This is my conversation with Flairck. It took place on 1/18/2021 from their home in Netherlands.
The Netherlands has long experienced a variety of musical influences as befits a country of its cultural diversity and geological situation.
Flairck, formed by Erik Visser and Peter Weekers in 1978, has tapped into this confluence of musical inspirations, bringing with it its own originality. Like its music the name of the band is an original composition coming from the word ‘flair’ and the old Dutch ‘vlerck’, which means a nimble fingered hand or wing, reflecting the instrumental speed and clarity of the music.
Flairck is basically an instrumental group, playing acoustic instruments and composing the majority of its own material. In essence, the music is a form of chamber music and classically influenced new ‘traditional’ music with touches of jazz and improvisation.
However, such a definition does little to convey the impact of Flairck’s performances, which draw on a variety of influences. The number of instruments the group has collected on its many tours has grown steadily over the years and quite a few of these instruments are used in Flairck’s theatrical stage settings.
Flairck has worked with several well-known artists and symphony orchestras touring Europe and beyond, including Indonesia, Japan, Australia, and North and South America. The group toured France with Georges Moustaki, who called its music “Chamber music for the open air” and recorded an album called “Moustaki and Flairck”.
The group also worked with producer Mike Batt and singer Maggie Reilly which resulted in the “Sleight of Hand” album.
In February 1989 Flairck received the Golden Harp, Holland’s highest music award.
After two years of preparation Flairck released its first album in 1978. “Variations on a Lady” went double platinum in the Netherlands and received three major awards including an Edison, the Netherlands highest recording award.
Violinist Sylvia Houtzager joined the group in December 1978, replacing Judy Schomper who chose to finish her classical violin studies.
The second album “The Lady’s Back”, released in 1979, also attained platinum status and received several distinctions including another Edison.
Paintings of the Dutch painter Poen de Wijs, were used for the artwork of six of the early albums. Flairck performances have, through the years, featured a strong relationship with Dutch mediaeval, 17th century or contemporary paintings.
Flairck was the first young band to play the stages of the Dutch theatres.
Over the years, Flairck has played nearly 3000 concerts and released 23 albums. The third album “Live in Amsterdam” was released in 1980, “Circus” in 1981, “Flairck and Orchestra” in 1982, “Moustaki and Flairck” also in 1982, “Bal Masquè” was recorded in 1984, “Sleight of Hand” in 1985, “Encore” in 1986 and “The Emigrant” in 1988.
“Alive”, a live double album, recorded in Holland, Germany and Japan was released in 1990.
“The Parade” (1992) was based on the paintings of the Dutch mediaeval painter Hieronymus Bosch and “Chambers” (1994) on the work of the Belgian surrealist painter Rene Magritte.
In 1995 Flairck traveled to Chile, where their music was already known and had become associated with the protest against the dictatorship that lasted until the beginning of the nineties. The first concert of the band in Santiago de Chile was broadcast on national television and at the end of that year the 2CD “The Chilean Concerts” was released.
“The Golden Age” (1996) was set in the 17th century and based on the true story of a Dutch sailing vessel.
In 1997 the group spent three months in Chile composing and recording the music for photographer Roberto Edwards’ project Cuerpos Pintados (Painted Bodies) called “Cuerpos Tocados”, an album with music performed on the human body without the aid of any musical instruments.
The 1998 tour “Lijf” (Body) celebrated the 20th anniversary of Flairck.
In the same year, Visser was commissioned to develop and co-write the music for a large orchestral music theatre production called 'The Time Affaire”, which was performed on 23 winter nights in Holland’s largest conference hall, ''De Jaarbeurs' in Utrecht.
