programme and abstracts - Alamire Foundation

International Musicological Conference
Music in Hanseatic Cities of
Northern|Central Europe and the
Baltic Area (c. 1350 – c. 1650)
23-25 August 2008, Van Laerzaal – Elzenveld, Antwerp
Organisation: With support of:

TABLE OF CONTENTS
• Welcome ................................................................................ 3
• Organisation .......................................................................... 4
• Programme ............................................................................ 5
o Saturday 23 August ....................................................... 5
o Sunday 24 August ......................................................... 6
o Monday 25 August ........................................................ 7
• Abstracts ................................................................................ 8
• Practical information.......................................................... 18
• Eating out ............................................................................ 20
• Internet cafes ....................................................................... 22
• Taxi services ........................................................................ 22
• Laus Polyphoniae ............................................................... 23
• How to travel to / from Antwerp? .................................. 24
• Getting around the city ...................................................... 25
• Conference MAP ................................................................ 26
2

WELCOME
Music in the North/Central European and Baltic Hanseatic cities
from 1350 to 1650: these are almost uncharted waters, to say the
least!
All the more reason for Laus Polyphoniae 2008 to devote not
only a series of fascinating concerts to the subject, but also an
international colloquium. This is a result of a close collaboration
between the Flanders Festival Antwerp - Laus Polyphoniae and
the Alamire Foundation, International Centre for the Study of
Music in the Low Countries.
A word of thanks goes to the staff of both organisations, and in
particular to Sofie Taes for her work on the conference
programme and organisation, Ann Hasendonckx - who was a
great help in administrative and various other matters, Handan
Narin and Kathleen Engels for taking care of accommodation
and communication, to the directors of the festival Laus
Polyphoniae, Lieve Schaubroeck and Koen Froberg. A word of
thanks also goes to Karel Moens, who agreed to open the
instruments museum ‘Vleeshuis’ especially for the conference
participants, and to the City of Antwerp for its warm welcome.
Finally, I would like to extend a word of welcome to all of you
here and thank you for your interest, your presence and your
enthusiastic participation.
Bart Demuyt
Director of the Alamire Foundation
3

ORGANISATION
The international musicological conference “Music in hanseatic
cities of Northern/Central Europe and the Baltic Area (c. 1350 – ca.
1650)” is organised by the Alamire Foundation and Flanders
Festival Antwerp - Laus Polyphoniae, and is supported by the
Katholieke Universiteit Leuven and the City of Antwerp.
Programme Committee
Sofie Taes (Alamire Foundation vzw - K.U.Leuven, BE)
Ole Kongsted (Kongelige Bibliotek, Copenhagen, DK)
Hanno Brand (Hanze Studiecentrum, Groningen, NL)
Organisation Committee
Sofie Taes (Alamire Foundation vzw - K.U.Leuven, BE)
With help & support from
Bart Demuyt (Alamire Foundation vzw - K.U.Leuven, BE)
Ann Hasendonckx (Alamire Foundation vzw - K.U.Leuven, BE)
Handan Narin (Flanders Festival Antwerp- Laus Polyphoniae)
Kathleen Engels (Flanders Festival Antwerp- Laus Polyphoniae)
Lieve Schaubroeck (Flanders Festival Antwerp- Laus Polyphoniae)
Koen Froberg (Flanders Festival Antwerp- Laus Polyphoniae)
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PROGRAMME
SATURDAY 23 AUGUST
13h45 Registration & coffee Van Laerzaal,
Elzenveld
14h20-14h35 Welcome by BART DEMUYT
(Alamire Foundation, BE)
14h35-15u25 A.J. BRAND
(Hanse Research Centre,
Rijksuniversiteit Groningen,
NL)
The Hanseatic Legacy: trade,
town life and culture
15h25-15h40 Coffee break
15h40-16h20 ARNE SPOHR
(Wolfenbüttel, DE)
„Was hört man da vor
Seytenspiel / Orpheus nicht
dabey gleichen will“: Die
Huldigung Hamburgs vor
Christian IV. (1603) und ihre
musikgeschichtlichen Folgen
16h20-17h00 ESTHER CRISCUOLA DE
LAIX
(University of California -
Berkeley, US)
Hieronymus Praetorius's Opus
musicum and Music Print in
Early Seventeenth-Century
Hamburg
17h30 Reception City of Antwerp Town Hall
5

