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01/12 ::: Academiezaal Sint-Truiden ::: Revue syndicale trimestrielle

07/12 ::: Muziekgebouw aan 't IJ Amsterdam (NL) ::: Bicentennials of folly!

08/12 ::: TivoliVredenburg Utrecht (NL) ::: Bicentennials of folly!

13/12 ::: Concertgebouw Amsterdam (NL) ::: Scherpdenkers - Messiaen Quatuor & Dirk De Wachter

14/12 ::: Muziekgebouw Frits Philips Eindhoven (NL) ::: Scherpdenkers - Messiaen Quatuor & Dirk De Wachter

18/01 ::: CCHA/cultuurcentrum Hasselt ::: Scherpdenkers - Messiaen Quatuor & Dirk De Wachter

24/01 ::: MIRY Concerts Ghent ::: Schoenberg - Rihm - Schumann

12/03 ::: CC Maasmechelen ::: Kodaly - Ligeti

16/03 ::: Festival Printemps des Arts de Monte-Carlo (MC) ::: Das Lied von der Erde, Mahler (arr. R. de Leeuw)

17/04 ::: CC Sint-Niklaas ::: Scherpdenkers - Messiaen Quatuor & Dirk De Wachter

05/05 ::: CC Zwaneberg Heist-op-den-Berg ::: Schumann & Schoenberg

13/05 ::: Konzerthaus Vienna (A) ::: Saariaho, a portrait

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upcoming concerts

Thu 07.12.2023 # Amsterdam (Netherlands)
Fri 08.12.2023 # Utrecht (Netherlands)
Wed 13.12.2023 # Amsterdam (Netherlands)
Thu 14.12.2023 # Eindhoven (Netherlands)
Thu 18.01.2024 # Hasselt (Belgium)

with the support of


Pelleas und Melisande

The only Belgian Nobel Prize winner for literature, Maurice Maeterlinck, wrote his theatre play 'Pelléas et Mélisande' in 1893. The play made a great impression on a select group of composers: both Debussy and Fauré, as well as Jean Sibelius, wrote music inspired by this Symbolist masterpiece.


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A distinguished visitor in Den Bosch / RIP Kaija Saariaho

Tristan Murail was born in 1947. His biography reveals that he was a student of the famous Olivier Messiaen. But this connection is not the only asset to turn him into the heir of the rich French musical tradition. Fascinated by the pioneering work of sound magician Claude Debussy, Murail developed a new style that we have come to call ‘spectralism’.


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Fundraising 'For Morton Feldman'

Het Collectief wants to play a prominent role in the field of creation. In doing so, it is important to be able to make artistic choices in full autonomy. We want to absorb the risks associated with progressive programming by looking for patrons with a taste for the avant-garde


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with the support of