The coming Thursday-to-Sunday stretch, 22–25 October, contains a compact argument for listening across time. In Antwerp and Brussels, three concerts take established material—silent cinema, industrial metal and repertory from around 1300—and place it inside immediate, physical performance. Its shared thread is method: piano gives images their pace, an orchestra expands rock’s mass, and three singers trace a moment when European vocal music grew newly intricate. Begin on Thursday with a choice between two very different reinventions, then return to Antwerp on Sunday afternoon for the oldest music in this guide.[1][2][3][4][5]

Thursday: a piano score for Murnau’s shadows

At 20:00 on Thursday 22 October, Olga Pashchenko brings Friedrich Wilhelm Murnau’s Faust to AMUZ with live piano. The venue places its artist in residence at a 1920 Bechstein grand for a score assembled by Jed Wentz from music by Liszt, Grieg, Busoni, Fauré, Franck, Scriabin and others. That is a properly cinematic proposition: a succession of composers becomes a single accompaniment, shaped in the room against Murnau’s images. The Friedrich-Wilhelm-Murnau-Stiftung records the German premiere of Faust on 14 October 1926, making this screening part of the film’s centenary year. AMUZ also provides English subtitles for the German intertitles, which makes the evening approachable for viewers following the narrative closely as well as listeners tracking the keyboard colour.[2][5]

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Thursday: industrial metal in orchestral scale

Also at 20:00 on 22 October, Flagey presents Rammstein Symphonic Experience in Studio 4. This is explicitly billed as an orchestral tribute and reinterpretation of industrial metal, with a full live symphony orchestra, video content and visual direction; Flagey identifies it as an externally organised production independent of Rammstein’s members. That clarity matters. Treat the concert as an arrangement-led encounter with Rammstein material: the interest lies in what orchestral forces, continuous momentum and a visual frame do to songs built for amplified impact. It makes an unusually direct companion to Pashchenko’s Faust: each programme hinges on music recasting a pre-existing work for a different scale of attention.[4]

Sunday: three voices at the threshold of polyphony

At 15:00 on Sunday 25 October, AMUZ closes the thread with Les Trouveurs and Marc Mauillon’s Voices around 1300. Their programme joins selections from the Cantigas de Santa Maria, Francesco Landini’s ballate and troubadour songs by Raimbaut de Vaqueiras. The three performers—Mathias Lunghi, Camile Macinenti and Mauillon—work entirely with voices, giving the afternoon a deliberately exposed texture after Thursday’s piano and orchestral density. AMUZ frames the programme around the passage from monophonic singing toward richer polyphony around 1300. That historical hinge is the useful way in: listen for how one vocal line can carry text and contour, then for the changed sense of space when lines begin to interlock. The programme’s variety keeps the concert focused; sacred song, courtly repertory and Italian ballate share the same vocal frame.[1][3]

Practical route for 22–25 October

For a two-night version of this itinerary, choose either Pashchenko at AMUZ or Rammstein Symphonic Experience at Flagey on Thursday 22 October, both beginning at 20:00, then make the 15:00 Sunday return to AMUZ for Les Trouveurs and Marc Mauillon. AMUZ is on Kammenstraat in Antwerp; Flagey is on Place Sainte-Croix in Ixelles. Recheck the official venue pages for ticket availability, access information and any schedule changes before travelling.[1][2][3][4]

Sources

  1. AMUZ Antwerpen — AMUZ
  2. Olga Pashchenko – Faust — AMUZ
  3. Les Trouveurs & Marc Mauillon — AMUZ
  4. Rammstein Symphonic Experience — Flagey
  5. Faust — Friedrich-Wilhelm-Murnau-Stiftung