19h15 Concert introduction Hendrik
Conscience
Library
20h00 Concert Concerto Palatino
& Gesualdo Consort
6
St. Carolus
Borromeus
SUNDAY 24 AUGUST
9h00 Breakfast-concert Chapel,
Elzenveld
11h40 SOFIE TAES
(K.U.Leuven - Alamire Foundation,
BE)
Still making waves: Traces of the
Hanze in Music History
12h20 Lunch
14h30-15h10 AGNIESZKA LESZCZYNSKA
(University of Warsaw, PL)
From Kampen via Königsberg to
Gdańsk: the life of Johannes
Wanning
15h10-15h50 DIRK SNELLINGS
(Capilla Flamenca, BE)
Musicalia Gedanenses - Juvons
beau jeu: dining with Music in
Gdansk, c. 1550
15h50-16h10 Coffee break
16h10-16h50 DANUTA SZLAGOWSKA
(Akademia Muzyczna -Gdańsk, PL)
Polichorality and concertato in
Gdańsk - foreign influences and
local tradition
Van Laerzaal,
Elzenveld

16h50-17h30 DANUTA POPINIGIS
(Akademia Muzyczna -
Gdańsk, PL)
Die Glocken aus s`Hertogenbosch
im hanseatischen Danzig
20h00 Conference dinner Le Zoute
Zoen
MONDAY 25 AUGUST
9h30-10h10 OLE KONGSTED
(Kongelige
hagen, DK)
Bibliotek Copen-
10h10-10h50
Music and Hansa. Musicological
and methodological problems in
connection with the study of music
in the ‘Hansestädte’
PATRICK DENECKER
(La Caccia, BE)
The Partbooks of Dorothea
10h50-11h10 Coffee break
11h10-11h50 IZABELA BOGDAN
(Adam Mickiewicz University
Poznan, PL)
Königsberg Wedding Ceremonies in
the Context of Musical Culture of
the Hanseatic Region in the 16th and 17th Centuries
11h50-12h15 Programme Committee:
Conclusions
12h15 Lunch
14h00 Visit to Museum Vleeshuis
guided by Karel Moens
7
Van Laerzaal,
Elzenveld
Museum
Vleeshuis

ABSTRACTS
HANNO BRAND
Hanse Research Centre – Rijksuniversiteit Groningen, NL
The Hanseatic Legacy: trade, town life and culture
Although the Hanseatic League was one of the most elusive of
all early maritime empires, it is very difficult to asses its cultural
coherence. Hanseatic culture has been regarded as a spin-off
effect of intense commercial exchange in a period which lasted
mote than five centuries, in which the League enfolded form a
loose community of individual merchants into a league of towns
with impressive political influence and commercial endeavour.
Although, as most and for all the historical architecture in
former Hanseatic towns suggests, the League left a cultural
imprint on North-western European cities, is also clear that
Hanseatic merchants played only a limited role in shaping a
Hanseatic civilization. Its commercial network and its ships that
plied the waters of the Northern seas were the carriers of
knowledge, art, architecture and music which spread through its
cities. Hanseatic culture was, however, not a export product but
the result of exchange between the regions along the shores of
the Northern Seas. It was not contained to the Hanseatic region
but bears many Flemish, Dutch and Scandinavian influences.
Nor can we assume that the area between the western Low
Countries and the modern Baltic states were part of one clearly
defined cultural landscape. Modern research in fact suggests that
the Hanse did not show a specific uniform cultural identity
within the limits of its own region, but that it was shaped abroad
within the limits of the foreign offices. Still no one will neither
deny the existence of a similar language in the Hanseatic area,
nor the formation of a similar commercial identity or the rise of
a hanseatic town landscape which showed many common
characteristics. This paper will address the Hanse’s cultural
ambiguity from a political, economic and cultural perspective. It
is an attempt to show that the League, though being a very loose
network of towns and merchants, owed much of its unity
8

