Shows
Studio BreinS06: Aflevering 4: de muziek danst op SepEr zijn bepaalde social media kanalen waar elke dag op wordt beweerd dat dansen goed is voor je brein, door ene Dr. Peter Lovatt, die zichzelf genoeglijk Dr. Dance noemt.
En Eva gelooft dat!
Dus ging Maaike het uitzoeken.
Luister in deze aflevering naar Sep die dansend door het leven gaat en leer over neuroplasticiteit, over de tango van dopamine en serotonine en het neuroprotectief effect van dansen. En ohja, ook iets over de majoretten.
Extra bronnen:
- Dit seizoen is een samenwerking tussen BNG en Breinwijzer vzw
...
2025-02-1930 min
Bruto Nationaal GelukS07 Aflevering 4: de muziek danst op SepEr zijn bepaalde social media kanalen waar elke dag op wordt beweerd dat dansen goed is voor je brein, door ene Dr. Peter Lovatt, die zichzelf genoeglijk Dr. Dance noemt. En Eva gelooft dat! Dus ging Maaike het uitzoeken.Luister in deze aflevering naar Sep die dansend door het leven gaat en leer over neuroplasticiteit, over de tango van dopamine en serotonine en het neuroprotectief effect van dansen. En ohja, ook iets over de majoretten. Extra bronnen:- Dit seizoen maken we samen met Breinwijzer vzw- ...
2025-02-1930 min
IFPRI PodcastLearning Support for a Multi-Country Climate Resilience Programme for Food SecurityEvent
IFPRI Policy Seminar
Learning Support for a Multi-Country Climate Resilience Programme for Food Security
Organized by CGIAR with support from World Food Programme (WFP) and The Norwegian Agency for Development Cooperation (Norad)
November 5, 2024
The Learning Support for a Sub-Saharan Africa Multi-Country Climate Resilience Program for Food Security, launched in 2023, aims to enhance food security and climate resilience across 14 African countries. This collaboration among CGIAR, the World Food Programme, and the Norwegian Agency for Development Cooperation (Norad) has three pillars: scaling disaster risk financing, transforming food systems with sustainable school meals and clean cooking, and supporting smallholder farmers. This work...
2024-11-041h 33
Diest achter de schermenGuy Swinnen (Live)De bibliotheek van Diest nodigde ons uit voor een live podcast over het thema 'thuis' in het kader van de Erfgoedweek. Tijd dus om de enige echte Guy Swinnen uit te nodigen: muzikant, zanger, Diestenaar en peter van Te Gek!?. We spraken met hem over gitaar spelen zonder het te kunnen, door een depressie wandelen, en Annick Van Uytsel.Wie met vragen zit over zelfdoding kan terecht op de Zelfmoordlijn, op het gratis nummer 1813, of op zelfmoordlijn1813.be. Nood aan een gesprek? Dan kan je 24/7 terecht bij Tele-Onthaal op het nummer 106. Je kan ook chatten via www.te...
2024-05-1457 min
The Saad Haddad Show“Whatever Sounds Good is Going to Be Good” (ft. Nina Fukuoka)Born in Osaka, Japan, composer Nina Fukuoka moved to Lodz, Poland at the age of four. She graduated from the Grazyna and Kiejstut Bacewicz Academy of Music in Lodz, Poland with a Master’s degree in Theory of Music and Bachelor’s degree in Composition in the class of prof. Zygmunt Krauze. In 2012, she studied at the Royal Conservatory of Brussels, Belgium as a participant of the Erasmus Exchange Program with prof. Peter Swinnen, where she continued her education in the Master’s program and graduated with distinction in 2016. In the field of electronic music she has been guided by Krz...
2023-05-2853 min
IFPRI PodcastThe Ukraine crisis: Unraveling the impacts and policy responses in low- and middle- income countriesThe conflict in Ukraine is having widespread deleterious impacts on the economies and food systems of many low- and middle-income countries. Rising prices for food, fuel, and fertilizer have raised pressing concerns about food security and poverty. To better understand the risks in specific countries, IFPRI researchers have modeled the impacts of prices of the fuel, fertilizer, and food price shocks on GDP, employment, poverty, hunger, and diet quality in 19 countries in Africa and Asia, and examined the relative cost effectiveness of different policy interventions.
