componist

Faegre, Brendan

The music of Brendan Faegre (b. 1985, USA) unites the traditions within which he was formed: jazz and rock drumming, Hindustani classical, and contemporary concert music. Faegre's music has been performed around the ...

gerelateerde werken

Four Koans : for violin and viola / Brendan Faegre

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: vln vla

Nobody is Perfect ! (Frank Nuyts Fifty) : for 7 players / Luc Brewaeys

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: fl cl perc pf vln vla vc

Zehn Stück : für Sextett / Svyatoslav Lunyov

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: ob(sax-s ad lib.) cl pf vln vla vc

Rat race : for clarinet, violin, cello and piano / Gerard Beljon

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: cl vl vc pf

 

compositie

fragile twisted inharmonic : for ensemble / Brendan Faegre

Uitgavenummer: 15505
Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: sax-s sax-bar trb perc pf g-e
Tijdsduur: 12'30"
Aantal spelers: 6
Status: volledig gedigitaliseerd (direct leverbaar)

Toelichting:
"fragile twisted inharmonic" is a work exploring the sonic environment of a favorite album from my teenage years: Nine Inch Nails' The Fragile.
In order to determine what it was about this album that left such a strong impression, I spent several days re-immersing myself in the music. My first discovery was that it wasn't the melodies, grooves, forms, or lyrics that were so powerfully constructed, but rather the individual sounds themselves, brilliantly sculpted and combined by Trent Reznor and Alan Moulder. My second discovery was that most of these sounds fit into two basic categories. The first category consists of violent, loud sounds, where almost every instrument's signal is distorted so heavily it begins to approach noise. The second contains delicate, quieter sounds, with a focus on inharmonic instruments like piano, plucked strings, and pitched percussion, and their correspondingly unique tunings.
I contemplated deeply the ideas of distortion, noise, and inharmonicity, their sonic and conceptual implications, and their relationship to the performers and instruments that make up Ensemble Klang. Then I wrote some music.

Koop
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