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The programme invites the audience to a journey through the landscapes of dreams, memories, and personal reflections, offering a wide array of musical styles and periods, each with its own unique perspective on these themes. From the lyrical beauty of Fauré to the folk-inspired intensity of Bartók, these works reveal the intimate connection between music and the human experience of thought and emotion.

During the concert, the boundary between the real and the imagined becomes blurred, reflecting the way our inner worlds of dreams and memories shape our perception of reality. Each composer, through their distinct musical language, offers us a unique window into these private realms.

Programme:

G. Fauré (1845 – 1924)
- Après un rêve
J. Cras (1879 – 1932)
- Suite en duo
W. Lutowslaski (1913 – 1994)
- Three Fragments
J. Jongen (1873 -1953)
- Danse Lente
L. Liebermann (1961)
- Sonata for flute and harp
B. Bartók (1881-1945)
- Romanian Folk Dances

Helga Ameye illuminates a spherical electronic fusion of intimate dark pop, influenced by her background in jazz music.

The Ghent-based musician channels her quiet emotions into compositions, brought to life by her sophisticated band: Wodan Onkelinx (piano), Stanzi Cresens (cello, vocals), Tuur Geldhof (bass) and Sam Hinnekens (drums). They bring a unique soundscape filled with melancholic tones.

The Luscofusco Quartet was formed very recently (in 2024!) under the watchful eye of seasoned musicians Pieter Jansen and Guy Danel. Don't be fooled by their youthful enthusiasm. The members all have a strong background in chamber and orchestral music and have already earned their stripes with several renowned ensembles. The programme consists of two string quartets by Beethoven and Felix Mendelssohn, also previously at the beginning of their careers at the time. From Beethoven, they will play the String Quartet op.18 no. 4 in c minor, known for its dramatic intensity and innovative structure, from Mendelssohn the String Quartet op.13 No. 2 in a minor, which reflects a deep admiration for Beethoven's late quartets and combines melodic beauty with youthful emotion.

Under the name ‘Alver’, flutist Nele Vernaillen writes jazz that nestles between warm melodies and fresh timbres, improvisation and percussive grooves. The music alternates between atmospheric and intimate, energetic and dynamic; the compositions unfold like little stories without words.

Nele Vernaillen studies jazz at KASK & Conservatorium. During her training, she developed her own voice. She writes instrumental compositions that nestle somewhere between warm melodies and (sound) colours, narrative improvisation and percussive grooves.

In this programme, Alejandro Fenollosa honours the figure of the female composer and her evolution through several generations of creators. From a critical perspective, an exploration of sound possibilities and focused listening, he skilfully guides us through the repertoire for solo saxophone by six female composers. The programme is not only musically related; the specific role reserved for word art also forms a compositional element in all works.

Moddette is an ethereal folk influenced voice and guitar duo that was born during the members’ music studies in Rotterdam, now based in Gent and Brussels respectively.

Through colourful harmonies and evocative lyrics, their music transports listeners to a place where time bends and emotions flow effortlessly, and the line between dream or reality becomes softly blurred — as it might right before you fall asleep.

Drawing influences from folk music, singer-songwriters in line of Nick Drake or Adrianne Lenker, modern jazz or classical music, Moddette crafts seamlessly sown songs that reverberate long after the last notes have faded. Their compositions are intimate journeys through soul and mind — both haunting and comforting.

Students of KASK & Conservatorium do not shy away from the interdisciplinary. This is how the collaboration of performance artist Gaia op de Weegh and cellist Cristiana Damian arose. In a sensitive account of pain, sorrow, letting go and transformation, they combine text, music and movement. We have known for a while that the cello is the closest to the human voice, but in this performance it touches a sensitive chord with us too. On the pupiter lies carefully selected 20th-century repertoire, which, in all its diversity, guides us through the evening.

Meet REINES. This dynamic band escaped from KASK & Conservatorium to indulge in a hodgepodge of different influences. From potent synths to sultry guitars, REINES flies in all directions. Live, this talented quintet takes you soaring through mystery, ambience and catchiness. Their brooding brains will surprise you every time.

Pianist Renaat De Keyser does not hide his love for 20th century piano repertoire. After all, challenging times generate strong art. With Tombeau de Couperin, Maurice Ravel wrote not only a tribute to the baroque composer, but above all an intimate remembrance of his own fallen friends from the First World War. Frederic Rzewski also unleashes a rebellious side on stage, as his Winnsboro Cotton Mill Blues is a reference to a protest song sung in the cotton mills. Who else but Antheil completes the bill. This musical bad boy of the interwar period, also opposes in turn, but mainly the romantic euphonious version of the sonata form which, according to him, had had its day. ‘Wild’ this evening will undoubtedly be, but in the best sense of the word.

