A glimpse into the mind of a composer... that is what Ludo Hulshagen (°1951) shares with us. This composer from Hasselt received his composition training from Willem Kersters (1929-1998). Hulshagen won composition prizes including the Cantabile Prize for his Inventie voor piano (1987), a nod to Bach. Since 1971 Hulshagen has passed on his musical knowledge and taught, among others, at the Conservatorium van Antwerpen. For 4 years he fulfills an artistic-pedagogical role as director of the Tiense Muziekacademie and subsequently for 29 years the Hasselt Conservatorium voor Muziek, Woord en Dans.Today he lays bare his musical soul for us. Through the song cycle Droomvuur (1997) Hulshagen introduces us to his composition process. Time to give the composer himself the floor.
Speaking about a composition is difficult, as if letting someone look into your soul...
1. Droomvuur: how it began... Thu 25 April 1996 – 8 p.m.
After my work at school (the Hasselt Conservatorium) I decide to attend a poetry evening, organized by the Pieter Geert Buckinx Foundation, at the 'Cultuur- en Cruydenhoeve de Valik' in Kortessem. On the way there I slip, almost imperceptibly, into the right mood during a short walk through the beautiful Haspengouw landscape. When I arrive at the place and walk the last ten meters on foot, I still hear the restless call of nesting blackbirds. The welcoming atmosphere and the artistic decoration of the beautiful hall in the farmhouse make an impression on me.
Board members and members of the Pieter Geert Buckinx Foundation are present among an attentive audience. Then the Vlierghesellen perform many of Buckinx' poems there in a sublime way: they inspire the audience... and me too.
The power of Buckinx' poetry captivates me. When I leave, I am the proud owner of a new acquisition, namely "Late Gedichten", signed by the poet's nephew who was present.
I am and remain in a state of intoxication for quite some time...
Exactly one month later (Sun 26 May), I attend, this time together with my wife Lieve, a song recital with tenor Robert Luts and pianist Willy Appermont as performers. They perform, among other things, works by Schumann and Brossé. Once again the intoxication strikes: the beautiful tenor voice together with the singing flawless piano playing of Willy make an enormous impression on me again. My decision is made: I will set Buckinx poems to music.
From the collection Droomvuur (1940), collected Poems 'De Gulden Veder' published by Orion, I selected twelve poems, of which 8 from Kleine ode aan het leven and 4 from Kleine ode aan de dood.
Poems with resounding and promising titles such as "Vuurnacht", "De steile vlam", "Het paradijs", "Schemerbloei"...
Extreme feelings, fear of death, eroticism, spirituality, fighting spirit, mystery... are among the ingredients.
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Initially I choose 3 poems
- De blauwe nacht: a search for, recitativo (somewhat narrative even), the poem describes, as it were, a physical-erotic rapture...
- Gebed: con agilita, immediately now a spiritual rapture...
- Droomvuur: resigned, also a recapitulation...
These first 3 songs were set to music after 26 May (a very busy period of public exams at the Conservatorium) and completed in July.
In a letter to Paul Steegmans (responsible for the musical contribution during the seven-yearly Virga Jesse celebrations) I commit to their performance during a concert for the Virga Jesse celebrations on 21 August with tenor Robert Luts and pianist Willy Appermont.
Then follows a break.
In one go I write a piano work that I would later call Fantasia II.
Then follows an outline for a violin concerto: my urge to write is great and my pencil is flowing... I complete this extensive score in early January 1997...
Meanwhile I study the composition of the poetry collection Droomvuur and decide to put together a complete song cycle. After De blauwe nacht, Gebed and Droomvuur I will set 5 more poems to music that also belong to the first part "Kleine ode aan het leven".
- De steile vlam: here a return to the 'feeling of intoxication' takes place.
- Het paradijs: a real cantabile, somewhat resigned atmosphere...
- De snelle schaduw: harried, restless, fear of death. The symbolism of "Vuurnacht" is already announced.
