componist

Brewaeys, Luc

Luc Brewaeys werd geboren in 1959 te Mortsel (België). Hij studeerde compositie bij André LAPORTE in Brussel, bij Franco DONATONI in Siena (Italiê) en bij Brian FERNEYHOUGH in Darmstadt (Duitsland).

gerelateerde werken

.., e poi c’era… : Symphony Nº 1 / Luc Brewaeys

Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl 3ob 3cl 3fg 4h 3trp 3trb tb 4perc hp pf perc

Stolen Silence : for 13 instruments / Luc Brewaeys

Genre: Kamermuziek
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: fl ob cl h trp trb perc pf 2vl vla vc db

Vruchten en zaden : blazers, contrabas, 1975-'76 / Gilius van Bergeijk

Genre: Kamermuziek
Subgenre: Variabele instrumentatie; Groot ensemble (12 of meer spelers)
Bezetting: windinstruments cb

Hot summernights in autumn : for recorders, oboe and harpsichord, 1978 / Chiel Meijering

Genre: Kamermuziek
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: 8rec-s 4rec-a 4rec-t 4rec-b ob cemb

 

compositie

Fêtes à tensions: (les) eaux marchent : for 20 players / Luc Brewaeys

Uitgavenummer: 13612
Genre: Kamermuziek
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: fl(picc, fl-a) ob cl cl-b fg h trp trb 2perc hp pf 3vl 2vla 2vc db
Tijdsduur: 16'00"
Status: volledig gedigitaliseerd (direct leverbaar)

Toelichting:
"Fêtes à tensions : (les) eaux marchent" for 20 players was composed in 2012 as a commission from Ensemble Intercontemporain (Paris, F). They gave the first performance of the work on October 28, 2012 in de Stadsschouwburg (City Theatre) of Leuven (B) during the Transit Festival and the ISCM World Music Days. The EIC was conducted by Jurjen HEMPEL. The score is dedicated to my friend and colleague Philippe Hurel.

The title is a play on words. Translated literally, it means ‘Feasts with tensions: (the) waters march’. When read fast with omission of the word between brackets (“Faites attention aux marches”) it means ‘Watch your step’. Because of this title I included quotations of and references to march (or march-like) music. The attentive listener will thus recognize fragments by Ives (Three Places in New England, 2nd movement), Tchaikovsky (The Nutcracker, March), Berg (Three Orchestra Pieces, 3rd movement) , Goeyvaerts (Aquarius, introduction), Beethoven (9th & 3rd Symphonies), Varèse (Arcana) and Stravinsky (L’histoire du soldat). Just before the conclusion of the piece I also quote a bit from Fêtes (from the Nocturnes) by Debussy, after all, the title obliges me to...

The work consists of two more or less interlocked sections followed by a brief coda. The first section is fast and rather nervous whilst the second is very slow and meditative even if one can always feel some tension underneath it. The coda is moderately fast, based on a percussion ostinato. Most of the rather complex harmonies are derived from ring modulated bell sounds, which means that the sounds are enriched with the sums and differences of their distinct frequencies. In the second section combinations of woodwind multiphonics create the harmonic fields.

The whole music has a certain atmosphere of obstinacy. This is achieved in the first section with moto perpetuo-like motives in the piano (and sometimes the harp) and vibraphone, a nod to the music of Philippe Hurel, the work's dedicatee. The second section presents a possibly 'funeral march-inspired' meditative repetition. The repeated percussion motive launches the final coda.

There is - of course - much more in this music, but I leave it to the listener to discover it. I wish you all a captivating journey.

Koop
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