The songs of the Belgian composer Raymond Moulaert bear a striking focus on "elsewhere." His music is usually described as impressionistic, but this external referentiality invites us to approach them as a symbolist oeuvre. The symbolist aesthetic provides numerous clues that can guide the performance of the work. A previously unexplored aspect of Moulaert's biography is that he was a Freemason. However, there are strong indications that the Lodge played an influence on his successful career, partly through the strong networking with the Brussels Conservatory, but also because the Grand Master Goblet d'Alviella was strongly interested in symbolism.
This study allowed for the performance of several works. In a studio with students of the Conservatory, Tristesse, a work for solo piano, songs from the collections Poèmes de la vieille France, and chamber music from the collection Rime dell'Italia antica were explored. Enriched with subtitles and evocative works from painting, they were performed at Huis Perrekes in Geel and recorded at Kunstenplek De Graaf in Ghent. In addition, the research group, in collaboration with Dr. Sahoko Timpone of Florida State University, arranged for a performance of the song cycle Triptyque with the Terra Nova Collective, at venues including the Concertgebouw in Bruges and the Freemason's Temple in Brussels.
During an introductory concert as part of the Oddities & Rarities festival in Ghent, Thérèse Malengreau explored the relationship between the symbolist and the "elsewhere" element.
An edition of the orchestral score of Triptyque was created for this project, which is currently available through the research group. Thérèse also shared the archive of her grandfather, composer and organist Paul de Maleingreau, to whom Raymond Moulaert dedicated his Poèmes bibliques for organ.
Image: PAUL DELVAUX La femme au miroir - 1948 - private collection at Musée d'Ixelles (c) Paul Delvaux Foundation, photo Vincent Everarts, ADAGP Paris 2016
Update: May 2026
