Suite for cello and crinoline
The concept of this suite is a dramaturgic cycle.
The suite tells an abstract story in a sensual way.
Here the music is sound and is movement in space that will made visible by the dancer.
A composition unfolds where both performers show us the same story.
Everything starts with form, with courtly formality. But soon the character starts to develop beyond formality, she discovers her own personality. The empty shell of the crinoline becomes a young lady who fills it with life and sensuality, freeing herself from courtly rules and formalities, dancing just her own way.
The suites for cello by J.S. Bach have a typical dramaturgic structure, which is based on the order of the used pieces. Based on this idea Julia Kursawe chose several dances and other music from different origin to assemble a suite. For that she took music from baroque but also from the 20th century.
The dance choreography is not so much connected to the music, instead it‘s inspired by the sensations of the cello player and her movements while playing the suite. The relation between music and dance is here a relation between the cello player and the dancer.
Julia Kursawe plays the suite on a baroque cello, Irene Cortina González is dancing the suite, assembling contemporary dance and components of traditional baroque dance to something new.
Giuseppe Colombi (1645 – 1694 Modena) – Partite sopra il basso di Ciaccona (per il Violone)
Joseph M.C.F. Dall’Abaco (1710 Brüssel – 1850 Provinz Verona) – Capriccio No. 1, c-minor
Johann Sebastian Bach (1685 Eisenach – 1750 Leipzig) – Allemande from Suite No. 1, G-Major, BWV 1007
Jean Louis Duport (1749 Paris – 1819 Paris) – Etüde No. 7, g-minor
Peteris Vasks (geb.1946 Aziputz, Lettland) – Pianissimo
Joseph M.C.F. Dall’Abaco – Capriccio No. 8, G-Major
J.S.Bach – Gigue from Suite No. 3, C-Major, BWV 1009