BRYGGEN brings together four contemporary composers who each explore space, resonance and movement in their own unique way. The music of Caroline Shaw plays with expectations and unexpected colours of sound, while Arvo Pärt invites stillness and attentive listening. Thomas Adès lets the music flow between restlessness and lyricism, before Wojciech Kilar closes the evening with rhythmic energy and a nod to folk traditions.
A concert where contemplation and intensity meet.

Vivaldi reimagined with dance and endless patterns

Just as the seasons in nature shift and return, new interpretations can transform classical works. In this concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer
Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining
of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of
Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic
lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on
Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coşkunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected.

By rethinking stage presence, by moving freely through the space and performing from memory, both the
dancer and musicians challenge the conventions of the concert format. What emerges is a shared inquiry
into how classical works can be lived, embodied and reimagined, not as fixed monuments, but as a living
practice shaped by movement, adaptation and the pleasure of continual reinvention.

CREDITS

concept, musical direction, solo violin: Jolente De Maeyer
choreography, concept, scenography, lighting design: Michiel Vandevelde
dance: Amanda Barrio Charmelo
musical performance: BRYGGEN – Bruges Strings
music: Max Richter – Recomposed: The Four Seasons, Didem Coşkunseven – Traveler on a Winter’s Night, part 1 and 2
costumes: Milk of Lime
production: BRYGGEN – Bruges Strings

_{This production was realized with the support of the Belgian Federal Government’s tax shelter system via uFund}

Vivaldi reimagined with dance and endless patterns

Just as the seasons in nature shift and return, new interpretations can transform classical works. In this concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer
Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining
of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of
Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic
lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on
Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coşkunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected.

By rethinking stage presence, by moving freely through the space and performing from memory, both the
dancer and musicians challenge the conventions of the concert format. What emerges is a shared inquiry
into how classical works can be lived, embodied and reimagined, not as fixed monuments, but as a living
practice shaped by movement, adaptation and the pleasure of continual reinvention.

CREDITS

concept, musical direction, solo violin: Jolente De Maeyer
choreography, concept, scenography, lighting design: Michiel Vandevelde
dance: Amanda Barrio Charmelo
musical performance: BRYGGEN – Bruges Strings
music: Max Richter – Recomposed: The Four Seasons, Didem Coşkunseven – Traveler on a Winter’s Night, part 1 and 2
costumes: Milk of Lime
production: BRYGGEN – Bruges Strings

_{This production was realized with the support of the Belgian Federal Government’s tax shelter system via uFund}

BRYGGEN enters the immersive world of internationally renowned artist Refik Anadol during his first solo exhibition in Belgium, at BRUSK.

Anadol is known for his monumental installations at the intersection of art, artificial intelligence and data. For Bruges, he is creating a new work tailored to the city, inspired by its architecture, art collections and invisible rhythms.

Within this unique environment, BRYGGEN enters into dialogue with the installation, creating a concert in which music and image constantly influence each other. An experience that invites you to listen, look and experience differently, at the intersection of sound, space and technology.

BRYGGEN enters the immersive world of internationally renowned artist Refik Anadol during his first solo exhibition in Belgium, at BRUSK.

Anadol is known for his monumental installations at the intersection of art, artificial intelligence and data. For Bruges, he is creating a new work tailored to the city, inspired by its architecture, art collections and invisible rhythms.

Within this unique environment, BRYGGEN enters into dialogue with the installation, creating a concert in which music and image constantly influence each other. An experience that invites you to listen, look and experience differently, at the intersection of sound, space and technology.

On Sunday, Nov. 15, 2026, Sint-Truiden will be the setting for VIVA Feest!, a vibrant musical day of workshops, rehearsals and ensemble playing for young string players of all levels. In different groups, under the guidance of professional coaches, participants work on repertoire tailored to their level of playing. The day will conclude with a festive concert for family, friends and supporters. This VIVA Feest! is aimed at young violinists, violists, cellists and double bassists aged 6 to 18. Registration is possible via www.viva.be.

Vivaldi reimagined with dance and endless patterns

Just as the seasons in nature shift and return, new interpretations can transform classical works. In this
concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer
Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining
of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of
Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic
lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on
Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coşkunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected.

By rethinking stage presence, by moving freely through the space and performing from memory, both the
dancer and musicians challenge the conventions of the concert format. What emerges is a shared inquiry
into how classical works can be lived, embodied and reimagined, not as fixed monuments, but as a living
practice shaped by movement, adaptation and the pleasure of continual reinvention.

