gerelateerde werken

Introduction : for english horn and (youth / school / amateur) orchestra / Luc Brewaeys

Genre: Orkest
Subgenre: Hobo en orkest
Bezetting: eh-solo 2fl 2ob 2cl 2fg 4h 2trp 2trb tb 3perc pf str

John Clare : for tenor and 15 instruments, 2000/2001 / text: John Clare, Jacques Bank

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

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

Perceval et Blanchfleur : op twee fragmenten uit "Le roman de Perceval ou Le conte du Graal" van Chrétien de Troyes, voor tenor en kamermuziekensemble, 1982 / Joop Voorn

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: ten fl ob ob(eh) 2cl 2fg 2h trp trb hp 2vl vla vc

 

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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