Anima Eterna Brugge led by Pablo Heras-Casado 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Anton Bruckner (1824 - 1896) Symphony No. 3 in D Minor WAB.103 (1873) Pablo Heras-Casado and Anima Eterna turn their focus to Bruckner’s Third Symphony, one of his most fickle and tempestuous works. Driven by admiration for his great idol Wagner, Bruckner completed the first official version of the symphony in 1873—dedicated to the master himself and peppered with quotations from his works—though it remained unperformed. Fear of public rejection led to a revised version in 1877, which premiered in Vienna only to be torn apart by notorious critics such as Hanslick. Bruckner’s insecure nature and humble origins unjustly fueled prejudices against his musical competence. His protégé Gustav Mahler, however, was deeply impressed and encouraged him to undertake further revisions, eventually leading to a third official version more than a decade later. Anima Eterna returns to the work’s original 1873 state, based on the manuscript score published in 1977. Utilizing period instrumentation and performance practice, the orchestra stays true to Bruckner’s authentic intention, distancing itself from the harsh criticism and endless revisions the piece would later undergo. In dialogue with Bruckner’s musical allies Mahler and Wagner, Heras-Casado highlights the symphony's heroic character. Its contrasting musical forces, the prominent trombone theme, and the dramatic apotheosis offer a clear glimpse into the development of Bruckner’s signature style in his later symphonies. A true tour de force in the architecture of symphonic cathedrals. 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘔𝘶𝘴𝘪𝘤 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Hans Vercauteren 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳 / 𝘊𝘢𝘮𝘦𝘳𝘢 𝘴𝘩𝘦𝘦𝘵𝘴: Helena Gaudeus 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Lucas Excelmans 𝘋𝘖𝘗: Arthur Moelants Live 𝘥𝘦́𝘤𝘰𝘶𝘱𝘢𝘨𝘦: Steven maes 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants 𝘊𝘢𝘮𝘦𝘳𝘢: Xin Van Damme 𝘊𝘢𝘮𝘦𝘳𝘢: Arno De Facq 𝘊𝘢𝘮𝘦𝘳𝘢 - 𝘉-𝘙𝘰𝘭𝘭 𝘝𝘪𝘥𝘦𝘰𝘨𝘳𝘢𝘱𝘩𝘦𝘳: Igor Gaasbeek 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Sergey Steenackers 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Tijs Wylin 𝘔𝘶𝘴𝘪𝘤 𝘗𝘳𝘰𝘥𝘶𝘤𝘦𝘳 / 𝘔𝘶𝘴𝘪𝘤 𝘌𝘥𝘪𝘵𝘰𝘳: Hans Vercauteren 𝘝𝘪𝘥𝘦𝘰 𝘦𝘥𝘪𝘵𝘰𝘳: Arthur Moelants

I SOLISTI, HIIIT and Students of the Conservatories of Antwerp, Ghent and Brussels led by Filip Rathé Filmed at Ravenstein Gallery Brussels March 2026 Luc Brewaeys on Talisker: This work is the second in a series of pieces named after single malt whiskies. It was commissioned for the opening concert of Antwerp Cultural Capital of Europe 1993 which had to take place in the enormous hall of the Antwerp Central Station. This building has an extremely long reverberation time of around 7 seconds, there are lots of stairs and galleries, so the idea was to make a work in which the building was integrated. I quite rapidly chose for the homogeneous orchestral sound of a clarinet choir, with some soloists and percussionists. About half of the clarinet choir plays from a gallery while the remainder is situated with the soloists in the center of the hall itself, more or less as in a normal concert situation.The music starts with the 5 soloists only (the percussionists playing on 18 Gongs), quite surprizingly as a chamber piece which takes quite some time when suddenly the 6 orchestral percussionists drop a pair of cymbals on the floor and the full clarinet choir makes its entrance. Many multiphonics follow and have a first culmination in a fast percussion passage. Next comes a sequence of quasi-cadenzas for the contrabassclarinet, the clarinet and finally the horn and again the percussionists make a loud entrance on bell-like instruments, after some 10 minutes of silence. Because of the acoustic specificities of the hall the music evolves quite slowly. Near the end 6 clarinets play low D’s with their bell on timpani while moving up and down the timpani pedals, which gives an amazing phasing effect, amplified by the hall’s reverberation. Meanwhile, the other clarinettists move and walk around while playing as -slowly- everyone gets more or less together for a final kind of culminating march. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘌𝘥𝘪𝘵𝘰𝘳: Arthur Moelants 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Daan Winderickx, Henrik Schoovaerts, Jente van Havermaet, Lok Hei Tang, Oscar Wemes 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Igor Gaasbeek, Xin Van Damme 𝘔𝘶𝘴𝘪𝘤 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨, 𝘮𝘪𝘹𝘪𝘯𝘨 & 𝘮𝘢𝘴𝘵𝘦𝘳𝘪𝘯𝘨: Steven Maes 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳 & 𝘢𝘶𝘥𝘪𝘰 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Siebe Geyskens

