related works
Dirt to Gold : for chamber orchestra / Brendan Faegre
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Large ensemble (12 or more players)
	
			Scoring: 
		
		2fl 2ob 2cl 2fg 2h 2trp trb trb-b timp perc hp 2vln vla vc db
	
Cyclophony VII : for violin, piano and 6 players of percussion / Hans Kox
	
			Genre: 
		
		Chamber music
	
			Subgenre: 
		
		Mixed ensemble (2-12 players)
	
			Scoring: 
		
		6perc pf vl
	
Adjacent Rooms, for Borges : for ensemble / Emre Sihan Kaleli
	
			Genre: 
		
		Chamber music
	
			Subgenre: 
		
		Mixed ensemble (2-12 players)
	
			Scoring: 
		
		fl-a/fl ob/eh cl pf vn vla vc
	
Tools : Version for flute/piccolo, clarinet/bass clarinet, viola, bassoon and piano / Ned McGowan
	
			Genre: 
		
		Chamber music
	
			Subgenre: 
		
		Mixed ensemble (2-12 players)
	
			Scoring: 
		
		fl/picc cl/cl-b vla fg pf
	
composition
				The Brightness of Light : for 11 musicians / Brendan Faegre
			
					
										Other authors:
									
									
									Faegre, Brendan
									(Composer)
								
							
							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.