Marc Sabat – Tuning Bach
Tuning Bach is Marc Sabat’s first doctoral presentation
Watch a free livestream of the concert.
Tuning Bach – a speculative recomposition of the three solo violin sonatas adapted by Marc Sabat for two violins in rational intonation and performed by Sara Cubarsi and Xenia Gogu.
Sabat’s research project (DocMus Applied Study) explores practical applications of rational or just intonation (JI) theory to music composition and performance. Some of the questions include: What is non-tempered JI? What does it sound like? What special knowledge and skills are needed to play and to compose music with respect to JI? How is this music different? What kinds of tools can help listeners, players, creators of music explore JI as part of their practice? How applicable is this knowledge to playing / composing existing repertoires, and in what ways? How does one make decisions about tuning in JI? What tools does a performer need to learn to accurately hear and play these kinds of tunings? How does such an approach relate to the performance practice or earlier music? How can knowledge about intonation inform cross-cultural collaborations and the creation of new music?
Programme
Performers
- Marc Sabat, Introductory Lecture
- Sara Cubarsi and Xenia Gogu, violins
Further information: Matti Leisma, matti.leisma@uniarts.fi
Watch a free livestream of the concert.
Tuning Bach – a speculative recomposition of the three solo violin sonatas adapted by Marc Sabat for two violins in rational intonation and performed by Sara Cubarsi and Xenia Gogu.
Sabat’s research project (DocMus Applied Study) explores practical applications of rational or just intonation (JI) theory to music composition and performance. Some of the questions include: What is non-tempered JI? What does it sound like? What special knowledge and skills are needed to play and to compose music with respect to JI? How is this music different? What kinds of tools can help listeners, players, creators of music explore JI as part of their practice? How applicable is this knowledge to playing / composing existing repertoires, and in what ways? How does one make decisions about tuning in JI? What tools does a performer need to learn to accurately hear and play these kinds of tunings? How does such an approach relate to the performance practice or earlier music? How can knowledge about intonation inform cross-cultural collaborations and the creation of new music?
Programme
Performers
- Marc Sabat, Introductory Lecture
- Sara Cubarsi and Xenia Gogu, violins
Further information: Matti Leisma, matti.leisma@uniarts.fi