Composer: Karel Goeyvaerts
Works: Improperia (1959), Zomerspelen (1961), Bélise en son jardin (1972), Mon doux pilote s’endort aussi (1975), Erst das Gesicht, dann die Hände, und zuletzt erst das Haar (1975), Avontuur (1985), Pour que les fruits mûrissent cet été (1976)
Performers: Vilnius Municipal Choir “Jauna Muzika”, Flemish Radio Choir, Champ d’Action, Prometheus Ensemble, BRT Symphonic Orchestra, Florilegium Musicum de Paris, Jan Michiels (piano), Koen Kessels, Johan Duijck, Peter Rundel, Gianpiero Taverna
Recording: Vilnius Recording Studio, Jesuits’ Chapel, deSingel, Luna Theatre, VRT Studios (1996-1999)
Label: Megadisc MDC 7829-30
Karel Goeyvaerts, a pivotal figure in Belgian music, navigated a complex journey through the 20th century’s evolving soundscape. This double CD set encapsulates a wide span of his creativity, presenting works from 1959 to 1985 that reflect his shifting aesthetic and the myriad influences that shaped his compositional voice. Notably, “Improperia,” a cantata for Good Friday, stands out as a return to form following a period of personal and artistic turmoil, showcasing his ability to intertwine spiritual depth with modernist rigor.
The performances across this collection are uniformly excellent, with the Vilnius Municipal Choir and Flemish Radio Choir bringing a nuanced understanding to “Improperia.” The work’s dark hues are rendered with clarity, and the interplay between the alto soloist and the double mixed chorus is particularly striking. The precision with which the singers navigate the complex textures showcases the choir’s technical prowess while also allowing the emotional weight of the piece to resonate profoundly. The scoring for a diverse array of instruments—flute, oboe, clarinet, strings, and percussion—creates a rich tapestry that is both haunting and evocative, a hallmark of Goeyvaerts’ mature style.
“Zomerspelen” provides a sharp contrast, its vibrant impressionism reflecting a carefree period in Goeyvaerts’ life. The performers adeptly capture the work’s lushness, with the three sections flowing seamlessly into one another. This fluidity is essential to the piece, and the ensemble’s ability to maintain momentum while exploring the colorful palette of sounds reveals an intimate understanding of the composer’s intentions. The recording quality here is commendable, with each instrumental group distinctly audible, contributing to an overall balance that is both satisfying and immersive.
In “Bélise en son jardin,” the deconstruction of text into sound objects is executed with a playful yet profound sense of exploration. The various vocal techniques—hissing, humming, and speaking—are communicated with both precision and creativity. This work highlights Goeyvaerts’ interest in the phonetic possibilities of language, and the performers dive into this experimentation with enthusiasm, underscoring the work’s avant-garde ethos. The final consonant chord provides a grounding conclusion, contrasting the preceding sonic chaos in a way that is both surprising and satisfying.
The technical aspects of the recording are generally excellent, with a clear separation of voices and instruments that allows each work’s intricate details to shine. The engineering team merits praise for their attention to the subtleties of Goeyvaerts’ scores, particularly in works like “Pour que les fruits mûrissent cet été,” where the interplay between Renaissance instruments and the modern orchestra demands acute clarity. Comparatively, this recording stands out among others of Goeyvaerts’ oeuvre, offering a comprehensive look at his evolution as a composer and the diverse landscapes he traversed.
This collection serves as an invaluable resource not only for those familiar with Goeyvaerts but also for newcomers eager to explore the depths of 20th-century Belgian music. Each piece is compelling, showcasing a composer who, despite periods of self-doubt, produced works that are intellectually and emotionally engaging. The performances are both technically assured and deeply insightful, creating a listening experience that is as enriching as it is thought-provoking. A strong recommendation for any serious collector or enthusiast of contemporary classical music.
