:

1. Training in the form of knowledge transmission with the Masters in Residence: the presence of the masters, each of which is pursuing an intense profes-sional career in the world of music, constitutes the cornerstone of the pedagogical project. The transmis-sion of knowledge with the master occurs for instance through the informal transmission of professional ex-perience as well as the master’s accompaniment and support during the young musical talent’s first steps of his or her professional insertion, and the shared experi-ence of performing side by side. 2. Professional insertion: a particularly extensive pro-gram of concerts and recitals ensures the professional insertion of the young soloists. The Music Chapel is in this sense not only an “actor” in the music world, but also a “pilot institution” through its links with the music world on the international stage. The Music Chapel is integrated in a solid network of national and interna-tional partners:

National orchestras and choirs: National Orchestra of Belgium, Brussels Philharmonic, Royal Philharmonic Orchestra of Liège, Orchestre Royal de Chambre de Wallonie, DeFilharmonie, Brussels Chamber Orchestra, La Monnaie Symphony Orchestra, Bruocsella Sympho-ny Orchestra, Flemish Radio Choir, Octopus, Le Concert Olympique.

International orchestras: Koninklijk Concertgebouw-orkest (NL), London Chamber Orchestra (UK), Sinfo-nia Varsovia (Poland), Kansai Philarmonic Orchestra (Japan), Musica Viva (Russia), Chamber Orchestra of Philadelphia (US), I Cameristi del Maggio Musicale (Ita-ly), Orchestre National de Lille (France), English Cham-ber Orchestra, Wiener KammerOrchester, Lithuanian Chamber Orchestra.

Venues: Concertgebouw, Flagey, BOZAR, La Monnaie, Maison de la musique, Musical Instrument Museum, Royal Library of Belgium “Albertine”, Maison des Arts de Schaerbeek, Westerlo Castle, Royal Palace of Brussels, Cercle de Wallonie, Stavelot Cultural Center, Scandina-vian School of Brussels, Louvre Museum, La Belle Saison.

National festivals: Musicales de Beloeil, Midi Minimes, Eté Mosan, Classissimo, Festival of Wallonia, Festival Musical de Lasne, Zomer van St Pieter, Côté Cour Côté Jardin, Les amis du Zoute, Eté Mosan, Festival Réso-nances, Festival van Vlaanderen.

International festivals: Poona Music Society (India), Abu Dhabi Music & Arts Foundation (United Arab Emi- rates), Schiermonnikoogfestival (the Netherlands), Vexin festival, Radio France Montpellier festival, Festival de Menton, Les Flâneries Musicales de Reims, Académie Internationale d’été de Nice, Auditorium du Louvre, Festial d’Aix-en-Provence (France), Les Sommets du Classique (Switzerland), Festival de Ravello, Pietrasanta in Concerto (Italy), International Festival of Symphonic Music of El Jem (Tunisia), Istanbul Foundation for Cul-ture & Arts, Ephesus Foundation (Turkey), Festival du ©

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Château de la Moutte, Sion Festival, Festival Eva Gani-zate, Fondation LVMH.

Home productions: After the Chopin Festival in 2010, the Brahms Festival in 2011, the festival A la française in 2012, the festival The Romantics in 2013, the Music Chapel coproduced in 2014 with Flagey the Beethoven Music Chapel Festival, with the Brussels Philharmonic, Le Concert Olympique and the Royal Philharmonic Or-chestra of Liège. In 2015, The Russian Classics Music Chapel Festival.

International tours (2007 - 2009 - 2011 - 2013 - 2014 - 2016) with Sinfonia Varsovia: Naples, Venice, Rovinj, Dubrovnik, Corfu, Bari, Split, Trieste, Ephesus, Athens, Istanbul, Kusadasi, Sabrata, Lepti Magna, Barcelona, Palma de Mallorca, Sousse, Medina, the Aeolian Is-lands, Ravello and Rome. Tour in India in 2014.

Partitura Project: Since 2014 Maria João Pires launched the Partitura project. It is all about creating favorable circumstances for transmission by encouraging reci-procal listening between generations: proposing well-known musicians to foster young musicians, to invite them (as the name suggests) to share the concert plat-form. Aiming to thwart the harmful effects of the “star system”, to discover the potential of the upcoming generation, to offer a new perspective on the function of music and to deepen the sense of this concert ritual, the Partitura Project and the Chapel provide a unique launching pad, along the same lines as its high expec-tations and aims. Participants in the project have per-formed at the following venues: Auditorio de Tenerife,

Auditorio Nacional de Musica (Madrid), Teatro Principal Antzokia (Vitoria), Palau de la Musica (Valencia), Wig-more Hall (London), Sheldonian Theatre (Oxford), and many more.

3. The promotion of the young artists in residence: this promotion notably takes the form of the Music Chapel’s CD collection under the label Outhere, but also of its contacts with the international press.

