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SOUND BOX FEST

As founder and Artistic Director of Coudenberg Sound Box Fest, Matteo Gemolo has dedicated the last few years of his career to bridging early and contemporary music, creating innovative and meaningful concert experiences in unique historical settings such as the former Royal Palace of Charles V, at the very heart of Brussels. Created in 2021 in co-production with Coudenberg Palace, in just four years, CSBF has grown exponentially, becoming "an integral part of the cultural Belgian landscape" (according to the members of the Music Commission of the Wallonia-Brussels Federation). The festival’s artistic vision has attracted an increasing number of internationally acclaimed musicians, including Ricercar Consort (Philippe Pierlot), Anthony Romaniuk, Il Gardellino (Marcel Ponseele & Jan de Winne), Scherzi Musicali (Nicholas Achten), Ictus Ensemble, SIGNUM Saxophone Quartet, Sam Lee, and Petar Pejcic, winner of the 5th prize at the Queen Elisabeth Competition. At the same time, the festival has remained committed to fostering emerging talent, offering young and local artists a platform to gain visibility and accelerate their careers. Each concert follows a unique double-performance format, where established and rising artists share the stage in a two-hour dialogue of musical and artistic exchange.

Sound Box Fest is far more than just an Early Music festival; it is a dynamic concept that can be adapted to a variety of contexts. Within the setting of the Coudenberg Palace, the festival has followed a unique and organic trajectory, drawing inspiration from the space itself. It bridges historical and cultural heritage, highlighting the musical legacy of this ancient royal palace, which stood at the heart of European political power until its destruction by fire in 1731. Today, the palace has been transformed into an engaging, interactive archaeological museum, fostering a dialogue between past and present.​ 

"After descending the stairs, visitors immediately felt the eerie atmosphere of the dark underground corridors. The background sounds of Brussels, such as the rumbling subway or a passing ambulance, blended into the music. It was only later that the listener realized, ‘Oh wait, these are sounds from the outside world.’ All in all, it was an impressive evening, in which the audience was immersed in 16th-century atmospheres with a modern twist!"

(Klassiek Centraal, Emmiko Groenemeijer 2025)

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