Flanders Recorder Quartet (BE)

Tom Beets

Bart Spanhove

Joris Van Goethem

Paul Van Loey


About the artists:

The Ambassadors of the Recorder ...

The Flanders Recorder Quartet has evolved into one of the world’s top ensembles. The ensemble makes regular guest appearances at leading music festivals such as those in Helsinki, Paris, Geneva, Boston, Vancouver, Singapore, Taipeh, and Mexico City.

Numerous prizewinning recordings have been made for record companies such as Harmonia Mundi, Archiv/Deutsche Grammophon, Ricercar, and OPUS 111. In 2003 the quartet entered a long and intensive collaboration with the German label AEOLUS.

The Flanders Recorder Quartet showcases an instrument that was underestimated for two centuries. Its extraordinary collection contains reproductions of instruments after illustrations by Virdung (1511), after originals from the collection of Henry VIII, a Baroque great-bass recorder some 2.3 meters in length (which was built by Friedrich von Huene, Boston), and modern recorders by Hans Coolsma (Utrecht). The extensive collection of instruments and the highly virtuoso performance of a richly varied programme make each concert an unforgettable experience and allow the recorder, one of the most important instruments of the Renaissance and Baroque periods, to shine in all its former splendour.

The members of the Flanders Recorder Quartet have also built impressive careers as teachers, and are able to convey their pedagogical ideas in an inspiring manner be it as professors or at master classes. In doing so, they do not avoid the confrontation between contemporary and early music. A tangible result of this work is a book on ensemble playing, which has been translated into a number of languages.

The Flanders Recorder Quartet has been acclaimed for its sensitive arrangements and for the more than forty compositions that have been dedicated to the group. Some of these pieces have been made available to the public in the ensemble’s own series of editions, “The Flanders Recorder Quartet Series,” published by the German publishing house Heinrichshofen. The press, the public, and international juries have praised the glass-clear ensemble playing, the technical perfection, the homogeneous sound, and the true-to-style interpretation: “The players swayed and swooned, combining the breathy timbre of a portative organ with the expressive interplay of a fine string quartet” (S. Smith, New York Times).