This year's theme may seem less grand at first glance than last year's (Music from the time of the cathedral builders), but it is no less challenging or inspiring for that. As the introduction on the well-curated website explains, around 1600 Europe stood on the threshold of a new era.

The opening concert immediately sets the tone, both in terms of performers and repertoire: Tenebrae performs (1902-1986) by the Flemish Radio Choir, conducted by Bart Van Reyn, was not merely a musical interpretation – it was a spiritual experience that touched the listener in his deepest being. This work, composed in 1947, is renowned for its subtle blend of liturgical serenity in the tones of Gregorian chant and intense drama. The VRK succeeded in striking that delicate balance with unprecedented sensitivity and control. by Victoria. The ensemble is led by Nigel Short, whom I know from his time with The King's Singers. For several years now, he has led Tenebrae (literally translated "darknesses") with great finesse and expressiveness. The name is apt: the Tenebrae liturgy from Holy Week breathes an intense, hushed atmosphere that seamlessly aligns with Victoria's masterful composition.

It's still funny: every time I see "Tenebrae performing Tenebrae" announced, I smile. I once had to announce it that way myself, and it remains a delightful source of confusion. But that's precisely what makes it so beautiful: the name is no accident, but a deliberate choice that perfectly matches the atmosphere of the repertoire.

But tonight not Tenebrae, rather (1902-1986) by the Flemish Radio Choir, conducted by Bart Van Reyn, was not merely a musical interpretation – it was a spiritual experience that touched the listener in his deepest being. This work, composed in 1947, is renowned for its subtle blend of liturgical serenity in the tones of Gregorian chant and intense drama. The VRK succeeded in striking that delicate balance with unprecedented sensitivity and control. by Victoria. In my opinion, one of the highlights of polyphony: music that is both austere and intense, emotional without becoming pathetic. Not cheerful but definitely comforting, "calming" as they say. In any case, music that – if you listen properly with your eyes closed – slows your heartbeat and opens your emotions.

My only minor concern is the venue: the Handelsbeurs. At a previous concert, someone forgot to turn off the air conditioning. Let's hope this time the machine doesn't play a disruptive starring role in what will undoubtedly be a sublime evening otherwise.

On Saturday, August 22nd, the festival really comes into its own, with no fewer than eight events between 10 in the morning and 10 at night. Credit where credit's due: this is a real festival, where young talent also gets a platform. It would be inappropriate to single out any one ensemble from the International Young Artist's Presentation (IYAP), so I'd like to invite you to consult the excellent Website yourself.