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Concertgebouw Brugge

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From Wed 21.02.18 Vocal
  • Stabat Mater

    With four meditations on death and parting, Vox Luminis and the instrumentalists of L'Acheron touch upon the heart of the Passion. From Jesus' last thoughts, to Mary's disconsolate words at the foot of the Cross, to Buxtehude's personal grief at the loss of his father. Kerll’s requiem also has personal intimacy: after a brilliant career in places such as Brussels, Munich and Vienna, he wrote it with his own death in mind and specifically asked for it to be performed at his own funeral.… Read more

  • Strauss. Till Eulenspiegel

    Richard Strauss was one of the most important composers of the late German Romantic, post-Wagner, and a renowned musical jack-of-all-trades. Navigating his way between artistic conviction and the demands of the music market, he liked to draw his inspiration from the merry-go-round of everyday life. With two symphonic poems and a selection of his incomparable lieder - an intriguing stylistic evolution of more than seven decades - Anima honour an unfettered thinker and wonderful storyteller.… Read more

  • Telemann. Der Tag des Gerichts

    ‘An oratorio full of powerful emotion’, read the announcement in the local newspaper. And indeed, on March 17, 1762, just before Easter, Hamburg discovered this to be true, when it first heard Telemann's Tag des Gerichts, one of his most impressive works. In his latter years, Telemann managed to incorporate the new Classical style into his Baroque music wonderfully well. The lyrical libretto - about the struggle between believers and unbelievers - is highly dramatic and brimming with striking images that are simply crying out for the most beautiful and surprising effects. A work emphatically on the borderline between church and stage. … Read more

  • The Tallis Scholars

    7 a.m., 14 October, 1487: with the church bells still ringing, Jacob Obrecht’s Missa de Sancto Donatiano is sung for the very first time, at the tomb of Donaas de Moor in Bruges’s Sint-Jakobskerk. More than five centuries later, it is still an astonishing masterpiece. With references to his name saint (Donatian), Bruges’s musical traditions and Donaas’s charity towards the city’s poor, the composer very precisely commemorates the life of the deceased. As he also did in his Missa de Sancto Martino, sung by Psallentes on Friday, Obrecht transforms local ingredients into the most universal music. For the opening of this first edition of the festival, The Tallis Scholars perform the Missa de Sancto Donatiano in the place it was first heard . Conductor Peter Phillips sets Obrecht alongside his English contemporaries Browne and Fayrfax – cross-channel commercial contacts were very close - and a wonderful Magnificat, one of the last works by South Fleming Nicolas Gombert.… Read more

  • Obrecht. Missa de Sancto Martino

    Jacob Obrecht and Hans Memling must certainly have crossed paths on Bruges’s cobblestones. And they both commemorated St. Martin of Tours at around the same time. Memling painted a diptych for Maarten van Nieuwenhove, which can now be seen in Sint-Janshospitaal. Obrecht composed a Mass, which Psallentes are performing and contextualising in Onze-Lieve-Vrouwekerk. A unique opportunity to discover both masterpieces, because the programme includes a mini-tour of the museum.… Read more

  • Concert trail with Frederik Neyrinck

    What if the Burg became a church square again? And what if that church didn’t consist of stone, but of sound? Season composer Frederik Neyrinck accepts the challenge and expands and manipulates Obrecht’s Missa de Sancto Donatiano into a new work for soloists, ensembles, orchestras and choirs from Bruges and its wider environs. Follow the trail of his music to various indoor and outdoor locations, with a grand finale at the Burg. Donaas lives!… Read more

  • Clement. Missa Gaude lux Donatiane

    St. Donatian has protected Bruges for centuries, even after his church on the Burg was sold and demolished in around 1800. All that now remains of that legendary building are a few sections of foundation and some contours. This festival Saturday, however, this church – and later cathedral - is brought right back to life. Following on from Frederik Neyrinck’s large-scale project, Paul Van Nevel combines a glittering Donatian Mass by Jacob Clement (a.k.a. Clemens non Papa) ' with two sumptuous, large-scale Bruges motets.… Read more

  • Pop-up concerts in historical locations

    It wasn’t only religious music that resounded in the world of Donaas de Moor. During this concert walk you will discover three young international ensembles and a few of Bruges most beautiful, semi-secret spaces. The Sollazzo Ensemble tell the story of two blind viol players at the Burgundian court, while Ratas del viejo Mundo explore Obrecht's songs. The four singers of Utopia meanwhile delve into Obrecht's most intimate polyphony.… Read more

  • Mahler. Symphony no. 4

    In Des Knaben Wunderhorn, a collection of hundreds of German folk songs, Mahler found almost everything that touched his soul: love of nature, deep piety and the sorrow of death and parting. But the exuberant scenes of soldierly drumming and eccentric humour also appealed to him. In his Fourth Symphony, the melodies twine like a vine around the Wunderhorn lied Das himmlische Leben, a captivating vision of a heavenly feast. … Read more

  • Mahler. Das Lied von der Erde

    A tormented Mahler worried about whether his Das Lied von der Erde was maybe too intense for an audience. He composed this lied cycle, based on ancient Chinese poems, after the death of his little daughter Maria Anna. The oppressive Abschied (Farewell), in which the last words ‘ewig ... ewig' (forever… forever) fade almost imperceptibly into eternal silence, is enough to give the listener clammy hands. Music shot through with sadness and transience. No one is left unmoved. … Read more

  • Mahler. Symphony no. 2

    Apocalyptic visions, stinging barbs, hushed religiosity, tormenting despair:  in his monumental Auferstehungs (Resurrection) Symphony, Mahler draws upon a whole range of emotions. In the finale, choir and vocal soloists heighten the expressiveness of the orchestra to hurricane force! In the hands of Iván Fischer and his orchestra, this grand vision of resurrection is nothing less than cathartic. … Read more

  • Vivaldi. Gloria

    During his many years in the service of the Venetian convent and orphanage the Ospedale della Pietà, Antonio Vivaldi wrote music specifically for his ‘clients’. And not just any old music! The resident ladies - just out of sight of the listeners - inflamed the imaginations of their sensation-loving audience. And musically they could compete with the best. In this concert, Le Concert Spirituel come close to the original sound of some of Vivaldi’s masterpieces, with a female choir of monumental proportions.… Read more

  • Belgian National Orchestra

    For many music lovers, the Queen Elisabeth Competition is an annual highlight of the concert season. In this 80th edition of this prestigious music competition the most talented singers take the stage. Your chance to see and hear the talents you’ve been following on the radio, TV or Internet over the few past weeks, live and without the stress of the competition. In the good company of the Belgian National Orchestra, your favourite laureate may well be the winner!… Read more