componist
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
Genre:
Orkest
Subgenre:
Orkest met elektronica
Intersections II : for a hundred or more musicians, (English version), 1970 / Joep Straesser
Genre:
Orkest
Subgenre:
Variabele bezetting (orkest); Orkest; Schoolorkest
Bezetting:
variabel
Aus Jotunheim : Suite für Orchester / Julius Röntgen
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2fl 2ob ob(eh) 2cl 2fg 4h 2trp 3 trb tb hp timp perc str
Rotary Vertigo III : for orchestra / Nubim Soyoung Kim
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
picc fl cl cl-b sax-a sax-bar 2h 2tpt 2trb tv 2perc pf g-e g-bass acc synth 4vn 2vl 2vc db
compositie
Along the Shores of Lorn : for symphony orchestra / Luc Brewaeys
Toelichting:
This work was composed in 2005 on commission of the Symfonieorkest van Vlaanderen. They first performed it at the Brussels Conservatory on February 24, 2005 conducted by their chief-conductor Etienne Siebens "Along the Shores of Lorn" are the first words of the "explanation" on the back label of the bottles which contain "OBAN". The work takes its basic ideas from that piece, but became a little like a "firework" coming out of the rocket which 'OBAN' originally was. The piece is in one movement, but consists of four sections. The work begins with an introduction based on flageolet-tones in the strings, along with a kind of split pseudo-unisson melody. This is followed by a fairly long, rapid passage in what I would call "(des)-articulated counterpoint". The third section is extremely slow (maybe a huge breath?) and mainly deals with "special" timbres, which are amplified and permutated compared to 'OBAN'. A duo for the two trumpets on a repeated pulse leads to the coda, which is longer than the one of the "fellow-piece", is incredibly fast and features the virtuosity of the orchestra in an almost breath-taking way. Finally the Bass Drum concludes the piece alone, as he started. I dedicated the score to artist Mark Verstockt in friendship and admiration for the intenstity and extremely high quality of his works. I also felt very close to him when we discussed our mutual approach towards our creative "jobs".