through the formation of a common urban culture which found
an expression in political structure, technology, language,
education, architecture, art and leisure.
ARNE SPOHR
Wolfenbüttel, DE
„Was hört man da vor Seytenspiel / Orpheus nicht dabey
gleichen will“: Die Huldigung Hamburgs vor Christian IV.
(1603) und ihre musikgeschichtlichen Folgen
Die Huldigung Hamburgs vor dem dänischen König Christian
IV. im Oktober 1603 war eines der bedeutendsten politischen
und kulturellen Ereignisse, die Nordeuropa in den Jahrzehnten
um 1600 erlebte. Ihre Bedeutung lässt sich am Aufwand der eine
Woche dauernden Feierlichkeiten, am Rang der anwesenden
adligen Gäste, an der Zahl der überlieferten Festberichte und am
Echo ablesen, die sie in zeitgenössischen Chroniken fand.
Dabei ist diese Huldigung von der Geschichtswissenschaft
bislang, wenn überhaupt, zumeist unter politischem oder
juridischem Aspekt betrachtet worden. Eine Untersuchung ihrer
Bedeutung für die Kultur- und speziell für die Musikgeschichte
Hamburgs und Norddeutschlands der Jahrzehnte bis zum
Dreißigjährigen Krieg steht bislang aus. Dabei lässt sich anhand
des umfangreichen erhaltenen Quellenmaterials
(Rechnungsbücher, Reiselisten, Festberichte, Bildmaterial und
Noten) demonstrieren, dass Musik von fürstlicher wie städtischer
Seite neben anderen Künsten als wichtiges
Repräsentationsinstrument eingesetzt wurde und dass eine
Vielzahl höfischer und städtischer Musikinstitutionen an der
Gestaltung der Festlichkeiten beteiligt war.
Zum einen unternehme ich in meinem Vortrag eine
Rekonstruktion der verschiedenen Anlässe, bei denen
musikalische Ensembles während der Huldigungsfeierlichkeiten
mitwirkten, und leiste damit einen Beitrag zur Erforschung der
Huldigung als einem bedeutenden Beispiel frühneuzeitlicher
Festkultur. Zum anderen bin ich in der Lage zu zeigen, dass die
Huldigungsfeiern einen maßgeblichen Anlass für kulturellen
9

10
Austausch zwischen dem Hof Christians IV. und Hamburg
darstellten. Es war dies ein Austausch mit weitreichenden
musikgeschichtlichen Folgen: Durch die Vermittlungstätigkeit
des dänischen Hofmusikers und späteren Hamburger
Ratsmusikdirektors William Brade (1560-1630), eines aus
England stammenden Geigers, gelangte im Kontext der
Huldigung höfisches Musikrepertoire von Dänemark nach
Hamburg. Dieses gab dort wiederum den Impuls zur
Begründung einer eigenen, spezifisch hamburgischen
Repertoiretradition, die bis zur Mitte des 17. Jahrhunderts
fortwirkte und die Stadt zum wichtigsten deutschen
„Umschlagplatz“ von Instrumentalmusik machte. Mein Beitrag
geht in diesem Zusammenhang der Frage nach, inwiefern die
Genese dieses städtischen Repertoires als Ausdruck eines
wachsenden Hamburger Selbstbewusstseins gegenüber
benachbarten Fürstenstaaten (besonders Dänemark) verstanden
werden kann.
ESTHER CRUSCIOLA DE LAIX
University of California - Berkeley, US
Hieronymus Praetorius’s Opus musicum and Music Print
in Early Seventeenth-Century Hamburg
Hieronymus Praetorius (1560-1629), organist at the church of St.
Jacobi in Hamburg, produced five volumes of motets and
liturgical polyphony, for five to twenty voices, between 1599 and
1625. In these works, which came to be known collectively
under the title Opus musicum, print and musical genres new to
Hamburg coincided. While the little music printed in Hamburg
before 1599 consisted mainly of vernacular hymnbooks in
octavo and duodecimo, Praetorius offered music in the grand
polychoral style of the High Renaissance, printed in the upright
quarto format previously reserved for celebratory works and for
official publications of the city government. By having his
compositions printed - often at his own expense - Praetorius
ensured his own prominence within Hamburg as a city organist,
and beyond as a composer. The high quality of his music, and of

11
its presentation in print, ultimately redounded to the glory of
Hamburg.
I offer a print history of these important works, among the first
of their kind to be published in North Germany. One aim of my
discussion is to resolve some of the bibliographical confusion
surrounding Praetorius’s works, due to the multiplicity of
editions, the dearth of surviving materials, and misleading
information in the bibliographical literature; in particular, I argue
against the existence of a first edition from 1618 of Praetorius’s
fifth volume, the Cantiones novae officiosae, despite references in
Eitner’s Quellen-Lexikon and elsewhere. Finally, I evaluate the
umbrella term Opus musicum, which has come to refer to all of
Praetorius’s published works, and investigate the typographical
and publicational mechanisms by which Praetorius’s disparate
musical collections were repackaged as a unified, retrospective
Opus musicum.
SOFIE TAES
K.U.Leuven - Alamire Foundation, BE
Still making waves: Traces of the Hanze in Music History
To study the topic ‘Music and Hanze’ is to be aware of its many
facets, methodological problems, and its complex of meanings
and relations.
Within this domain of research, different paths can be chosen;
the study of music ‘in hanseatic cities’ - in other words: the study
of music at a certain location, within a certain time span, both
colliding with hanseatic history, but with no further regards to a
possible interference between Music and Hanze - is a possible
trajectory.
Another one, however, that will be explored in this paper, is to
focus on the importance of the Hanze as an
economical/political/cultural phenomenon and structure, for
developments within music history and - on the reverse side - on
the functions and use of music within the context of the
hanseatic league.

