Malcolm Goldstein, violin
Marc Sabat, viola

In the piece “3 Chorales for Harry Partch”, my music explores Partch’s concept of “utonality”, which constructs the minor triad as an inverted mirror-image of the major triad. Since the major triad is derived from the harmonic series, i.e. 4-5-6, and may be extended upward by taking additional overtones, i.e. 4-5-6-7-9-11, Partch suggests a parallel notion for the construction of the minor triad, by taking intervals from a subharmonic series. There is an inherent paradox in this construction, since the overtone chords “fit” into a fundamental (1) and form a consonant blend, whereas the undertone chords tend to produce much more complex-sounding (dissonant) structures. In my composition, a single “utonal” chord is gradually constructed, pitch-by-pitch, over three phrases. The undertones appear in the following sequence:    

(1) 12 (D) - 8 (A) - 9 (G)      
(2) 12 - 10 - 8 - 11    
(3) 8 - 11 - 12 - 14 - 10 - 9

3 Chorales for Harry Partch (1993)

[Fun / Quirky / Upbeat] - "Shouting Out"

New double-disc album by The Westerlies

To be released by Songlines Recordings on October 21, 2016

Private stream, please do not share

A Nearer Sun (disc 1)

From the album "Dream of the Wind" on Zozo Records.
Nominated best Contemporary Classical Album by the 10th Independent Music Awards.
To purchase the album - itunes.apple.com/us/album/dream-o…wind/id349658123

Night Piece

A new track mixing real and virtual instruments.

Sun Prints

French composer Sylvain Chauveau’s new album Life Without Machines, a set ofshort compositions using Barnett Newman’s series of abstract painting The Stations of the Cross as visual scores, is set for release on 17th April 2020 through FLAU.

Known for very minimal compositions for acoustic instruments, electronics andsometimes vocals, with a focus on quietness and slowness; Sylvain has released records on labels such as FatCat, Sub Rosa, Type, Les Disques du Soleil et del’Acier, Brocoli and performed live across Europe, Canada and USA, Russia and Asia.

The title of his new album, Life Without Machines, expresses the fact that ourlives are entirely assisted by machines (for everything we eat, wear, transport,build, watch, listen…) which require a permanent, colossal use of energy – mostlyfossil fuels, whose combustion constantly sends CO to the atmosphere. The title₂suggests that this can’t last forever: living with less (and finally without)machines may have to become a collective decision in the future or (moreprobably) a consequence of a combination of crisis (both energetic, economicaland ecological).

Composed by Sylvain and performed by french pianist Melaine Dalibert, thereare a total of 15 pieces, yet only 14 will appear on the tracklist (one hidden track ishearable after a period of silence at the end of track 14). This mirrors the stonegarden of Ryoanji in Kyoto, where there are 15 stones but from any point of viewone can only see a maximum of 14 at the same time.

Sylvain Chauveau -        e

Magma

Thru The Border

Chicago Symphony Orchestra
Pierre Boulez, conductor

Bach/Schoenberg: Prelude and Fugue in E-flat Major, BWV 552 (December 1991)

Woods

Yana Batovskaya - Elegy

Canadian composer Marc Sabat (*1965) is based in Berlin since 1999. He has made pieces for concert and installation settings, drawing inspiration from investigations of the sounding and perception of Just Intonation and of various music traditions — folk, experimental and classical. His pieces are presented and broadcast internationally at festivals of new music including the Donaueschinger Musiktage, Klangspuren Schwaz, MaerzMusik, Huddersfield, Darmstadt, Musica Viva and Carnegie Hall. Scores and artist editions are available from Plainsound Music Edition. Recent recordings include the LP “Les Duresses”, released by care of editions (Berlin) as well as discs on the labels Populist Records (Los Angeles) and World Edition (Köln).

Sabat studied composition, violin and mathematics at the University of Toronto, at the Juilliard School in New York, and at McGill University, as well as working privately with Malcolm Goldstein, James Tenney and Walter Zimmermann. Together with Wolfgang von Schweinitz he has developed the Extended Helmholtz-Ellis JI Pitch Notation and is a pioneer of music written and performed in extended Just Intonation. He teaches at the Universität der Künste Berlin, and as a guest at the California Institute of the Arts, the Escola Superior in Barcelona, the Janacek Academy in Brno and the Paris Conservatoire. In 2010, he was an artist-in-residence of the Villa Aurora in Los Angeles, followed in 2011 by a one year residency at the German Academy in Rome, Villa Massimo.

3 Chorales for Harry Partch (1993)

Marc Sabat

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