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

 

 

 

 

 

 

Following their 2015 collaboration Goldberg Variations – ternary patterns for insomnia, pioneering string orchestra Scottish Ensemble and Andersson Dance (led by choreographer Örjan Andersson) reprise their partnership in a new collaboration, Prelude – skydiving from a dream.

Musicians and dancers blur their roles and break the rules in this new co-production exploring the very human paradox at the root of three extraordinary pieces of music: our need to seek out order amongst disorder, and our urge to tear it all apart. From amongst the overwhelming precision of Bach’s Art of Fugue and the dark, wild chaos of Lutoslawski’s Preludes emerges a piece that has been both celebrated and derided, lauded and dismissed: Beethoven’s Grosse Fugue. Combining dynamic choreography from Andersson Dance with razor-sharp live performance from Scottish Ensemble, Prelude – skydiving from a dream delves into the delicious contradictions of the subconscious mind, from the absurd to the logical, the irrational to the soothingly clear.

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.