12
Two case studies - discussing musical life in two of the most
important hanseatic towns - will be presented as an illustration of
both sides of this complex, but fascinating story. The town of
Lübeck will be the first focal point of this lecture, with an
emphasis on the history of the Abendmusiken - where the
economical entity ‘Hanze’ and the cultural entity ‘music’ seem to
relate to each other in a most direct way. A second point of
special interest is Hamburg, where the evolutions within the
history of the ‘Ratsmusikanten’ show significant parallels and
connections with hanseatic history.
As such, this paper hopes to provide a general outline of the
central topic of this conference and the Laus Polyphoniaefestival,
as well as a more detailed and concrete view provided by
the examples of Lübeck and Hamburg.
AGNIESZKA LESZCZYŃSKA
University of Warsaw, PL
From Kampen via Königsberg to Gdańsk: the life of
Johannes Wanning
Johannes Wanning spent all of his life in hanseatic cities. Born in
Kampen in 1537 and probably educated there, he left the Low
Countries as a young man, maybe for economic reasons. In 1560
he went to Königsberg and became employed as a singer in the
chapel of Prince Albrecht. His first compositions were written
there. In 1569 Wanning became a chori musici magister at the
Marienkirche in Gdańsk and stayed there till his death in 1603.
He was receiving wages from the City Council. Its role in
supporting musicians, not only those active in Gdańsk, was very
important. Wanning was compelled to adapt directives of the
councillors but he knew how to force his artistic ideas. His high
rank in the life of the city was testified by the fact that he was a
member of the elite Reinholdsbank in the Artushof. Almost all
his works - more than 100 compositions (motets, masses,
occasional pieces) - originated in Gdańsk. Some of them were
dedicated to the local burghers. Motet collections by Wanning
were printed in Nürnberg, Dresden and Venice and probably the

13
editions were sponsored by the rich patriciate. Manuscripts of his
other works were preserved in church collections of hanseatic
cities - Gdańsk, Elbląg and Lübeck.
DIRK SNELLINGS
Ensemble Capilla Flamenca, BE
Musicalia Gedanenses - Juvons beau jeu: dining with
Music in Gdansk, c. 1550
The Library of the Biblioteki Polskiej Akademii Nauk in Gdansk
possesses a unique collection of 35 music manuscripts and prints
dating from the 16th and 17th centuries. They contain over one
thousand pieces of music. This magnificent collection was
studied in the beginning of the Twentieth Century by Otto
Günther, who published his Katalogus der Handschriften der Danziger
Bibliothek in 1911. In 1990 a new version of this catalogue
appeared, which contains the incipits of all compositions and a
list of the manuscripts that went missing since 1911.
This paper will discuss the structural and formal aspects of Ms.
4003 (olim Mus. q. 20) Gdansk, Biblioteki Polskiej Akademii
Nauk), and offers an overview of its musical contents.
Furthermore, this source will be discussed within its historical
perspective through a detailed study of its provenance. Using
this as a starting point, a comparison with other handwritten or
printed music books with similar features will be made, to shed
light on private/civic musical practice within the circles of
wealthy citizens/merchants in hanseatic towns of Renaissance
Europe.
DANUTA SZLAGOWSKA
Akademia Muzyczna - Gdańsk, PL
Polychorality and Concertato in Gdańsk: Foreign
Influences and Local Tradition
At the turn of the 17 th century up to the mid 17 th-century
Gdansk flourished in all aspects of culture. Its wealth, openness
and religious tolerance attracted many immigrants from other
parts of the Polish-Lithuanian Commonwealth, the Netherlands,

