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Mak Grgic


Release Date: July 2, 2021

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Bach - Violin Sonata No. 1, BWV 1001
Mak Grgic visits Good Day Columbia
1 Herzliebster Jesu, Was Hast du Verbrochen 0:52  
2 Partita-Allemande 3:38  
3 Partita-Corrente 3:09  
4 Partita-Sarabande 4:25  
5 Partita-Bouree Anglaise 2:24  
6 Christ Lag in Todesbanden 1:17  
7 Sonata-Adagio 4:04  
8 Sonata-Fuga 6:19  
9 Sonata-Siciliana 4:07  
10 Sonata-Presto 2:56 0  
11 Petrus, der Nicht Denkt Zuru¨ck 0:56  
12 Suite-Prelude 5:14  
13 Suite-Allemande 5:16  
14 Suite-Courante 2:37  
15 Suite-Sarabande 3:33  
16 Suite-Gavottes 2:56  
17 Suite-Gigue 3:00  
18 Es Ist Genug! So Nimm Herr 1:28  
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The Slovenian-born, Los Angeles–based guitarist Mak Grgic has recorded MAK|Bach, an album of popular Bach pieces performed on well-tempered guitar that reproduces a style of tuning used by Bach himself. It will be released on July 2, 2021, on MicroFest Records [and will be available for preorder at and at Apple Music, Spotify, and Amazon.]

MAK|Bach represents the continuation of Grgic!s exploration of microtonality captured on his previous MicroFest album, MAKrotonal, a collection of new music that also contained Bach!s famous Chaconne in D Minor. Listeners who were so captivated by that recording will be thrilled by Grgic!s expanded and deepened Bach recordings on Mak|Bach.

On these recordings Grgic plays a guitar whose individual sliding frets are tuned to a keyboard temperament designed by Johann Kirnberger, a composer who lived with the Bach family while studying with Johann Sebastian. Kirnberger wrote: "Each key has its own special degrees and intervals through which it receives its own character, its own impression, both in the harmony and melody."

In Grgic!s hands, this temperament heightens harmonic drama and tension, finding new shades of familiar colors, and restoring a depth and vibrancy missing from most recordings, which use the modern equal temperament of the standard-fret guitar. "I am delighted to dedicate an entire album to the great master. Music by J.S. Bach is the kind of music that all classical musicians refer to and are often measured by. Secondly, in my exploration of the well-temperament popularized during the times of Bach I found a certain curiosity in the soundscapes and drama that this kind of alternative temperament was creating. Suddenly, the music came more alive, and I was more observant of the ebb and flow of the harmonic, rhythmic, and melodic motions as affected by the slightly different soundscape." 

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