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

Dodo's groove : (voorstudie van Noach), voor bas solo en instrumentaal ensemble, 1991 / tekst van Friso Haverkamp, Guus Janssen

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: bas 0011 2sax 1010 crt 2perc g hp pf 2vl vla vc cb

Stap verder : for female voice, tapdancer and big band / Vanessa Lann; text by Emma Lazarus

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: zang cl-b fg 2sax-a 2sax-t 5tpt 5trb tb 2perc pf tapdancer g-e g-b

Rasenmäher : for large jazz orchestra and voice / Renard A. Aust, lyrics by Markus Berges

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: zang sax-s 2sax-a 2sax-t sax-bar fg 5trp 4trb trb-b tb 2perc g-s pf db

 

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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