OMNIA STANT HARMONIA. Anarmonia cadunt omnia. Nec erigitur,
reficitur, restituitur quidquam, nisi ad Harmoniam relatum atque
All exists through Harmony. Disharmony destroys all. Nothing
can be built, nothing created, nothing restored that is not related
to and based on Harmony.
Tout existe à travers l'Harmonie. La disharmonie détruit tout. Rien ne peut être construit, ni créé, ni restauré qui
n'est pas lié à et basé sur l'Harmonie.
Georg Philipp Telemann (1681 - 1767)
Music & Life
Both my godfather and
his love worked at the Royal Flemish Opera of Antwerp. She was a
soprano, my uncle the financial director of the house. Given my parents were
often abroad, this place entered my life from early childhood.
weekends I merged with what happened
there during performances on Friday, Saturday & Sunday, but also roamed about, from top to bottom, in a nearly empty
building. After many years, no corner remained unchartered. The
button to produce stage lightning was known to me ... but thunder
remained excluded, for only the technicians could carry the metal
balls up !
Royal Flemish Opera of Antwerp
Between 1968 & 1974, the House staged
all traditional operas
and more. The extensive repertoire of this Great Opera House was
playfully assimilated. Most of the time, before the huge burgundy
curtain got lifted, I peeped through the "witness hole" and saw a
full house from stage. Then secretly placed, I would listen, see and
In 1972, after a long carrier as a coloratura
soprano, this aunt of mine became opera prompter. Many times,
sitting next to her in her prompter's box, I witnessed the
action on stage at footlevel and experienced how her mind
would be five to seven bars ahead of what happened there.
She would whisper parts of the upcoming text, sing
notes pianissimo possibile, suggest by gesture, warn the
actors or try to remedy forthcoming problems (like the absence of a
crucial prop on stage). Only seldomly did she had to raise her voice.
Thanks to the shell-like roof of her box, nobody could hear her
except those on stage.
Not unlike the conductor, who faced the back
of this box, she was constantly focused, concentrated and
using the score as a script.
This was a mere instrument of work,
laden with thick red pencilmarks and other symbols added by her and
previous prompters. To me it looked like a book of spells.
Since my early teens,
composing music fascinated me, and my first sketches emerged around
17. Besides being, from early on, an avid listener, I also became a
musical autodidact. This was combined with my academic
pursuits : applied economics, philosophy (epistemology & logic), esthetics of music,
sociology of music & comparative religious studies. In 1982,
yoga came along.
In 1992, my fourth complete work, Mild Seasons for Sextet, was characterized by
V.Soloviev (Member of the Union of Composers of St.-Petersburg) as
"These pieces present themselves as short
compositions in free form, reminiscent of the Suite. They are gifted
with a very intense emotionality, it is true, on the plane :
sadness/nostalgia, élan towards the hereafter, a certain infernality
and cosmicism. Thanks to a particular harmony and the original
composition : Alto Flute, Oboe, English Horn, Bass Clarinet and
Piano, they show a certain national coloration."
This comes close to the heart of my music.
From 1993 onward,
philosophy demanded my full attention, ending musical
composition for two decades.
In 2013, with the pivotal
Critique of a Metaphysics of Process (2012) finished, life felt like composing again.
This activity parallels an unfolding study of music, involving esthetics, invention, coloration
& the psycho-acoustics of music.
Composition & production are two distinct, interdependent
but relatively independent phases. No doubt, the best musical production
is an excellent & exemplaric life performance.
To hear their music well played by real instruments and/or vocals remains
the dream of many composers. Luckily, good-enough electronic simulations are
nowadays possible (real
not intended to be stand-alone, these approximations at best
fair aural estimate of how the piece sounds.
The electronic examples below (mp3, with CBR at 224 kbps) were sampled making use of GARRITAN sounds
(GF, GPO4, GWI, GH, CMB, run on ARIA), EWQL Symphonic Orchestra & EWQL Symphonic
Choirs (run on PLAY), as well as Xsample Library (run on KONTAKT 5). The score was written using FINALE 2012. Audio files were
computed by SONAR & AUDACITY. All of this on a Windows 7 Pro 64bit platform
(Intel Core i7-3820 @ 3.60GHz, 18GB RAM). Retuning was accommodated by
My musical meanderings
are also published on this website (scores & electronic samples)
year, all things equal, new simulations will be made available.
These are usually provided in two formats. The first is the
internationally established tuning system called "Equal Temperament" (ET,
equal). This system (a) divides the octave into twelve equal intervals of
100 cent each (forming the chromatic scale), (b) has no pure fifths (in ET
the twelve intervals are all "tempered", i.e. reduced by 2 cent) and (c)
commonly roots pitch in concert pitch at A = 440Hz.
Next to this standard format,
tunings and/or temperaments considered in line with the intent of the music are also
given (like Pythagorean Tuning, Meantone 6th comma Temperament & Young's
Irregular Temperament) and this at various Master Tunings, with a preference for A =
432 Hz or Verdi Pitch. The use of these alternative tuning systems is
linked with the Farben Project, intended to return harmony to color &
nature, and investigate the psycho-acoustic process (in various musico-social
If need be, consult the score (in PDF format).
Please bear in mind I am an "amateur en musique" without any
formal education in music. Because no degree can be
claimed, free study is ongoing.
In 2013, my main focus was on mastering
the software and initiating a routine to compose in the
digital age. From 2014 onward, the results of my ongoing study of harmony shape a
more comprehensive sound.
After Shakespeare's Macbeth, this
piece in B minor evokes the famous Sleepwalking Scene.
The text of the scene is
reduced to five lines : "Oh ! Oh !
Oh !", "Out, damed spot !", "All the perfumes
of Arabia will not sweeten this little hand.", "What is done cannot
be undone." and "To bed, to bed, to bed."