related works

Carl's Lament : for chamber orchestra / Brendan Faegre; text by Brendan Faegre

Genre: Vocal music
Subgenre: Speaking voice and large ensemble
Scoring: stem 2fl 2ob 2cl 2sax-a 2fg 2h 2tpt trb 2perc str

Shadow to Light : for intercultural ensemble / Edward Top

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: dizi fl gt ruan perc erhu vn vc

Niet in de zon en droog bewaren : voor akkordeon, altviool en contrabas, versie 1990 / Chiel Meijering

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: acc vla cb

Cherem de Spinoza : for solo harpsichord and ensemble (flute, clarinet in Bb, percussion, Mustel Harmonium, conductor) / Gianni Bozzola

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: cemb fl cl perc harm/cel

composition

Three Affects : for traverso, baroque violin, baroque viola, baroque cello and harpsichord / Brendan Faegre

Other authors:
Faegre, Brendan (Composer)
Description:
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].