NEWS

The Tonality

The Tonality an excerpt of the upcoming Wim Mertens DVD Nature’s Many.
The Wim Mertens Ensemble live at BOZAR, Brussels 21.10.2016

Cran aux Oeufs

Contemporary Brussels, ancient Rome and ancient Greece; composer Wim Mertens’ Cran aux Oeufs is a musi-fiction triptych that questions the connections between song, poetry and truth. It combines ensemble work with – for the first time since 2005’s Un Respiro – a solo album for his distinctive piano and voice.

The first part, Charaktersketch, takes Europe and Brussels 2015 as a central theme and refers to the changed position of the West as a bearer of cultural and economic values and power.

What are we, locks, to do? is the second part of the triptych and Mertens’ 10th solo album for piano and voice. It mixes myth and reality to consider the political and cultural influences in Egyptian Alexandria of the 3rd century BC. The compositions form a constellation to the poet Callimachus, the royal family Ptolemy and Queen Berenice II.

In Dust of Truths, the final part, Mertens refers to the navy Battle of Actium, Greece, 31 BC when the future emperor Augustus defeated the Egyptian warships of Cleopatra. Was this more a civil war dispute within the Roman Empire than a conflict between Rome and Egypt?

The 30 compositions suggest that man is no longer there for music but music is there for man. Cran aux Oeufs seeks out something more true than truth that renders this something untotalisable. Therefore, the concept of truth must be evacuated. Post-Truth. Feitenvrij. So it becomes more concrete, everted. Ratteketak.

Out now, available through your favourite retailer:

CD:   bilbo records
Digital:   iTunesSpotifyDeezerAmazon UKAmazon

 

 

Wim Mertens – Dust of Truths

Below you can read some articles about the new album: Dust of Truths.
– Dust of Truths vu par T. Coljon, Le Soir, 19.10.16: click here to read
– Damusic: click here to read – dutch
– Portugal Tour, Centro Cultural de Bélém, Lisboa 7.11.16: click here to read – Portuguese

Wim Mertens Trio – Hersftpaleisconcert – Concert d’automne au Palais Royal

Concert of Wim Mertens Trio at Royal Palace of Brussels, 19th of October 2016.

watch the whole concert  at  Canvas  and  La Trois

NEW ALBUM – DUST OF TRUTHS

With Dust of Truths Wim Mertens presents the final part 3 of his musi-fiction triptych Cran aux Oeufs (2015-2016).

The first part, Charaktersketch, was situated in central Europe Brussels anno 2015. The composer questions the position of culture in a larger mondial context.

The second part, What are we, locks, to do? for piano and voice is inspired by the Library of Alexandria in Egypt (300 B.C.). Central figures are the poet Callimachus and Queen Berenice II. Mertens music reads here as a commentary on the golden age of Ptolemaic Egypt.

For part 3, Dust of Truths, Wim Mertens refers to the navy Battle of Actium, which happened in Greece in 31 B.C. Opponents here were the (future) Emperor August who defeated the Egyptian warships of Cleopatra. Mertens considers this battle rather as a civil war dispute within the Roman Empire then a explicit conflict between Rome and Egypt.

Brussels, Belgium, 2015; Alexandria, Egypt, 300 B.C.; and the Battle of Actium, Greece, 31 b.Chr. together they form the triptych Cran aux Oeufs, a musi-fiction in which Wim Mertens questions the multiple connections between music, poetry and truth.

Out now, available through your favourite retailer:

CD > Buy here on Bilborecords

iTunes > Buy here on Appel

Première Dust of Truths > 21.10.2016 at  Bozar, Brussels

What are we, locks, to do?

With What are we, locks, to do?, Wim Mertens releases his 10th solo album for piano and voice.

What are we, locks, to do? is the second part in the triptych Cran aux Œufs (2015-2016)
Part I, Charaktersketch (2015), takes Europe and Brussels anno 2015 as a central theme and refers to the changed position of Central Europe as a carrier of culture and economical power.

Mertens situates the second part in Egyptian Alexandria in the third century B.C.
The composer links his compositions among other things to the poet Callimachus, the royal family Ptolemy and the figure of Queen Berenice II, who promises to cut her hair if her husband returns safe from war.