Please join us for a presentation of this work and a discussion on how policymakers...
2022-08-311h 30
Scaffold65: Freek PersynFreek Persyn is professor of architecture and urban transformation at ETH in Zurich, and together with Johan Anrys and Peter Swinnen founded the practice 51N4E in 1998. “Architecture is not often talked about in terms of transience, its very much focusing always on the final product, and this final product is captured before its used - it’s trying to monumentalise or eternalise one fragment of time that doesn’t really even exist, which is the finished building before it is even in use […] I would say that instead, we are talking about this whole thing – this whole...
2022-05-2649 min
Swinnen, Peter - Concert PiecesRegalo, for Piano soloAndré Laporte 90
©2021 by Peter Swinnen (http://www.peterswinnen.be)
Performed by Jan Michiels
2021-12-0501 minPeter SwinnenRegalo, for Piano soloAndré Laporte 90
©2021 by Peter Swinnen (http://www.peterswinnen.be)
Performed by Jan Michiels
2021-12-0501 min
Swinnen, Peter - Concert PiecesTombeau De Copernicus, for Cello solo©2020 by Peter Swinnen (http://www.peterswinnen.be)
Performed by Eugen-Bogdan Popa
Tombeau de Couperin was born out of my interest in the Harmony of Spheres. Originally presented by the ancient Greek philosopher Pythagoras (6th century BC), who calculated that all planets and the sun move in resonant circles around the Earth, it has been refined by Copernicus (On the Revolutions of the Celestial Spheres 1453), Kepler (Harmonies of the World 1619) and Newton (Philosophiæ Naturalis Principe Mathematica 1687), who successively improved the calculations of the elliptical orbits of the planets around the sun. 1687 is also the publication date of Marin Marais' Tombeau de Lu...
2021-12-0508 minPeter SwinnenTombeau De Copernicus, for Cello solo©2020 by Peter Swinnen (http://www.peterswinnen.be)
Performed by Eugen-Bogdan Popa
Tombeau de Couperin was born out of my interest in the Harmony of Spheres. Originally presented by the ancient Greek philosopher Pythagoras (6th century BC), who calculated that all planets and the sun move in resonant circles around the Earth, it has been refined by Copernicus (On the Revolutions of the Celestial Spheres 1453), Kepler (Harmonies of the World 1619) and Newton (Philosophiæ Naturalis Principe Mathematica 1687), who successively improved the calculations of the elliptical orbits of the planets around the sun. 1687 is also the publication date of Marin Marais' Tombeau de Lu...
2021-12-0508 min
PS:GROW What's On Your Mind?WOYM 91: Marjolein Faes Over Hoe Ze Nooit Dacht Een Burnout Te Ervaren En Hoe Ze Dit Inzet Om Iedereen Te Helpen Hier Uit Te Geraken | What's On Your Mind? (Dutch/Nederlands)EP 91 Marjolein Faes Over Hoe Ze Nooit Dacht Een Burnout Te Ervaren En Hoe Ze Dit Inzet Om Iedereen Te Helpen Hier Uit Te Geraken En Ook Over Haar Nieuwe Groene Sokken | What's On Your Mind? (Dutch/Nederlands) Hi ik ben Peter en elke week geef ik jullie een podcast over personal development, mindset & verkoop. What's On Your Mind ? is een 1 uur conversatie. Iedereen heeft een verhaal. En ik wil dit verhaal van mijn gast naar boven brengen. Marjolein Faes heeft van haar burn-out verleden een toekomst gemaakt. De 10 jaar ervaring in HR Re...
2021-05-1456 min
Peter SwinnenNo clouds green, a silence - 5 Haikus for String Quartet©2014 by Peter Swinnen
Performed by Isasi Quartet
00:00 - A. Hashin
No sky
no earth - but still
snowflakes fall
02:20 - B. Basho, Matsuo. (1644-1694)
Clouds appear
and bring to men a chance to rest
from looking at the moon.
04:43 - C. Akutagawa, Ryunosuke. (1892-1927)
Green frog,
Is your body also
freshly painted?
06:52 - D. Issa. (1762-1826)
A giant firefly:
that way, this way, that way, this -
and it passes by.