14
German principalities, England, Scotland and Scandinavia. The
multinational aspect of Gdansk and numerous contacts with
leading European centres were important factors allowing the
city to easily adopt elements of foreign cultures.
A repertoire contained in the manuscripts and prints from
Gdansk libraries conveys a musical image of the city which
successfully adopts the stylistic achievements of the Netherlands,
Italian and German composers. A characteristic feature of the
repertoire functioning in Gdansk seems to have been a penchant
for polychoral compositions, written both abroad and locally
(Lampadius, Zangius, Hakenberger, Dulichius). There are so
many examples of this type of music that Gdansk should be
considered one of the foremost centres of polychorality in the
Polish-Lithuanian Commonwealth. There is, nevertheless,
evidence that in Gdansk there were relatively early adoptions of
stile concertato (works by local composers - Gremboszewski,
Schnitzkius and works dedicated to the Gdansk City Council by
Bernardino Borlasca and Thobias von Düren). The rapidity of
the polychoral permeation to Gdansk, as well as the early arrival
of new Baroque ideas, can be compared to similar phenomena
known from the excellent King’s Chapel in Warsaw and certainly
proves the high level of musical life in Gdansk.
Gdansk undoubtedly also played an important role in promoting
musical ideas, especially polychoral, across Northern Europe.
DANUTA POPINIGIS
Akademia Muzyczna – Gdańsk, PL
Die Sing-Glocken aus s`Hertogenbosch in der Hansestadt
Danzig
Die 14 Glocken des automatischen Glockenspiels des Danziger
Rechtstädtischen Rathauses kamen aus s`Hertogenbosch, wo sie
von dem Glockengießer Johannes Moor angefertigt worden
waren. Das Glockenspiel wurde 1561 in Betrieb genommen.
Dadurch, dass es sich alle Stunde einschaltete, war es für die
Bewohner der Stadt ein verlässlicher Zeitmesser, wobei das
Glockenspiel aber auch als Signalinstrument bei wichtigen

15
Ereignisse galt, was Archivquellen aus der zweiten Hälfte des 18.
Jh.s detailliert beschreiben.
Die Glocken aus s`Hertogenbosch wurden rasch zu einem
deutlich wahrnehmbaren Element der Musikkultur der
Hansestadt Danzig. Ich bin jedoch der Auffassung, dass das
Auftauchen des Glockenspiels für die Stadt noch weiter gehende
Konsequenzen hatte, und zwar stelle ich die Hypothese auf, dass
höchstwahrscheinlich Franciscus de Rivulo, jener bekannte
Komponist, der erster Kapellmeister des Musikensembles des
Danziger Stadtrats wurde, eben wegen jenes Glockenspiels nach
Danzig gekommen war. Es muss betont werden, dass die ersten
Anmerkungen über den höchstwahrscheinlich aus den
Niederlanden stammenden Franciscus de Rivulo auf das Jahr
1560 zurück gehen, also genau auf jene Zeit, als man in
s`Hertogenbosch an der Bestellung der Danziger Glocken
arbeitete. Die Stadt brauchte also nur noch jemanden, der die
Melodien im Glockenspiel-Mechanismus richtig „stellen“
konnte, und wer hätte sich dafür besser geeignet als ein aus den
Niederlanden stammender Musiker?
OLE KONGSTED
Kongelige Bibliotek Copenhagen, DK
Music and Hansa. Musicological and methodological
problems in connection with the study of music in the
"Hansestädte".
In this paper, the speaker will address the specific challenges and
problems of musicological research activities within the domain
of hanseatic history. Starting from his own experience as a senior
research fellow at The Royal Library of Copenhagen, music
editor and choirmaster and organist at the Church of the Sacred
Heart (Copenhagen), the author will consider matters of a
musicological nature as well as methodological questions. As a
result, the study of music in hanseatic cities will emerge as a
complex of fine nuances within a multifaceted context.

