Baroque cello and dance
Everyone who knows the music of Bach enjoys the deepness and variety of its strains and the different rhythms and moves. Also the harmonies and forms of movements are favored, movements that proceed in different layers but form an inexhaustible unity. One has never heard Bach all over.
In his „Suites for Cello“ every dance phrase presents itself in another gesture and movement. Julia Kursawe has worked out every parameter, showing the dramaturgy of the whole suite as well as the essence of every phrase. Dance was highly cultivated in baroque Europe. For sure Bach new every dance step of his period and he might have the movements of dancers in mind while composing this suite.
Yui Kawaguchi already has unique experiences in dancing to Bach’s music (for instance „Flying Bach“ by „Flying Steps“ and „Cantatatanz“ by „Nico and the Navigators“). In this performance she translates the sound of Cellosuite No. 3 to a choreography full of facets. The separat dancing phrases are visualized, supported by light (Fabian Bleisch).
To understand Bach’s position and meaning in the world of German music culture Yui Kawaguchi looked for a counterpart in her own culture. She found a similarity to Zen. Bach and Zen constitute a life attitude that doesn’t focus on the ego. For Julia Kursawe the contemplative aspect in Bach’s work is omnipresent, it’s like a baroque ego focusing on the outer world and getting deeply placid inside.
Led by the multi leveled aesthetics of Bach’s composition a Bach landscape is build in a dialogue of the two artists sometimes confronting sometimes coalescing.
music: Johann Sebastian Bach (1685 Eisenach – 1750 Leipzig)
Suite for Violoncello solo in C Major, BW 1009
Prélude – Allemande – Courante – Sarabande – Bourée 1+2 – Gigue
Jehan Chardavoine, Une jeune filette
Georg Neumark 1641 and J.S. Bach, Wer nur den lieben Gott lässt walten
A Production by Julia Kursawe and Yui Kawaguchi.
In Cooperation with ufaFabrik, Theaterhaus Mitte, Förderverein Zionskirche and Dock11 Berlin.