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Mak Grgić|Mak|Bach

Mak|Bach

Mak Grgic

Digitales Booklet

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Text in englischer Sprache verfügbar

The young guitarist Mak Grgic is a versatile figure who has reached into pop (he opened for pop star k.d. lang on tour) but also experimented with the fairly arcane world of microtonal playing. MAK/Bach involves some of the same duality; Bach's music transfers well to the guitar, and albums of Bach transcribed for the instrument are widely enjoyed. Grgic is a wonderful Bach player, graceful and attentive to small detail, and the studio work of his MicroFest Records engineers is superb. Then there's the more obscure side. Grgic plays a guitar with movable frets (there's an image in the booklet notes), and it's tuned here to a temperament called Kirnberger III devised by Bach's contemporary Johann Kirnberger. The "Well-Tempered Guitar" heading in the notes is a bit of a misnomer, for this differs from the equal temperament that Bach sought to popularize with his Well-Tempered Clavier keyboard collection in which everything is slightly adjusted so as to make all the intervals equal and give pieces played in any key roughly the same effect. It takes a bit of ear-tuning for those used to equal temperament, but the effect is intriguing. Grgic quotes Kirnberger to the effect that "each key has its own special degrees and intervals through which it receives its own character." Here, listeners get to try it out mostly for the keys of A minor (the Violin Sonata No. 1 in G minor is transposed to that key) and D major. Chorales with pungent dissonances frame the multi-movement pieces and condition the ear, as it were, to some of the more extreme dissonances found in the multi-movement works. Of the group of guitarists emerging from Eastern Europe, Grgic is perhaps the most interesting, and this beautifully recorded album offers a good place to sample his work.
© TiVo

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Mak|Bach

Mak Grgić

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Matthäuspassion, BWV 244 (Johann Sebastian Bach)

1
No. 3, Herzliebster Jesu (Arr. for Guitar)
00:00:51

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

Flute Partita in A minor, BWV 1013 (arr. for guitar) (Johann Sebastian Bach)

2
I. Allemande
00:03:37

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

3
II. Corrente
00:03:08

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

4
III. Sarabande
00:04:25

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

5
IV. Bourrée anglaise
00:02:23

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

Christ lag in Todesbanden, BWV 279 (Arr. for Guitar) (Johann Sebastian Bach)

6
Christ lag in Todesbanden, BWV 279 (Arr. for Guitar)
00:01:16

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

Violin Sonata No. 1 in G minor, BWV 1001 (arr. for guitar) (Johann Sebastian Bach)

7
I. Adagio
00:04:03

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

8
II. Fuga
00:06:18

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

9
III. Siciliana
00:04:07

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

10
IV. Presto
00:02:56

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

Johannespassion, BWV 245 (Johann Sebastian Bach)

11
No. 14, Petrus, der nicht denkt zurück (Arr. for Guitar)
00:00:55

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

Cello Suite No. 6 in D major, BWV 1012 (arr. for guitar) (Johann Sebastian Bach)

12
I. Prelude
00:05:14

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

13
II. Allemande
00:05:15

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

14
III. Courante
00:02:37

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

15
IV. Sarabande
00:03:33

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

16
V. Gavottes I & II
00:02:55

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

17
VI. Gigue
00:03:00

Johann Sebastian Bach, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

O Ewigkeit, du Donnerwort, BWV 60 (Johann Rudolph Ahle)

18
No. 5, Es ist genug (Arr. for Guitar)
00:01:28

Johann Rudolph Ahle, Composer - Mak Grgic, Artist, MainArtist

(C) 2021 MicroFest Records (P) 2021 MicroFest Records

Albumbeschreibung

The young guitarist Mak Grgic is a versatile figure who has reached into pop (he opened for pop star k.d. lang on tour) but also experimented with the fairly arcane world of microtonal playing. MAK/Bach involves some of the same duality; Bach's music transfers well to the guitar, and albums of Bach transcribed for the instrument are widely enjoyed. Grgic is a wonderful Bach player, graceful and attentive to small detail, and the studio work of his MicroFest Records engineers is superb. Then there's the more obscure side. Grgic plays a guitar with movable frets (there's an image in the booklet notes), and it's tuned here to a temperament called Kirnberger III devised by Bach's contemporary Johann Kirnberger. The "Well-Tempered Guitar" heading in the notes is a bit of a misnomer, for this differs from the equal temperament that Bach sought to popularize with his Well-Tempered Clavier keyboard collection in which everything is slightly adjusted so as to make all the intervals equal and give pieces played in any key roughly the same effect. It takes a bit of ear-tuning for those used to equal temperament, but the effect is intriguing. Grgic quotes Kirnberger to the effect that "each key has its own special degrees and intervals through which it receives its own character." Here, listeners get to try it out mostly for the keys of A minor (the Violin Sonata No. 1 in G minor is transposed to that key) and D major. Chorales with pungent dissonances frame the multi-movement pieces and condition the ear, as it were, to some of the more extreme dissonances found in the multi-movement works. Of the group of guitarists emerging from Eastern Europe, Grgic is perhaps the most interesting, and this beautifully recorded album offers a good place to sample his work.
© TiVo

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