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He studied harmony and composition with Jan Blockx. In 1903 he became professor at this institute and from 1934 until 1941 its director. For one season (1922-1923) he was also director of the Royal Flemish Opera House of Antwerp together with the bass Arthur Steurbaut. His fame, as a composer and a conductor, came shortly after World War I, when he succeeded Eduard Keurvels in 1919 as conductor of the concerts organized by the Royal Zoological Society of Antwerp and as artistic director of the “Peter Benoit Fonds.” He also conducted the choral group “Arti Vocali.” As a composer, Flor Alpaerts was the leading figure in the Flemish impressionistic movement, utilizing an impressionism that came closer to Richard Strauss and Ottorino Respighi than to Claude Debussy. A highlight in this direction was the symphonic poem “Pallieter” (1921-1924). With his suite “James Ensor,” inspired by four works of the Ostend painter, he created an expressionistic work. 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He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. 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The first movement is a memory of a non-stop life, that turns frenetic and almost painful. It is a quick movement, with no breaks or relief and even hasty some times. It is a memory of the restless life of Bach. A barrage of music with neither pauses nor rests. The second movement is a chant and a moan to his death. With the harpsichord tempo of a funeral march, the movement is ruled by the sound of the cello that, in occasions, tries to raise its sound to the highs, in a praise attitude but also as a sort of reproach for not reaching it. The last movement, \"prestissimo\", is the continuous repetition of a sequence of seven bars. They will keep on repeating until the exhausted end from the dynamics of ppp until fff. This is to exploit the different levels of dynamics that music gives us. At the same time we remember that musicians of the baroque only used as musical and stylistic form passing directly from forte to piano, skipping the medium levels. 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