Classical tradition and Afro-Caribbean rhythm meet in the work of composer, arranger, and pianist Joachim Horsley. Known for his bold reimaginings of Bach and other classical masters through Latin and Caribbean influences, Horsley has carved out a sound that bridges cultures, eras, and musical worlds.
Following his recent Latin Grammy nomination for Bach’s Cuban Concerto for Piano and Tres, Horsley continues to push creative boundaries, exploring how classical structures can thrive inside rhythm-driven forms. His arrangements preserve the complexity and spirit of the originals while inviting listeners into an entirely new musical experience.
In this exclusive interview, Joachim reflects on what the nomination means to him, how he approaches transforming iconic compositions, and why cultural fusion is more important than ever. He also shares insight into his creative process and reveals what fans can expect from his upcoming project, Superfusion.
What does a Latin Grammy nomination mean to you at this point in your career?
It’s a huge honor! I appreciate that the academy noticed “Bach’s Cuban Concerto for Piano and Tres” for the Best Arrangement category. It gives me a lot of encouragement to keep pushing myself and explore.
When translating classical material into a rhythm-driven context, which comes first for you: phrasing, harmony, or form?
I try to imagine how the classical composer would create in a Caribbean environment. How would Bach compose if he were in Cuba in the 20th century instead of Germany during baroque times? Would he have the same attitude if he were using Caribbean rhythms? Once I have a sense of how to answer this question, I adapt the piece, often changing the rhythm of the melody to fit with the rhythm of the dance. For the most part, harmony (and counterpoint) is preserved very carefully, because that is part of the magic fabric (i.e. attitude) that Bach created). The form is tricky – one the one hand, Caribbean music has a form organized around getting the dancers moving, on the other hand, it’s difficult to change Bach’s form (perhaps more than other baroque/classical composers) because his pieces are constructed like a swiss watch, and changing the farm will undermine the pieces function. So I’m adding introductions and coda’s on Afro Bach, but once we get in to Bach’s melody, we usually have to follow through with Bach’s harmonic plan in order for the piece to make sense.
When working with composers whose music carries extensive interpretive history, what guides your decisions about where to remain faithful and where to allow transformation?
Ultimately, the new arrangement has to have a reason to exist, and I have to have something to say. For example, with “Bach Cumbia” I was able to explore Bach’s Fugue style (a style of musical counterpoint where many melodies “chase” each other) with a traditional Colombian dance. To me, this creates a unique feeling, one that makes your hips sway and your mind spin. Since I find both of these traditions so moving, I enjoy creating a texture that has the power to transport the listener away into an alternative universe.
When you revisit classical material, what aspects reveal the most flexibility within a rhythm-centered structure?
Great question! When the Classical Composer has made a great melody that isn’t rhythmically intricate, it is actually a little easier to make an adaptation to a Caribbean Rhythm or African Rhythm than say, a 20th century work by Stravinsky, which depends on its original rhythmic structure for its identity. Rite of Spring and Petruska are already wonderful dances, and I’m not sure I have something new to say by changing that.
What aspects of your work do you think are most easily misunderstood when approached through genre-based listening?
I put a lot of time into adapting the original work in a way that suits the rhythm of the dance style but doesn’t destroy the Classical Composer’s original intent. With this kind of music you could accidentally make the “worst of both worlds”, if you know what I mean. That’s why it’s so important to think about the attitude of the composer, and imagine, based on my impression of his work, how he/she would adapt in a Caribbean World? I also make sure that I don’t remove the complexity of the composition. The intricate harmonies and details in Classical Music is an important part of the pieces, and though I have to make editorial decisions, I don’t want to kill the fabric that the composer weaved in the transformation process.
Your music occupies a space between traditions that are often ddiscusse separately. How do you think institutions are adjusting the way they listen in response to work like yours?
It seems to me that all cultures across the globe are mixing traditions, and this is both celebrated and met with fear and anxiety. I hope to show audiences and the public at large that we can mix art from disparate sources with respect, and that our lives are richer when we open our hearts and minds to each other.
Over time, how has your relationship to source material evolved as your own compositional voice has become more established?
It’s a pleasure to study Classical music through my work, and deepen my appreciation for the care and mastery involved in creating this music. Studying fugues, for example, improves my skills as a composer overall, and it helps me navigate film scoring in a more profound way.
What are you most excited to explore next in your music?
I am working on an album tentatively called “Superfusion,” where I will explore many different world rhythms combined in one arrangement, with guest musicians from outside the Afro-Caribbean world.
To stay up to date with Joachim’s latest releases, performances, and projects, follow him on Spotify and Instagram, and visit his official website for more.
