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
In the Hall of the Mountain... : for symphony orchestra / Olga Victorova
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
picc 2fl 2ov 2cl sax-t 2fg cfg 4h 2tpt 2trb trb-b tb 4perc str
Symfonie no. 3 : (Symphonyen fan Fryslân) / Jurriaan Andriessen
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
3222 4331 timp 2perc hp str
Platonic ID : for chamber orchestra or ensemble / Rozalie Hirs
Genre:
Orkest
Subgenre:
Groot ensemble (12 of meer spelers); Orkest
Bezetting:
pic fl cl cl-b(cl) pf4h 2vl 2vla 2vc cb or pic fl cl cl-b(cl) pf4h str
compositie
Analog Intelligence : for orchestra / Brendan Faegre
Toelichting:
Analog Intelligence was originally written for my violin/drum-kit/electronics trio ‘Bow Hammer Connection’. It was a 21st Century Dance Suite, exploring five Electronic Dance Music genres: Dubstep, IDM, Ambient, Acid House, and Drum 'n' Bass. Although we may think of these styles as unrelated to the Sarabandes, Menuets, and Gigues of Bach’s famous dance suites, these EDM genres are our contemporary equivalent. In Analog Intelligence, as in Bach’s suites and partitas, each dance is taken as a starting point for creating a piece of concert music – something to stimulate the body, yes, but also the mind and ears.
When Roger Kalia approached me about writing a piece for the Pacific Symphony Youth Orchestra, I knew the dance suite could be done great justice in a detailed orchestration. I chose three of the movements – Dubstep, IDM, and Drum ‘n’ Bass – and set about translating the heavily electronic soundworld of the original piece into the language of an acoustic orchestra. The echo effect became slow wah-wah mutes in the brass, the distortion effect became aluminum foil mutes in the strings, and the reverb effect became airy sounds from all sections of the orchestra. In this new version a unique sonic environment is born, straddling the line between acoustic orchestral and electronic chamber music.