CREDITS

concept, musical direction, solo violin: Jolente De Maeyer
choreography, concept, scenography, lighting design: Michiel Vandevelde
dance: Amanda Barrio Charmelo
musical performance: BRYGGEN – Bruges Strings
music: Max Richter – Recomposed: The Four Seasons, Didem Coşkunseven – Traveler on a Winter’s Night, part 1 and 2
costumes: Milk of Lime
production: BRYGGEN – Bruges Strings

_{This production was realized with the support of the Belgian Federal Government’s tax shelter system via uFund}

For CC Zwaneberg, we dive into the rich repertoire for strings with Arvo Pärt’s Summa, capturing the timbres of a string orchestra like no other. The program’s highlight features two works by Edvard Grieg. The Holberg Suite is a romantic suite for string orchestra based on Baroque dance forms. Additionally, Solveig’s Song is a song from Peer Gynt and perhaps one of Grieg’s most iconic and beloved works. To conclude, the program takes us back to the origins of violin playing by exploring the traditional “fiddle” style, featuring a selection of arrangements of Scandinavian folk music by the Danish String Quartet, now arranged especially for BRYGGEN.

Celebrate the seasons with BRYGGEN & Michiel Vandevelde – dance meets Vivaldi and Richter.

Just as the seasons in nature shift and return, new interpretations can transform classical works. In this concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer
Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining
of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of
Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic
lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on
Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coşkunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected.

By rethinking stage presence, by moving freely through the space and performing from memory, both the
dancer and musicians challenge the conventions of the concert format. What emerges is a shared inquiry
into how classical works can be lived, embodied and reimagined, not as fixed monuments, but as a living
practice shaped by movement, adaptation and the pleasure of continual reinvention.

CREDITS

concept, musical direction, solo violin: Jolente De Maeyer
choreography, concept, scenography, lighting design: Michiel Vandevelde
dance: Amanda Barrio Charmelo
musical performance: BRYGGEN – Bruges Strings
music: Max Richter – Recomposed: The Four Seasons, Didem Coşkunseven – Traveler on a Winter’s Night, part 1 and 2
costumes: Milk of Lime
production: BRYGGEN – Bruges Strings

_{This production was realized with the support of the Belgian Federal Government’s tax shelter system via uFund}

Celebrate the seasons with BRYGGEN & Michiel Vandevelde – dance meets Vivaldi and Richter.

Just as the seasons in nature shift and return, new interpretations can transform classical works. In this concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer
Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining
of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of
Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic
lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on
Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coşkunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected.

By rethinking stage presence, by moving freely through the space and performing from memory, both the
dancer and musicians challenge the conventions of the concert format. What emerges is a shared inquiry
into how classical works can be lived, embodied and reimagined, not as fixed monuments, but as a living
practice shaped by movement, adaptation and the pleasure of continual reinvention.

CREDITS

concept, musical direction, solo violin: Jolente De Maeyer
choreography, concept, scenography, lighting design: Michiel Vandevelde
dance: Amanda Barrio Charmelo
musical performance: BRYGGEN – Bruges Strings
music: Max Richter – Recomposed: The Four Seasons, Didem Coşkunseven – Traveler on a Winter’s Night, part 1 and 2
costumes: Milk of Lime
production: BRYGGEN – Bruges Strings

_{This production was realized with the support of the Belgian Federal Government’s tax shelter system via uFund}

Vivaldi reimagined with dance and endless patterns

Just as the seasons in nature shift and return, new interpretations can transform classical works. In this concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer
Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining
of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of
Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic
lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on
Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coşkunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected.

By rethinking their stage presence, moving freely through the space and playing from memory, both dancer and musicians challenge the conventions of the concert format. What emerges is a shared search for how classical works can be lived, embodied and reshaped, not as fixed monuments, but as a living practice shaped by movement, adaptation and the pleasure of constant reinvention.

CREDITS

concept, musical direction, solo violin: Jolente De Maeyer
choreography, concept, scenography, lighting design: Michiel Vandevelde
dance: Amanda Barrio Charmelo
musical performance: BRYGGEN – Bruges Strings
music: Max Richter – Recomposed: The Four Seasons, Didem Coşkunseven – Traveler on a Winter’s Night, part 1 and 2
costumes: Milk of Lime
production: BRYGGEN – Bruges Strings

_{This production was realized with the support of the Belgian Federal Government’s tax shelter system via uFund}

On January 14, BRYGGEN, together with a soloist from the Queen Elisabeth Music Chapel, will perform a sparkling New Year’s Eve program, including the Concerto for Viola and String Orchestra by Pēteris Vasks, and a selection of Scandinavian folk music by the Danish String Quartet, arranged for BRYGGEN.