16
PATRICK DENECKER
Ensemble La Caccia, BE
The Partbooks of Dorothea
Ms II 3843 in the Royal Library of Brussels is a remarkable
manuscript. It belonged to the former collections of Perne and
Fétis. Consisting of 5 extremely small books bound in leather
with gold print it contains music from the circle of Duke
Albrecht’s chapel in Königsberg. Most probably the music
collection belonged to the Danish princess and the duke’s first
wife Dorothea, in 1545. A number of texts are referring to
members of the royal family and other noblemen with
acrostichons.
Names are not mentioned but the music is from composers as
Isaac, Senfl and Kugelmann. Only the tenor parts are texted. The
size of the manuscript rises many questions about ownership,
use, performance practice etc. Interesting too are the
contributions of texts by Johann Poliander as well as the other
texts which are situated in the Lutheran atmosphere.
The manuscripts repertory refers more than once to other well
known part books of the Royal Danish court chapel. Interchange
of repertory through musicians must have been the case.
IZABELA BOGDAN
Adam Mickiewicz University Poznan, PL
Königsberg Wedding Ceremonies in the Context of Musical
Culture of the Hanseatic Region in the 16 th and 17 th
Centuries
Königsberg, along with five other Prussian towns (Gdańsk,
Elbląg, Toruń, Chełmno and Braniewo) as well as three Livonian
ones (Riga, Dorpat, Reval), belonged to the Prussian-Livonian
quarter, one of the four such within the Hanseatic Leagues,
comprising trade towns under the leadership of Lübeck.
Königsberg, which remained within the sphere of Hanseatic
influences up to the mid 17 th century, adopted a considerable
number of customs typical for that cultural region, including the
course of wedding ceremonies. In my paper, I intend to examine

17
the successive stage of these ceremonies taking place in the three
cities of Königsberg at the turn of the 16 th and 17 th centuries, in
a broad context of similar ones taking place in other Hanseatic
centres. I would like to point out similarities and differences
between them in reference to the nuptial habits, people
participating and the music performed (vocal and instrumental
pieces as well as dances).
It would be also important to focus on wedding ceremonies
taking place at the Königsberg prince court, which accounted, to
a great extent, for the specificity of that Prussian townresidence.
Details concerning various aspects of wedding
ceremonies could be found in the successive church regulations
(Kirchenordnungen), state regulations (Landesordnungen) as
well as wedding ordinances (Hochzeitordnungen) passed in the
course of the 16 th century in Ducal Prussia, which have not been
analysed so far in the context of musical culture. The Prussian
Duchy, as the first secular Protestant state in the world, had to
create regulations concerning all the ceremonies, including the
weddings. As for the music composed for Königsberg weddings,
there are about 200 extant pieces by various composers, with
Johannes Eccard and Johannes Stobaeus as central figures. The
analyses of their diverse repertory of wedding music, proved,
especially in the case of polychoral works, considerable links
with north-European musical tradition and musical output of the
composers active in Hanseatic towns, mainly of the Baltic
Region.

PRACTICAL INFORMATION
Conference Venue
Van Laerzaal - Cultural Conference Center Elzenveld
Lange Gasthuisstraat 45
2000 Antwerp
BELGIUM
18
Handouts
You will need ca. 25 handouts.
Copy-Service is available nearby, in Koppie Kopie,
Nationalestraat 85, 2000 Antwerp - 03 232 16 97 | Aertssens
Copy Service, Lange Nieuwstraat 10, 2000 Antwerp - 03 233 03
47 (closed on Saturdays and Sundays)| Printshop,
Vleminckstraat 13, 2000 Antwerp - 03 232 56 37
Please keep in mind that on Sunday 24 August, all copyshops
will be closed.
Concerts
The following concerts of the early music festival Laus
Polyphoniae take place during the conference:
o Opening Concert 23/08, 20h00
o 24/08, 9h00 (Amarcord)
o 24/08, 15h00 (La Caccia)
o 24/08, 20h00 (Cantus Cölln)
o 25/08, 12h00 (Capella della Torre)
Tickets to these concerts are free for speakers; conference
participants pay a reduced tarif of 15€ for the opening concert,
and 10€ for each of the other concerts. The ticket to the
Amarcord concert on Sunday morning includes breakfast
afterwards.

19
Please contact Ms. Sofie Taes for more information, or to make
a reservation for tickets for these (or other) concerts at Laus
Polyphoniae.
Reception
Saturday 23 August, 17h30 at the Town Hall (Grote Markt 1 –
2000, Antwerp)
Conference dinner – Sunday 24 August, 20h00
The conference dinner will take place at the restaurant Le Zoute
Zoen (Zirkstraat 15 / 17 – 2000 Antwerpen).
The restaurant is not far from the conference venue: in front of
the Elzenveld, tram 7 “Mortsel - Sint-Pietersvliet” takes you to
“Antwerpen Klapdorp” - no more than a short walk from the
restaurant - in less than 10 minutes.
Contact
In case of questions or problems during the conference, please
contact the organisation committee: Ms. Sofie Taes,
sofie.taes@arts.kuleuven.be
Tel.: +32 494 883518 (temporary number)