08:40 - E. Michael R. Collings
Silence - a strangled
Telephone has forgotten
That it should ring
2019-12-1511 minSwinnen, Peter - Concert PiecesNo clouds green, a silence - 5 Haikus for String Quartet©2014 by Peter Swinnen
Performed by Isasi Quartet
00:00 - A. Hashin
No sky
no earth - but still
snowflakes fall
02:20 - B. Basho, Matsuo. (1644-1694)
Clouds appear
and bring to men a chance to rest
from looking at the moon.
04:43 - C. Akutagawa, Ryunosuke. (1892-1927)
Green frog,
Is your body also
freshly painted?
06:52 - D. Issa. (1762-1826)
A giant firefly:
that way, this way, that way, this -
and it passes by.
08:40 - E. Michael R. Collings
Silence - a strangled
Telephone has forgotten
That it should ring
2019-12-1511 min
Peter SwinnenDorce 5, for Violin and Cello©1999 by Peter Swinnen
Performed by Eric Robberecht and Guy Danel
Dorce is a series of 9 pieces, all using the same three parts, whereas the third part also exists in a transcription for a second Violin. In fact, you can play Dorce as a Solo piece, which gives you four different solo pieces (Dorce I for Violin Solo, Dorce II for Viola Solo, Dorce III for Violoncello Solo, Dorce IV for Violin Solo). You can also play Dorce as a Duett, which gives you four different Duetts (Dorce V for Violin and Violoncello, Dorce VI for Viola and Violoncello, Dorce VII f...
2019-12-1507 minSwinnen, Peter - Concert PiecesDorce 5, for Violin and Cello©1999 by Peter Swinnen
Performed by Eric Robberecht and Guy Danel
Dorce is a series of 9 pieces, all using the same three parts, whereas the third part also exists in a transcription for a second Violin. In fact, you can play Dorce as a Solo piece, which gives you four different solo pieces (Dorce I for Violin Solo, Dorce II for Viola Solo, Dorce III for Violoncello Solo, Dorce IV for Violin Solo). You can also play Dorce as a Duett, which gives you four different Duetts (Dorce V for Violin and Violoncello, Dorce VI for Viola and Violoncello, Dorce VII f...
2019-12-1507 min
Peter SwinnenDorce 8, for 2 Violins©1999 by Peter Swinnen
Performed by Gilles Millet and Eric Robberecht
Dorce is a series of 9 pieces, all using the same three parts, whereas the third part also exists in a transcription for a second Violin. In fact, you can play Dorce as a Solo piece, which gives you four different solo pieces (Dorce I for Violin Solo, Dorce II for Viola Solo, Dorce III for Violoncello Solo, Dorce IV for Violin Solo). You can also play Dorce as a Duett, which gives you four different Duetts (Dorce V for Violin and Violoncello, Dorce VI for Viola and Violoncello, Dorce VII f...
2019-11-2706 minSwinnen, Peter - Concert PiecesDorce 8, for 2 Violins©1999 by Peter Swinnen
Performed by Gilles Millet and Eric Robberecht
Dorce is a series of 9 pieces, all using the same three parts, whereas the third part also exists in a transcription for a second Violin. In fact, you can play Dorce as a Solo piece, which gives you four different solo pieces (Dorce I for Violin Solo, Dorce II for Viola Solo, Dorce III for Violoncello Solo, Dorce IV for Violin Solo). You can also play Dorce as a Duett, which gives you four different Duetts (Dorce V for Violin and Violoncello, Dorce VI for Viola and Violoncello, Dorce VII f...
2019-11-2706 min
Peter SwinnenHodechtri, for Flute, Clarinet, Violin, Cello, Piano, Percussion and Electronics©2006 by Peter Swinnen
Live performed by Champ d'Action, cond. J. Bossier
Recently I discovered which fascinating musical transformations you get if you change the font bitmap of a text and run it through an image synthesizer. For this piece, a sextet for flute, violin, clarinet, cello, piano and percussion, I'm elaborating on this idea and developing some specific manipulations of musical gestures, built on the different idiomatic playing techniques of the instruments.
Furthermore I'm exploring the vast sound possibilities when two or more instruments influence each others sound through means of electronic manipulations. In the past I've worked many times w...
