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
Syracuse Blues : for orchestra / Jacob ter Veldhuis, 2009
Genre:
Orchestra
Subgenre:
Orchestra with electronics
Scoring:
2cl 4h 2trb 2hp str soundtrack
Kosmochromie I : für 4 Lautsprecher und Orchester, (1971) / Berend Giltay
Genre:
Orchestra
Subgenre:
Orchestra; Orchestra with electronics
Scoring:
3333 4330 timp perc mar vibr str(6.6.4.4.4.) tape
Inside outside : for orchestra and magnetic tape, 1969, revision 1989 / Enrique Raxach
Genre:
Orchestra
Subgenre:
Orchestra; Orchestra with electronics
Scoring:
3333 4440 4perc str(12.10.8.6.) tape
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...