gerelateerde werken

Dirt to Gold : for chamber orchestra / Brendan Faegre

Genre: Orkest
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: 2fl 2ob 2cl 2fg 2h 2trp trb trb-b timp perc hp 2vln vla vc db

Faux bourdon : for alto flute / Daan Manneke

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers); Fluit
Bezetting: fl-a(other instr ad lib.)

Pour Tcheng / Karel Goeyvaerts

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

Music and space : rondo, for 2 organs and 5 brass winds / Piet Kee

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: 3trp 2trb 2org

compositie

Three Affects : for traverso, baroque violin, baroque viola, baroque cello and harpsichord / Brendan Faegre

Overige auteurs:
Faegre, Brendan (Componist)
Toelichting:
Three Affects is a work consisting of three short movements, each one focusing on specific unique strengths of the early musician. This music celebrates improvisation and ornamentation, precise and diverse articulation, subtle control of intonation, spontaneity and risk, and the specific type of contextual awareness required of a basso continuo player.
Movement I is about groove and harmonic progression; it uses a set of custom articulations inspired by the bow exercises of Leopold Mozart's "Violinschule" and by the Attack-Decay-Sustain-Release envelope that determined articulation of early synthesizers. Movement II is about melody, with each musician playing an intensely ornamented, personal interpretation of the same line. Movement III combines the previous two textures: canonic (digitally-delayed) melodies fuse with furious grooves in contrasting meters.
Once the work was finished, I assembled tools for interpreting the emotional content of each of these three musical worlds. I drew upon J.P. Kirnberger's The Art of Strict Musical Composition, Bharata Muni's Nātya Shāstra, Ben Johnston's ideas about meaning and harmonic ratios, and Lasse Thoresen's writings on the semiotics of music-as-heard. After absorbing and combining aspects of these four approaches, I created personal interpretations of each movement, signified by the titles [observing youth, Awe, and transcending duality].