2019-11-2717 minSwinnen, Peter - Concert PiecesHodechtri, for Flute, Clarinet, Violin, Cello, Piano, Percussion and Electronics©2006 by Peter Swinnen
Live performed by Champ d'Action, cond. J. Bossier
Recently I discovered which fascinating musical transformations you get if you change the font bitmap of a text and run it through an image synthesizer. For this piece, a sextet for flute, violin, clarinet, cello, piano and percussion, I'm elaborating on this idea and developing some specific manipulations of musical gestures, built on the different idiomatic playing techniques of the instruments.
Furthermore I'm exploring the vast sound possibilities when two or more instruments influence each others sound through means of electronic manipulations. In the past I've worked many times w...
2019-11-2717 min
Peter SwinnenA fairy Tale, for Voice and String Quartet©2004 by Peter Swinnen
Performed by Marie-Claude Solanet and Quatuor Danel
2019-11-2714 minSwinnen, Peter - Concert PiecesA fairy Tale, for Voice and String Quartet©2004 by Peter Swinnen
Performed by Marie-Claude Solanet and Quatuor Danel
2019-11-2714 min
Peter SwinnenOuverture©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenIl n'y a pas eu d'adieu©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenMa belle toujours présente©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenBerceuse gravée dans le cœur©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenToutes ces vies©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenLe Mal Absolu©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenPrière pour le Glorieux Dictateur©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenLes armes hurlent©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenChanter pour ne pas pleurer©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2703 min
Peter SwinnenLe choix©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2700 min
Peter SwinnenVieille dame©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenAy, ay, mis brasos©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenFille Nomade©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenTenter l'impossible©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenTant pis pour les autres©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2700 min
Peter SwinnenLe voisin©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenLe train©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2700 min
Peter SwinnenMille routes, mille chemins©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenLe train conduit©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenDes perles de larmes de sang©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenVisages©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenLe train conduit là, où©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2702 min
Peter SwinnenJe suis la voix©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
Peter SwinnenHier, aujourd'hui©2000 by Peter Swinnen
Performed by Delphine Chauvier, Christiane Dailly, Françoise Vanhecke, Madiha Figuigui, Danel Quartet and Wim Konink
2019-11-2701 min
2019-11-2614 min2019-11-2614 min
2019-11-2617 min2019-11-2617 min
Swinnen, Peter - Concert PiecesNon e finita la commedia, per Coro misto ed Elettronico©1991 by Peter Swinnen
2019-11-2609 min2019-11-2609 min
Swinnen, Peter - Concert PiecesHitchCockTail, for Flute, Guitar, Harpsichord and Accordeon©1992 by Peter Swinnen
Performed by Berten D'Gollander, Yves Storms, Christine Wauters and Philippe Thuriot
Dit werk, geschreven, in opdracht van First Meeting (BRTN-Radio 3), voor Philippe Thuriot, is tevens bedoeld als een ode aan de grootmeester van de psychologische thriller, Alfred Hitchcock. De opbouw gebeurt namelijk volgens een voor hem erg typische structuur : na een korte inleiding volgt een gestaag vorderende vertelling ("Tail" = "verhaal"), met een verrassende ontknoping ("Tail" = "Staart"). Elk van de instrumenten vertolkt hierbij a.h.w. de psychologische en emotionele evolutie van een personage…
Daarnaast is er een sterke allusie naar een Coctail. Op dezelfde manier als in een...
2019-11-2610 minPeter SwinnenHitchCockTail, for Flute, Guitar, Harpsichord and Accordeon©1992 by Peter Swinnen
Performed by Berten D'Gollander, Yves Storms, Christine Wauters and Philippe Thuriot
Dit werk, geschreven, in opdracht van First Meeting (BRTN-Radio 3), voor Philippe Thuriot, is tevens bedoeld als een ode aan de grootmeester van de psychologische thriller, Alfred Hitchcock. De opbouw gebeurt namelijk volgens een voor hem erg typische structuur : na een korte inleiding volgt een gestaag vorderende vertelling ("Tail" = "verhaal"), met een verrassende ontknoping ("Tail" = "Staart"). Elk van de instrumenten vertolkt hierbij a.h.w. de psychologische en emotionele evolutie van een personage…
Daarnaast is er een sterke allusie naar een Coctail. Op dezelfde manier als in een...
