Concert 'Yes, we Bach'
Concert 2.0. 'Yes, we Bach'
On June 7, 2013 at 8:00 p.m. A new free concept of concert took place in Madrid (Basilica de San Miguel, calle San Justo, 4): the barriers between the performers and the public were broken. Gone are the days of active subjects and passive subjects in a concert. We believe that classical music, which is our root, should be understood by attendees. With a lot of groundbreaking ideas brought directly from Central Europe, the Bach Atelier Choir and Orchestra, composed of 35 voices and a chamber orchestra, as well as four soloists, left no one indifferent with their staging. With the utmost respect and love for the maestro from Eisenach, an experience different from what has been seen so far in Madrid in this type of music was provided.
YCE Awards' Live Music Awardo' by Acción Cultural Española and British Council
Listen to the interview on RNE
All about the concert
The public had a leading role in the creative work: they could ask what they did not understand after the demonstrations and explanations, they could actively participate in the artistic event if they wished with the practical exercises that were proposed, they learned the basic notions of how and how why... all in a climate of maximum freedom. The musicians broke with the prevailing hieraticism and explained their method. In addition to the usual performances, there were scores for everyone and many more surprises. The concert was broadcast live and open to the entire world thanks to the streaming process, which allowed instant feedback from the public from other continents.
But all this content must be given a corresponding exterior. For this reason, all the methods used are different from what is usually done: from the artists' clothing to the posters. Using very modern methods, many of them pop-inspired, an attempt has been made to achieve a refreshing image of JS Bach in particular and of classical music in general. Far from dark, traditional and hackneyed graphic formulas, vibrant colors, unseen shapes and 21st century slogans have been chosen. It is also not common to see musicians dressed in polo shirts and jeans, as is the case in our case.
At the same time, the use of new technologies has led to the cybernetic contagion of the project among younger users, somewhat skeptical of this music. The use of tools such as social networks, Facebook and Twitter especially, or the implementation of Bidi codes in the programs, as well as resorting to crowdfunding via the web to finance part of the concert, position the Bach Atelier Project at the forefront of musical production.
In the advertising campaign, the proper name “Bach” has been transformed into a verb, as an indicator of a way of presenting music, of becoming infected with this new spirit. To the question “Do you Bach?” launched to society and that has flooded all musical gatherings and specialized media in recent weeks, today, finally, we respond “Yes, we Bach.”
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