BACH MEETS ELECTRO Vera Klaiber & nandman

• Johann Sebastian Bach (1685 - 1750): Prelude in C Minor, BWV 847:
• 1 Bach: Prelude in C Minor, BWV 847: Prelude I 09:56
• Concerto in D Minor, BWV 1052:
• 2 Bach: Concerto in D Minor, BWV 1052: Concerto 08:50
• Prelude in C Minor, BWV 847:
• 3 Bach: Prelude in C Minor, BWV 847: Prelude II 06:39
• Suite No. 3 in D Major, BWV 1068 No. 2:
• 4 Bach: Suite No. 3 in D Major, BWV 1068 No. 2: Air 04:47
• Prelude in C Minor, BWV 847:
• 5 Bach: Prelude in C Minor, BWV 847: Prelude III 03:24
• French Suite No. 2 in C Minor, BWV 813 No. 3:
• 6 Bach: French Suite No. 2 in C Minor, BWV 813 No. 3: Sarabande 03:05
• Fantasia and Fugue in G Minor, BWV 542:
• 7 Bach: Fantasia and Fugue in G Minor, BWV 542: Fantasy 05:06
• Toccata in D Minor, BWV 565:
• 8 Bach: Toccata in D Minor, BWV 565: Toccata 07:58
• Toccata and Fugue in the Dorian mode, BWV 538:
• 9 Bach: Toccata and Fugue in the Dorian mode, BWV 538: The Dorian 03:21
• Total Runtime 53:06

Info for BACH MEETS ELECTRO

It all starts with Johann Sebastian Bach. Puristic and opulent in character at the same time. His music is emotionally stirring. Defined by clear patterns and seemingly predictable sequences, Bach breaks out of the construct precisely and in line with the musical progression. A fascinating practice that seems timeless and yet can always be redefined! With Vera Klaiber on the organ, Fernando Lepe Arias and Christian Zimmermann on piano & synthesiser, the format BACH MEETS ELECTRO has been created. Inspired by Johann Sebastian Bach's works, new pieces - re:works - are created. Each concert becomes a unique sound experience when original organ pieces alternate with arrangements for synthesiser, piano and organ.

Breaking out. Breaking open. Redefining. These mottos also determine the design of the compositions for organ, piano, synthesizer and electronics. In addition, they also apply to the organ, an awe-inspiring and powerful instrument, breaking away from traditional use and developing into multi-layered, interwoven sound levels. Redefinition comes through the collection of diverse registers and voices. This essentially corresponds to a versatile synthesizer and anticipates its ability to mutate tone colours.

The immeasurable abundance of energy within Bach’s music creates an approach that was and is formative in the creation and interpretation of these pieces: to serve, not to boom. Almost everything that takes place around Bach’s creatively predetermined motifs and harmony derives from a minimalist approach: schematic clarity in an ascetic (tonal) language. At a superficial level this music can appear objective and cool. If you immerse yourself in it, its inner warmth is revealed. Its sound is invigorating and intense, has a multi-faceted character, is rich in colours and unfolds into overwhelming outbursts. This is music with strong personality.

As musicians and interpreters, Vera Klaiber, Fernando Lepe Arias and Christian Zimmermann embody this approach: they remain in the back- ground and put the art of music at the centre of their work. Bach’s music is the nucleus of the album and the link between the artists. Since the beginning of this project in 2018, they have known how to combine tradition and modernity into one form and present their credo in concert. The intention from the outset was to further develop the music of Johann Sebastian Bach and to use its melodic, harmonic and rhythmic shape as a source of inspiration for their interpretations and creations. Therefore serving does not mean being fearful. They are, rather, personal views, the breaking of new ground, new departures and definitions with a very personal touch.

This high-contrast concept album was created in collaboration with producer Klaus Faika from the ORGANUM CLASSICS label, who carried out the organ recordings and organised and supervised the collaboration with selected recording studios for the recording of the piano parts and the final mixdown. In a work in progress that lasted almost three years, a production was created that appears authentic and well-composed in terms of design and music. In contrast to the opulence of the music, the colour aesthetics and layout of the artwork deliberately follow a reductive approach that aims to open up the sensory space for the listening experience. The artists pursue this approach as music makers and performers: they take a step back and place the art of sound at the centre of their work. Bach's music not only acts as the nucleus of the album, but also as a link between the performers.

