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



One of the main tools ISCM-Flanders develops in order to achieve its goals, is the creation of a Fund of Works. Each year we organise a reading jury, assembled by an independent chairman of the jury, preferably each year of different aesthetics. They select among the submitted pieces, which all have to be written during the last five years, the most remarkable works. Submitters can be composers, but also ensembles, performers, musicologists etc. The selected pieces then get our ISCM-Flanders Quality Label and become a part of our Fund, which can be consulted at Matrix ( 

Each year we organise our ISCM Festival , where we try to perform as many of the selected works as possible, preferably by the ensembles who commissioned / premiered them. So, our first main activity after the General Assembly in Stuttgart was our very first ISCM Festival day, November 16, 2006 in Gent, organised in close collaboration with the November Music Festival. Composers Kaat De Windt (B), Robin de Raaff (NL), Stefan Prins (B), Bram Van Camp (B), Bart Vanhecke (B), Wouter Snoei (NL), Yannis Kyriakides (NL) and Barbara Ellison (I) were performed by Agartha (B), Het Collectief (B), I Solisti Del Vento (B), Minguet Quartett (D) and Wave Field Synthesis (NL). Klara (Flemish Classical Radio) was there too.

In December 2006 we launched our Call for Works 2007. 24 pieces have been submitted, 2 string quartets (1 with tape), 5 solo pieces, 4 with voice, excl. 1 choir piece, 12 chamber music/ensemble, 1 for orchestra, 1 for string orchestra, 2 for percussion ensemble. The reading jury, assembled by chairman Frederic Rzewski and consisting of Jacqueline Fontyn, Kaat De Windt, Walter Hus and observers Luk Vaes and Katrien Van Remortel selected 12 pieces. These pieces, composed by Chong Kee Yong, Cox Boudewijn, Defoort Kris, Rathé Filip, Roels Hans, Sommereyns Gwendolyn, Van Daele Hans, Van Herck Bert (2), Van Parys Annelies, Vanhecke Bart and Vermote Petra, got our ISCM-Flanders Quality Label. 

February 11 - 14 we were happy to guide ExComm member Ramon Anthin amongst a few of our partners. At this occasion he was able to meet Spectra Ensemble, Flanders Music Centre, Matrix, Champ d'Action and I Solisti del Vento. The exchanges about his experience starting up the organisation of the World Music Days (Sweden 2009) were very useful.

June 20 ISCM Australia passed by in Brussels. We met with David Young and Rosemary Joy from Aphids, which we presented to Flanders Music Centre and some of our board members.

In close collaboration with Flanders Music Centre, IAMIC, the Nordic Composers Council and the European Music Office, we're working on the establishing of a European Network for the exchange of contemporary art music repertoire. Current partners include Croatian Composers' Society, Danish Composers' Society, Finnish Composers Society, Flanders Music Centre (B), Music Centre Slovakia, Nordic Composers' Council, Norwegian Composers' Society, Polish Music Information Centre & Polish Composers Union, PRS Foundation (UK), SACEM (FR), Swedish Composers' Society and Wallonie-Bruxelles Musiques (B). ISCM-Flanders is part of the working group that coordinates the starting up of this Network Pilot.

Apart from these section specific activities, a lot of contemporary music concerts and festivals take place continuously. There are the annual Klarafestival van Vlaanderen, Happy New Ears, Transit and November Music festivals. And the bi-annual [email protected]. Last July there was a brand new initiative in Tongeren, where the Basilica festival organised a whole day around contemporary art music, including concerts, workshops, lectures etc. And of course the regular concerts of the different ensembles (Champ d'Action, Emanon, Hermes, Het Collectief, Prometheus, Spectra Ensemble, ...) continue also, which all bring contemporary music and first performances on a regular basis (on average between 20 and 40 concerts a year each).

Peter Swinnen, chairman




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