Anima Eterna Brugge led by Midori Seiler. Kai Köpp, Co-artistic coordination. Laura Granero, pianoforte and Hilary Metzger, cello. Filmed at Concertgebouw Brugge and Grand Casino Knokke, Belgium, 2023. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: Joseph Joachim (1831–1907) Overture “In Memory of Heinrich von Kleist” Op. 13 (1877) Clara Schumann (1819–1896) Klaviertrio Op. 17 (1846) Robert Schumann (1810–1856 Konzert für Klavier und Orchester Op. 54 (1845) 𝐀𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐝𝐨𝐜𝐮𝐦𝐞𝐧𝐭𝐚𝐫𝐲 Anima Eterna Brugge is opening a new chapter in historically informed performance practice. While authenticity was traditionally sought primarily in scores, written sources, and historical instruments, the orchestra is now adding a third pillar: old recordings. These phonographic testimonies of the past form the starting point for a fresh approach to music by Joseph Joachim, Clara and Robert Schumann, among others. From the Romantic period in the mid-nineteenth century onwards, absolute respect for the score was considered a universal principle. However, early recordings of famous musicians from the late nineteenth and early twentieth centuries reveal minor deviations such as fluctuating tempos, sudden accelerations or decelerations, uncertain rhythm, approximate intonation and abundant portamento. What would be corrected as a mistake today was then considered an essential part of the performer's skill. Joachim, Caruso and Clara Schumann were admired precisely for this interpretative freedom and expressiveness. One concrete example in the documentary is the performance of Robert Schumann's Piano Concerto. Before and during rehearsals, the musicians studied a 1928 recording of the piece by pianist Fanny Davies, who was a pupil of Clara Schumann's and is considered to be an authentic representative of her style. By carefully analysing and imitating her interpretation, the musicians discovered how subtle expressions and rhythmic freedom bring colour and life to the music. The documentary illustrates this process, offering viewers a unique insight into the richness of romantic performance practice, where historical sources directly influence today's performances. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘌𝘥𝘪𝘵𝘰𝘳: Arno De Facq, Bo Aerts 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Arno De Facq, Bo Aerts 𝘔𝘪𝘹𝘪𝘯𝘨 & 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Robin Breugelmans 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Les Métamorphoses led by Raphaël Feye. Pieter Wispelwey, cello. Peter De Bruyne, photo art. Filmed at De Bijloke Gent, Belgium, 2022. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: 𝐌𝐢𝐞𝐜𝐳𝐲𝐬ł𝐚𝐰 𝐖𝐞𝐢𝐧𝐛𝐞𝐫𝐠 (1919–1996) Cello Concertino, Op. 43bis (1946) Fantasy for Cello and Orchestra, Op. 52 (1950) Chamber Symphony No. 4, Op. 153 (1989) The orchestra Les Métamorphoses and acclaimed cellist Pieter Wispelwey recorded an album in the summer of 2021 featuring the works of Polish composer Mieczysław Weinberg. Weinberg’s music reflects the traumas, losses, and tragedies he endured throughout his life. Since his relatively obscure death in 1996, a generation of musicians has brought Weinberg’s music to contemporary audiences. In this concert film, Weinberg’s music is beautifully intertwined with the photographic art of Peter De Bruyne. Live footage from Kunstencentrum De Bijloke is alternated with visual art that perfectly complements - and even enhances - the evocative atmosphere of the music. