componist
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
Genre:
Orkest
Subgenre:
Orkest met elektronica; Blazersensemble (9 en meer spelers)
Bezetting:
2231 2sax 2231 perc 2pf tape
Laphroaig (Symphony n° 5) : for large orchestra with 2 conductors & live-electronics / Luc Brewaeys
Genre:
Orkest
Subgenre:
Orkest met elektronica
Interpolations : voor orkest, 1968, (revisie 1981) / Jan van Vlijmen
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
3353 3sax 4331 5perc cymb 2mar xyl 2el.g g-b man hp pf 2ham.org str(12.6.6.3.) electronics
compositie
Due cose belle ha il mondo: l’amore e la morte... : for piano solo, chamber orchestra and live-electronics / Luc Brewaeys
Toelichting:
This work was commissioned by the French Ensemble Itinéraire after a successful performance I gave with them at the piano of "Trajet" in 1985. I wrote the piece in an incredibly short amount of time, and got ready some days only before the first performance. In general I was quite satisfied of the piece except of the 'cadenza' for the piano. When the piece was to be performed again on the occasion of my "Prix de Musique Contemporaine de Flandres - Québec" in 1988, I took the time to revise it quite extensively. I wrote a much more important, funny (and difficult) "interrupted" cadenza and I lengthened the "Gagaku" sequence, of which I was very happy, for my original aim was to recompose this kind of Japanese Court Music without using any of the original instruments : this was analogue to my First Symphony in which I wanted to write electronic music without electronics at all... I finally made some slight changes to the ending section. The live-electronics are quite extensive. There are 4 Ring-modulators, 1 for the piano, 1 for the percussion/harp/guitars group, 1 on the delay track and finally 1 for the complete orchestra (used only at the climax before the last section). Formally, the piece falls into 5 very clearly differentiated sections, framed by an introduction and a "Coda". It's like a little journey in the world of sounds...