Bach on the beat

Bach on the Beat draws inspiration from the spirit of Johann Sebastian Bach's instrumental works for solo instruments and offers a resolutely contemporary approach to their musical expression. Combining the sounds of baroque instruments, the hip-hop energy of beatboxer Tiko, and the minimalist writing of composer Clément Walker-Viry, the quartet offers a timeless and poetic reinterpretation of Bach's music. Augmented and sequenced by a looper system controlled by the artists on stage, the melodies of the baroque master draw closer to the world of electronic music and are part of a resolutely contemporary aesthetic.

Bach on the Beat questions the relationship between historically informed interpretation and contemporary creation. Behind this challenge lies an oxymoron coupled with a question: is new early music possible? Or perhaps: is Baroque music "augmented" in this way likely to find a listening path for a contemporary audience? Rediscovering the spontaneity of this repertoire and sharing it widely is therefore the challenge of Bach on the Beat ! Rhythms, colors, and energy are the highlights of this creative and surprising project that deliberately blurs the lines and goes beyond commonly established boundaries.

With the writing of Fragments , commissioned by the Concert de l'Hostel Dieu, the initial idea is to take a striking element from Bach's work – a motif, a melody, a harmony – to make it the starting point for a new composition. Prelude, minuet, sonata. I like to work from the memory of this music, from its emotional imprint, which opens the inspiration for a new creation. The integration of the looper in the writing process creates a direct bridge with the world of electronic and minimalist music, using the concept of loops that overlap like musical bricks, creating a moving sound edifice. Baroque instruments and beatbox weave together a dialogue between past and future. In concert, each musician interacts live with the motifs he records, enriching the timbres and textures. The looper becomes an extension of the musician, an echo of his instrument, a double with which he gradually builds a living and multidimensional work.