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

Due cose belle ha il mondo: l’amore e la morte... : for piano solo, chamber orchestra and live-electronics / Luc Brewaeys

Genre: Orkest
Subgenre: Orkest met elektronica

6 Kerstliederen : voor mezzo sopraan en orkest / Piet Kingma

Genre: Vocaal
Subgenre: Zangstem en orkest

Symphonie Nº 1 : for baritone and orchestra / pour voix de baryton et orchestre / Olivier Greif, on poems by Paul Celan

Genre: Vocaal
Subgenre: Zangstem en orkest
Bezetting: bar 2fl(picc) 2ob(eh) 2cl(cl-b) 2fg 2h 2tpt timp str

Geistliches Lied : (No. 5 aus Novalis' "Geistliche Lieder"), Sopran und Orchester / componirt von Alphons Diepenbrock

Genre: Vocaal
Subgenre: Zangstem en orkest
Bezetting: sopr 2232 4000 timp str

 

compositie

Réquialm : for soprano and chamber orchestra / Luc Brewaeys; text Hans Helms

Uitgavenummer: 13650
Genre: Vocaal
Subgenre: Zangstem en orkest
Bezetting: fl ob cl fg h trp trb 2perc 2pf hp str
Tijdsduur: 21'00"
Compositiejaar: 1989
Status: volledig gedigitaliseerd (direct leverbaar)

Overige auteurs:
Helms, Hans (tekstdichter/librettist)
Toelichting:
"Réquialm" for soprano and small orchestra was commissioned by deSingel in 1989. The text is an excerpt from the album "Fa:m ' Ahniesgwow" (1959) by the German poet Hans Helms. The work is dedicated to Harry Halbreich. The first performance took place on April 27, 1989 at deSingel in Antwerp with Mireille Capelle, soprano and the New Ensemble of the Gent Conservatory conducted by Roland Coryn. There are four parts : an introduction, Réquialm 1, Arie de Bett and Réquialm 2. The two title parts are (exception made of the start and ending) identical, but number 2 is to be performed quite faster. The introduction is a kind of invention on the note D and its overtones while the soprano (des)articluates the text (as far as one can consider this a real text) with whispering voice. The Arie de Bett is the most important (and longest) part and can be understood as a kind of study about Mahler-gesturing. This part may be performed separately. This was my first vocal work and it was my intention at that time to use the voice for what it's supposed to be used : to sing. My collegue and friend Frank Nuyts sent me this "text" by Helms, because I told him that I needed something where I could feel totally free for a first vocal piece. This "no-nonsense" was exactly what O was looking for. On the other hand there are words which can be interpreted (in different languages), and I have been trying to do something with it. There is not so much to be told about the music, except maybe that it builds further on the esthetic and the tone-colour elements of my previous works. Music finally mainly serves for being listened to...

Koop
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