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
Contravolutie : voor groot orkest en klankspoor, 1976-'77 / Wim Laman
Genre:
Orchestra
Subgenre:
Orchestra; Orchestra with electronics
Scoring:
2rec-a 4464 8541 tenh 3perc 2hp ham.org str(28.12.10.8.) tape
Genre:
Orchestra
Subgenre:
Voice and orchestra; Orchestra with electronics
Scoring:
4141 6431 7perc 2hp cel(synth) pf musical-saw str(14-16.12-14.10-12.10.8-10) sopr-m tape
Loopstate : voor kamerorkest, ensemble en live elektronica, 2003 / Huib Emmer
Genre:
Orchestra
Subgenre:
Orchestra; Orchestra with electronics
Scoring:
orchestra: 2fl 2ob 2cl 2fg 2h 2trp 2trb str ; ensemble: el.g cl-b pf perc live electronics
composition
Due cose belle ha il mondo: l’amore e la morte... : for piano solo, chamber orchestra and live-electronics / Luc Brewaeys
Description:
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...