index-karin

Karin Defleyt

contemporary flutist

Born in Ghent, Belgium in 1972. She studied at the Royal Conservatory of Ghent with Eric De Queker and Philippe Benoit for flute and contemporary music with Godfried-Willem Raes. She specializes in contemporary flutemusic. With Kathinka Pasveer she studies the flute music of Karlheinz Stockhausen. She was the principal flutist of the Contemporary Ensemble Champ d'Action up to 2001. She finnished her post-graduate studies on the topic flute and live electronics, at the Orpheus Institute in november 2001. She also performes with the Logos' M&M Ensemble for experimental musics. In 1999 she received the third price at the Stockhausen Courses for the performance of FLAUTINA. In 2000 she received at the Stockhausen Courses prizes for ELUFA and ZUNGENSPITZENTANZ.

In 2001 she became finalist at the International Gaudeamus Interpreters Competition at Rotterdam.

Repertoire:

Salvatore Sciarino, Karlheinz Stockhausen, Brian Ferneyhough, Cornelius Cardew, Godfried-Willem Raes, Kaaia Saariaho, Kris De Baerdemacker...

Contact:

Karin De Fleyt
Voskenslaan

B-9000 GENT
Belgium
e-mail:karmac@skynet.be

Discography

Beknopte biografie

Karin De Fleyt werd geboren in Gent, 1972. Zij studeerde aan de Hogeschool Gent, departement Muziek&Dramatische Kunst waar zij de titel "Meester in de Muziek" met grote onderscheiding behaalde voor fluit (bij Eric De Queker en Philippe Benoit) en hedendaagse muziek (bij Godfried-Willem Raes) en een aggregaat voor instrument en kamermuziek.
Zij is intussen een bekende fluitiste in de hedendaagse muziekscene en specialiseert zich in het repertoire van Karlheinz Stockhausen sinds 1999 (bij Kathinka Pasveer). Als soliste en in verscheidene ensembles speelde ze op tal van gerenomeerde festivals en concerten in Tilburg, Koeln, Aveiro, San Fransisco, Buffalo, Stockholm, Parijs, Berlijn, Turijn, Milaan, ...
Tijdens de "Stockhausen Kurse" in Kuerten won ze tussen 1999 en 2004 § verschillende interpretatieprijzen voor de uitvoeringen van FLAUTINA, ELUFA, samen met Michele Marelli (bassethoorn), ZUNGENSPITZENTANZ, samen met Marc Maes (synthesizer), AVE, met Michele Marelli, DER KINDERF€NGER en Xi.
In 2001 behaalde ze een finaleplaats tijdens het "Internationale Gaudeamus Concours" in Rotterdam. Tot augustus 2001 was zij vaste fluitiste bij het ensemble Champ d'Action.
In november 2001 werd zij "Laureaat van het Orpheus Instituut" voor haar post graduaat studie met als onderwerp " Fl*, extensions in new music for flute".
Met het Stockhausen Ensemble speelde ze de wereldpremieres van EUROPA-GRU§ en STOP UND START en in de respectievelijke opnames.
Samen met Marc Maes (synthesizer) en Michele Marelli (bassethoorn, klarinet) vormt ze het "Stockhausen-Trio" dat integrale Stockhausenprogrammas wereldwijd uitvoert.
Meer info op: www.michelemarelli.com/stockhausentrio.htm en www.stockhausen.org.

Kontaktadres:

Karin De Fleyt
fluitiste

Voskenslaan

9000 GENT

België

e-mail: karmac@skynet.be

Personal projects...

In order to talk about and to develop perfomances extending into multi-media, more knowledge and experience is required than what is provided in even the very best possible flute playing courses. First of all one needs a grounded theoretical and practical knowledge of a variety of existing computerprograms, amplification/sonification, soundmaterials, machine programming and design. Further one should be capable of setting up the technical and musical environment needed to realize certain compositions and, last but not least, in order to get fluency in the use of these new media, one is compelled to spend lots of time improvising in different interactive settings for flute and machine(s). Nowadays the use of multi-media equipment (including not only audio electronics, but also extending into visuals and theatrics) becomes mandotory in this realm. Sofar all these experiments and attemps tend to fail more or less in their inability to preserve the artists performing flexibility: effectmachines, computers, microphones, interfaces are indispensable yet tend to immobilize ,if not handicap, the performer. In an extreme case, the artists appears to become a victim or a prisoner of technology. Future endeavers have to pave roads into more expressive as well as theatrical freedom/possibilities for the performer, if the future of performing is to be preserved.

The time available to spend on the project will be split between:

1.- the investigation and functionallity of the microtonal flute, ( the so called 'Eva Kingma'-flute), an instrument adapted to the needs of the improvisation-idiom.
2.- working together with specialists in real-time computing and electronic equipment, the use, the evaluation and the eventual purchase of it to develop a usable apparative setting for musical experiment and creation.
3.- colloquia and masterclasses about several related themes, e.g. the interaction between musical composition and theatre.
4.- a study of the Japanese flute, the 'shakuhachi', because of the expressivity and peculiarity of micro-timbral possibilities.
5.- It will also be necessary to specialize to a certain extend in the technology (digital computing) as well as into the strategies to substantiate the artistic meaning of new technologies.
6.- Last but not least, I would like to work together with contemporary composers writing for flute in this context, and to give their works a correct interpretation.

The idea of this studyproject has grown from the constatation that I , as a solo-flutist, want an immediate contact with the performance, in other words: without the co-operation and dependency of technicians and the alienation that often is the result of this. The realm of the project is not merely being capable to take care of the PA-installation:sound- amplification and /or recording, tasks normally handled by concert organizers, but to go way beyond this and to demolish the 'techno-wall' between performer and audience.

Flutists like Anne La Berge and Geurt Grosfeld are to a certain extend specialized in the field of experimental improvisation with the use of electronics. I want to extend this path further in order to also give composers new ways and applications so that it will be workable for a new generation of flutists.

More important is the theatrical aspect and consequence of this: a performer is -by making a piece of art- in direct contact with the audience. Therefore it is not right to place the flutist in a unmovable way between the equipment and hundreds of wires, cables and patchchords, where his only task is at the end "to push the startbutton" and -in the eyes of audiences- risks to be perceived as not much more than a wire puppett.

According to me, the aim is to be a mobile performer who cannot only take care of the effects but who is considered to be a inspiring personality for the public to offer them culture!

Discography:

1996: CD-XI117' - 'Works' - Logos Duo - compositions by Godfried-Willem Raes

Fuga Otto Nove
Fuga Memento

together with Marc Maes, Moniek Darge, Godfried-Willem Raes

1998: CD-PD001- <Cyclic> 'MoKa' - Karin De Fleyt & Moniek Darge

1998: CD-NS0001- 'Softrains' compositions by Zachar Laskewicz.

Incantation Music
Soft Rains
Blue
Mood Movement and reflection
Powah

together with Guy De Mey, Andrew Sturt and Zachar Laskewicz

2000: CD-PD006' <4 Others> compositions by Godfried-Willem Raes

<Cobiba> for flute and electronics by Godfried-Willem Raes

2002: CD-PD008- <M&M> : <Eary Lis Trimbl>, for musicians and robot orchestra.

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Last updated: 2007-03-07