Ok, I'll give you a name: Frank Martin. But his music notwithstanding, it is safe to say that Switzerland is a musical nonentity. Spain has a rich musical culture, while the adjoining Portugal, seems not to. I just want to point this out without trying to delve into the history to try and answer why. It would be extremely complicated, I am sure. For example, at first glance, you might want to say that Argentina is so musical because it attracted large numbers of Italian immigrants. But on the other hand, Brazil was colonized by Portugal, not a strong musical nation. And in the Caribbean we have Cuba, a very strong musical nation, but right next door we have the island of Hispaniola, shared between the nations of the Dominican Republic and Haiti, neither of whom are much renowned musically.
So I won't even try to figure out the historic or cultural reasons for these differences. Instead, let me try to link this to my title: "Who is the Bach of EDM?" EDM stands for "electronic dance music" which I might neutrally characterize as music designed for dancing that is based on an unvarying computerized drum track at 120 beats per minute and achieves a minimal amount of variety with synthesized melodies and harmonies above that. Here is a typical example:
Now if there were a Bach of EDM, he might be deadmau5. Here is a selection from a recent album:
So the "Bachiness" of that consists in merely waiting for about 1:40 before hitting us with the 120 beat per minute bass drum. In other words, the synthesized noodling (which sounds a bit like Jean-Michel Jarre or Yanni) precedes the 120 drum track. Uh-huh.
Speaking of Yanni, Amazon sent me a little email the other day announcing the "Hot New Releases in Classical Music". A new album from Yanni was item one, followed by an album by Almira Willihagen, the latest child soprano, a collection of Sheldon Harnick (Broadway musicals), the original cast recording of the musical "One Touch of Venus", and then, finally, the complete Beethoven string quartets with the Tokyo String Quartet who retired last year.
But back to my topic. I suppose it is merely the truism that different genres delimit the creative possibilities in different ways. In fact, in "genre" music, such as EDM, a Bach will not arise because someone who is interested primarily in exploring musical possibilities will soon move out of the genre, thereby disappointing all their fans.
The interesting thing is how liberal and supportive of all manner of musical exploration the autocratic patrons of the 18th century were. Prince Nikolaus Esterhazy must stand at the head of the list for his decades long support of Joseph Haydn, but the various nobles of Vienna who commissioned Mozart and Beethoven must get some praise as well. Not to mention the town council of Leipzig who put J. S. Bach in charge of the music for all three of the important churches of the city.
Speaking of Bach, in his spare time he invented the keyboard concerto modeled after the violin concertos of Vivaldi. Here is Trevor Pinnock playing the Harpsichord Concerto No. 1 in D minor: