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

Quattro danze : per orchestra / di Jurriaan Andriessen

Genre: Orkest
Subgenre: Orkest
Bezetting: 2222 4330 timp perc str

Weekend-symfonie : met slotkoraal van Nic. Herman (1551), 1972, (revisie 1984) / Nico Hermans

Genre: Orkest
Subgenre: Orkest
Bezetting: 3322 4331 timp perc hp str

Orkeststuk : 1921 / Jeanne Beyerman-Walraven

Genre: Orkest
Subgenre: Orkest
Bezetting: 4334 4341 timp 3perc 2hp cel str

 

compositie

.., e poi c’era… : Symphony Nº 1 / Luc Brewaeys

Uitgavenummer: 13656
Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl 3ob 3cl 3fg 4h 3trp 3trb tb 4perc hp pf perc
Tijdsduur: 15'00"
Status: volledig gedigitaliseerd (direct leverbaar)

Toelichting:
This work was composed in januari 1985 on request of my former teacher André Laporte to be originally first performed at the occasion of a EBU-concert in Madrid in december '85. That performance finally became the second, since the work received the 3rd Prize at the European Competition for Young Composers organized in Amsterdam and received its premiere on september 27, 1985 in the Cultural Center Hoogpoort in Groningen by the NOS Philharmonic Orchestra conducted by David PORCELIJN. The italian title means ".., and there there was...". It is because this composition was the first I wrote after a year of absolute (creative) silence. I used to compose in so-called post-serial style, exception made for one work ("Het Raadsel van de Sfinks" - "The Enigma of the Sphonx" - filmmusic for 6 Players) in which were elements of overtone-techniques, which are now a constance in my output. After this silence came ".., e poi c'era...". The work is in one single movement, divided into 5 sections, of which only the 4th is clearly different. The basic idea consists in a kind of noise -described by a Dutch critic as "an organ with leaky pipes"- based upon harmonics in the low string instriuments, their strings tuned even very 'loose', with percussion. This noise is very regularly "coloured" in the most diverse ways. It's actually not very much more than that, but elaborated until the smallest details. Everything is on the edge of the inaudible. After some 10 minutes comes a Tutti in fortissimo, followed by a huge crescendo. The last section is some sort of mirror of the start. The score end with a question mark : I supposed things would be clarified in "Komm! Hebe dich...", my Second Symphony. This Symphony is dedicated to my American friend and fellow-composer John Califra.

Koop
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