composer
Luc Brewaeys was born on August 25, in 1959 in Mortsel (Belgium) and passed away on December 18, in 2015.
Education: He studied composition with André Laporte in Brussels (Belgium), with ...
related works
Nobody is Perfect ! (Jonathan Harvey Sixty) : for flute, clarinet and piano / Luc Brewaeys
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Scoring:
fl cl pf
Symphonie no. III : (1951) / Guillaume Landré
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp perc str
Celebration : for large orchestra, 2002 / Jan van Vlijmen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4353 6431 timp cymb cel(perc) perc hp pf(cel) str(16.14.12.10.8.)
Canto continuo : voor symfonieorkest, 1988 / Henk Keizer
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3221 4430 2timp 2perc str
composition
Along the Shores of Lorn : for symphony orchestra / Luc Brewaeys
Description:
This work was composed in 2005 on commission of the Symfonieorkest van Vlaanderen. They first performed it at the Brussels Conservatory on February 24, 2005 conducted by their chief-conductor Etienne Siebens "Along the Shores of Lorn" are the first words of the "explanation" on the back label of the bottles which contain "OBAN". The work takes its basic ideas from that piece, but became a little like a "firework" coming out of the rocket which 'OBAN' originally was. The piece is in one movement, but consists of four sections. The work begins with an introduction based on flageolet-tones in the strings, along with a kind of split pseudo-unisson melody. This is followed by a fairly long, rapid passage in what I would call "(des)-articulated counterpoint". The third section is extremely slow (maybe a huge breath?) and mainly deals with "special" timbres, which are amplified and permutated compared to 'OBAN'. A duo for the two trumpets on a repeated pulse leads to the coda, which is longer than the one of the "fellow-piece", is incredibly fast and features the virtuosity of the orchestra in an almost breath-taking way. Finally the Bass Drum concludes the piece alone, as he started. I dedicated the score to artist Mark Verstockt in friendship and admiration for the intenstity and extremely high quality of his works. I also felt very close to him when we discussed our mutual approach towards our creative "jobs".