ABSTRACT
In France, the Revue musicale, edited in Paris by Henry Pruni+¿res, published every month an annex entitled 'Chroniques et notes de l'+¬tranger', in which Belgian critics reported regularly on the most important Belgian creations and on the music scene in Belgium. Between 1920 and 1940, La Revue musicale published ten articles dedicated to Belgian composers or more generally to Belgian music, and ninety-five smaller pieces summarizing the Belgian music scene, i.e. concerts of Belgian and foreign composers' work, held for the most part in Brussels. Indeed, even though Benoit remained the icon par excellence for composers of the next generation, the Flemish school he established left no important bases from which musical modernity in Belgium could begin its trajectory. This chapter suggests that musical modernity in Belgium was absent or that it took place strictly elsewhere (in the concerts).
