Andersson Dance & Scottish Ensemble: Prelude – Skydiving from a dream


Including the live performance of
Beethoven Grosse Fugue
Plus extracts from
J. S. Bach The Art of Fugue
And preludes from
Lutosławski 13 Preludes and Fugue for Solo Strings

Reviews

 

 

 

 

 

 

Fusing music and movement, musicians and dancers, Prelude – skydiving from a dream is the second collaboration between contemporary dance company Andersson Dance (Sweden) and pioneering string orchestra Scottish Ensemble (UK).

Combining astute, inquisitive choreography with razor-sharp live musical performance, Prelude – skydiving from a dream takes three rich pieces of music that push at the boundaries and restrictions of artistic expression and creates something entirely new – a dark, pulsating playground of ideas teeming with the paradoxes grooved into the edges and corners of the human subconscious.

Featuring preludes from Lutoslawski’s Preludes and Fugue for 13 Solo Strings and excerpts from J.S.Bach’s The Art of Fugue, the production builds to the climactic performance of Beethoven’s Grosse Fugue. Scottish Ensemble musicians are pushed to the limits of creative expression as performers as they are choreographed alongside three dancers, creating a palette of sight and sound that gleams with the grotesque and the glittering, the rational and the absurd.

Choreography Örjan Andersson

Musical direction Jonathan Morton

Music
Beethoven Grosse Fugue
plus excerpts from
J. S. Bach The Art of Fugue and Lutosławski Preludes and Fugue for 13 Solo Strings

Dancers Ida “Inxi” Holmlund, Clyde Emmanuel Archer, Hokuto Kodama

Musicians
Violin Jonathan Morton
Violin 1 Cheryl Crockett,Daniel Pioro, Kate Suthers
Violin 2 Clio Gould,Joanne Green, Laura Ghiro
Viola Jane Atkins, Andrew Berridge, Asher Zaccardelli
Cello Alison Lawrance,Naomi Pavri
Double bass Diane Clark

Set and light design
Tobias Hallgren & Örjan Andersson

Costume design
Bente Rolandsdotter

Production
Andersson Dance, Scottish Ensemble & Nordberg Movement

Co-production
Andersson Dance & Scottish Ensemble

Made possible with support from Creative Scotland, The Swedish Arts Council, Stockholm Stad, the Swedish Embassy in London, and organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music programme.

Jonathan Morten, Scottish Ensemble, about the production:

Here’s a game.

Take a few carefully chosen musical notes, arrange them in time.

Gradually combine them with more notes, in a manner that grows organically from the musical DNA of the original statement.

Integrate the horizontal (counterpoint) with the vertical (harmony).

Allow fantasy and artistic flightto struggle through these
strict rules.

Tonight, we present twoextraordinary examples ofthis game, as played by Johann Sebastian Bach and Ludwig van Beethoven: two masters at the top of their game, creating unfathomablycomplex edifices out ofsimple musical blocks.

Beethoven plays the game as if his life depends on it, hurtling his body and soulinto the vortex of potentialmoves available to him.

The result is exhilarating,heroic, terrifying, audacious, visceral.

Bach plays differently. Forhim the game seems like
a portal into unlocking
the secrets of the cosmos. He navigates the multi- dimensional possibilities with an enigmatic calm thatborders on the inexplicable.

The other music you will hear tonight is byLutosławski. His Preludesoffer glimpses into aprimordial sonic soup, out of which strangely beautiful musical lifeforms emerge. At this point the rules of this game aren’t fully formed

– yet, like a dream, the story unfolds with its own mysterious logic.

Örjan Andersson, Andersson Dance, about the work:

About 5 or 6 years ago, I began to work with people who were not trained dancers on stage, and it was like opening a door into a new world.

I found, to my surprise,
that I worked with these other performers in the same way that I did with the professionally trained ones – but something else came out.A dancer will correct or fix;a non-dancer will not, and the results were something utterly new to me.

One is not better than
the other, simply different. There is a different kind ofsensitivity and vulnerability that occurs when working with these other performers, and there is something especially pleasing aboutmixing the two types –
the schooled, and the un-schooled. To be able to have both musicians and dancers on stage the whole time and choreograph every element remains a real thrill.