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
Twenty Duets : for two violins / Géza Frid
Genre:
Kamermuziek
Subgenre:
Viool
Bezetting:
2vl/vl-groups
Etude 2 : for violin, 1990 / Jan-Bas Bollen
Genre:
Kamermuziek
Subgenre:
Viool
Bezetting:
vl
Kaddish : for violin / Nimrod Borenstein
Genre:
Kamermuziek
Subgenre:
Viool
Bezetting:
vn
compositie
Lys-slått : for baroque violin / Brendan Faegre
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.