Lukas Huisman (born 1987) studied with Daan Vandewalle at the Ghent Faculty of Music, where he graduated summa cum laude. He received the De Blonde-Torck prize as the most deserving student and attended master classes with Ian Pace (Ferneyhough, Finnissy), Jonathan Powell (Sorabji, Xenakis, Ferneyhough, Finnissy), Geoffrey Douglas Madge (Sorabji, Xenakis), Ciro Longobardi (Scriabin), Daniel Rivera (Busoni), and Carlo Mazzoli (Messiaen). From 2012 to 2016 he worked on an artistic doctoral project relating to contemporary complex solo piano music at the School of Arts Ghent/University Ghent.
Lukas mainly performs contemporary music, with particular attention to the little-known composer K. S. Sorabji. This brought him into contact with various performers of Sorabji’s work. He worked on several international projects, aimed at making the manuscripts of this little-performed composer more accessible. This already resulted in the publication of scores as 100 Transcendental Studies, 104 Frammenti Aforistici, Opus Secretum, 4 Frammenti Aforistici, and the Symphonic Nocturne. You will find more information on the site of The Sorabji Archive.
Lukas often plays creations of new music, like the two Piano Trios, the 12 Études for piano duo and the complete works for piano solo by Jeroen De Brauwer, chamber music by Hans Roels (BE and UK) and Susan Clynes, and some solo piano and chamber music pieces by Alfred Vorster (CH and SA). Together with Ivo Delaere he forms the Simplexity piano duo. He is the pianist of the Warped Time ensemble, plays keyboads and co-creates songs for Tempus Cucumis and, with Tine Allegaert, formed the Tinnitus piano duo. He took chamber music classes with Filip Rathé, Kris Deprey, and Patrick Beuckels. At the Orpheus Institute, he and Ivo Delaere are taking chamber music master classes about Brahms and Finnissy with Piet Kuijken, Piet Van Bockstal, Paul De Clerck and France Springuel.
MessiaenRzewskiSorabjiFerneyhoughFinnissyXenakisLimits of nature and nature of limits
Birds in Warped Time 2Satoh4 PiecesWebernMessiaenAdagio BergQuatuor pour la fin du tempsMessiaenSchönbergsPierrot LunaireStraussDelibesStravinskyBernsteinYoung soloists Oost-Vlaanderen 2014
Cooperations: Claudia Ibarra, violin and viola / Robin Van Heghe, violin / Lukas Huisman, piano / Danré Strydom, clarinet and bass clarinet / Eline Duerinck, cello / Annelies Heyvaert, flute and piccolo / Anna Pardo Canedo, voice and Sprechstimme / Sabine Schmitz, clarinet and bass clarinet / Benjamin Glorieux, conductor / Filip Rathé, conductor.
As the famous Frank Zappa once inquired "Shall we take ourselves seriously?", together with composer and all-round musician Jeroen De Brauwer I started this indie band where we can both do what we can't elsewhere. The name comes from the Dutch word "komkommertijd", literally meaning "cucumber time" but figuratively used for the off-season with respect to news and politics. As there were apparently quite some things we couldn't do or say elsewhere, in the summer of 2017 we recorded our first somewhat anarchistic full-Cd called When All has Gone Tits Up, followed by a Christmas special that same year. Everything can be listened to on YouTube.
BachDebussy RavelPiano PhaseReichGeminiDevreeseJeroen De Brauwer12 Études
In September 2016, Lukas received a PhD for his research on the notation in the piano works of Sorabji, Xenakis, Ferneyhough and Finnissy, Limits of nature and nature of limits. (Artistic doctorate from School of Arts Ghent and Ghent University, IPEM.)
This dissertation examines the works of four composers that explore the physical and mental limits of the performer. The subject is approached via their oeuvre for solo piano. The Opus Clavicembalisticum (Cadenza I, Adagio, Coda. Stretta) and the Symphonic Nocturne by Sorabji, Evryali by Xenakis, Lemma-Icon-Epigram by Ferneyhough and Midsomer morn (from the English Country-tunes) by Finnissy are analysed. These works exemplify the excess of specification of one or more musical parameters. In certain cases, this problematizes the relation between score and performer. The pianist is being confronted with new liberties and therefore new responsibilities when performing these works. The question, how are these scores to be played was answered in four case studies about the four composers mentioned earlier. Focussing on the traditional score, this question can be narrowed down to, what accumulated knowledge about the proper performance of these works can be added to a new score and thus passed on to the next performer?
He took (algorithmic) composition classes with Godfried-Willem Raes for five years. In 2011, he was asked to write the Trefpunt composition assignment which was played as part of the concert series Gentse Vleugels at the music and theatre festival Gentse Feesten. Also, the Kalès Guitarquartet asked him to write a piece, which was played on the Festival van Vlaanderen, Kortrijk in 2013.
The Tinnitus piano duo originated from years of collaboration between Tine Allegaert and Lukas Huisman. They played works by composers ranging from Bach, Debussy and Ravel, to Piano Phase by Reich and Gemini by Devreese. In early 2011 they asked Jeroen De Brauwer to write a full-length collection of technically challenging music, which also uses new playing techniques and displays the performers as more than mere musicians. This resulted in the 12 Études.