Vera Klaiber, organ
Fernando Lepe Arias, piano, synthesizer
Christian Zimmermann, piano, synthesizer

nandman Fernando Lepe Arias, Christian Zimmermann
"The synthesizers don't make themselves important. Because the young musicians don't exhaust the almost inexhaustible possibilities of electronics. Rather, they serve the virtuoso work of Johann Sebastian Bach, in whose almost over-abundant musical work and life a deep faith glows." - Barbara Szymanski, concert critic -

The musical border crossers Fernando Lepe Arias and Christian Zimmermann combine classical works with elements of electronic music, with their own percussion sounds and synthesizers. New arrangements are created with the aim of not appearing disturbing and overloaded, but continuing to sound reverent and full of clear colors and lines. One basic attitude has connected the two artists from the beginning: to serve and not to blare. The arrangements are fundamentally anchored in the original works, which provide the two musicians with motifs for variation and alienation and serve as inspiration for their own ideas. Their music is characterized by floating sounds, percussive motifs, clear structures and a complexity that creates a vibrating dome of timbres. Selected lighting technology and visual elements support the effect of the music.

The theme album Electro Suite (2019) was created on this basis. For this production, the artists studied the music of Johann Sebastian Bach, Debussy and Schubert very intensively. Bach is at the beginning. With its perfect proportions, his music served as the first inspiration.

The composition Sentir Con Ellos (2019) was created for the World Press Photo Award 2019. The work is a homage to the photographer and filmmaker Pieter ten Hoopen, who won first prize at the World Press Photo Contest 2019 for his photo story The Migrant Caravan. Sentir Con Ellos recreates the emotions of the people who fled from Central America towards the US border in 2018.

The fascination with Bach's music not only accompanies the two artists in their musical work, but also gave rise to a new concert format entitled "Bach Meets Electro". Together with organist Vera Klaiber, arrangements for organ, piano, synthesizer and electronics have been created that are intended to contrast with the original works played on the organ. In this context, Concerto (2020) was released based on the Concerto in D minor. Initially arranged without an organ, but shortly afterwards included in the format's program. The artists are currently working on a CD production together with Klaus Faika from the "Organum Classics" label. An immersive product in the form of a 3D mix will also be released.

Fernando Lepe Arias
studied piano with Prof. Irmgard Priester, pedagogy and classroom music with Prof. Gerhard Wolf at the Trossingen State University of Music. In Mexico, he studied at the University of Veracruzana in Veracruz at the Faculty of Music, majoring in piano. Master classes in conducting with Prof. Gerald King in Veracruz, in piano with pianist Bernard Flavigny in Xalapa and in harpsichord ("Music by Bach") with Prof. Marieke Spaans round off his musical education. Fernando received further input through courses in sound engineering, electroacoustics, music production and sound systems with Steffen Burkhardt, with Cologne DJ and producer Pierce Treude and at the "Electronic Music School" in Berlin. Concerts and CD productions with the "Ensemble de la Plata", with the singer Juandalynn R. Abernathy and with the duo "nandman" have taken him to Cologne, Wiesbaden, Bonn, Tübingen and Rottweil, among others.

He teaches piano and music production at the Böblingen music school and oversees other projects in the areas of producing, music design and band coaching. Fernando also works as a composer, accompanist and producer.

Christian Zimmermann
studied school music with piano as his main subject under Prof. Volker Stenzl and jazz and popular music under Raphael Lott and Thomas Förster, among others, at the Trossingen State University of Music. At the same time, he was interested in modules and workshops in the "Music Design" course, in producing and in experimental music. Through workshops on sound engineering, recording techniques and audio and video production and his involvement in projects by the "Record Music Group" with Tobias Klein and Paul Jacot, he was able to work with the "Brass Band Hessen" and the "SeppDeppSepptett", among others. He received further input on the combination of instrument and electronics from Prof. Sonja Lena Schmid. Courses on music production and live performance with Cologne DJ, producer and "Ableton Certified Trainer" Pierce Treude, in composition with Prof. Norbert Fröhlich and lessons on the harpsichord with Prof. Marieke Spaans round out his musical education. Christian regularly works as a musical director for various theater and musical productions. In the Balingen church district, he holds a position as cantor for popular music for the Evangelical Youth Work in Württemberg. He also works as a composer, arranger and producer.

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