“PREMIÈRE” CONCOURS
Dedicated to music performed on period instruments, cs by highlighting the uniqueness of their artistic, scholarly, and interpretive approaches. It is precisely this subtle balance of qualities that the event strives to reveal to an open and enthusiastic audience. Because early music is in constant flux, continually redefining its performance codes through the interpretation of historical sources, this competition stands as a privileged space to bring it up to date, set new goals for it, and give it new colors.
« Ceci n’est pas un concours »
It is through this phrase, paraphrasing the famous work by Belgian painter René Magritte, that one could define the spirit of the Première Competition. Indeed, where the word “competition” too often evokes rivalry, pure performance, and competition—notions that have no place in artistic creation—this event is conceived above all as a meeting place for colleagues and future collaborators. The aim here is to highlight small ensembles of the new generation, capable of bringing the competition’s three objectives—artistic, scientific, and rhetorical—into dialogue with brilliance and originality. More than a competition, this event offers a precious opportunity to perform within an excellent early music festival, sharing their art and discoveries with a supportive jury and an enthusiastic audience.
PREMIÈRE 2027
Madrid and Spain
For this 5th edition of the Première competition, Spain and its vibrant capital, Madrid, take center stage on a musical journey spanning from the Renaissance to the dawn of the Romantic period. After exploring repertoires associated with the “Grand Tour,” from Brussels to the Netherlands via the Republic of Venice and Saxony, this new edition highlights Spanish music characterized by a fascinating cultural fusion. The result of a unique fusion between Renaissance polyphony and the dynamic rhythms of folk dances, this passionate style drew inspiration from the splendor of the royal court, the mystical fervor of the Church, and the world of theater. Its major influences stem as much from its Neapolitan viceroyalty as from its Latin American colonies, which infused it with distinctive rhythmic colors.
Promising magnificent discoveries, this edition—rich in surprises—will be sponsored by the festival’s young artist-in-residence, the Spanish cellist Víctor García García. The competition will take place in the heart of Brussels, within the splendid halls of the Cercle Royal Gaulois.
The selection of candidates is based on a subtle balance between three complementary approaches. First, it evaluates the artistic dimension through the quality of musical performance. It then relies on a rigorous scientific approach, which examines the relevance of research and the highlighting of historical practices (style, ornamentation, improvisation, instrumentation, pronunciation, basso continuo, temperament, placement of musicians, etc.). Finally, the rhetorical dimension crowns this process by rewarding the quality of communication with the audience: through an original and creative oral presentation—delivered in French, Dutch, or English—the musicians are invited to foster greater receptivity and build a genuine connection with their audience. Following a video pre-selection process, five winning groups will be invited to participate in the final on Saturday, February 13, 2027. For this performance, each winning artist will receive a fee of minimum 500 EUR.
Marc Vanscheeuwijck, Chairperson of the Première Competition
Víctor García García, artist-in-residence of FestiVita! 27
Michel Keustermans, artistic director of FestiVita!
”Research must help us to (…) keep our eyes open to the inherently critical and revisable nature of our regulative concepts. Most importantly, it helps us overcome that deep-rooted desire to hold the most dangerous of beliefs that we have at any time got our practices absolutely right.” Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in The Philosophy of Music (Oxford: Clarendon, 1992), 284.
