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
Spatial music III : for chamber orchestra, in four groups, (1967) / Ton de Leeuw
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
pic fl fl-a 2cl ob eh 2fg sax-a 2h 2trp 2trb 2perc hp str(9.6.4.2.) (tape ad.lib)
To catch a Heffalump : for orchestra, (1971) / Willem Frederik Bon
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
2222 2200 timp 2perc hp pf/el.org str tape
Anatoloose : for orchestra / Misja Mengelberg
Genre:
Orkest
Subgenre:
Orkest; Zangstem en orkest; Orkest met elektronica
Bezetting:
2222 2220 timp str (tape and woman's voice ad lib.)
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...