Media articles and publications
"... supreme moments of beauty and intense emotion, superbly directed by the young chief Dominique Rammaert. Colours, half-tones, details, melody, nothing had been neglected by this splendid "New Chamber Orchestrata": the baton of Dominique Rammaert dominated with an astonishing precision and experience, and full of enthusiasm."
Le Guide Musical, Paris, June 1974
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"... leading the symphonic orchestra of the
RTBF (Belgian Radio), he shows a musical temperament both energetic and refined,
able to lead nuances and organize vibrancies, and liven up the works with
vitality..."
Le Soir , Brussels, October 22, 1974
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"... conducting the National Orchestra of Belgium …, Dominique Rammaert replaced without notice the suffering Master Dean Dixon. The public was spellbound and enthusiastic. He directed everything from memory. His precise directions indicated a thorough knowledge of the score (Sibelius, Stravinsky...). The gestures radiated with force and conviction. Without doubt, one of the greatest qualities in his way of directing is that he deeply believes in the music he is directing... "
De Standaard, Brussels, December 1, 1975
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"... The important success obtained on October 7 by the Orchestra of Liège directed by the young Brussels conductor Dominique Rammaert, was the result of a technically irreproachable performance... But the appeal is still greater when Mahler's 4th Symphony is being served by a conductor as cultivated as Dominique Rammaert, who after a sharp analysis managed to emphasize the most fragile articulations and the most subtle harmonies of the work, without ever loosing its lyricism and magic."
Vers l`Avenir, Namur, October 16, 1976
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"... in the production of Lucerne, Karel Nemec (director) and Dominique Rammaert (conductor) met in Donizetti's L'Elisir d'amore, to bring out all the delicacy, the mischievousness, and the charm expressed by this opera-bouffe. Dominique Rammaert led with fluid and flexible tempi, and he also finds the spirit and the weightlessness, which are so beautifully contained in the score.
... his mastery and fiery direction of the soloists and choir communicated, particularly in the scenes of tutti, a meaning to the music that seemed to gush out of its innermost obviousness."
Luzerner Nachrichten, November 30, 1981
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- Dominique Rammaert, the church of the Madeleine in Paris was packed and you got big success two weeks ago, when you directed Händel's Messiah. Is this the kind of work that you prefer?
- I am obviously interested in this music, but I am not enthusiastic about it the most. I am especially attracted by music of the end of 19th and 20th centuries. I gladly interpret Prokofiev, Stravinsky..., Bruckner, Mahler too. The infinitely personal poetry, which emerges from the work by Sibelius, is quite near to me. Chostakovitch particularly invites me by the epic power of his symphonies. The contemporary composers such as Ligeti, Penderecki enthrall me... but there is so much more!
- What is a conductor for you, Dominique Rammaert?
- I do not dissociate the conductor from the body of the musicians whom he directs. There is a word in German "musizieren", which expresses very well what I want to say: to make each musician of the orchestra take part in the playing of all the other instrumental groups ... listen to one another. It would consist, in fact, of making a correspondence in the playing of a small group of chamber music, even of a quartet. The role of the conductor is to make that possible with a maximum of efficiency and economy.
I think that this goal can be entirely carried out only when you work very frequently with the same orchestra...
Liliane Weinstadt, “Clés pour la musique”
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National Orchestra in the Singel: it was a success from all point of view: thanks to a thorough knowledge of the score, he succeeded in completely reviving the music he recreates and he can draw from orchestra, rather with sobriety but with technical efficiency of direction, his intentions.
Dominique Rammaert also proved that he has the art of assisting a soloist well, in Rachmaninov's Concerto for piano and orchestra n° 3.
In conclusion, Rammaert knew how to evoke in an extraordinarily communicative way the scope of the melodic flow, and the charm of nature evoked, in the powerful fresco of Sibelius' Symphony n° 5 of.
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Jan Ceuleers "De Nieuwe Gazet", Antwerpen - 13 Octobre 1987
The songs of "Resonances": from distress to beauty.
The result, which the recording testifies (1), is splendid. Fourth-World or not, a palpable artistic force and quality emanates from these interpretations, dependent in a paramount way on an excellent preparation - it is the work of Dominique Rammaert. In all languages, it is precisely and clearly articulated, even if the pronunciation of French is by far the best (a purity of accent from which the Theatre de la Monnaie choruses could be inspired), clear attacks, sound and sung consonants (the ultimate, extremely rare), so many technical refinements that drive the direction of the texts and enable the music to freely open out.
But that does not yet explain the irresistible emotion that emerges from the record. Except from noticing that the choir demonstrates - yet another performance - a genuine sound, and true musical identity, perceptible at the first listening, and translating a real social organization.
Martine Dumont-Mergeay.
La Libre Belgique, 27/11/1998
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(1) The N.G.O. Fourth World Brussels recorded "Resonances" live on this occasion.
This record includes in particular "Venouli vetri" of D. Chostakovitch and "Anthem with the joy" of L.Beethoven.
The Web site http://membres.lycos.fr/rammaert/ offers the listening of "Venouli vetri".
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For the second consecutive year, Mons-Musics, the N.G.O. Fourth-World, the CPAS (municipal helping services), ESOP (protestant mutual aid and solidarity) and the House Saint-Paul gave themselves a hand in preparing an evening (from 20:00) Thursday November 8, in the Aula Abel Dubois of the RTBF (radio house). (1)
The program: the "Symphonia concertante K 364" of Mozart, three extracts of the "Lyric Suite" of Alban Berg and "Four for Tango" of Astor Piazzola.
The Belgian composer Gilles Gobert gave a quartet for cords and percussions in world creation,. "Everyone must be able to reach the music, explains Dominique Rammaert, conductor of the Royal Chamber Music Orchestra of Wallonia. And it is not because the public lives in precariousness that we must have an "easy" program. On the other hand, people of fourth-world do ask for Mozart."