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

Tempo impetuoso d’estate sull’ esempio di Vivaldi : for ensemble / Elmer Schönberger

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: cl h perc pf/cemb 2vn vla vc db

Variations : for ensemble / Jonathan Stark

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: fl/picc cl-b vibr pf vn vc

Staring at the moon : for ensemble / Chiel Meijering

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: 2rec pf vln vc



Talisker : for ensemble / Luc Brewaeys

Uitgavenummer: 13643
Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: cl cl-cb h cl-choir slag
Tijdsduur: 30'00"
Status: volledig gedigitaliseerd (direct leverbaar)

This work is the second in a series of pieces named after single malt whiskies. It was commissioned for the opening concert of "Antwerp Cultural Capital of Europe 1993" which had to take place in the enormeous hall of the Antwerp Central Station. This building has an extremely long reverberation time of around 7 seconds, there are lots of stairs and galleries, so the idea was to make a work in which the building was integrated. I quite rapidly chose for the "homogeneous" orchestral sound of a clarinet choir, with some soloists and percussionists. About half of the clarinet choir plays from a gallery while the remainder is situated with the soloists in the center of the hall itself, more or less as in a "normal" concert situation.

The music starts with the 5 soloists only (the percussionists playing on 18 Gongs), quite surprizingly as a chamber piece which takes quite some time when suddenly the 6 orchestral percussionists drop a pair of cympbals on the floor and the full clarinet choir makes its entrance. Many multiphonics follow and have a first culmination in a fast percussion passage. Next comes a sequence of quasi-cadenzas for the contrabassclarinet, the clarinet and finally the horn and again the percussionists make a loud entrance on bell-like instruments, after some 10 minutes of silence. Because of the acoustic specificities of the hall the music evolves quite slowly. Near the end 6 clarinets play low D's with their bell on timpani whili moving up and down the timpani pedals, which gives an amazingly phasing effect, amplified by the hall's reverberation. Meanwhile, the other clarinettists move and walk around while playing as -slowly- everyone gets more or less together for a final kind of culminating march.

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