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

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

Dode duiven vallen om mij heen : = Dead pigeons are falling around me / Hans van Sweeden

Genre: Kamermuziek
Subgenre: Piano; Zangstem en piano; Zangstem en instrument(en); Fluit; Viool
Bezetting: pf / sopr/sopr-m pf / sopr pf / occarino / vl

Cyclus : voor twee violen, (1958) / Jan Felderhof

Genre: Kamermuziek
Subgenre: Viool
Bezetting: 2vl

Sonate III : voor twee violen, (1967) / Henk Badings

Genre: Kamermuziek
Subgenre: Viool
Bezetting: 2vl

 

compositie

Lys-slått : for baroque violin / Brendan Faegre

Uitgavenummer: 15513
Genre: Kamermuziek
Subgenre: Viool
Bezetting: vln
Tijdsduur: 12'00"
Aantal spelers: 1
Status: volledig gedigitaliseerd (direct leverbaar)

Toelichting:
J.S. Bach has been speaking to me since before I was born. From my father playing the cello suites throughout childhood, to now passing the 1-year marker in my relationship with a baroque violinist, Johann's whisperings were no longer avoidable: "...write a piece for baroque violin..." Those words may have actually come from Lucia, but regardless, the intention was set. When I began exploring Norwegian folk music, the similarities between the two styles struck me in their use of ornamentation, vibrato, and unequal temperament, which led to the creation of this work.
In composing Lys-slått, I sought foremost to meld the poignant intonation and gestures of the Norwegian Hardanger fiddle tradition with elements of baroque string writing. I drew inspiration from J.S. Bach's astute writing for the violin in his solo sonatas and partitas, from the early Italian baroque habit of creating form through an alternation of contrasting sections, and from the unique physical characteristics of a baroque violin. The dark, rich gut strings are naturally well-suited to harmonics; a short, light bow prefers frequent articulation and allows for virtuosic right-hand speed; and a lower bridge is more conducive to double-stops. Aiming to draw on the strengths of the early music performer who is trained to perform in unequal temperaments, I expanded the intonation of folk music from the Telemark region into microtonal harmonies that permeate the piece. My own love of color, pulse, and rhythmic play found its way into the piece as well.

Koop
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