2019-11-2610 min
2019-11-2609 minSwinnen, Peter - Concert PiecesIroMania, for String Quartet©1991 by Peter Swinnen
Performed by Danel Quartet
2019-11-2609 min
Peter SwinnenAntré, Entrada per Corno, Tromba e Trombone©1996 by Peter Swinnen
Performed by students of the Koninklijk Conservatorium Brussel, cond. B. Bouckaert
Dit aforistische werkje, een hommage voor de 65e verjaardag van mijn vroegere compositie-leraar Andr Laporte, ligt helemaal in de lijn van de klassieke openings- en huldigingsfanfares. En zoals de titel reeds laat vermoeden, met de nodige knipogen
2019-11-2601 minSwinnen, Peter - Concert PiecesAntré, Entrada per Corno, Tromba e Trombone©1996 by Peter Swinnen
Performed by students of the Koninklijk Conservatorium Brussel, cond. B. Bouckaert
Dit aforistische werkje, een hommage voor de 65e verjaardag van mijn vroegere compositie-leraar Andr Laporte, ligt helemaal in de lijn van de klassieke openings- en huldigingsfanfares. En zoals de titel reeds laat vermoeden, met de nodige knipogen
2019-11-2601 min
Peter SwinnenToamina'k, for Recorder Quartet and Electronics©1998 by Peter Swinnen
Performed by Apsara
2019-11-2612 minSwinnen, Peter - Concert PiecesToamina'k, for Recorder Quartet and Electronics©1998 by Peter Swinnen
Performed by Apsara
2019-11-2612 min
Peter SwinnenGogutos, for String Quartet©1998 by Peter Swinnen
Performed by Quatuor Danel
Cette pièce, le titre étant dérivé de “Cocytos”, une des rivières aux enfers dans l’ancienne mythologie Grècque, raconte à travers 7 tableaux une promenade fictive lelong de cette fleuve “des Plaintes Éternelles”. Là-dedans on entend parfois une ombre qui apparaît pour raconter son histoire, et puis qui redisparaît.
En plus, le mot Gogutos décrit le déroulement sonore de la composition. D’abord il y a une partie basée sur des sonorités plutôt gutturales (nottamment au violoncelle), puis une partie plus ouverte avec des harmoniques, puis une par...
2019-11-2614 minSwinnen, Peter - Concert PiecesGogutos, for String Quartet©1998 by Peter Swinnen
Performed by Quatuor Danel
Cette pièce, le titre étant dérivé de “Cocytos”, une des rivières aux enfers dans l’ancienne mythologie Grècque, raconte à travers 7 tableaux une promenade fictive lelong de cette fleuve “des Plaintes Éternelles”. Là-dedans on entend parfois une ombre qui apparaît pour raconter son histoire, et puis qui redisparaît.
En plus, le mot Gogutos décrit le déroulement sonore de la composition. D’abord il y a une partie basée sur des sonorités plutôt gutturales (nottamment au violoncelle), puis une partie plus ouverte avec des harmoniques, puis une par...
2019-11-2614 min
2019-11-2401 min2019-11-2401 min
2019-11-0301 min
Swinnen, Peter - Concert PiecesDorce 3, for Cello Solo©1999 by Peter Swinnen
Dorce is a series of 9 pieces, all using the same three parts, whereas the third part also exists in a transcription for a second Violin. In fact, you can play Dorce as a Solo piece, which gives you four different solo pieces (Dorce I for Violin Solo, Dorce II for Viola Solo, Dorce III for Violoncello Solo, Dorce IV for Violin Solo). You can also play Dorce as a Duett, which gives you four different Duetts (Dorce V for Violin and Violoncello, Dorce VI for Viola and Violoncello, Dorce VII for Violin and Viola, Dorce VIII for t...
2019-10-2606 minPeter SwinnenDorce 3, for Cello Solo©1999 by Peter Swinnen
Dorce is a series of 9 pieces, all using the same three parts, whereas the third part also exists in a transcription for a second Violin. In fact, you can play Dorce as a Solo piece, which gives you four different solo pieces (Dorce I for Violin Solo, Dorce II for Viola Solo, Dorce III for Violoncello Solo, Dorce IV for Violin Solo). You can also play Dorce as a Duett, which gives you four different Duetts (Dorce V for Violin and Violoncello, Dorce VI for Viola and Violoncello, Dorce VII for Violin and Viola, Dorce VIII for t...