Five artists; a drawing artist and four musicians forgo the score for a while. With the collective as a common language, the music is not performed but arises spontaneously from the drawings and the energy between the artists and their audience. A piece in which improvisation crosses the boundaries of mutual disciplines. Through five chapters, LAVA COMPANY takes the audience to an aural and visual climax, in which ‘everything’ — and you can take that quite literally — culminates in a completely free and unplanned finale.

Harawi is a 12-part song cycle for soprano and piano that sings of the impossibility of mortal love. Olivier Messiaen considered the work the beginning of his Tristan trilogy. This trilogy, which thus refers directly to the doomed characters of literature, was complemented by the monumental Turangalîla-Symphonie and the Cinq rechants (both completed in 1948). On the other hand, Harawi’s title refers to a traditional Peruvian song form. So there is no shortage of inspiration. So expect some romance tonight, but through the lens of Peruvian folklore, surreal poetry, Messianic modes and characterful metrics. We have already selected the perfect performers for this epic. Singer Noa Vanden Broucke and pianist Bert Lasseel guarantee an interpretation as powerful as it is sensitive.

Burduf Sand is the mirror of a sensitive mind in a world full of noise. Kamiel Bossuyt builds songs that whisper, bite and heal at the same time. Think the theatrical prowess of St Vincent, the ominous of Nick Cave and the melancholy of Radiohead. No pose here, but pure emotion — raw, fragile and no detours. For those looking for beauty in the twilight zone.

Benoit De Leersnyder and Hein Boterberg skilfully programme a varied performance of opera, operetta, song, chanson and musical repertoire, brought by vocal students from KASK & Conservatorium. We couldn't think of a more fitting opening to our festival.

Benoit De Leersnyder and Hein Boterberg skilfully programme a varied performance of opera, operetta, song, chanson and musical repertoire, brought by vocal students from KASK & Conservatorium. We couldn't think of a more fitting opening to our festival.

Anthe Huybrechts - or Anthe for short - developed an unconditional love for the acoustic piano. Her way of playing and writing is influenced by her classical music training. New influences, more experience and self-discovery feed her musical world and lead to an intense, intriguing sound of her own with fairy-like melodies and personal lyrics in which influences such as Agnes Obel, Kate Bush, AURORA and even Björk can be traced.

Schumann described Mendelssohn as "the Mozart of the nineteenth century". The trio of Victoria De Roeck (piano), Ana María Gómez (cello) and Rune Minne (violin) ventures into this composer's second composition for the previously infamous chamber music formation. Supplemented by a solo repertoire of Claude Debussy, Paul Hindemith and Sergei Rachmaninov, among others, we can count on a healthy dose of late romanticism in this programme.

The Reinert Creve Trio is the first project to feature pianist Reinert Creve. Flanked by Toon Putteman on drums and Ruben Verbeeck on double bass, the trio explores how simplicity and lyricism can tell a story. In this way, they try to reflect their own interpretation within contemporary jazz in a way where improvisation and communication are central.

The thought of an unfamiliar time signature inspired Alejandro Cegarra (piano), Pablo Teijeiro Galdo (cello) and Elena Herrero (clarinet) to form Trio 3/3. They met at our conservatorium where they worked hard for a year on Johannes Brahms' clarinet trio. Possibly they will perform a classical version of the work, but we rather believe it will be laced with fresh insight.

Together, Pablo Teijeiro Galdo (cello), Gabriela Kühlcke (piano), Anna Castellani (violin), Quirijn De Bosscher (violin), María Segura Martín (viola) form a classical quintet formation. Don't let their young age fool you, this ensemble does not shy away from a challenge. They therefore perform nothing less than monumental repertoire: the piano quintet in F Minor by Johannes Brahms and the piano quartet in A Minor by Gustav Mahler. A programme for which the latter would take off nothing less than his figurative hat.

Producer Arne Nuyts en drummer Thijs van Scharen creëren in het moment en nemen het publiek mee op een reis door hun oneindige laboratorium van live loops, diepe grooves en sferische werelden. Ze brengen een geïmproviseerd duw- en trekwerk tussen mens en computer. Denk aan Flying Lotus, BADBADNOTGOOD, Makay McCraven of Burial.