Composer | Wolfgang Delnui

Delnui’s music is characterised by tender, inward-looking moments.

Fragile islands of sound that – although seemingly motionless – are filled with inner life.

His works have been performed in festivals such as Gaudeamus Muziekweek (Amsterdam), Saint-Petersburg International New Music Festival reMusik, East Belgium Festival (Eupen) and Ars Musica (Brussels).

On composing

Man perceives himself through his connection to someone else or to something else. The sun on the skin irritates us in a certain way. It leads to perception and consciously or unconsciously finds entry into our thoughts. It influences our mind and our being.

Through the addition of stimuli, the previously present sensations and thoughts are evaluated and processed in a different way. Priorities can shift, facts and circumstances can have a new connotation, etc.

 This happens just like that. Unintentional.

In music I am fascinated by the delicate and fragile moments that can arise within a sound. By approaching the limits of the playable and audible, a strange, fragile and poetic world emerges from the interplay between the intention of the interpreter and the „let it emerge“. This simply happens when space is created for it. Not unintentional but not completely controllable.

The perception of a work of art is not so much about the work as it is about the recipient, who, through his or her perception, gives the work a new existence.

Works of art are created to perceive oneself in a new and unique way through them. To feel oneself in a special way. The examination of good works of art opens hidden inner spaces in people. It unsettles, enriches, renews ideas and helps us to make connections between facts, things and situations or to reassess already established connections.

Art leads us to constantly shift the boundaries of our thinking, feeling and being, to renegotiate with ourselves and the world. It is therefore indispensable to refine and develop man’s being and spirit.

The most profound way for me to nourish this process is to be active as an artist myself. I think this is the reason why I do it. The hope that other people will experience my art as enriching and that it will help them to open up new spaces for thinking and feeling comes second. I simply don’t know how I could control such processes. They remain strangely mysterious to me.


Konsensverschiebungen - Film premiere
Eupen (Belgium), Jünglingshaus

Konsensverschiebungen, a film by Hans-Erich Viet
Music by Wolfgang Delnui
Monday, 28 August 2023: 18:00
Further information

Monday, 28 August 2023: 18:00
Further information


Leben, for soprano and electronic
Liège (Belgium), Trinkhall Museum

Tina Fischer, soprano

September 16th: 20:00h

Further information 


Leben, for soprano and electronic
Eupen, Belgium, Alter Schlachthof

Tina Fischer soprano

September 17th: 14:ooh

Further information


Current projects

Wind, for orchestra
Konsensverschiebungen (for overtone singer and electronics) will be released as a film



Wolfgang Delnui began composing in 1999, during his studies at the Institut de Rythmique Jaques Dalcroze de Belgique.

In 2002 he started his composition studies in the class of Robert HP Platz at the Maastricht Conservatory.

Wolfgang Delnui lives in East Belgium. To promote new music in this rural area, he founded the association KL-EX in 2018 together with his composer colleagues Christian Klinkenberg and Paul Pankert.

Feeding the oblivion

Music structures periods of time. It gives time an artificial shape. By repetition, variation and contrast it gives it a specific relief. Thereby it makes time memorable.

It is through music that we remember a certain period of time. Most of it is quickly forgotten. Therefore composing is above all “feeding the oblivion“.

Forgetting ensures that I can adopt an unbiased attitude towards composing. Therein lies the chance to take on risks and to find new ways. It seems important to me to feed the oblivion and still to ask the question: what is remembered and why?

Remembering and keeping, in the sense of adopting something as one’s own, is the antipole.

What remains of a musical composition and claims a spot in the memory and thus also in the personality of a listener?

My ideal would be to compose pieces, which conciously deal with conservation and oblivion and which balance out the tension between them.

Current projects

Wind, for orchestra
Konsensverschiebungen (for overtone singer and electronics) will be released as a film