- Vuurnacht: still restless, but the fear disappears...
Now 'my Droomvuur' is actually over: a kind of climax has been reached. From the first three songs I lived on passion, mystery, wonder. Yet I still have to set one more 'Ode aan het leven' poem to music.
- Schemerbloei: a completely different atmosphere then. The earthly becomes heavenly, the physical becomes spiritual...
Then follow the four 'Ode to Death poems'.
- Beyond the Nightingale: from cool to a tense agitation. For the first time piano tremolos appear ...
- Ophelia: evoking a combative, heroic atmosphere ...
What had been postponed so far now ultimately comes to pass: on 9 March of that same year 1996 my dear mother died: then I chose a poem from Buckinx's 'Droomvuur' for the memorial card, now I am setting it to music ...
- I Am No Longer Alone: ethereal, religioso, mystery, questions, (note the 2 different color chords under 'I Am No Longer Alone' ...
- Homesickness: a kind of closing, again a recapitulation. Curiously, the last 2 closing chords: 2 open, ethereal dyads ...
I dated it 10 August 1997 at 17.40!
2. The premiere of this song cycle takes place on Thursday 28 November 1997 in the Church of Guigoven-Kortessem with Robert Luts and Willy Appermont together with the 'Vlierghesellen'.
3. On Sunday 18 January 1998 the Hasselt premiere takes place, an organization within the Helikon framework with recording by Radio 3 (Klara) with the same performers but now interwoven with poems performed by word artist Michel Kempeners.
4. On Tuesday 29 February 2000 I receive a very nice offer: fellow Princelid, music lover and good friend the late Johan Koninxk pleads as chairman of the Limburgse Bijdragen from the Royal Reading Society of Hasselt for a 37th edition of 'the Limb. Bijdragen' now in the form of a CD recording. Soprano Reinhilde Weytjens, tenor Robert Luts and pianist Willy Appermont are responsible for a beautiful recording.
Some time before this I had discovered poems by friend Philippe Rotsaert (°1944). My decision is firm again: I would set some of his poems to music.
Autumn 1999: thus an extremely beautiful artistic project is created: my own 'Droomvuur' with poetry namely work by Buckinx and Rotsaert.
- Geese (from 'My Country is called Antarctica' 1995 published by Reading Society): my choice was determined by elements such as 'the unattainable', 'melancholic' and 'a certain restlessness'. In this first song/poem we hear a dark 'Left Hand' in the piano score. Cold, ethereal clarity. Some restlessness (geese alighting) in contrast with calming wren (poetic descriptive language captivates me here).
- In Love (for his daughter Karolien) from 'Love is Much, Love is Even More' (1999): Restlessness, the unattainable. Musical intensity, dissonant tremolos. Dedicated to my dear wife. Fatherly love for daughters.
- Moment of Silence (from 'Deep Within Me the North Sea Calls' – t'Kandelaartje 1995): Philippe is someone who is deeply moved by the enchantment of the sea. Imagery, pure poetry, again the unattainable.
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Pieter Geert Buckinx (Kortessem, 1903-1987).
In 1983 Pieter Geert Buckinx, at a moment when he was already almost forgotten, totally unexpectedly received the Triennial State Prize for Poetry. Earlier, publisher Lannoo and Buckinx-supporter Rudolf van de Perre had tried to bring the poet back into the spotlight with a late selection. What did this final convulsion mean for Buckinx perception?
Willem Kersters (Antwerp, 09/02/1929 – 29/12/1998)
Yet another striking anecdote regarding composer and my Composition professor: in 1968 he went through an artistic crisis (again) and ... he set about writing a series of poems "For I am not John" which, through the efforts of Pieter Geert Buckinx, were published in 1971. Thus he overcame "his musical fatigue".
For more information about Ludo Hulshagen (°1951) and his compositional output you can visit [MATRIX] Center for New Music.