On Sunday, Jan. 24, 2027, De Bijloke will be the setting for VIVA Feest!, a vibrant musical day of workshops, rehearsals and ensemble playing for young string players of all levels. In different groups, under the guidance of professional coaches, participants work on repertoire tailored to their level of playing. The day will conclude with a festive concert for family, friends and supporters. This VIVA Feest! is aimed at young violinists, violists, cellists and double bassists aged 6 to 18. Registration is possible via www.viva.be.

BRYGGEN shares the stage with Icelandic composer, cellist and singer Hildur Guðnadóttir during her debut at THE SINGEL, celebrating 20 years of artistic creation.

Guðnadóttir is internationally known for her award-winning film music and her unique musical language at the intersection of contemporary music and experimental pop. Together with BRYGGEN, she brings a selection of iconic works complemented by new compositions and live lighting design by Theresa Baumgartner.

BRYGGEN delves into the rich repertoire for strings with Arvo Pärt’s Summa, capturing the timbres of a string orchestra like no other. The program’s highlight features two works by Edvard Grieg. The Holberg Suite is a romantic suite for string orchestra based on Baroque dance forms. Additionally, Solveig’s Song is a song from Peer Gynt and perhaps one of Grieg’s most iconic and beloved works. To conclude, the program takes us back to the origins of violin playing by exploring the traditional “fiddle” style, featuring a selection of arrangements of Scandinavian folk music by the Danish String Quartet, now arranged especially for BRYGGEN.

On Saturday, March 13, 2027, the Concertgebouw will be the setting for VIVA Feast!, a vibrant musical day of workshops, rehearsals and ensemble playing for young string players of all levels. In different groups, under the guidance of professional coaches, participants work on repertoire tailored to their level of playing. The day will conclude with a festive concert for family, friends and supporters. This VIVA Feest! is aimed at young violinists, violists, cellists and double bassists aged 6 to 18. Registration is possible via www.viva.be.

On Sunday, March 14, 2027, the Concertgebouw will be the setting for VIVA Feast!, a vibrant musical day of workshops, rehearsals and ensemble playing for young string players of all levels. In different groups, under the guidance of professional coaches, participants work on repertoire tailored to their level of playing. The day will conclude with a festive concert for family, friends and supporters. This VIVA Feest! is aimed at young violinists, violists, cellists and double bassists aged 6 to 18. Registration is possible via www.viva.be.

On April 15, BRYGGEN, along with a soloist from the Queen Elisabeth Music Chapel, will perform a program including works by A. Vivaldi, M. Richter and A. Piazzolla.

Vivaldi reimagined with dance and endless patterns

Just as the seasons in nature shift and return, new interpretations can transform classical works. In this concert choreography, the boundaries between dance and music dissolve. BRYGGEN and choreographer
Michiel Vandevelde add a further layer to the rich texture Max Richter introduced in his 2012 reimagining
of Antonio Vivaldi’s The Four Seasons. Richter’s score is performed from memory by the musicians of BRYGGEN, led by violinist Jolente De Maeyer, who move across the stage in continuous patterns. A solitary dancer weaves among them, at times contradicting the music, at others intensifying it.

The choreography follows the same compositional logic that underpins Richter’s reinterpretation of
Vivaldi. Across earlier works such as Ends of Worlds (2019), Neuer Neuer Tanz (2019), The Goldberg Variations (2020) and Dances of Death (2021), Vandevelde has examined dance history as a living archive. This interest meets Richter’s own dialogue with Vivaldi. Each season is linked to a distinct choreographic
lineage: spring draws on Isadora Duncan, summer on Anna Halprin, autumn on Pina Bausch, and winter on
Trisha Brown.

The electronic music for the prologue and epilogue is composed by Didem Coşkunseven. Together, these moments frame the cycle of birth and death, and the passage in between. The performance reflects on time itself: on how styles and forms, discourses and vocabularies constantly change, yet remain deeply interconnected.

By rethinking stage presence, by moving freely through the space and performing from memory, both the
dancer and musicians challenge the conventions of the concert format. What emerges is a shared inquiry
into how classical works can be lived, embodied and reimagined, not as fixed monuments, but as a living
practice shaped by movement, adaptation and the pleasure of continual reinvention.

CREDITS

concept, musical direction, solo violin: Jolente De Maeyer
choreography, concept, scenography, lighting design: Michiel Vandevelde
dance: Amanda Barrio Charmelo
musical performance: BRYGGEN – Bruges Strings
music: Max Richter – Recomposed: The Four Seasons, Didem Coşkunseven – Traveler on a Winter’s Night, part 1 and 2
costumes: Milk of Lime
production: BRYGGEN – Bruges Strings

_{This production was realized with the support of the Belgian Federal Government’s tax shelter system via uFund}