music as exchange

The social impact of our ensembles is, of course, not only felt internally, it extends far beyond the concert hall. Our home base, Flagey, is located in culturally rich and hyper-diverse Brussels. A strong connection with our surroundings is essential to us, and we are constantly committed to reaching a broad audience and engaging with local dynamics. We build bridges to different communities and (sub)cultures, among other ways, through participatory projects. For many years now, the Brussels Philharmonic has been working with ReMuA (Réseau des Musiciens-intervenants en Ateliers), with whom we organise four interactive school concerts each year. The aim of these concerts is to introduce young people to an orchestra in a playful way. Prior to the concert, workshops take place in the classroom, preparing pupils to sing along during the performance, move with choreographies, and participate through body percussion. Classical music thus becomes a vibrant, immersive experience that invites young audiences to listen actively and take part.

In addition, we collaborate with El Sistema Belgium, working together with ReMuA Young Orchestra towards a concert series. In this way, the young musicians of the Young Orchestra have the opportunity to perform a symphonic concert at Flagey, while strengthening their confidence and passion for music. Through projects like these, we strive to make music accessible to all children, regardless of background or means, and to reinforce a sense of cooperation and connection. The Vlaams Radiokoor has similar initiatives with Zingend Schip, where we work with Brussels pupils towards a concert series, and with Koor&Stem, where we set up concert series with amateur choirs.

new concert formats

Inclusive thinking also permeates our non-participatory programming. With alternative concert formats, we move away from the traditional, formal image of the orchestra and instead cultivate an open, approachable presence. In the Surround concerts, for example, we opt for a radically different setup: the conductor stands at the centre, surrounded by the orchestra, while the audience takes their seats among the musicians. We dismantle the distance between stage and audience, creating an intimate, fully immersive listening experience.

Relaxation, enjoyment, and a sense of wonder are key concepts here. Another example is our series of open rehearsals: the audience follows the rehearsal process up close and has the opportunity to engage in conversation with a musician, conductor, or staff member. Such direct interactions lead to new insights. We notice that we reach a different audience, which in turn raises new questions: is a trip to Flagey on a Thursday afternoon more accessible for some than an evening concert? How meaningful are such moments of encounter for that group? And how can we reach them even better? This helps us continuously develop new forms of audience engagement.

Naturally, we perform primarily as a collective, but we also seek out our audience in small-scale encounters. We believe these can be just as meaningful. One example is the roundtable discussion organised on the occasion of the world premiere of a new harp concerto, with our harpist and a group of young professionals outside the cultural sector. The idea was to bring the group into close contact with all aspects of a new creation: musical, technical, and financial. What began as an informal meeting grew into a moment of genuine connection—a shared sense of wonder at each other’s worlds. We also encourage this type of direct dialogue during regular concerts, for instance through aftertalks: informal post-concert encounters where audiences can engage with musicians, soloists, and conductors.

For young audiences, we offer Symfomania! workshops, in which children aged eight to twelve are introduced to music in a playful, hands-on way before attending the concert. This creates a concert experience designed for families: parents can immerse themselves in the music, while children are guided at their own level. Another example of how we reach young people is through the organisation ToekomstATELIERdelAvenir, with whom we previously organised workshops for young people from socially vulnerable backgrounds. The target groups and criteria here differ from those of the Symfomania! ateliers: one has a primarily educational link to our concerts, the other offers young people the chance to expand their network and gain insight into the professional field. Overall, we consider such initiatives essential, but we also recognise that we lack sufficient insight or resources to reach these audiences more effectively. We continue to explore new ways to strengthen this work — and, where necessary, give it a clearer and more sustainable structure.

The audience does not only come to us—we also go to them. Through pop-up concerts and other initiatives, we regularly venture into the city, reaching out to the so-called ‘accidental concertgoer’. From Christmas carols and singalongs on Brussels squares with the Flemish Radio Choir, to performances on the metro and tram network during Fête de la Musique. A marimba and tuba on a tram or a cello duo in the metro is not exactly what you expect on your daily commute, and we believe that such small interventions can nonetheless be powerful gestures in Brussels’ daily rat race. In 2016, in the aftermath of the terrorist attacks, a number of our musicians and singers also brought music to the steps of the Stock Exchange. People stopped and listened; some wept, others closed their eyes. It was not a concert, but a moment of comfort, humanity, and connection.

We also cross boundaries through crossover projects, stepping out of our ‘classical’ world and entering into dialogue with other musical genres and cultures. This has led to a range of projects at Brussels’ music temple Ancienne Belgique: an 11 July concert with Will Tura with free admission, a collaboration with pop artist Ry X, and a compelling musical encounter with Jewish-Moroccan repertoire in collaboration with Darna vzw. The latter was a concert with singer Neta Elkayam, musicians from the Brussels Philharmonic, and soloists from the Jewish-Moroccan tradition. Stephan Uelpenich, violist with the Brussels Philharmonic, shared his experience with us:

"I didn’t know the music yet, so I was genuinely curious. And it was fascinating to discover the parameters and virtuosity of that musical style. During rehearsals, you could also see the two worlds coming together and enriching one another. In the end, we all speak the same language, regardless of genre: music is about emotions, it leaves an imprint on your soul. That is what connects us."

These kinds of projects pull us out of our daily routines and bring us into contact with a wide range of music, musicians, and audiences. They broaden our perspective and remind us that, as a musical ensemble, we touch only a tiny point in an infinitely multifaceted world. We therefore keep an open mind and believe in the necessary cross-pollination between art, life, and society. And it is precisely there that the power of music lies—as an artistic force and as a medium of inspiration, dialogue, and connection.