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1
Suite pour violoncelle n°1 en Sol majeur, BWV 1007: Prélude
Johann Sebastian Bach, Richard Galliano
02:21
2
Messiah (deadverse remix) (after G.F. Handel's Messiah)
Dälek
04:57
3
Bach: Toccata in F# major, BWV 540
Johann Sebastian Bach, Cameron Carpenter
07:49
4
Prelude & Fugue in D Major, P. 158 (After J.S. Bach's BWV 532): II. Fugue
Ottorino Respighi, Orchestre Philharmonique Royal de Liège, John Neschling
05:31
5
Orchestral Suite No. 3 in D Major, BWV 1068: II. Air - Electronic Version
Klaus Schulze
08:00
6
Concerto for Violin and Orchestra: I. Quarter Note = 104-120
Philip Glass, Robert McDuffie, Christoph Eschenbach, Houston Symphony
06:26
7
Above And Below, B Minor
Víkingur Ólafsson, Peter Gregson
03:01
8
Hysope
Arandel
05:42
9
Get Off My Bach
George Shearing Quintet
02:41
10
Widerstehe doch der Sünde, BWV 54 (Transcr. by Víkingur Ólafsson)
Víkingur Ólafsson
04:22
11
Prelude 999 (After Johann Sebastian Bach)
Lucie de Saint Vincent, Collectif Trytone
07:19
12
Hallelujah! (after G.F. Handel's Messiah)
Phil Kline
04:04
13
Prelude In G Major
Víkingur Ólafsson
03:54
14
Fugue in C Minor, BWV 847
Waterline
01:28
15
Partia III in A Major: VI. Ciacona
Heinrich Ignaz Franz von Biber, Der Musikalische Garten
03:31
16
Prelude No. 2 in C Minor
Arandel, Petra Haden
02:34
17
Music for Mallet Instruments, Voices and Organ
Steve Reich
16:58
18
Long Walk
Francesco Tristano
09:27
19
Seigneur Jesus Je T'Appelle / Come Bach To Me
Rhoda Scott
04:28
20
Electric Counterpoint: III. Fast
Steve Reich, Pat Metheny
04:39
21
…And At The Hour Of Death
Víkingur Ólafsson
02:32
22
Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo
Manel Camp, Ludovica Mosca
03:53
23
Passacaglia
Arandel, Sébastien Roué
04:55
24
Concerto for Violin and Orchestra: II. Quarter Note = ca. 96
Philip Glass, Robert McDuffie, Christoph Eschenbach, Houston Symphony
09:53
25
The Cello Song
The Piano Guys
03:14
26
Meine Freundin, du bist schön: Ciacona: Mein Freund ist mein
Johann Christoph Bach, Bart Naessens, BachPlus
10:06
27
Einstein on the Beach: Knee Play 2
Philip Glass, Michael Riesman
06:49
28
Friedemann Bach
Klaus Schulze
17:57
29
Improvisation sur le premier mouvement du Concerto en re mineur de J. S. Bach
Eddie South, Stéphane Grappelli, Django Reinhardt
03:22
30
Sinfonia in D Major BWV 1052a
Johann Sebastian Bach, André Isoir, Le Parlement De Musique, Martin Gester
03:34

Bach Eternal Swing, Electro Ostinato

In terms of music, he is Our Father. No need for a calling card, his immense works, even more than that of Mozart, speaks to everyone. Whether you want to meditate or dance amongst the stars, Bach is there, the master of rhythm and enchantment. The proof comes in the number of musical genres that continue to pay tribute to him.

Bach was my antidote to Wagner. I drank too young at the font of Tristan before finally being cured by the celestial harmonies of the cantatas. The potion known as the “Orchestral Suites” is here revisited by Klaus Schulze. Bach slips into everything, from jazz to the most cutting-edge electro, as Arandel shows with his declarations of love on Meister von Leipzig. Bach shone a light on the first synthesizer in the history of music: the organ. Rhoda Scott gives it unexpected swing and Cameron Carpenter, the organ’s enfant terrible, goes at it at full speed.

Stéphane Grappelli and Django Reinhard speed up his concerti, and Manel Camp kicks up youthful fantasies written in honour of his beloved brother. Siblinghood as well as spirituality form the secret of our eternal attraction to Bach’s music. Beyond the historically informed versions, the works adapt just as well to the accordion of Richard Galliano as to the large orchestra of the Italian Respighi, giving it the feeling of Disney’s Fantasia. The Trytone collective mixes up the forms and, when a classical pianist like my favourite Vikingur Olafsson, gets hold of Bach, we hear the great composers works remodeled for a Berlin club.

Our great Johann Sebastien learned to chisel out these musical works from his spiritual father, Johann Christoph Bach. The crazy violins that dwell in Uncle Bach’s baroque cantata anticipates the hypnotic surges of Philip Glass. The basso continuo that unfolds like origami fascinates me, from its first encounters with the Austrian artist Biber, to the Talmudic frenzy of Steve Reich, the Cantor of contemporary music. The only exception to this programme dedicated to our musical god are two iconoclastic visits to Handel’s Messiah, another great man born at the same time as Bach (though fate would never bring the two great composers together). Welcome to the trance! 
 

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