Le Jardin des Musiques Baroques Electroniques makes pearls from ancient times wriggle and projects them into a world of analog synthesizers, introspective, sparkling and ultra pop.
Le Jardin reinterprets Bach, Vivaldi, Pergolesi, Zelenka or Porpora, draws, rewrites, reverses and turns over their classics. The electro quartet composed by Thomas Turine, Céline Bodson on violin, Jean Fürst and Aveline Monnoyer on vocals, creates a powerful dialogue between yesterday and today. It brings together lovers of baroque and electronic music in a colorful sound festival.
Direction ~ Arrangements ~ Live electronics Thomas Turine
Violin Céline Bodson
Voice Jean Fürst et Aveline Monnoyer (Mezzo Soprano )
Program +- 1hr
Cum Dederit Antonio Vivaldi / Nisi Dominus
Miserere Music : Giovanni Battista Pergolesi / Stabat Mater / Dolorosa
Text : Psaume 51 Miserere
Follia Vivaldi / Corelli
Gloria Patri Antonio Vivaldi / Nisi Dominus
Alto Giove Nicola Porpora
Braquer Poitiers from J.S.Bach BWV596 and Vivaldi op3n°11
La Roseraie from J.S. Bach BWV35
Les Indes Galantes Jean-Philippe Rameau
Miserere Jan Dismas Zelenka
Le Jardin arises from an urgency and a need to re-invoke essential, joyful and positive forces. By drawing from ancient music its beauty to confront it with our contemporary world, something happens. It confuses us. To revisit history, to reactivate again the potential of these crazy and inexhaustible sources… What happened in those days?
Earlier, in 1432, Jan Van Eyck completes the Agnus Dei. Then a rumor runs and all across Europe, the amateurs come to see this new painting. What a fabulous phenomenon ! But… From which fulgurences come out these Dolorosa, Cum Dederit or Alto Giove so that we spend our lives to play them?
In the heart of the covid, the concept of the essential slips, a Still Standing for Culture event, a public garden near the Senghor, Céline, Jean and Thomas, at the impromptu, cross the first program of the Garden. Le Jardin then opened to Aveline, to celebrate the 40th anniversary of the Théâtre de la Balsamine in Schaerbeek, then to live a concert Sunday in the Chapelle de Boondael.
Now Le Jardin exists. Its formula is simple, compact, direct and strong. Beautiful, intense and strange.
The synthesizers reappropriate the orchestra in an ambivalent universe, sparkling and introspective, electro and pop. Delivering us counterpoints and lyrical rises, songs of love and of the soul, these synthesizers come to catch our bodies and make them available. The colors are strong and the timbres varied. This synthesis upsets our habits, awakens our references and reinforces in contrast the beauty of the songs of the violin and the voice. We recognize the themes, but their form surprises us. It takes us into a singular universe.
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