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

Le convoi d'une pauvre fille : (pour chant, cello solo et orchestre) / musique de Theo v.d. Bijl, poème de H. Brizeux

Genre: Vocaal
Subgenre: Zangstem en orkest
Bezetting: medium 2332 0000 glock cel hp str vc-solo

Splinters : for soprano and orchestra / René Samson ; on a poem by Alissa Valles, 2009

Genre: Vocaal
Subgenre: Zangstem en orkest
Bezetting: sopr 2fl fl(pic) 2ob eh 2cl cl-b 2fg cfg 4h 3trp 2trb trb-b tb timp perc pf(cel) hp str

L' invitation au voyage : pour chant et orchestre / (Ch. Baudelaire), par Hendrik Andriessen

Genre: Vocaal
Subgenre: Zangstem en orkest
Bezetting: sopr-m 2222 2000 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"
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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