gerelateerde werken

Fantasia con tre canzoni popolare Napoletane : for mezzo-soprano and 6 instrumentalists / Luc Brewaeys

Genre: Vocaal
Subgenre: Zangstem en instrument(en)
Bezetting: sopr-mezzo fl(fl-a, picc) vc hp 3pf

To you : for voice, guitars, keyboardinstruments, tops and electronics, opus 22, (1970-'72) / words: Adrian Mitchell, Peter Schat

Genre: Vocaal
Subgenre: Zangstem en groot ensemble; Zangstem(men) en multimedia met of zonder instrument(en)
Bezetting: sopr-m 4pf 2el.org 6g 3g-b 6tops electronics

Zwei Lieder : für Bariton und Instrumente, (1971) / Robert de Roos

Genre: Vocaal
Subgenre: Zangstem en groot ensemble; Zangstem en instrument(en)
Bezetting: bar fl ob(eh) cl(cl-b) perc cel pf (1-4)vla (1-3)vc

From Turkey : 5 songs for soprano and small wind orchestra, 1993 / Bernard van Beurden

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: sopr 3221 4sax 2232 2barh 4perc

 

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)

Auteur(s):
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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