composer

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 ...

related works

Dirt to Gold : for chamber orchestra / Brendan Faegre

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: 2fl 2ob 2cl 2fg 2h 2trp trb trb-b timp perc hp 2vln vla vc db

Sonatine : voor hobo (viool/clarinet), viool, altviool, cello, 1961 / Hans Osieck

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players); String Quartet (2 violins, viola, cello)
Instruments: ob/cl/vl vl vla vc

latitude / longitude : for harp and percussion / Gábor Tarján

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Instruments: hp perc

Deux Arabesques : for ensemble / Claude Debussy; bewerking Henk Alkema

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Instruments: fl cl hp pf vla vlc

 

composition

The Brightness of Light : for 11 musicians / Brendan Faegre

Publisher's number: 15509
Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Instruments: fl cl h trp perc pf 2vln vla vc db
Duration: 22'00"
Number of players: 11
Status: fully digitized (real-time delivery)

Description:
The Brightness of Light is a sonic exploration of Georgia O’Keeffe’s painting style during her many summers spent on the Stieglitz estate in Lake George. It is influenced by her techniques as an artist generally, and also specifically by her Jack-in-the-Pulpit series, from which I translated many elements into my musical realm.
Her Jack-in-the-Pulpit series consists of six paintings, presenting this common flower from a variety of perspectives and levels of abstraction. I was particularly moved by the steady increase of magnification and abstraction resulting from placing three of these paintings in the order No. 2, No. 4, No. 6. This formed the main structure of The Brightness of Light, and No. 5 followed as a kind of improvisatory coda.
In translating aspects of her Jack series into musical ideas, her use of color became my use of instrumentation; her use of smoothness and jaggedness became my use of legato and staccato; contrast became antiphony; leaf-tips became cadences; and abstraction became melodic fragmentation.
Through this composition I hope to have paid respect to O’Keeffe and her works, which have now allowed a new work of art—albeit in a different medium—to come to life.

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