The Artist's Music
Frederik Neyrinck (°1985) received his first piano lessons of Anne Buyck in Wevelgem and Menen. He continued his study at the Koninklijk Conservatorium in Brussels with Jan Van Landeghem (composition) and Piet Kuijken (piano). From October 2008 till July 2009, he studied composition with Marco Stroppa at the Hochschule für Musik und Darstellende Kunst in Stuttgart. Since October 2012, he is studying at the Kunstuniversität Graz with Clemens Gadenstätter (composition).
He had the opportunity to collaborate with both Belgian and international ensembles and soloists, such as Neue Vocalsolisten, Odysseia Ensemble, Nadar Ensemble, JACK Quartet, I Solisti del Vento, Spectra Ensemble, Latvijas Radio Koris, Noise Bridge, Operastudio Ghent, Revue Blanche, Goeyvaerts Strijktrio, Prometheus Ensemble, Quasars Ensemble, Seraphine Stragier, Tim Vandenbergh, Bertel Schollaert, Bart Bouckaert , Koen Dries, Jenny Spanoghe, Andrew Blackburn… during festivals as Transit Festival Leuven (2010, 2011), November Music Den Bosch (2011), Acanthes Metz (2009), Forme Uniche Melbourne (2010), Contagious Sounds New York (2011), Festival de l’abbaye du Pin Béruges (2007), Darmstädter Ferienkurse Reading Sessions (2010, 2012), TIK TAK TOE Meigem (2011, 2012), De Link Tilburg (2010), En Avant Mars Ghent (2012),… He was also laureate of several competitions, among others the composition competition of the Province West-Vlaanderen in 2006, the Composition Competition of the Emanon Ensemble in 2007, the prize Agniez of the Koninklijk Conservatorium Brussel in 2009 , the International Composition Competition – Melbourne in 2010 and the AMA – Stephan De Jonghe composition competition in 2011. He is the resident composer and one of the founding members of the Odysseia Ensemble, a new Belgian chamber music ensemble. He is also involved in TIK TAK TOE, a yearly festival for “recent” music organized at the art gallery D’Apostrof in Meigem.
Notes on the Musma Composition
“Quasi –Palindrom II”
“Quasi –Palindrom II” is the second piece in the cycle of pieces which are based on the “Namenbuchen” that you find in the German soldiers cemetery at the border between Menen and Wevelgem (Belgium). Neither poetry nor prose but a list of victims of the first World War forms the text throughout this composition. For this piece I used the first seven pages of the “Namenbuch”, from “Abb” until “Adam”. In the middle section of the piece, I use also some words which can be found on the central memorials of the cemetery. The title “Quasi-Palindrom II” refers to another (astounding) aspect of this soldiers cemetery, namely the number of victims who are resting there: 47864. This number is a “quasi – palindrome”: it means the number almost reads the same from left to right and from right to left. There is only a little difference between the 7 and the 6, giving us not a perfect palindrome. The idea of the “quasi – palindrome” can be found throughout the whole composition. The form, the notes, the rhythm and the harmony are organized in that way. The piece is written for 12 voices: 6 of them are standing on stage and the other 6 voices are spread throughout the space of the concert hall. The different sound and text fragments are interacting all the time, which means that the relations between voices change continuously during the piece. “Quasi – Palindrom II” is written for the MUSMA Project 2013 and is dedicated to Šimon Voseček and Johannes Langer.