2019-10-2606 min
Peter SwinnenCanzone, for Violin and Piano©1996 by Peter Swinnen
Aan de basis van deze compositie lag het idee van een combinatie van de begrippen "Zwanezang" en "Sirenenzang": verleidelijk, opstandig, berustend in het lot. Deze drie elementen bepalen dan ook de structuur van "Canzone". Na een lyrisch begin komt een eerder heftige passage, die echter onmiddellijk omslaat in sarcasme en weer bedaart , waarna het begin-thema langzaam maar zeker stagneert...
Veel luisterplezier.
Brussel 2 december 1996
Peter Swinnen
2019-10-2606 minSwinnen, Peter - Concert PiecesCanzone, for Violin and Piano©1996 by Peter Swinnen
Aan de basis van deze compositie lag het idee van een combinatie van de begrippen "Zwanezang" en "Sirenenzang": verleidelijk, opstandig, berustend in het lot. Deze drie elementen bepalen dan ook de structuur van "Canzone". Na een lyrisch begin komt een eerder heftige passage, die echter onmiddellijk omslaat in sarcasme en weer bedaart , waarna het begin-thema langzaam maar zeker stagneert...
Veel luisterplezier.
Brussel 2 december 1996
Peter Swinnen
2019-10-2606 min
2019-10-2605 min2019-10-2605 min
Peter SwinnenSouvenir d'un dragon de soie, for Sheng and Ensemble©2019 by Peter Swinnen
Live performance by Ensemble Télémaque, Yifei Hua, cond. Raoul Lay
“Souvenir d’un dragon de soie”, French for “Memories of a silk dragon”, is a personal reflection on several travels I was able to make into China and Vietnam, and the rich musical and philosophical cultures of many East Asian people I was able to meet during the festivals I visited. On the one hand there is the 21st Century complexity of the big cities where millions of people live together in an overwhelming flow of never-ending activity. But there is also the deep connection with nature a...
2019-10-1910 minSwinnen, Peter - Concert PiecesSouvenir d'un dragon de soie, for Sheng and Ensemble©2019 by Peter Swinnen
Live performance by Ensemble Télémaque, Yifei Hua, cond. Raoul Lay
“Souvenir d’un dragon de soie”, French for “Memories of a silk dragon”, is a personal reflection on several travels I was able to make into China and Vietnam, and the rich musical and philosophical cultures of many East Asian people I was able to meet during the festivals I visited. On the one hand there is the 21st Century complexity of the big cities where millions of people live together in an overwhelming flow of never-ending activity. But there is also the deep connection with nature a...
2019-10-1910 min
Peter SwinnenSinfonia V - Metamorphosen, Sinfonia concertante for Symphonic Wind Band©2019 by Peter Swinnen
Métamorphoses, ma 5e Symphonie, est le résultat d’une recherche qui me fascine depuis plusieurs années : comment amener de la cohérence dans du matériau musical d’une hétérogénéité prononcée ? Point de départ de cette pièce est l’utilisation de quelques techniques provenant de l’intelligence artificielle : des "algorithmes génétiques" changent ("mutent") des cellules musicales de sorte qu'elles s'éloignent de plus en plus de l'original. Un processus qui peut être perturbé en introduisant un "virus". De cette manière tout le matériau, ainsi différent qu'il soit da...
2019-10-1918 minSwinnen, Peter - Concert PiecesSinfonia V - Metamorphosen, Sinfonia concertante for Symphonic Wind Band©2019 by Peter Swinnen
Métamorphoses, ma 5e Symphonie, est le résultat d’une recherche qui me fascine depuis plusieurs années : comment amener de la cohérence dans du matériau musical d’une hétérogénéité prononcée ? Point de départ de cette pièce est l’utilisation de quelques techniques provenant de l’intelligence artificielle : des "algorithmes génétiques" changent ("mutent") des cellules musicales de sorte qu'elles s'éloignent de plus en plus de l'original. Un processus qui peut être perturbé en introduisant un "virus". De cette manière tout le matériau, ainsi différent qu'il soit da...
