MIRY Concertzaal likes to show off young talent, behind but certainly also on the stage.

With a
composition class next door, the programmers sometimes don't have to look far. On Thursday 11
March, Schönberg, Berg and Berio share the stage with Toon Pillaert. The man studies composition
with Daan Janssens and is one of three students from KASK & Conservatorium whose work will be
created by a professional ensemble this month.

Satisfied with the musicians on duty, Toon?

Certainly. Het Collectief is a Belgian quintet that has been a great advocate of the twentieth-century
and contemporary repertoire for twenty years. I have every confidence in them. At least as far as the
performance is concerned. I am writing for this ensemble for the first time. So at the start I had to
make a number of choices that would determine the direction of the piece.

Why?

Well, the instrumentation is flute, clarinet, violin, cello and piano. Compared to the other
instruments, the piano is always the odd one out. In the Romantic era, the piano played a dominant
role. I, however, have chosen to use it more as a resonance instrument, a bit like the harp in an
orchestra. Beware, Thomas Dieltjens (the pianist of the ensemble) need not to grieve. After the
climax, he is the only one who gets a solo moment.

Where does the title come from?

Well, to be honest, I'm not a big fan of titles, at least when it comes to abstract music, and in this
case it is. That's why I stick to 'Scene'. The title suggests a part of a larger whole and I don't exclude
that it will ever become that. Right now, it's a bit like a short story. (Reflects) I could have called it
that, too. Short story.

How would you describe the music?

That's a difficult question. When I write, 'gestures' are an important element. By that I just mean
bursts of sound with a certain form. Something can grow from there. In 'Scene', I use the instruments
naturally, without effects. What else? Oh yes, in terms of structure, there is a textural progression
from thin to dense. Also from smooth to something that advances more jerkily. And that all ends up
in what could be called an 'orgasmic element'.

Which composers are important to you?

If I have to name two, then Beat Furrer and Salvatore Sciarrino. You can hear that, I think. Pierre
Boulez is less present acoustically, but I also like his music very much. Cool music, yes, I dare say. In
'Scène' there is a quote from his 'Dialogue de l'ombre double', which was originally on the
programme.

Good luck, Toon. We look forward to the performance.

Me too!