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Somewhat by chance, a few months ago, we found a score by Peter Benoit in our safe. It is a Mass composed for our Chapel. We therefore took this score to our organist, Peter Van de Velde, and that's how the idea came about to have this Mass performed, which will take place on Corpus Christi Sunday in 2024.
Peter Benoit was born in Harelbeke on August 17, 1834, into a family of nine children. Three of them died very young. His mother was passionate about culture and was active in the Chamber of Rhetoric, an association that promotes theater and poetry. His father was a teacher and later became a river guard in 1844. He was also a musician, and a song of his, 'l'heure de la rédemption', has been preserved, but we couldn't find a recording of it. He gave Peter his first music lessons on the violin, and his son turned out to be gifted. From the sacristan Carlier, he learned organ, keyboard, and singing. This Carlier introduced young Peter to the Brussels Conservatory, where he presented his first compositions.
His father sent him to the State Normal School in Lier, where he handed in a blank sheet at the entrance exam, clearly with the intention of not starting there. With the support of his uncle, he was able to start at the Brussels Conservatory, where he won his first prize in Harmony and Composition in 1854. From his letters, it appears that he lived in poverty and regularly lived on bread and water, and these years were not very happy. His parents had debts, and he helped to repay them. In 1857, he won the prestigious Prix de Rome and traveled to Germany and France for a study trip. There, he discovered the music of great names like Berlioz, Meyerbeer, and Offenbach. Gradually, his mood towards the City of Light changed. Perhaps out of nostalgia, perhaps out of conviction, perhaps driven by the spirit of the times, he embarked on the path of nationalism.
In 1861, "The Children of Belgium" was a real success. The following year, he took over the orchestra of the famous "Théâtre des Bouffes Parisiennes" created by Offenbach but returned to Belgium a few months later. He was now a recognized and respected composer and wrote numerous religious works such as the Te Deum, the Pie Jesu, and the Religious Quadrilogy. At the same time, his repertoire expanded towards nationalist and Flemish influences. Thus, on a Dutch text, he composed the oratorio "Lucifer", which was very well received. The Flemish character of this performance is emphasized by the fact that in Brussels, the work was performed by Francophone singers, albeit with a strong accent, rather than being translated.
He was made a knight of the Order of Leopold in 1865. Two years later, he applied for the directorship of the municipal music school in Antwerp, on the condition that it would be named the Flemish Music School of Antwerp. With the support of Minister Van Den Peerenboom, he succeeded in his endeavor. He also became the conductor of the Music Society, an association that mainly presents German and Austrian symphonic and choral works. In 1898, one of his most famous works was created: "De Schelde".
His relationship with his wife did not improve. She did not follow him to Antwerp, and she lived without him on Belgiëlei, at the roundabout, the former "square Boduognat". Divorce proceedings were initiated but then suspended (1871). Around this time, he composed religious works again, probably under the influence of Constance Teichman. That year, he was also appointed honorary chapel master of the Cathedral. During this period, his "missa tribus vocibus virorum" was also created, the manuscript of which is kept in the Chapel of the Venerable. This appointment did not last long as he resigned in 1873. His relationship with the Church seemed to wane again.
In 1873, he became a member of the liberal Willemsfonds. An approach to the lodge for which he wrote two songs seems possible; membership seems unlikely. From 1873 onwards, a struggle erupted between Benoit and the municipal administration of Antwerp over the management of the music school. Not only his authoritarian management but also his vision and programming were questioned. The word "Flemish" was removed from the new bilingual regulation, to Benoit's great displeasure. After years of struggle and with the support of his friends, including alderman Jan van Rijswijck, the Flemish Music School of Antwerp was finally renamed the Royal Flemish Conservatory of Antwerp in 1897 and established on Sint Jacobsmarkt, then on Jan van Rijswijcklaan.
During this time, Benoit wrote other remarkable works, such as "Hymn to Progress". This work was performed at the opening of the World Exhibition of 1885 in Antwerp by an unlikely orchestra of 50 first and 50 second violins, 30 cellos, 20 double basses, a mixed choir of 500 voices, and a children's choir of 800 men. "The Rhine" was performed in the Netherlands and Germany, "Lucifer" in London and Vienna.
Peter Benoit died in 1901. His funeral took place in the cathedral of Antwerp.
