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
Contravolutie : voor groot orkest en klankspoor, 1976-'77 / Wim Laman
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
2rec-a 4464 8541 tenh 3perc 2hp ham.org str(28.12.10.8.) tape
Kosmochromie II : 1974, strijkkwartet, kamerorkest, tape ad lib. / Berend Giltay
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest; Orkest met elektronica
Bezetting:
0200 2000 str(6.6.3.3.2.) (tape ad lib.) 2vl-vla-vc-solo
Kosmochromie I : für 4 Lautsprecher und Orchester, (1971) / Berend Giltay
Genre:
Orkest
Subgenre:
Orkest; Orkest met elektronica
Bezetting:
3333 4330 timp perc mar vibr str(6.6.4.4.4.) 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...