Recording policy of the Music Chapel: a collection on the label Outhere (Fuga Libera & Zig Zag Territoires): eight CDs as yet, of which two with the Royal Philhar-monic Orchestra of Liège (Saint-Saëns & Vieuxtemps), two with Sinfonia Varsovia under the direction of Au-gustin Dumay, a Dvorak CD with Hrachya Avanesyan and a Lalo CD with Nikita Boriso-Glebsky, notably ac-companied by the pianist Jean-Philippe Collard, and lastly the complete concertante works of Lalo, to be released in late 2015.

European network of opera academies. The Music Chapel is part of enoa, a network supported by the European Union that brings together 11 partners and whose objective is to encourage over 1,000 young art-ists and professors to travel across the whole of Eu-rope, in 80 workshops and 10 new productions over five years.

4. Artists Village : a genuine laboratory for life and mu-sical creation in Europe. For the 2014 season, the Music Chapel welcomed 60 young artists from 22 countries around the world, from Belgium to Latin America, the

US, Australia and Japan, China, South Korea, Russia and many European countries. The Music Chapel proposes activities that enable them to have exchanges with other musicians, to attend workshops and conferences.

5. The infrastructur: all this work takes places in a space and an environment that enables concentration, work, meditation, social interaction and exchanges. The qua-lity of this exceptional setting as well as the proximity between the staff of the Music Chapel, the teaching team and the young musical talents, form an integral part of the pedagogical project.

6. Equinox : a social and artistic department under the direction of Maria João Pires. The Music Chapel invites its artists in residence to take part in the social project of the Equinox choirs, one devoted to children from under-privileged backgrounds, the other developed in Burundi in association with SOS Village d’Enfants. The objective is to share the artistic excellence of the Music Chapel, through its masters and its young musicians, with audi-ences that do not have easy access to it: children from difficult, often multicultural neighborhoods in Belgium, or children from isolated and impoverished, often con-flict-ridden abroad. The soloists of the Music Chapel are invited to share their art, their culture, their pleasure in making music. If we believe that music is a value that contributes to a certain well-being, then we can only hope that it is accessible to all.

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MuCH more than a school, it’s an experience!

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The expansion of the Music Chapel

The design of the new de Launoit Wing sought to achieve the following objectives:

• an increase in the capacity of the artist residencies, a specificity of the project since 1939;

• an increase in the number of training spaces;

• the creation of a new performance and recording studio.

Since the overhaul of its artistic project in 2004, the Music Chapel has grown from 12 artists in residence to about 60 young artists, and it organizes over 250 con-certs annually.

The 1,800 m2 available in the historic building were no longer suited to the institution’s expansion and this for-ced it to hold some of its classes off-site. Paradoxically, the Music Chapel was also unable to accommodate enough young artists, although that was its initial spe-cificity!

The development of the Music Chapel was therefore essential if it was to maintain a competitive position with regard to other leading musical training instituti-ons in Europe and the world. This new wing is therefore intended first and foremost to enable the growth of its activities and to relieve the existing building from the increasingly intense use to which it was put.

While the historical building represents 1,850 m2, com-prising mainly:

• housing and rehearsal studios,

• the Queen’s Salon,

the new de Launoit Wing doubles the available space to 3,500 m2, by adding mainly:

• 20 additional housing studios making it possible for the Music Chapel to welcome a greater number of artists in residence;

• a large music studio offering not only a rehearsal and performance space but also a recording studio fitted by our partner, the music production and publishing group Outhere;

• 2 music studios at the disposal of the professors, musicians and ensembles in residence or in concert;

• an Artists Village (restaurant, kitchen, lounge and leisure area);

all of which offer a quality environment that is necessa-ry for the attainment of the Music Chapel’s objectives.

The Music Chapel’s new de Launoit Wing at the service of a growing project

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Anne-Lise Parotte, Head of Artistic Department

Masters in Residence

Artemis Quartet, chamber music Vineta Sareika, violin Gregor Sigl, violin Friedemann Weigle, viola Eckart Runge, celloJosé van Dam, voiceAugustin Dumay, violinGary Hoffman, celloMaria João Pires, pianoMiguel da Silva, viola

Center of excellence for artistic training

Professors

Violin Department

Tatiana Samouil, violinDana Protopopescu, piano coachChristia Hudziy, piano accompanistLuc Devos, piano accompanist

Piano Department

David Bismuth, pianoSylvia Thereza, pianoJean-Claude Vanden Eynden, piano concertos

Cello Department

Jeroen Reuling, celloDana Protopopescu, piano coachChristia Hudziy, piano accompanistLuc Devos, piano accompanist

Viola Department

Dana Protopopescu, piano coach

Voice Department

Jocelyne Dienst, main opera coachAlain Garichot, stage director Philippe Riga, piano coach (Lied & melodie), concertsHélène Lucas, coaching (Lied & melodie)Nathanaël Gouin, piano accompanist concertsPhilip Richardson, repetiteur Paola Larini, Italian coachChristiane Gleis, German coachPolina Bogdanova, Russian coachDarren Ross, dance workshop

