Seattle based composer of post minimalist ochestral music.

Born and raised in the Pacific Northwest, Brendan Hanenburg has always felt a great connection with the subtleties and nuances of music in all forms, and has been writing his own since the age of 11.

After years and countless hours spent practicing and teaching himself how to emote as a child and through his adulthood-either using the guitar or the piano-he had eventually taken a keen interest in musical scores due to their percieved "perfection" and visually pleasing qualities, and had taught himself how to write music in a more classical sense by studying the works of many composers old and modern.

Having the knowledge of his contemporaries with the emotional and mental capacity to put many layered/complex feelings to paper (and now-a-days the computer screen) he has begun within the last few years to write soley in this medium. He claims that his writing skills have grown exponentially because of this.

No matter the instrumentation, Brendan's works will, more often than not, be accompanied with piano, french horns, sopranos, the flute and the harp. This is partly due to his profound love for the great Romantic and Impressionistic eras.

Having an equally visual mind, his music is usually written to small stories and vivid imagery; creating a very mystical quality which can be balanced with very moody and sometimes heartbreaking passages. Not only does this technique prove useful and keep him from going 'off-track' in his writing, but it keeps it fresh and interesting as well, while also, making for uniquely odd song titles.

Although he professes that his love for his favorite instrument (the piano) supercedes his abilities to play it, one can still hear certain complexities in it's sometimes simple phrasings. Certain progressions tend to be predictable yet somehow surprising at the same time. He claims that this happens when one writes from the heart and pulls their themes from the most intense of life experiences, which never require a certain given amount of notes.

Upon listening or reading his works, you can tell that, occasionally, it's the ghost-like emotionality that stands out to the listener, but it still purportionately carries it's half of the weight within each piece.

Brendan is 28 years old and currently resides in Columbia City, Seattle, Washington, and has recently finished his studies in music theory and composition under Brian Kirk at Seattle Central while looking to transfer to whichever music school seems to be the most human and innovative in their pedagogy.

To put it simply; I would love to find musicians who are able and are willing to perform my works. E-mail me, let's collaborate :)

"In All My Backgrounds" in g minor, for Pedal Harp

"L.U. My Distance" in f # minor, for Pedal Harp

"Golden Galleon" in e minor, for 1 Horn, 2 Trombones, 2 Bass Trombones, Timpani+ other percussion, 2 Glockenspiels, Piano, SS, Violin, 2 Violas, 2 Celli, and Doublebass.

"The Devil And The Equine" in c minor, for Trumpet, Trombone, Bass Trombone, Piano, and Strings.

"The Sleep Of Reason Makes Monsters" in a minor, for 4 Violins, 2 Violas, Cello, Contrabass, Piano, and Organ.

"Greenhorn", in d minor, for piano, 2 horns, 3 trombones, bass trombone, handbells, 2 sitars, SS, 2 violins, viola, cello, doublebass.

"Minus Kingless" ,for piano

"The Boy Who Thought He Was An Alien" in b flat minor for Piano, Harp, 2 Flutes, 2 Trombones, Tuba, 2 Sopranos, 4 violins, 2 Violas, Cello, and Double Bass.

"The 8th Sea" in c sharp minor for Piano, Harp, Handbells, Glockenspiel, 3 Trumpets in Bb, 2 Trombones, Bass Trombone, Tuba, Percussion, 2 Violins, Cello, and Double Bass.