Exactly two months from now, on August 21, Laus Polyphoniae 2026 starts: the annual high mass of early music in Flanders. This year's theme is Polyphonic Europe circa 1600. In three installments I will take you through the program, here and there with a personal touch.
This year's theme may seem less imposing 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, Europe around 1600 was on the threshold of a new era.
The opening concert immediately sets the tone, both in terms of performers and repertoire: Tenebrae brings Victoria's Requiem. The ensemble is conducted by Nigel Short, whom I still know from his time with The King's Singers. For several years he has been leading Tenebrae (literally translated "darkness") with great finesse and expressivity. The name is apt: the Tenebrae liturgy from Holy Week breathes an intense, hushed atmosphere that seamlessly aligns with Victoria's masterful composition.
It remains amusing: every time I see "Tenebrae by Tenebrae" announced, I smile for a moment. I once had to announce it that way myself, and it remains a delightful source of confusion. But that is precisely what makes it so beautiful: the name is no accident, but a conscious choice that perfectly coincides with the atmosphere of the repertoire.
But this evening no Tenebrae, but Victoria's Requiem. In my view one of the highlights of polyphony: music that is both austere and intense, emotional without becoming pathetic. Not cheerful but certainly consoling, "stilling" as one might say. In any case, music that - if you listen carefully with your eyes closed - slows your heartbeat and opens your emotions.
My only small concern is the location: the Handelsbeurs. At a previous concert there, someone once forgot to turn off the air conditioning. Let us hope that this device does not play a disruptive leading role this time in an otherwise undoubtedly sublime evening.
On Saturday, August 22, the festival really takes off, with no fewer than eight events between 10 in the morning and 10 at night. Honor to whom honor is due: this is a real festival, where young talent is also given a platform. It would be improper to single out one ensemble from the International Young Artist's Presentation (IYAP), so I cordially invite you to consult the excellent website yourself.
That brings us to the evening concert (or rather: the evening concerts). The first evening program features varied polyphonic repertoire, including works by Pevernage, Du Caurroy, Lassus and Titelouze. On stage is Les Meslanges, a French ensemble from Normandy, specializing in Renaissance music and early Baroque. It was founded by conductor and singer Thomas Van Essen and is known for its refined interpretations and high artistic level. I am particularly curious. Moreover, you will have the chance to hear less common instruments, such as the serpent or the bass serpent.
This musical highlight is concluded for the die-hards with an absolute masterpiece by Lassus: Lagrime di San Pietro, performed by another great: Philippe Herreweghe and his Collegium Vocale. For the faithful festival-goer, neither work nor performers require any explanation.
After this intense day, I wish you a harmonious night's rest, ready for what's to come.
To be continued.
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