Music theory analysis

Laurent Beeckmans

Personal well being & Career development

Ozan Aksoyek, mindfulness (emergences)Patrick Bottin, physical trainingFiona Crossley, yogaBernard Dewamme, mental training with the support of Mentally FitAnne Schütt, physiotherapistMagda Thielemans, physical development

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Associated Artists

Esther Yoo violin 1994

Maria Milstein violin 1986

Lorenzo Gatto violin 1986

Nikita Boriso-Glebsky violin 1985

Hrachya Avanesyan violin 1986

Yossif Ivanov violin 1986

Julien Libeer piano 1987

Milos Popovic piano 1985

Plamena Mangova piano 1981

Charles Dekeyser bass 1986

Shadi Torbey bass 1976

Sébastien Parotte bass 1984 & baritone

Anneke Luyten soprano 1983

Dorine Mortelmans soprano 1984

Yu Shao tenor 1986

Pau Codina cello 1988

Adam Krzeszowiec cello 1987

Trio Dali

Vineta Sareika violin 1986

Christian-Pierre La Marca cello 1983

Amandine Savary piano 1985

An Associated Artist is an artist who, having obtained an Artist Diploma, wishes to remain in close contact with the Music Chapel. Pursuing an active career, the Associated Artist can benefit occasionally from the advice of the Masters in residence or invited artists, from the support of the Chapel. At the request of the institution, he or she can also take part in artistic projects.

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Queen Elisabeth Music Chapel, public utility foundation

Board of Directors

Vincent Pardoen, ChairmanGéry Daeninck Paul DujardinPeter de Caluwe Bernard FoccroullePhilippe Delaunois Sylvia GoldschmidtBernard de Launoit Viviane RedingLeonard SchrankYvan de Launoit Robert TolletJulien De Wilde Frans van Daele

Honorary Presidents

Jean-Jacques de LaunoitJean-Pierre de Bandt

Executive Committee

Bernard de Launoit, Executive PresidentGéry Daeninck, Executive DirectorJulien De Wilde, Director Sophie Gosselin, General Secretary

le Reine Elisabeth, fondation d’utilité publique

Artistic Committee

Bernard Foccroulle, ChairmanBernard de LaunoitPeter de Caluwe Christian RenardGilles LedureUlrich HauschildAnne-Lise Parotte

Ambassadors Committee

Sylvia Goldschmidt, ChairmanWerner Van Lembergen, Vice-ChairmanAxel MillerWillem Van de Voorde

Music Chapel, social-purpose corporation

Board of Directors

Bernard de Launoit, ChairmanJohan BeerlandtBernard Boon FalleurPierre BoucherLaurence BovyGéry DaeninckPhilippe de Buck van OverstraetenYvan de LaunoitPhilippe de SpoelberchFabrice du Chastel de la HowarderiePaul DujardinSylvia GoldschmidtVincent PardoenDenis Solvay

Sophie Gosselin, General Secretary

Cercle Chapel, asbl

Executive Committee

Bernard de LaunoitAndré Van HeckeAurélie Collet, directorSophie GosselinLaurence Godfraind

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Membership & Funding Department

Laurence Godfraind, coordinationChristine Reyntjens, public relationsJohanna Filée, assistant

Finance & Administration

Quentin Bogaerts, coordinationTica Cabral, volunteerJohanna Filée, student & mediation support

Logistics Department

Karine Vilain, logistic & housingAlain Canivet, logistic & housingLami TchabebouAurore Somme

Events & Catering Department

Aurélie Collet, coordinationNicolas De Baut, chef

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Sophie Gosselin, General SecretaryAnne-Lise Parotte, Head Artistic

Cultural Department

Bénédicte Bruynseels, cultural & production coordina-tion - Artists Village mediatorFlorence Leeman, project managerKyung-sook Langley, production assistant

Communication Department

Sophie van der Stegen, communication, marketing & press relations Muriel Anslot, external publications & social media coordinatorAuriane de Fauconval, publicationsPaul Borschette, Library

Artistic Department

Muriel Vanderbauwhede, artistic coordination (voice) & enoa contactTomoko Taguchi, auditions

Equinox, Solidarity Music Department

Joana Noeth, coordinationEmmanuelle Weeger, assistant

Team

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In collaboration with

This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Thank you!

With the support of

With the support

FONDATIONGUTTMAN

and all the private donors/funders

Queen Elisabeth Music Chapel, public interest foundation Under the Honorary Chairmanship of Her Majesty Queen PaolaCorrespondence: Chaussée de Tervuren 445 - 1410 Waterloo - Belgium Corporate address: Rue Brederode 14, B-1000 Bruxelles - BCE 459 245 906Tel: +32 (0)2 352 01 17 - Fax: +32 (0)2 351 10 24info@musicchapel.org - www.musicchapel.org