2019-10-1918 min
Peter SwinnenPoint d'Appui, for Viola, Narrator and Electronics©1999 by Peter Swinnen
Performed by Dominica Eyckmans, Jean Portante, Peter Swinnen
Dans cette pièce, j’ai voulu entourer les textes de Jean Portante d’une musique qui ne soit ni descriptive, ni simplement un tapis d’ambience. Au contraire, j’ai voulu y ajouter un deuxième personnage, pour créer ainsi un vrai duo, de la vraie musique de chambre, entre la parole et la musique. Pour que, comme le dit le texte lui-même, la musique, c’est à dire l’ensemble de la voix parlée, le violon et son extension électronique, puissent sculpter le temps dans l’espace…
2019-10-1909 minSwinnen, Peter - Concert PiecesPoint d'Appui, for Viola, Narrator and Electronics©1999 by Peter Swinnen
Performed by Dominica Eyckmans, Jean Portante, Peter Swinnen
Dans cette pièce, j’ai voulu entourer les textes de Jean Portante d’une musique qui ne soit ni descriptive, ni simplement un tapis d’ambience. Au contraire, j’ai voulu y ajouter un deuxième personnage, pour créer ainsi un vrai duo, de la vraie musique de chambre, entre la parole et la musique. Pour que, comme le dit le texte lui-même, la musique, c’est à dire l’ensemble de la voix parlée, le violon et son extension électronique, puissent sculpter le temps dans l’espace…
2019-10-1909 min
Peter SwinnenSinfonia III Erinnerung, for String Quartet, Ensemble and Live Electronics©2008 by Peter Swinnen
This piece, commissioned by the Spectra Ensemble for their participation in the Gouden Vleugels Contest 2008 in tandem with the Fenix String Quartet, is a tribute to Ludwig van Beethoven and Luciano Berio. It takes the fifth movement of Beethoven’s string quartet nº 15 op. 132 and treats it as in Luciano Berio’s Sinfonia. In other words: Beethoven (the past) tries to ‘break through’ Berio (the present). It is as if you ‘remember’ something without knowing precisely what it is: “Erinnerung”. At the same time throughout the piece this idea of the past transforms itself up to the point that it can...
2019-10-1912 minSwinnen, Peter - Concert PiecesSinfonia III Erinnerung, for String Quartet, Ensemble and Live Electronics©2008 by Peter Swinnen
This piece, commissioned by the Spectra Ensemble for their participation in the Gouden Vleugels Contest 2008 in tandem with the Fenix String Quartet, is a tribute to Ludwig van Beethoven and Luciano Berio. It takes the fifth movement of Beethoven’s string quartet nº 15 op. 132 and treats it as in Luciano Berio’s Sinfonia. In other words: Beethoven (the past) tries to ‘break through’ Berio (the present). It is as if you ‘remember’ something without knowing precisely what it is: “Erinnerung”. At the same time throughout the piece this idea of the past transforms itself up to the point that it can...
2019-10-1912 min
Peter SwinnenSinfonia I Le Journal intime, for Mezzo, Accordeon and Orchestra©1998 by Peter Swinnen
Altough written for two soloists (mezzo soprano and accordeon) and orchestra, "le journal intime" is not a concerto, but more a "Sinfonia Concertante". This clearly comes out of the text. In fact, the subject of this text, written specially for this symphony by the Luxemburg poet Jean Portante, deals with the impossibility of "the Hand" (the mezzo) to write into "the Page" (the accordeon), because "the Brains" (the orchestra) don't like it. Hence a very special relationship between both soloists and the orchestra. The last one dominates everything. The mezzo is somewhat like a "porte parole" of t...
2019-10-1913 minSwinnen, Peter - Concert PiecesSinfonia I Le Journal intime, for Mezzo, Accordeon and Orchestra©1998 by Peter Swinnen
Altough written for two soloists (mezzo soprano and accordeon) and orchestra, "le journal intime" is not a concerto, but more a "Sinfonia Concertante". This clearly comes out of the text. In fact, the subject of this text, written specially for this symphony by the Luxemburg poet Jean Portante, deals with the impossibility of "the Hand" (the mezzo) to write into "the Page" (the accordeon), because "the Brains" (the orchestra) don't like it. Hence a very special relationship between both soloists and the orchestra. The last one dominates everything. The mezzo is somewhat like a "porte parole" of t...
