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

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

Grenzeloos : voor sopraan en fanfareorkest, 1991 / Bernard van Beurden

Genre: Vocaal
Subgenre: Zangstem en groot ensemble; Zangstem en HaFaBra
Bezetting: sopr 0000 4sax 3333 3bug timp perc

Inferno, I, 32 : for trio, ensemble and percussion, 1992 / text: Dante Alighieri, Jorge Luis Borges, Ron Ford

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: trio: sopr vla bando ensemble: 1121 1110 perc pf 2vl vc cb

Spring at Enoshima : for soprano and ensemble : 2005 : text based on Japanese Surimono / Wim Laman

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: sopr fl(pic) ob cl(cl-b) h perc hp pf g man 2vl vla vc cb

 

compositie

Schumann’s Ghosts : for soprano ad lib. and ensemble / Luc Brewaeys

Uitgavenummer: 13637
Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Tijdsduur: 2'25"
Aantal spelers: 10
Compositiejaar: 1999
Status: nog niet gedigitaliseerd (verwachte levertijd 14 dagen)

Overige auteurs:
Brewaeys, Luc (Componist)
Toelichting:
This small piece was commissioned by the Ictus Ensemble and composed in 1999. It was (the first) part of a cycle of "arrangements/revisits" of the song cycle op. 99 by Robert Schumann, realized by 7 composers, among them Jonathan Harvey. The idea was to keep untouched the vocal line composed by Schumann, while everything alse was totally free to each composer's discretion. I received song n° 1 "Lied des Schmiedes" (Song of the smith), which is very staightforward and harmonically very simple. I just kept the basic harmony and filled it with different moods, at places with many notes. I took a lot of fun realizing this, quoted Mahler (2nd Symphony) and Janacek (Glagolithic Mass) and made a grotesque kind of Foxtrot in the third verse.  At the end a cuckoo sings "goodbye", while repeating sharpening by a quarter tone each time and the ensemble desintegrates before playing the conclusive bars which are a perfect mirror of the first two. I intentionally previewed two versions, with or without the voice. The first performance took place in december '99 in Brussels by Mitsuko Shirai with the Ictus Ensemble under George-Elie Octors.

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