Ewald Demeyere is a harpsichordist, conductor, music theorist and professor. He believes that the conveying of the emotional contents of a composition is a performing artist’s most important task. Since each period has its own specifics to realise this, however, Demeyere intends to combine emotion with historically informed performance practice in such a way to obtain as captivating an interpretation as possible. His research, which, among others, resulted in a PhD and the publication of his book ‘Johann Sebastian Bach's Art of Fugue—Performance Practice Based on German Eighteenth-Century Theory’ (Leuven University Press, 2013) and his article ‘On Fedele Fenaroli’s Pedagogy: An Update’ (Eighteenth-Century Music 15/2, Cambridge University Press, 2018), is never an end in itself but always has to serve the eloquence of the musical performance.
As a performing artist, Demeyere has taken part in more than 100 CD recordings, many of which with solo and chamber music repertoire (working with, among others, Barthold Kuijken).
Today he is one of the specialists in the field of partimento and historical improvisation.
In 2013, he was a member of the jury for the international harpsichord competition Paola Bernardi in Bologna.
In 2018 he won the CPEB: CW Counterpoint Contest where the jury was unanimous in his opinion that his ‘Ricercar a 5 per cembalo’ is “the most accomplished and natural in its flow”.
Demeyere teaches partimento, improvisation, oratorio and historical performance practice at the Royal Conservatoire Antwerp and is a main subject teacher of harpsichord, partimento and improvisation at the Institut Supérieur de Musique et de Pédagogie of Namur, where he also heads the Early Music department.