componist
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
Carl's Lament : for chamber orchestra / Brendan Faegre; text by Brendan Faegre
Genre:
Vocaal
Subgenre:
Spreekstem en groot ensemble
Bezetting:
stem 2fl 2ob 2cl 2sax-a 2fg 2h 2tpt trb 2perc str
It's a Scam !!! : for ensemble / Chiel Meijering
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-12 spelers)
Bezetting:
sax-a sax-t sax-bar 3trp 2trb b.trb dr pf eg-b
Der Geburtstag der Infantin : for mandolin, guitar and harp / Franz Schreker; arr. Kees Arntzen
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-12 spelers)
Bezetting:
mand gtr hp
Music for strings, harp and marimba / Robert Groslot
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-12 spelers)
Bezetting:
mar hrp 2vl vla vc db
compositie
Three Affects : for traverso, baroque violin, baroque viola, baroque cello and harpsichord / Brendan Faegre
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].