Professional cellist, what exactly does that entail?

As a performer you operate in three different ways. First as a soloist. I often do projects where I play solo, sometimes accompanied by electronics or piano. Then there's the contemporary music ensembles such as “Champ d’Action” or the Ictus Ensemble with whom I perform regularly. These ensembles consist of 10 to 15 musicians. Recently I have been asked to conduct which is something I have been getting more into over the last few years. And finally, sometimes I am also asked to perform as a soloist in cello concertos with orchestras, but that is more exception than rule. I played a great production in the Concertgebouw as a soloist: Bernd Alois Zimmerman's cello concerto with an Arco Renz choreography.

Are you from Bruges?

Bruges is a city I have known for a very long time and is inextricably linked with my childhood and education. But I was born in Ostend. My parents soon moved to Jabbeke and from then on everything happened in Bruges. At the conservatory of Bruges I took my first steps in music and soon discovered that I wanted to be a musician. Later I went to Brussels and Gent for my higher studies and a classical training at the Royal Music Conservatory.

Where did this musical fascination come from?

From my parents. My parents were both fascinated by classical music and art. My father was active in the world of design, architecture and painting. My mother was a pianist. She also taught at the conservatory. That is how I grew up with music in the broadest sense of the word. I have also always linked this passion for music with a passion for contemporary art. Thanks to the creativity that was key in the sixties, I unconsciously soaked up this sense for experimenting as a child. This also goes some way to explain my interest in music of the second half of the twentieth century.

How did you make the step to becoming a professional musician?

Very quickly and decidedly when I watched the Queen Elisabeth competition aged seventeen on television with violinist Peter Zazofski. He played Bella Bartok’s 2nd concerto, music from the early twentieth century. This was such a big revelation for me it sparked something in me. I knew immediately, that's what I'm going to do, that will be my life. The fact that Zazofski was a violinist didn't matter, it was about his way of making music and interpreting it. And then there was the pianist Glenn Gould, he also inspired me.

I take it you travel a lot for your job?

That's correct. The contemporary music scene takes place predominantly in an international network of specialised festivals. And in Europe that's pretty much all over the place. I just got back from Bratislava, but I also often go to Madrid, Spain, Paris, Strasbourg, Amsterdam or Berlin. Just about all big cities you could say. I also play in Japan & Brazil sometimes, but not very frequently. These European festivals usually last about three weeks. The very best contemporary music composers come together to perform music. I was fortunate enough to be invited once which means I am in that circuit as a performer.

How do you compare Bruges to these other European cities?

As a historic city with a museological character. That's why I am happy the Concertgebouw was built. It brings innovation to the city which stimulates creativity. The jazz scene of De Werf, the high-quality and wide-ranging Concertgebouw programme, the December Dance festival which is growing in popularity all spring to mind. It gives a positive impulse to the historic city. But there is still a lot of work to do if Bruges wants to further stimulate and develop contemporary thoughts and feelings which boost creative processes. In the context of this dynamic it would not be bad to have a Museum for Contemporary Art in the city in order to rekindle the dialogue between history and innovation. I also believe that history and museums are more significant if you place them in the context of the contemporary international cultural scene. In this sense the city can certainly develop its potential far more.

Was the Artist in Residence at the Concertgebouw a springboard for you?

Absolutely. It's always good to have a home base with which you have a relationship based on trust and you can develop things. At times it has also helped me to present projects for international festivals. I performed a number of productions for the Concertgebouw Brugge which I have also been able to perform in other countries. And one of the added values is that thanks to Bruges I have been able to work with CD label AEON in Paris with whom I have already recorded my third CD in the Concertgebouw. The fourth will be released soon. These exclusive programmes are given added lustre thanks to this international label network.

Apparently they were very well received in other countries. Where can we buy them here?

In the specialised press my last CD received very positive reactions and five star reviews. These good reviews hearten me. You can find my CDs in all music stores such as Fnac and Rombaux in Bruges, but you can also order them on the internet.

Where do we find Arne Deforce in Bruges when he is not working?

I like to make a pit stop at Brasserie Raymond for a bite to eat and for the rest I spend a lot of time at the Concertgebouw café, during the day, or after concerts.

www.arnedeforce.be

CDs
Jonathan Harvey, Advaya MEGADISC
Giacinto Scelsi, Les trois stades de l’homme, AEON
Morton Feldman, Cello works, AEON