EATING OUT
20
The people of Antwerp have always had a reputation for being
gourmets. The majority of Antwerp restaurants tend to go in the
direction of the French cuisine, with the addition of a few fine
Belgian touches. However, in this cosmopolitan city you’ll find a
whole range of European, ethnic and biological cuisine as well as
restaurants experimenting with the latest food fads. The greatest
concentration of places to eat is in the areas around the historic
city centre, the central station and the South quarter of Antwerp.
It's impossible to provide a full overview. Down below we give
just a few suggestions.
RESTAURANTS
De Rooden Hoed
Oude Koornmarkt 25
03 233 28 44
[open 7/7]
La Luna
Italiëlei 177
03 232 23 44
info@laluna.be
www.laluna.be
[closed on Sundays &
Mondays]
La Pata Negra -
Vlasmarkt 14
info@la-patanegra.be
[open all weekend]
Restaurant Hippodroom
Leopold De Waelplaats 10
03 248 52 52
resto@hippodroom.be
[closed on Sundays]
Bien soigné
03 293 63 18
Kleine Markt 9
De Foyer
Komedieplaats 18
03 233 55 17
www.defoyer.be
[closed on Sunday
evenings]

BISTROS - BRASSERIES
K. Zeppos
Vleminckveld 78
03 231 17 89
Grand Café Horta
Hopland 2
03 232 28 15
SANDWICHES
Fresh & Fruity
Kammenstraat 19
03 231 13 08
Le Pain Quotidien - Het
Dagelijks Brood
Mechelsesteenweg 45
03 225 1229
&
Steenhouwersvest 48
03 226 76 13
www.painquotidien.com
Den Artist
Museumstraat 45
03 238 09 95
[open 7/7]
Zozan
Lambermontplaats 25
03 232 05 79
[closed on Mondays]
Panos
Nationalestraat 84
03 234 25 66
&
Meir 60
03 232 15 17
www.panos.be
’t Bieke
Korte Gasthuisstraat 8
03 231 6159
Délifrance
Meir 26
03 232 94 15
21

INTERNET CAFES
2Zones
Wolstraat 15
info@2zones.com
03 232 24 00
Kv-Kaffee Cyberspace
Oudaen 14
info@kv-kaffee.be
TAXI SERVICES
Taxi Steenackers
Bullinckplaats 2
0496 85 89 82
Métropole
Nassaustraat 21-25
03 231 61 42
03 222 98 72
03 226 10 30
taxi@metropole.be
A-Taxi
Oranjestraat 23A Box 18
03 233 33 32
francois@algoet.com
Centraal Internet
Gemeentestraat 32
03 2342721
Warpfactor9
Kasteelpleinstraat 6
Algemene Antwerpse Taxicentrale B.V.B.A.
Eendrachtstraat 18
03 216 16 16
03 237 86 34
22

LAUS POLYPHONIAE
Music from the Hanseatic league
23 - 31 August, on various locations in Antwerp
23
On Augustus 23, the Antwerp edition of the Flanders Festival
opens its doors to this sparkling episode of international history.
An episode that somehow still seems to harbour plenty of
musical mysteries. You are kindly invited to come and unveil
them.
23/08/2008 - 20:00 Concerto Palatino & Gesualdo Consort Amsterdam
24/08/2008 - 09:00 Amarcord
24/08/2008 - 15:00 La Caccia
24/08/2008 - 20:00 Cantus Cölln
25/08/2008 - 12:00 Capella de la Torre
25/08/2008 - 20:00 Weser Renaissance
26/08/2008 - 12:00 Josquin Capella
26/08/2008 - 20:00 Concerto Palatino
27/08/2008 - 12:00 organ, Liuwe Tamminga
27/08/2008 - 20:00 Ars Cantus
28/08/2008 - 12:00 Stimmwerck
28/08/2008 - 20:00 Concerto Palatino & Gesualdo Consort Amsterdam
29/08/2008 - 12:00 luit, Jakob Lindberg
29/08/2008 - 20:00 La Caccia
29/08/2008 - 22:30 Zefiro Torna & Antwerps Kathedraalkoor
30/08/2008 - 10:30 Benjamin Bagby & Katarina Livljanić
30/08/2008 - 20:00 Capilla Flamenca
30/08/2008 - 22:30 Heinavanker
31/08/2008 - 15:00 Il Trionfo del Tempo
31/08/2008 - 16:30 Jean-Pierre Mathieu & Carles Cristobal, Masterclass
31/08/2008 - 20:00 Huelgas Ensemble

