FR Cette année, le Palais du Coudenberg devient un lieu privilégié où musique ancienne et contemporaine se rencontrent. Une expérience à vivre par nos visiteurs sur place ou en ligne. Bienvenue au Coudenberg Sound Box Fest, une playlist conçue à la mesure du palais qui fût jadis l'une des plus belles résidences princières d’'Europe. Matteo Gemolo, notre curateur musical, vous présente ce projet. NL Dit jaar wordt het Coudenbergpaleis een bevoorrechte plaats waar oude en hedendaagse muziek elkaar ontmoeten. Een ervaring die door onze bezoekers ter plaatse of online kan worden beleefd. Welkom op het Coudenberg Sound Box Fest, een playlist op maat van het paleis dat ooit een van de mooiste prinselijke residenties van Europa was. Matteo Gemolo, onze muziekcurator stelt het project voor. EN Have you ever thought of Coudenberg Palace as a Sound Box with old and new music?! This year we wish to propose a unique acoustic event which can be experienced by our visitors both live and online. Welcome to Coudenberg Sound Box Fest, a playlist tailored around the waist of one of the most beautiful princely residences in the whole of Europe. Matteo Gemolo, our music curator, will introduce this project to you. --- Video credits: Sharon Shievers – video editing Amanita Noir – video editing Enrico Pigozzi – sound Karina Staripolsky – French translation Ed Weijers – Dutch translation

The Wig Society @ Coudenberg Palace 2020 Matteo Gemolo - traverso Conor James Gricmanis - violin Blanca Prieto - viola Phyllis Bartholomeus - cello Elias Bartholomeus - doublebass As written by James Webster in an article dated 1976: “The essential stylistic development with respect to the bass part in Classical chamber music has always been taken to be the rise of the solo cello as the obligatory bass scoring. The other possibilities which, according to the evidence presented here, must be taken into account-solo double bass, and cello and double bass together-have not received much attention.” Since then, not much has been attempted. When we heard the overwhelming last chord at the end of first Allegro from Mozart’s Flute Quartet in D Major we had a blast: the flute playing a high D6 and the double bass, at the opposite side, playing a D1 - with the cello filling the gap in between – convinced us that this is how we wanted to play it. Gravity is the natural force that causes things to fall toward the earth. Adding the double bass to the “traditional” instrumental setting enabled us to enjoy what is deeply down to earth about this music: its pastoral sense of comfort, sense of gravity, profound candor and staggering timeless beauty.

J. Haydn - Hob II:G4 - Flute quartet Op. 5 No. 2 in G major The Wig Society @ Coudenberg Palace (Brussels) 2020

With the recording of the Sonates sans basse TWV 40:101-106 on the baroque flute and violin, Italian flautist Matteo Gemolo and Italian violinist Patrizio Germone wish to revive the richness of timbres, dynamics and counterpoint that shines through their first print publication made by G. P. Telemann in Hamburg in 1727. Too long regarded as mere recreational and didactic music, they approach this collection with a refreshing appraisal and without preconceptions. The match between the baroque flute and violin helps to restore the contrapunctual and imaginative Telemann’s writing with a more defined degree of transparency and a wider range of sound possibilities than that obtained by using two instruments from the same family such as two flutes, recorders or violins. This rich and expressive instrumental combination does not leave room for any kind of nostalgia towards the missing bass line. Together with a few Fantasias, the alternation between the solos and duets allows to appreciate even better the extravagance and vivacity of the German genius. AD110 Release date → May 11th Stream//Download//Buy → https://lnk.to/TelemannLaSolitudeADeuxID FACEBOOK→ www.facebook.com/OuthereMusic TWITTER → www.twitter.com/Outheremusic INSTAGRAM → www.instagram.com/outheremusic YOUTUBE → www.youtube.com/user/outheremusic WEBSITE → www.outhere-music.com

With the recording of the Sonates sans basse TWV 40:101-106 on the baroque flute and violin, Italian flautist Matteo Gemolo and Italian violinist Patrizio Germone wish to revive the richness of timbres, dynamics and counterpoint that shines through their first print publication made by G. P. Telemann in Hamburg in 1727. Too long regarded as mere recreational and didactic music, they approach this collection with a refreshing appraisal and without preconceptions. The match between the baroque flute and violin helps to restore the contrapunctual and imaginative Telemann’s writing with a more defined degree of transparency and a wider range of sound possibilities than that obtained by using two instruments from the same family such as two flutes, recorders or violins. This rich and expressive instrumental combination does not leave room for any kind of nostalgia towards the missing bass line. Together with a few Fantasias, the alternation between the solos and duets allows to appreciate even better the extravagance and vivacity of the German genius. AD110 Release date → May 11th Stream//Download//Buy → https://lnk.to/TelemannLaSolitudeADeuxID FACEBOOK→ www.facebook.com/OuthereMusic TWITTER → www.twitter.com/Outheremusic INSTAGRAM → www.instagram.com/outheremusic YOUTUBE → www.youtube.com/user/outheremusic WEBSITE → www.outhere-music.com

Sibyl Vane LIVE @ Les Ateliers Claus (Brussels) for SMOG performs Scherzando. Sonata n.5 für Flöte und Elektrogerät (d'après G. P. Telemann) Matteo Gemolo - traverso & composition Enrico Pigozzi - live electronics & composition Nathan Wouters - double bass & impro

Sibyl Vane - Vivace (d'après G. P. Telemann) Matteo Gemolo - traverso Enrico Pigozzi - electronics https://soundcloud.com/sibylvanemusic/sets/sibyl-vane Sybil Vane consists of a musical journey that will reconnect you with the soundscape of the Baroque Era through the technological means of our present. Every song is played and recorded on period instruments. It is then electronically resampled following different directions and patterns. With the final product, we wish to go beyond certain predetermined classical boundaries and creating a contemporary soundscape while still employing old-fashioned material (such as instruments, motifs and songs from the Baroque time). Images from the 1947 experimental film Dreams That Money Can Buy, produced, written and directed by Hans Richter.

Edit by Vincent Pieraerd