Commissioned by the Transit Festival (Leuven) and designed to be performed by B’Rock - one of the world’s leading early music ensembles - Corelli_HACK investigates the collision of DJ technology and Corelli’s Concerto Grosso Opus 6 No. 4. We know increasingly that Corelli’s music spread from Italy not just in the official form of printed scores, but in transcriptions of dubious standards and in a number of sometimes poorly made manuscripts. We could speculate to say that these non-official versions of the music spread and mutated with characteristics more akin to language than text. This form of hybrid dissemination is not so different to our current ‘post downloading’ musical world, where the official, finished, truthful product may often be a fabrication. Indeed, the heavy studio editing prevalent in the commercial release of classical music may even constitute the musical equivalent of ‘fake news’, and this dialectical collision of the authentic and the forgery has not only a long history of debate in the fine arts, but applies equally to the dialogue between the live and the recorded in electronic music. I wrote a new score based on Corelli fragments and recorded the improvisations of the musicians to make a brand new piece, thus reinvigorating perceptions of an established baroque masterpiece. The piece has since become a core part of the ensemble’s repertoire, with a number of subsequent performances across the Low Countries, including at the prestigious Muzikcentrum ann ’t Ij in Amsterdam, where I performed as soloist in 2017.