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Lennard Brans 𝘋é𝘤𝘰𝘶𝘱𝘢𝘨𝘦: Hans Vercauteren 𝘌𝘥𝘪𝘵𝘰𝘳: Xin Van Damme 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Zdanko Vounckx 𝘊𝘢𝘮𝘦𝘳𝘢: Lennard Brans, Flor Maeyens, Igor Gaasbeek, Arno De Facq 𝘔𝘶𝘴𝘪𝘤 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Felicia Bockstael 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Jeremy Vettorel 𝘗𝘰𝘴𝘵-𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 & 𝘴𝘰𝘶𝘯𝘥 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘐𝘮𝘮𝘦𝘳𝘴𝘪𝘷𝘦 𝘴𝘰𝘶𝘯𝘥 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Xin Van Damme 𝘗𝘰𝘴𝘵-𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘮𝘢𝘯𝘢𝘨𝘦𝘳: Eva De Graef 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Collegium Vocale Gent, led by Philippe Herreweghe. Filmed at Concertgebouw Brugge, Belgium, 2022. 𝘗𝘳𝘰𝘨𝘳𝘢𝘮: J.S. Bach (1685 - 1750) Missa in h-moll (1724 - 1749) Some masterpieces are the result of a long creative process. Johann Sebastian Bach “composed” the Mass in B minor during the last years of his life, but most of the music was older. The Sanctus dates back to 1724, right after his appointment as cantor in Leipzig. Bach wrote the Kyrie and Gloria in 1733 as a Lutheran missa brevis for the Dresden court, and in other parts he reworked his own cantatas. Only the Credo contains newly written music, intended to complete the mass as a missa tota. Strangely enough, the reputation of the Hohe Messe has never suffered from this history of origin. It is regarded without question as the synthesis of Bach’s musical thought and an absolute pinnacle of Western classical music. Philippe Herreweghe recorded his first performance of Bach’s opus magnum for Virgin in 1988, and later for Harmonia Mundi in 1996. A third version appeared in 2012 on his own label, Phi. The present video recording dates from January 23, 2022, and was made live at Concertgebouw Brugge. It has therefore been thirty-six years since Herreweghe first presented his vision of a work that must be counted among the greatest masterpieces in the history of music. Thirty-six years of continuous research and study, faithfully supported by his orchestra and choir of Collegium Vocale Gent. Needless to say, the soloists have changed over the decades, with the remarkable exception of Peter Koij, who has followed the evolution of Herreweghe’s interpretation from the very beginning until today. Soprano Dorothée Mields is an experienced singer who already appeared on the 2012 recording. The newcomers are mezzo-soprano Margot Oitzinger, tenor Guy Cutting, and countertenor Alex Potter, a specialist not only in German Baroque music, but specifically in the countertenor role in the Messe B. Philippe Herreweghe, one of today’s most thorough and erudite Bach interpreters, presents his new vision of a musical work about which no one can ever have the final word. 𝘔𝘰𝘷𝘪𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Steven Maes 𝘋𝘖𝘗: Arthur Moelants 𝘈𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Hans Vercauteren 𝘊𝘢𝘮𝘦𝘳𝘢: Arthur Moelants, Arno De Facq, Flor Maeyens, Igor Gaasbeek, Bert Kamoen 𝘊𝘰𝘭𝘰𝘳 𝘨𝘳𝘢𝘥𝘪𝘯𝘨: Tom Brewaeys 𝘊𝘢𝘮𝘦𝘳𝘢 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Zdenko Vounckx 𝘗𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘮𝘢𝘯𝘢𝘨𝘦𝘳: Pieterjan Seynaeve 𝘗𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘢𝘴𝘴𝘪𝘴𝘵𝘢𝘯𝘵: Merel Matthys 𝘔𝘶𝘴𝘪𝘤 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳: Felicia Bockstael 𝘙𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Xin Van Damme 𝘔𝘪𝘹𝘪𝘯𝘨 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Steven Maes 𝘗𝘰𝘴𝘵-𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯: Eva De Graef 𝘚𝘺𝘴𝘵𝘦𝘮 𝘦𝘯𝘨𝘪𝘯𝘦𝘦𝘳: Nathan Blontrock 𝘌𝘹𝘦𝘤𝘶𝘵𝘪𝘷𝘦 𝘱𝘳𝘰𝘥𝘶𝘤𝘦𝘳: Hans Bellens

Anima Eterna Brugge led by Jacob Lehmann Filmed at Concertgebouw Brugge, Belgium, 2017. Beethoven's Seventh is a dazzling exploration of the orchestral palette and a masterful demonstration of rhythmic ingenuity! Anima Eterna Brugge got famous because of their historically informed practice and their critical study of the score and the positioning of the musicians. This time they bring you their vision on what the exhilarating 7th Symphony of Beethoven should sound like. The orchestra is conducted by Jakob Lehmann, who steps onto the dais for the first time.