Walter Hus

Walter Hus is a composer and pianist with a taste for experimentation.

In the 1980’s he co- founded the Belgian avant-garde group Maximalist and toured the world with them. He then became a more classical composer and created an ever- expandeing repertoire of string quartets, concertos, piano- and vocal music, operas and symphonic works. His collection of 24 Preludes and Fufues in homage to Jean-Sebastien Bach shows him at the height of his contrapuntal skills.
Hus performs a classical repertoire and his own piano music and collaborates with orchestras and ensembles, writers, visual artists, cartoonists, rock and techno artists, as well as theatre directors, choreographers, filmmarkers and video game developers.
They include Rosas Dance Company, Roxane Huilmand, Jan Ritsema, Guy Cassiers, Needcompagny, Hybrid Dance Company, Ben Okri, Peter Greenaway, Jozef Devillé, Chris Ware, Tale of Tales, Frederic Rzewski, Fatoumata Diawara, Guo Gan, DJ Push, Peter Krüger, Many Riche, Spectra Ensemble, Arditti Quartet, Brussels Philharmony Orchestra and many others.

In 2000, he discovered the Decap Orchestrion, a computer controlled automated setup of organs and percussion instruments developed by the belgian company Decap. He sets out to explore the new instrument, composing soundscapes,operas, film scores, stage music and rock songs, collaborating with wind energy research projects, revisiting techno hits frome the 1990’s and numerous other projets..
In 2015, he received the Ensor Award at the Ostend International Film Festival for his soundtrack to the film N- The Madness of Reason be Peter Krüger.

In 2017, Walter Hus is involves in several touring and recording projects :
– In « Hus & the Next Generation » he goes on stage with a band of very young jazz and rock musicians, among them his son Jacob on the bass. Together the attack pieces from Walter Hus’s repertoire and turn them into something quite different and explosive.
– In « Belem & the MeKanics », the whole automated Decap Orchestrion is on stage to perform Hus symphonic accompaniment to the music of diatonic accordionist Didier Laloy and cellist Kathy Adam.
– In Supersonic Flora, his new solo piano CD and concert tour, Hus performes fingers breaking piano versions of some of his most radical pieces from the 80’s and 90’s, together with recent compositions.

The album came in October 2018 under the Belgian label Igloo Records and was presented with a big concert at the Kaaitheater in Brussels.
In January 2019, in Flagey (Brussels) he presented his new creation “Sosruko Files”, inspired by his latest compositions for film music.


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SUPERSONIC FLORA piano solo

For his CD and concert tour SUPERSONIC FLORA, composer Walter Hus revisited some of the key workd of his career and turned them into brand new spectacular solo piano pieces.
The music on the CD ranges from Walter Hus’s most radical and minimalist inspired compositions from the eighties, through more rounded and melodicall oriented music from the nineties to a freshly written jazzy piece in memory of a friend.
All of his music was originally written for multiplayer combinations like string quartets or orchestras and had never been intended to be played using only ten fingers!


SOSRUKO FILES for string quartet, piano and electric bass

In 2018 Walter Hus wrote the soundtracks for two films : “Little man, time and the troubadour” by Ineke Smits (still to be released) and “Transnistra” by Anna Eborn (winner of the Big Screen competition at Rotterdam International Film Festival). Both films are set in small states, Transnistria and Abkhazia, parts of the former Soviet Union that have kept a statute of independency under a communist regime.

Walter reworked parts of his music for both films into a breathtaking live concert for string quartet, electric bass and piano, enriching his own musical idiom with elements of Eastern Europe traditional music.

Setting off with an innocent romantic piano melody, the music evolves slowly and tragically towards an eventual outburst of rhythm and violence. “An emotional rollercoaster”, as one listener called it.

Walter Hus (piano)
André Siwy (violin),
Ludwine Beuckels (violin)
Paul De Clerck (alto)
Sigrid Vandenbogaerde (cello)
Jacob Hus (electric bass)


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They talk about it

“Walter Hus didn’t choose the easy way of paroxystic and catchy writing… He invites the public to dream and to walk down a street of contradictions of words and feelings.”
La Libre Belgique

“His compositions feel like living structures in motion, going somewhere and captivating until the last sound.”
G. Robberechts, De Morgen

“Hus writes both logically and intuitively, and his works have the character of a continuum, a ‘perpetuum mobile’. At the same time he is almost always highly playful. Persistence and passion generally cause the music to develop in an upward direction and persistence also leads to rhythmic climaxes. In fact, Hus has also always been a rhythmist, precise and strong, as well as being very free. “
Kaaitheatre

“The creation of Walter Hus, one of the outstanding figures in Flanders, is part of the post-repetitive movement that restores to music a continuous structure that does not deny a certain romantic expression. “
Le Soir

“He dares to lose himself totally to the authentic lyricism which he carries within himself and which he translates into a writing in which melodic beauty, rhythmic power and harmonic richness mix in a strong and original work.”
Le Soir

“Hus’ aestheticism always focuses on sound, on direct expression and immediate perceptibility on the part of the listener. He achieves this by working with concise basic formulas, avoiding too much intellectualism, and using many passages with an emotional quality which immediately manifests itself.”
Y. Knockaert, Kunst & Cultuur

“Hus’ music is penetrated by his personality; physically and psychically he is present. Sound is here like a genuine and conscious autobiography…”
Y. Knockaert, Kunst & Cultuur

“Al die nieuwe horizonten en ontdekkingstochten hebben de nieuwe nummers in zijn Supersonic Flora project beïnvloed. Op de première werd ik bijna letterlijk van mijn stoel geblazen door het spetterend speelplezier, de eigenzinnig volgehouden ritmes en de kracht van de uitvoeder. Gewoon adembenemend intensief, rijk en waanzinnig betoverend om mee te beleven.”
De Schakel


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