This was the last score Luc was working on in the fall of 2015. The work was meant to last about 45 minutes, but Luc only managed to finish the first part, On a day, completely.

Composed

2015

Instrumentation

8-part Mixed Chorus and two groups of 7 Wind Players

Duration

9’00

Lyrics by

William Shakespeare

First Performance

2015, october 4 in deSingel Antwerp by I Solisti del Vento & Collegium Vocale conducted by Philippe Herreweghe

commissioned by

I Solisti del Vento & deSingel

audio 

Composed in
1977

Instrumentation
Solo Flute

Duration
4′

First performance
March 24, 1980 at the Conservatory in Brussels (B) by Lena LOOTENS.

Publisher

CeBeDeM

Composed in
1981

Instrumentation
Piano and Tape

Duration
13’30”

First performance
September 5, 1981 in Bruges (B). Luc BREWAEYS, piano. Joris DE LAET, mixing console. Other performances in Antwerp (Oct + Nov 81) and Leuven (B) (Mar 82).

Co-operation with
Joris DE LAET

Recording available
at VRT (Flemish Radio and Television)

Composed in
1982

Instrumentation
Bassoon Solo

Duration
5′

First performance
September 26, 1987 at the Antidogma Festival in Torino (I) by Alexandre OUZOUNOFF.

Dedicated to
Carol-Anne Turton

Score available
private archive

Composed in
1982
For
piano, ringmodulation and 11 instruments
Instrumentation
Flute, Oboe, Clarinet, Horn, Bassoon, 2 Percussions, String Quartet.
Duration
9′
First performance
April 26, 1984 at the Academy of Music of Brooklyn (USA). Luc BREWAEYS, piano. Members of the Brooklyn Philharmonic, conducted by Lukas FOSS.
Dedicated to
Lukas Foss
Recording available
CD Megadisc
Commercial recordings
Megadisc MDC 7869
Publisher
Donemus

Composed in
1983

For
5 instruments

Composition
Clarinet, Violin, Cello, Percussion and Piano/Harpsichord.

Duration
55′

First performance
First Perf.: November23, 1983 at the Belgian Radio and Television (BRTN).

Dedicated to
Jef Cornelis

Recording available
at VRT (Flemish Radio and Television)

Score 
Private Archive

Composed in
1985
For
Orchestra
Instrumentation
3/3/3/3 – 4/3/3/1 – 4 Perc. – H – P – Strings
Duration
15′
First performance
September 27, 1985 at Hoogpoort Hall in Groningen (NL). Philharmonic Orchestra of the NOS (Dutch Radio) conducted by David PORCELIJN.
Dedicated to
John Califra
Awards
This work was awarded the Third Prize at the Competition for Young European Composers in Amsterdam (NL) in 1985, and the mention “Best Work” in the category young composers at the International Rostrum of Composers at the UNESCO in Paris (F) in 1986.
Commercial recordings
Cyprès CYP 2609 (2cd)
Publisher
Donemus
Luc on “…e poi c’era… (Symphony n°1) :
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 then there was…”. The composition got this title because it 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 Sphinx” – filmmusic for 6 Players) in which were elements of overtone-techniques, which are now a constant 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 instruments, 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.
Luc Brewaeys

Composed in
1986
For
Piano solo, Chamber Orchestra and live-electronics, revised in 1988
Instrumentation
1/1/1/T + B Sax./1 – 1/1/1/0 – 3 Perc. – Electr. Guit. – Bass Guit. – H – Strings (1/1/1/1/1).
Duration
12’
First performance
February 5, 1986 at the Centre Pompidou in Paris. Luc BREWAEYS, piano. Ensemble Itinéraire conducted by Michel SZWIERCZEWSKI.
First Performance of the final version September 21, 1988 at the Spectrum in Montreal (Canada). Luc BREWAEYS, piano. Ensemble of the Contemporary Music Society of Québec conducted by Walter BOUDREAU.
Commissioned by
Ensemble Itinéraire (F)
Dedicated to
Birgit Van Cleemput
Commercial recordings
Megadisc MDC 7828/29 (2cd)
Publisher
Donemus
Luc on “Due Cose belle ha il mondo : l’amore e la morte” :
This work was commissioned by the French Ensemble Itinéraire after a successful performance I gave with them – with myself 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…
Luc Brewaeys

Composed in
1987
For
Large Orchestra
Instrumentation
4/4/4/4 – 6/4/3/1 – 6 Perc. – 2 H – P – Strings
Duration
15′
First performance
November 7, 1987 at deSingel in Antwerp (B). Royal Philharmonic Orchestra of Flanders conducted by Günter NEUHOLD.
Commissioned by
Royal Flanders Philharmonic (deFilharmonie)
Dedicated to
Günter Neuhold
Awards
This work was awarded the First Prize at the European Competition for Composers in Metz (F) in 1988.
Commercial recordings
Cyprès CYP 2609 (2cd)
Publisher
Donemus

Composed in
1988
For
Orchestra
Instrumentation
3/3/3/2 – 4/3/3/1 – Timp. 2 Perc. – H or P – Strings
Duration
2’30”
First performance
May 5, 1988 at deSingel in Antwerp (B) by the Orchestra of Youth and Music of Antwerp conducted by François CUYPERS.
Dedicated to
François Cuypers & the Youth and Music Orchestra Antwerp (B)
Commercial recordings
Youth & Music Antwerp JOA 01
Publisher
Donemus