Nothing suggested that Berten Hollander would one day become a professional musician. He was six years old when, driven more by the desire of the harmony Sainte-Cécile of his city to increase his numbers than by the musical antecedents of his family, he took his first courses of flute, given by … his chief of orchestra, a clarinetist!
He surprises everyone by his choice of studies, when he decides not to pursue Latin-Greek at the university, but to opt for the conservatory. His parents are not enthusiastic, especially since Gaby Van Riet, flutist soloist of the orchestra of the Stuttgart radio, dissuades him categorically, convinced that he has no talent of flutist.
Fortunately, he is noticed by Jan Van Reeth, professor at the Royal Conservatory of Antwerp and flutist soloist of the Belgian Radio orchestra. In spite of the imperfect preliminary training of Berten d’Hollander, he perceives or presses certain provisions and admits it into the curriculum of higher musical studies.
Almost embarrassed by knowledge of the subject, in the almost total ignorance of repertory and artists, Berten d’Hollander is amazed by the level of his classmates. What motivates him to take action to fill his gaps: he makes all kinds of scales and plays up to 7 studies per week.
He rose quickly to the top and, less than a year later, he was unexpectedly engaged as a piccolo of the orchestra of the Antwerp Opera. Followed by engagements at De Philharmonie, the National Orchestra of Belgium and La Monnaie.
He finished his studies with honors and combines a frenetic orchestral practice with a busy schedule: positions in part-time art education, more particularly in higher music education at Lemmens Institute.
One day, he is invited to audition for the famous Berliner Philharmoniker. He is then forced to see that neither his preparation nor his level are enough, and returns empty-handed to Antwerp.
Then come years of doubt, which lead to his conviction that it is necessary to study and expose all possible aspects of the technique of the flute, to undertake a quest for demystification, to temper the magic notion of ” talent “, in order to achieve the” deep professionalization of the points to be controlled and a musical and communicative game of high level. ”
Over the last fifteen years, the innovative requirements of contemporary music in terms of instrumental technique, his solo flutist position at the Ensemble Musiques Nouvelles and the high level of teaching he provides at the Musikhochschule in Cologne contribute to his evolution. towards a very personal language, in an original approach to music and the world in general.