Kuva: La Pedrera
Musikfabrik-yhtyeen viulisti ja säveltäjä Sara Cubarsi esittää Marc Sabat’n puhdasvireisen teoksen. Sitä ennen kuullaan Alvin Lucierin jousisoittimen ja tilan resonanssia luotaava "Tapper" sekä Juho Laitisen epämääräisen artikuloimista yrittävä "Musiikkia sulkeissa" ja korkeimman matalan ja matalimman korkean äänen määrittelevä "How high the moon".
Vapaaehtoinen pääsymaksu 5–30€.
OHJELMA
Alvin Lucier: Tapper (2004)
Juho Laitinen: Musiikkia sulkeissa (2016)
Juho Laitinen: How high the moon, how deep is your love (2024)
Marc Sabat: Les duresses (2004)
ESIINTYJÄT
Sara Cubarsi, viulu
Marc Sabat, viulu
Xenia Gogu, viulu
Juho Laitinen, sello
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Marc Sabat kertoo musiikistaan: "I have played the violin since I was five years old, and composed since I was eight or nine. Unlike the guitar, harp or piano, where tones are given, a fixed part of the instrument's design, we string players, like singers, have to find our way by ear. Fortunately, we have a unique advantage: we can play two notes at once, orienting ourselves to the open strings and harmonics of our instruments. Very early on we learn to identify many double-stopped intervals, to realise that they have their own identifiable sounds, which do not always match the tempered instruments, e.g. the piano.
For me, this discovery of microtonal variations of the standard pitches led me to wonder why composers did not explicitly write these clearly audible differences and use them to make new harmonies. Later I realised there were some obscure and really interesting composers exploring this field, and that it had a name: microtonally extended just intonation (or JI for short). Some of the people who worked as pioneers in this field and whose music inspired me are Harry Partch, Elsie Hamilton, Pauline Oliveros, James Tenney, and La Monte Young.
Around the year 2000 in Berlin, Wolfgang von Schweinitz and I developed the HEJI Notation for rational intonation, as well as founding the website of Plainsound Music Edition, where we share our work in an open source model. JI has and continues to be a specialised outsider field within music, yet it inspires because it builds music forms, melody, harmony, and counterpoint directly upon the way that humans perceive tonal sounds, offering possible bridges between many musical practices and cultures."