gerelateerde werken

Symphony N° 7 : for symphony orchestra / Luc Brewaeys

Genre: Orkest
Subgenre: Orkest
Bezetting: 2fl 2ob 2cl 2fg 2h 2trp trb tb 3perc hp pf cel str

The OverCoat : for orchestra, opus 114, 2000, to a story by N. Gogol and a film by Kozintsev & Trauberg / Jo van den Booren

Genre: Orkest
Subgenre: Orkest
Bezetting: 2011 sax-a 1110 2perc pf str(8.7.5.4.3.)

Symfonie no. 1 : voor orkest, opus 27, 1978 (revisie: 1979) / Peter Schat

Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl(pic) 2ob(ob-am) ob(eh) 3cl cl-b 3fg cfg 4h 2trp trp(trp-pic) 3trb 2tb timp 4perc 2hp mouth-org str

Taurus-A : 05N2A. / Will Eisma

Genre: Orkest
Subgenre: Orkest
Bezetting: 3333 3sax 4331 timp perc cel vibr xyl hp pf str

compositie

Along the Shores of Lorn : for symphony orchestra / Luc Brewaeys

Overige auteurs:
Brewaeys, Luc (Componist)
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".