Liaisons

Ward De Jonghe: C (2024)

Georges Aperghis: Fidélité (1983)

Bethan Morgan-Williams: Trying to Use Words (2025)

Thanakarn Schofield: On 2B Thy Heid-Ake (2025)

Ellen Jacobs: MADA (2024)

Jenna Vergeynst (Harfe, Stimme / Harp, Voice)
Myrthe Bokelmann (Movement, Performance, Stimme / Voice)

“Alors tu es vraiment heureux de me voir?” (“So you‘re really happy to see me?”) is one of the intriguing phrases in Georges Aperghis’ Fidélité for harp and voice from the early 1980s. In Fidélité, the harpist performs a quasi-psychotic, incomprehensible account of words and syllables mingling with the notes of the harp, a fog of sounds in which only an occasional clear sentence can be discerned. Is it a confession of a passionate murder? Or the account of an obsessional infatuation? Is the other person on stage the subject of her madness, or just the one on whom she projects everything? Who is whose prisoner, or are they both caught in the spin of each other's fantasies?

All of the four involved composers in this project of the Belgian harpist Jenna Vergeynst, offer a musical response to Fidélité in a new composition. Jenna Vergeynst and dancer/performer Myrthe Bokelmann hooked these five works together into an intimate, haunting performance.

Supported by the Flemish Government, the City of Ghent and Sabam for Culture