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
Genre:
Orkest
Subgenre:
Orkest met elektronica
Magnetic fields for orchestra : for orchestra and quadrophonic tape, 1999 / Roderik de Man
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
2222 2210 perc tape str(8.6.4.2.1.)
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
2(-4)2(-3)2(-3)1(-2) 2200 pf str band: cl trp trb tb drums banjo pf tape
Phases : for four soundtracks and orchestra / visualized by Tolis Panagopoulos, Ton Bruynèl
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
2332 4331 timp perc pf str tape
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...