gerelateerde werken

Analog Intelligence : for orchestra / Brendan Faegre

Genre: Orkest
Subgenre: Orkest
Bezetting: picc 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3tpt 2trb trb-b tb timp 4perc pf str

Kapstok : voor 2 pianisten en 6 slagwerkers, 1978 / Tom Riedstra

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: 6perc 2pf

Victory of the dead point : = (Überwindung des toten Punktes), for saxophone and tuba, 1994 / text by Erich Fried, Bernard van Beurden

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

Nocturne : voor cello en harp / Henriëtte Bosmans

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

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].