Utwory na płycie:

• 1 Hibernaculum (für Flöte, Oboe, Klarinette, Fagott und Klavier) (2015).mp3
• 2 Motets d Mirages Nr. 1-5 (für Flöte, Oboe, Klarinette, Fagott und Horn) (2010).mp3
• 3 Interaction (für Flöte, Oboe, Klarinette, Fagott, Horn und Klavier) (2015).mp3
• 4 Hidden facts (für Flöte, Oboe, Klarinette, Fagott und Horn) (2004).mp3
• 5 High speed rag (für Flöte, Oboe, Klarinette, Fagott und Horn) (1986).mp3

Robert Groslot:
Hibernaculum for flute, oboe, clarinet, bassoon and horn

Erik Desimpelare:
Les cinq ‘Motets d’Mirages' for flute, oboe, clarinet, bassoon and horn

Piet Swerts:
Interaction for flute, oboe, clarinet, bassoon, horn and piano

Bram van Camp:
Hidden Facts for flute, oboe, clarinet, bassoon and horn

Jan Huylebroeck:
High Speed Rag for flute, oboe, clarinet, bassoon and horn

Robert Groslot’s Hibernaculum (2015) begins almost cinematically. The flute and the clarinet swiftly transport us to an idyllic landscape with their compelling melodic dialogue, in which they are subsequently joined by the oboe, bassoon, and horn. Soon we seem to have arrived in a place in which many living organisms dwell. Long lyrical phrases that use the instruments’ full ranges are made denser polyphonically with complex but clear rhythmic patterns. The instruments explore the mysteries of the hibernaculum, the hiding place where animals spend their winter hibernation, with self-directed musicality.

The engraving on copper made in 1590 entitled Canticum Canticorum contains the music of a motet by Andreas Pevernage from Harelbeek; this engraving forms the subject of Les cinq Motets d’Mirage (2010) by Erik Desimpelaere. The engraving depicts King Solomon holding a choirbook open before seven high priests; they are performing Pevernage’s five-part motet Osculetur me, in which he set the first four lines of the Song of Solomon, the shortest book of the Old Testament.

Unlike the two previous works, Piet Swerts’ Interaction (2015) was not inspired by a non-musical concept. It is abstract music that researches the interaction between a wind quintet and a piano by means of the music itself. A short and slow introduction by the piano opens the piece. One theme is repeated until the quintet breaks it open and takes the piano in tow. The piano and the oboe take up the theme from the piano with some abruptness.

Bram Van Camp’s fascination for audibly distinct layers of sound that develop independently of each other lies at the heart of his Hidden Facts (2004). Although there are dozens of layers concealed within this composition, the use of only five instruments means that they can never all sound at once. A particular layer can remain inaudible for an indefinite period, but will then resurface at other moments; it has never completely disappeared from sight.