C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface



Annual Report

  • Year: 
  • Please describe your organization’s activities over the past year, including concerts, commissions, collaborations, publications: 

    2019 was a particularly intense year for our association, which continues to develop its dissemination tools.

    First of all, we can welcome the arrival of Ensemble Hopper in residence for a period of two years. The first season of this young group from Liège was rich in concerts as part of all the Forum's activities, and benefited from a tour of Quebec during an exchange with the Vivier in Montreal. This exchange was also the occasion to invite the Canadian Ensemble "Paramirabo" to the Senghor for the LOOP Festival and the organist François Zeitouni to the Brussels Cathedral. These two concerts were replicated in Quebec.

    Our president Stéphane Orlando also travelled to Quebec to consolidate these contacts and develop new collaborations.

    Two editorial projects were launched this year: Les Carnets du Forum, our magazine directed by Michel Fourgon, and "Haut la main! "a collection of piano pieces by FWB composers for students at music academies under the direction of Laurence Mekhitarian.

    Several lecture-concerts were held in co-production with the Senghor Cultural Center, namely, the presentation of the Carnets du Forum in the form of an interview with the editors and musically illustrated by Ensemble Hopper, the ECCO concert linked to the ECSA annual conference always in the presence of our ensemble in residence, and a lecture by Claude Ledoux with members of Ensemble LAPS.

    In 2019 our LOOP Festival has reached its 11th edition. For the first time it has truly opened up to the international scene, inviting artists from Quebec, Switzerland, Poland, Italy, France and Flanders to perform alongside our Belgian ensembles and musicians. This recent opening aims to encourage the exchange and promotion of FWB music abroad, as the works of FWB composers played by these foreign ensembles have almost all been replicated by the same ensembles during tours in their countries of origin. Also for the first time, a show produced by the FdC, The Little Prince with music by Jean-Pierre Deleuze, was resold in other cultural centres (Uccle and Arsonic) after being presented at the LOOP Festival. Finally, again as part of the LOOP Festival, the FdC co-produced a chamber opera for the third time with Ars Musica and the Théâtre de la Balsamine. This is the show Ce qui est en nous by Baudouin de Jaer.

    The director of the FdC has made two trips on behalf of the association: he participated in the ISCM General Assembly in Tallinn in conjunction with the World Music Days, and was invited by the Norwegian Ministry of Foreign Affairs for a series of international exchanges on the fringe of the Ultima Festival in Oslo.

    The Prix André Souris 2019 for young composers was awarded to François Couvreur and Alice Hebborn.

    At the General Assembly five new members were elected. This brings the total number of members to 44, including seven women.
    The new Board of Directors is composed of eight directors, including, for the first time in its history, a woman.
    We are giving these details in order to show that the FdC is aware of the problem of gender parity in the music world.

    As far as the financial balance sheet is concerned, it shows a negative accounting result of 9290.31€, which is only partially compensated by the cash flow, which showed a positive result until 2018.
    This loss is the consequence of the costs of the publication of the piano collection "Haut la main! "(€4,346 in 2019 and €1,500 in 2020) but which the permanent staff considers as an investment over several years. Proof of this is that at the time this report is written, sales of the collection have already reached €1500.
    Nevertheless, as every year, we can deplore the lack of means that would allow the FdC to develop a real strategy of promotion and export of the very qualitative music of our region.

  • Please describe your organization's research activities over the past year: 
    Conference : -MUSIC CREATION, A LANGUAGE THAT CAN BE TRANSMITTED... Is music a language? If music does not integrate the semantic virtues of the word, it is nonetheless traversed by abstract or narrative structures, aesthetic and cultural objects, whose sub weaves propose the sharing of transmissible perceptions, beyond any constituted language. Its composition is, by its very gesture, the generator of a language, whose flesh and meaning it is up to us to give it flesh and meaning. Could it even generate other ways of orienting oneself in this world? To offer us some clues, the philosopher Éric Clemens will meet the composers Claude Ledoux and Aurélien Dumont, in order to tackle this revealing aporia of our time. When the ear meets the word... Our association has also asked composer Elizabeth Anderson to participate in the working group organised by European Composers and Songwriters Alliance on this subject. We must nevertheless point out that to date the number of women enrolled in composition classes at conservatories or starting a career as a composer is far lower than that of men. Even though their numbers have generally been on the rise lately, this will not allow us to achieve any numerical parity for a long time to come. But it goes without saying that the Forum des Compositeurs remains firmly opposed to any gender discrimination or any other aspect concerning the integrity of the individuals it welcomes into its midst. This kind of statement may certainly seem unnecessary in the context of our association, which has never experienced any gender discrimination, but the international context in which the FdC evolves calls for a very clear position to be taken.


Content posted to the ISCM website reflects the viewpoint of individual submitters; its appearance herein does not imply official endorsement by the ISCM, its Executive Committee, or the Delegates to its General Assembly.