What are we, locks, to do? mixes myth and reality and investigates the political power and the cultural influence in the Egypt of the third century B.C.

Out now, available through your favourite retailer:

CD > http://bilborecords.be/mertens-wim-what-are-we-locks-to-do-…
iTunes > https://itun.es/be/kD_iab
Spotify > https://open.spotify.com/album/3RHZdjGUYxAmKO5zVaCuui
Deezer > http://www.deezer.com/album/12197432
Amazon > http://amzn.to/1pq2R6i

 

Musique 3  présente “What are we, locks, to do ?” de Wim Mertens

Music on vinyl

Now available on vinyl: Struggle for Pleasure, Maximizing the Audience and The Belly of an Architect.
Purchase at Music on Vinyl.

Struggle for Pleasure

Precisely 30 years after the release of Struggle for pleasure from the composer Wim Mertens he releases a double CD with, alongside the original titles, a selection of 10 previously unreleased tracks from his archives. This material date from the early 80’s and has been complemented with 2 new recordings of the tracks Salernes and Gentleman of leisure. Mertens composed those pieces principally in Salernes (south of France) at the beginning of the 80’s.

On 15th and 16th March those titles will be entirely performed by the Wim Mertens Ensemble – 8 musicians – for the concerts series Rewind at Ancienne Belgique in Brussels. www.abconcerts.be

2011 has been a special year for Wim Mertens.
For the ‘Festival van Vlaanderen’ in Gent Mertens composed ‘A Starry Wisdom’ and performed two sold out concerts in the Cathedral St Baafs (solo piano) and with his Ensemble in the Capitol.

For the opening of the new building for the laboratory Education and Research 4, on 8th December 2011, Wim Mertens presented with a large ensemble the title ‘Telles Quelles’, a work that Mertens – himself a former student of the university KU Leuven – has composed especially for this occasion. He has been inspired by, among others, the scientific literature by the researchers Bart Destrooper, Peter Carmeliet and Catherine Verfaillie. The Spanish video artist Cristóbal Vila has been asked to create a 3D video for the track.

Wim Mertens has also been commissioned to write and present live a composition by the city of Guimarães, Portugal, Capital of Culture 2012. He will perform on March 7th with the Fundação Orquestra Estúdio directed by Rui Massena at the CC Vila Flor in Guimarães for the world premiere of ‘When Tool met Wood’. http://www.ccvf.pt/

open continuum

With OPEN CONTINUUM Wim Mertens presents his second project with symphonic orchestra. In 2006 the composer recorded Partes extra partes, a studio production with the Brussels Philarmonic directed by the Argentinian conductor Dante Anzolini.

Since then, Wim Mertens regularly performed with a piano/voice and symphonic orchestra setup, with among others Madrid, Murcia, Berlin and Brussels Philarmonic’s orchestras. The composer considers the production and the performing with symphonic orchestra as one of the facets of his musical activity. Since his first recordings At home-Not at home (1980); Vergessen and Struggle for pleasure (1982) and Maximizing the audience (1984), Mertens alternates the solo concerts (Epic that never was, Lisbon 1993), with brass quartets (Not yet, no longer, Gdansk 2003) or with brass sextet, accompanied or not by a vocal sextet (What you see is what you hear, Antwerpen 2006). But Mertens performs and has performed also for numerous concerts in more than twenty countries with various setups : duo (violin or clarinet and soprano sax, Moins de mètre, assez de rythme, Paris 2002) and in trio for piano, violin and cello.

With the solo record In the absence of hindrance (Gdansk, 2002) and numerous solo studio recordings (i.e. After Virtue (1988), Der heisse Brei (2000) and Un respiro (2004) Mertens associates the practice of making music as a soloist (piano and voice) with his activities as a composer for the most varied setups as in Skopos, (Gaasbeek, 2002), for an ensemble of 14 musicians.

OPEN CONTINUUM treats about the continuum – vocal ? – which doesn’t stop but is only interrupted given its open character ! This opening aspect allows to open disruptions and distortions of all kinds, without having to close and naively conclude. This new turbulence between Practice and Theory is visible and audible in Wim Mertens’ double CD and DVD OPEN CONTINUUM.

OPEN CONTINUUM: Wim Mertens, piano/voice with the Tenerife symphonic orchestra directed by Dirk Brossé.