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
Violin Concerto Nº 1: Generation : for violin and symphonic band / Yip Ho Kwen Austin
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
vn-solo picc 2fl ob 4cl cl-b 2sax-a sax-ten sax-bar 4h 3tpt 2trb trb-b 2euph 2tb timp 4perc db
Music-hall : for orchestra, 1994-1995 / Roel van Oosten
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp 3perc hp pf str
Scenes from the painted bird : for orchestra, 1982 / David Rowland
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp 3perc cel hp 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".