Artist Interview with Berten D’Hollander
Dr. Berten D'Hollander, a laureate of the Yehudi Menuhin Foundation, is a Concert Flutist and Professor of Flute from Belgium who is known for his popular performances and masterclasses internationally. He holds a PhD in Music with First Prize awards in solfege, flute and chamber music, a pedagogical degree from the Conservatory of Antwerp and a Diplome Superieur in flute. His career spans 30 years of performing in orchestras, chamber groups and as a soloist and professor of the flute. He presently has eight cds to his credit.
Can you give us 5 career highlights?
Passing my entrance examination in Antwerp after being dissuaded from pursuing musical studies by some of Belgium’s top flute players. One year later, I played *Tosca* at Antwerp Opera, never having heard an opera before, since I was the only one in my family involved in music.
At 26, I was appointed Professor of Flute at Leuven University (Belgium) and began building my own studio.
At 35, Professor Robert Winn from the Musik Hochschule Köln (Cologne, Germany) invited me to teach at one of Europe’s top institutions for flute.
I was invited to jump in for a recording with *Ensemble Musiques Nouvelles (EMN)*, the oldest contemporary music ensemble in Europe, performing highly challenging, virtuosic passages. Apparently, I did well—since I was subsequently appointed as the ensemble’s solo flutist.
The fifth would be a kaleidoscope of musical memories: performing with Pavarotti and a 17-year-old Queen Elisabeth Competition winner, Vadim Repin; listening to Martha Argerich and Michael Schwalbé; playing with Sting and Paul Simon; hearing the Vienna Philharmonic’s 16 first violins sound like a string quartet; performing the *Khachaturian Concerto* with the Shanghai Philharmonic; and collaborating in chamber music with Ana Granik (piano) and Nicolas Lestoquoy (guitar)—endless, mind-blowing, and soul-filling experiences that stay in my heart forever.
How about 3 pivotal moments that were essential to creating the artist you've become?
My first pivotal moment was when I had to give up my soccer dream after a severe injury. With no other choice, I turned my focus to my ‘minor’—the flute.
At 26, I was invited to audition for the *Berliner Philharmoniker*. At the time, I was juggling two orchestras and 20 hours of teaching per week. I failed to organize my life properly, flew to Berlin unprepared, and didn’t pass. Disappointed, I took a two-year break from flute playing and enrolled in philosophy courses at university—until the music ‘microbe’ won the internal battle.
My engagement with *EMN*, where I was suddenly confronted with extreme demands, such as switching from a high B on piccolo to a low C# on bass flute in one breath. In the orchestra, we had specialists for each flute instrument, but contemporary music required total adaptability.
What do you like best about performing?
I love preparing the program—even for pieces I’ve performed many times, I try to erase all prior knowledge and approach them as if they were newly written. I also enjoy the journey to the stage, especially when performing abroad—the warm welcome of organizers, discovering new acoustics, and the *moment suprême*: stepping on stage to meet the audience.
I love speaking to the public—not to bombard them with musicological knowledge, but to create an organic exchange. I want them to see that we, as musicians, are just human beings, and there’s no need to be intimidated by the venue, formal attire, or the dense program notes.
Finally, after detailed study of the composer’s text, I cherish the freedom to refine and communicate the musical message in my own way. The concert hall acoustics and audience interaction can unexpectedly enhance the intensity of a performance.
CD Releases
- Sanaalijal pour flute solo et ensemble de treize instruments - Claude Ledoux
- Giuliani: Sérénades, Vol. 1 (Intégrale des œuvres pour flûte et guitare)- Nina Siniakova
- Telemann: Twelve Fantasias for Flute Solo
- Three Wishes
What does your schedule look like for the next six months?
Just back from masterclasses and concerts at the *Flute Sounds Festival* in Prishtina, Kosovo, and at the Conservatory of Loulé in Algarve, Portugal, I am now starting my academic semester as a Professor at the University of Györ in Hungary. A USA tour is still to be confirmed for April, right after serving as a jury member for the *D. Cimarosa Competition* near Naples, Italy. Meanwhile, I am preparing for two CD recordings—I will keep you updated!
What are your goals personally? Professionally?
To share as long as possible my experience, knowledge, and passion for music—both by playing on stage and by teaching flute enthusiasts of all levels and ages—as long as flute passion remains our common drive.
What inspires you the most in life?
I am fascinated by the speed and intensity of development in young children—from around 7/8 months to four years old. If only we could continue learning and evolving at that pace!
This, combined with the absolute honesty of children at this age, is deeply inspiring. The world—especially the music world and even more so the flute world—urgently needs honesty in these times of superficial sales and fake artistry.
What has been your greatest professional challenge?
Regarding live concerts: my first performance of *Prélude à l’Après-midi* at first rehearsal, and my first performance of the *Khachaturian Concerto* with the Shanghai Symphony.
I'm still doubting between two recordings: the extremely complex *Ledoux Concerto*, which I had less than a week to prepare, and my *Telemann Fantasias* recording, which took nearly two years of preparation—I regarded it as a kind of 'Holy Grail' at that moment in my life.
What has been your greatest personal challenge?
To prove that, although I was not a 'natural' player, it is possible to pursue your dreams.
Who were your music mentors? And what did you learn from them?
First, there are my live mentors. Professor J. Van Reeth – Excellent solo flutist of the Belgian Radio Orchestra (please check out his Prélude à l’après-midi conducted by Rahbari). He taught me to listen and dissect sound—the color, vibrato—apart from having me drilled with good old French School scales, arpeggios, and études… 🙂
Professor L. Gillis – Solo oboist of the same Radio Orchestra and 5th prize winner at the Geneva Competition the year that Holliger and Bourgue shared First Prize (with a special mention for his sound quality). He explained the profound mechanics of music playing, from the importance of the first beat to following the rhythmic foundation set by the viola-cello section—and how to play on it.
Records & Live on Stage Masters: The second and third levels of my masters are my records (black vinyl) and live on stage masters.
Two names to mention: Jean-Pierre Rampal – Live, he was unequaled in charm and generosity, all wrapped in a beautifully singing and ringing sound. A truly remarkable artist.
Sir James Galway – In my humble opinion, he changed the general standards of flute playing. I was lucky to play in the orchestra with D. Wickes, former solo oboist in London and a former roommate of Sir James on tour. Because of this, I had the pleasure of being around every time Sir James visited Brussels. One moment of astonishment—or should I say shock—stands out. He tried out all of our ten flutes, and not only did he sound amazing on each one, but he was simply outstanding on… guess what? A student flute, Yamaha 281.
Can you give us 5 quirky, secret, fun (don't think too much about this) hobbies or passions?
Soccer, cooking, wine, thermal baths, and being lazy.
What 3 things would you offer as advice for a young flutist?
Stage 1 : blood sweat and tears : don’t give up
Stage 2 : blood sweat and ears : gradually you will educate your ears
Stage 3 : brain sweat and ears : you will start to reflect on what you want and how to get there