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Mortelmans’ artistic career therefore seemed to progress in a crab-like manner: after composing orchestral music in an original way he then perfected the traditional approach. You cannot accuse Mortelmans of being musically avant-garde or adventurous: he was aware that European classical music was following a new, atonal and even serial path, but right up to his death he was unwilling to abandon his romantic signature. In other words, Benoit’s artistic, nationalistic, romantic approach continued to be propagated (packaged in an increasingly multifaceted complex of ideas) by the directors that succeeded him. And this also meant a continuing fascination for choral singing and the solo voice.
from notes by Tom Janssens © 2009
English: Christine Davies