related works

Analog Intelligence : for orchestra / Brendan Faegre

Genre: Orchestra
Subgenre: Orchestra
Scoring: picc 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3tpt 2trb trb-b tb timp 4perc pf str

Decoration of Empty Time : for bassoon and string quartet / Chiel Meijering

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: fg 2vn vla vc

Alone in Her Room (Now: Part III) : Version for solo instrument and piano / Chiel Meijering

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: solo pf

Music : for strings, harp and marimba / Robert Groslot

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Scoring: mar hrp 2vl vla vc db

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].