2019-10-1913 min
Peter SwinnenEdokaste, for Cello and Piano©2011 by Peter Swinnen
Performed by Guy Danel and Richard Whalley (2013)
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone: . . .
(ODE ON A GRECIAN URN from "POEMS" by John KEATS)
2012-10-2009 minSwinnen, Peter - Concert PiecesEdokaste, for Cello and Piano©2011 by Peter Swinnen
Performed by Guy Danel and Richard Whalley (2013)
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone: . . .
(ODE ON A GRECIAN URN from "POEMS" by John KEATS)
2012-10-2009 min
2012-10-2006 min2012-10-2006 min
Swinnen, Peter - Concert PiecesMoordende Wals, for Soprano, Mezzo and 6 instruments©1998 by Peter Swinnen
2012-10-2005 min2012-10-2005 min
2012-10-2006 min2012-10-2006 min
2012-10-2001 min
Swinnen, Peter - Concert PiecesMancoras, for Flute, Sax, Trumpet, Tuba, Mandoline, Violin, Viola©2007 by Peter Swinnen
As is also the case with many of Ligeti's pieces, Mancoras, anagram of San Marco, is based on the fractal with the same name. Since fractals don't loose detail when you zoom in, they are most suitable for creating coherence between several independent layers, each evolving in its own time/tempo. In this piece, micro, meso and macro level are fully controlled by the same principle: z = z^2 - 1. What specially attracted me in this fractal, is its symmetry, which reminded me of the ancient Renaissance practice of Cori Spezzati, hence the symmetrical disposition of the instruments.
H...
2012-10-2009 minPeter SwinnenMancoras, for Flute, Sax, Trumpet, Tuba, Mandoline, Violin, Viola©2007 by Peter Swinnen
As is also the case with many of Ligeti's pieces, Mancoras, anagram of San Marco, is based on the fractal with the same name. Since fractals don't loose detail when you zoom in, they are most suitable for creating coherence between several independent layers, each evolving in its own time/tempo. In this piece, micro, meso and macro level are fully controlled by the same principle: z = z^2 - 1. What specially attracted me in this fractal, is its symmetry, which reminded me of the ancient Renaissance practice of Cori Spezzati, hence the symmetrical disposition of the instruments.
H...
2012-10-2009 min
2012-10-2005 min2012-10-2005 min
Swinnen, Peter - Concert PiecesMonagli, for Saxophone trio©2011 by Peter Swinnen
Performed by Trio Milonga
2012-10-2011 min2012-10-2011 min
Swinnen, Peter - Concert PiecesIlachýam, for Violin, Cello, Clarinet and Piano©2009 by Peter Swinnen
2012-10-2012 min2012-10-2012 min
Swinnen, Peter - Concert PiecesQuar'l, “A quarrel” per Quartetto di Clarinetti©1996 by Peter Swinnen
“Quar’l” peut être considéré comme une “aquarelle”. En effet, dans l’esprit globale, cette pièce décrit un “Soundscape”, un paysage sonore assez bizarre, plein d’ événéments. Comme une peinture auditive de timbres... Mais, “Quar’l” est aussi “a quarrel”, une baguarre. L’ élément du début s’ énerve de plus en plus vers la cadence de la Clarinette Basse, pour se ré-établir après, comme si rien ne s’ était passé. Mais, on remarque qu’ en fait cette ré-exposition ne reprend pas le début de la pièce, mais plutôt les deux éléments dont celui-ci était...
2003-11-0112 minPeter SwinnenQuar'l, “A quarrel” per Quartetto di Clarinetti©1996 by Peter Swinnen
“Quar’l” peut être considéré comme une “aquarelle”. En effet, dans l’esprit globale, cette pièce décrit un “Soundscape”, un paysage sonore assez bizarre, plein d’ événéments. Comme une peinture auditive de timbres... Mais, “Quar’l” est aussi “a quarrel”, une baguarre. L’ élément du début s’ énerve de plus en plus vers la cadence de la Clarinette Basse, pour se ré-établir après, comme si rien ne s’ était passé. Mais, on remarque qu’ en fait cette ré-exposition ne reprend pas le début de la pièce, mais plutôt les deux éléments dont celui-ci était...
2003-11-0112 min