HOW TO TRAVEL TO / FROM ANTWERP?
24
By train
Both international trains and inter-city trains stop in Antwerpen-
Centraal and Antwerpen-Berchem stations. Every hour 15 IC, IR
or L-trains stop from/to Antwerp.
When visiting Antwerp you can take advantage of the
commercial all-in formulas of Belgian rail company NMBS.
These “B-Day Trips” include a train ticket plus entry to one
attraction, as well as other transport. Train passes, weekend
tickets or group rates (from 15 persons) are also interesting
options.
Contact:
NMBS/SNCB
Koningin Astridplein 27
2018 Antwerp
General information number: +32 (0)2 528 28 28 (or
+32 (0)2 555 25 55 for dial phones)
Brussels Airport (Zaventem)
28 miles or 30 minutes drive from Antwerp city centre. National
carrier: SN Brussels Airlines. Transport from/to the aerport: SN
Brussels Airlines Express bus (shuttle service), by train
NMBS/SNCB (change trains in Brussels), de Lijn bus 820/821
or by taxi.
Contact:
Brussels Airport
1930 Zaventem
Phone from Belgium: 0900 700 00 (0,40 euro/minute)
Phone from abroad: +32 (0)2 753 77 53

25
GETTING AROUND THE CITY
Antwerp is a pedestrian-friendly city. Some 20% of this historic
city centre is traffic-free and during the many summer festivities
pedestrians are given absolute priority. Another convenient way
to get around the city is by bus or tram. These services enable
your clients to easily reach all major places in Antwerp. There are
two major bus terminal stations: Centraal Station en
Rooseveltplaats.
Car parks
Different P-routes guide you to the parkings in town. Just beneath
you'll find a list of the P-routes and their parkings:
Historic centre (P-route 'Historisch centrum'):
• Noorderterras: Orteliuskaai
• Zuiderterras: Ernest Van Dijckkaai
• Grote Markt: Ernest van Dijckkaai 7
Centre (P-route 'Centrum'):
• Brabo: Kammenstraat 2
• Groenplaats: Groenplaats
• Rubens: Lombardenvest 24-28
• Meir: Eiermarkt 33
• Lombardia: Lombardenvest 11
• Oudaen: Oudaan 3
• Cammerpoorte: Nationalestraat 38
Central Station - Zoo (P-route 'Centraal station-Zoo'):
• Nova: Van Schoonhovenstraat 25
• Breidel: Breidelstraat 15-17
• De Keyser: Van Ertbornstraat 13
• Empire: Appelmansstraat 25
• Quellin: Quellinstraat 39
• Roosevelt: Franklin Rooseveltplaats 12
Meir-University (P-route 'Meir-Universiteit):
• Van Dijck: Eikenstraat 9
• Sint Jacob: Sint Jacobsmarkt 81-83
Meir-Municipal theatre (P-route Meir-Stadsschouwburg):
• Arenberg: Oudevaartplaats 2-4

• Horta: Hopland 24
• Leopold: Henri Van Heurckstraat 9
• Hopland: Hopland 40
• Stadsschouwburg : Meistraat 4
Inno: Hopland 45
How to reach the concert venue:
(AMUZ - Kammenstraat 81, B-2000 Antwerp)
26
• By public transport
o stop Kammenstraat: trams 4, 8
o stop Groenplaats: trams 2, 3, 4, 8, 15
o stop Oudaan: trams 7, 8
o stop Nationalestraat/Van Rijswijckplaats: trams 4, 8,
busses 22, 25, 26
o stop Komedieplaats: bus 9
Go to www.delijn.be for a route description and timetables
of De Lijn or call 070 22 02 00 for more information. The
timetables of the NMBS can be found at www.b-rail.be or
call 03 204 20 40 (Info Antwerp National Travellers).
• By car
Due to road works in Antwerp, the traffic situation is variable.
Check www.antwerken.be to see the lastest updates. Parking
place is scarce in the immediate vicinity of AMUZ. Therefore,
it’s recommended to use the surrounding pay car parks:
(Parking Oudaan, Oudaan - Parking Rubens, Kammenstraat
& Lombardenvest - Parking Lombardia, Lombardenvest -
Parking Cammerpoorte, Drukkerijstraat/Nationalestraat -
Parking Groenplaats)

Restaurant Le Zoute Zoen
AMUZ, concert venue Theater Hotel Elzenveld, conference venue
Town Hall (reception)
Carolus Borromeus Church
(Opening Concert)
CONFERENCE 27
MAP