componist

Brewaeys, Luc

Luc Brewaeys werd geboren in 1959 te Mortsel (België). Hij studeerde compositie bij André LAPORTE in Brussel, bij Franco DONATONI in Siena (Italiê) en bij Brian FERNEYHOUGH in Darmstadt (Duitsland).

gerelateerde werken

.., e poi c’era… : Symphony Nº 1 / Luc Brewaeys

Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl 3ob 3cl 3fg 4h 3trp 3trb tb 4perc hp pf perc

Song of the Witches : for soprano and ensemble / Chiel Meijering; lyrics by W. Shakespeare

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: sopr 6h str

Zwischen die Nachrichten : for soprano and mandoline orchestra, 1998 / on words by Nicolas Born, Bernard van Beurden

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: sopr mand-orch

Dodo : kleines Bestiarium Noachs, für Bass-Bariton und Ensemble, 1996 / Text [und deutsche Übersetzung von] Friso Haverkamp, Guus Janssen

Genre: Vocaal
Subgenre: Zangstem en groot ensemble
Bezetting: bas-bar 1110 sax-t crt 2perc pf 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
Status: nog niet gedigitaliseerd (verwachte levertijd 14 dagen)

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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