Balletic Bach and the Brandenburgs

[perichoresis]

As a dance accompanist much of the music of the concert repertoire I listen to is filtered through the realm of choreographic possibilities.As is well known choreographers have and do find a rich source of inspiration in the music of the great cantor of the Thomaskirche in Leipzig.Obviously the fact that so much of his music is predicated upon the courtly dances of Europe determines this.In Bach we find a quality of kinetic momentum and rythmic pulse that compels expression in the dance.Also the multi layered polyphonic lines and architectonic mathematical nature of much of his work contributes deeply to this.

I am so far unaware of existing choreography to the six Brandenburg concertos but I would be most surprised if it is not extant.I wish to suggest the sixth concerto in Bb major BWV 1051.To my mind it is the obvious and most promising candidate.This is so because of all the Brandenburgs it has the qualities mentioned in the previous paragraph.This concerto is thought to be the earliest written of the set.Its instrumentation indicates this is almost certainly the case (viols) and its concerto grosso form, unlike for instance the 5th concerto which is virtually a keyboard concerto with its impressive and wonderful cadenza in the first movement.

If anyone could confirm whether or not the sixth concerto has or has not been so far choreographed i would be most appreciative.Do any musicians, accompanists, repetiteurs or indeed choreographers confirm my instinct?

[Mel Johnson]

One movement from the sixth concerto figures in Jerome Robbins' "Brandenburg" for NYCB. I can recall that Sir Kenneth MacMillan did a "Concertos ##2 & 4" for Royal Ballet, but it didn't last long.

[perichoresis]

One movement from the sixth concerto figures in Jerome Robbins' "Brandenburg" for NYCB. I can recall that Sir Kenneth MacMillan did a "Concertos ##2 & 4" for Royal Ballet, but it didn't last long.

Many thanks for a swift and informative reply.I can see why the other brandenburs mentioned didn't last for long.

[rg]

Paul Taylor's Brandenburgs has the following credits; his dance is in and out of repertory:

Brandenburgs : Chor: Paul Taylor; mus: Johann Sebastian Bach (Brandenburg concertos #6, movements 1 & 2, and #3); cos: William Ivey Long; lighting: Jennifer Tipton. First perf: New York, City Center, Apr. 5, 1988; Paul Taylor Dance Company.//New costumes by George Tacet, 1989.

[stinger784]

I believe my director, Ib Andersen, did a Brandenburg as well. But it was before my time here in AZ.

However, the Bach piece he premiered last year was just so right. It was Bach's 1052. Men in purple and women in gold. It was a piece of music you could tell Ib loved for a very long and he was very proud of how it came out in the end.

[Alymer]

I can recall that Sir Kenneth MacMillan did a "Concertos ##2 & 4" for Royal Ballet, but it didn't last long.

It was actually John Cranko who did Brandenburgs 2 and 4 for the Royal Ballet in 1966. It didn't survive for long but the suggestion in John Percival's biography of Cranko is that it proved impossible to find substitutes for the first cast when they were unavailable.

[SandyMcKean]

Off topic somewhat, but........

Loving mathematics as I do, I like to imagine JS Bach and Mr B somewhere in the beyond having breakfast together each morning. I may get ridiculed for saying this, but those two have always seemed soul brothers to me (and yes, Concerto Barocco is a favorite of mine). As unprovable as it might be, it occurs to me that Bach often used the fugue structure in music, and Balanchine often used it in motion (not literally).

[Mel Johnson]

It was actually John Cranko who did Brandenburgs 2 and 4 for the Royal Ballet in 1966. It didn't survive for long but the suggestion in John Percival's biography of Cranko is that it proved impossible to find substitutes for the first cast when they were unavailable.

Many thanks for that. I must have conflated it with MacMillan's "Song of the Earth", which came in that same year, I believe.

[perichoresis]

I appreciate your insightful observations Sandy.You have an observant eye and mind.I am a bit isolated here in New Zealand but worked for two years in Australia, both at the National Ballet Theatre in St Kilda, and also at the Victorian College of the Arts.But it was at Danceworld 301 where I played briefly for Gelsey Kirkland.Back here at the new Zealand School of Dance I saw Concerto Barocco quite a few times.And I agree that Bach and Balanchine are in fact almost certainly in the divine sphere as we speak.I read somewhere that Balanchine somewhere had dancers held vertically upside down doing entrechats.Apparantly this was to indicate an inverted fugual theme.sounds extraordinary but my memory is usually quite impressive.Bach and Balanchine share the architectonic gift, constructing on occasion cathedral- like forms in their work. Being men of faith (Devout Lutheran and Russian Orthodox) and having faith myself I rather think Sandy's celestial hope for them is in fact predicated on reality.But that is entirely another subject.

[SandyMcKean]

I am a bit isolated here in New Zealand......

True, but how lucky you are to be in one of my favorite places in the whole world. I shall never forget the generosity and straight-forwardness of the New Zealanders I met while touring there in the 80s. You may be isolated, but what a heavenly place to be stuck .

And I agree that Bach and Balanchine are in fact almost certainly in the divine sphere as we speak.

Actually we don't agree. I'm afraid I very definitely see no point in considering metaphysics beyond that for which there is repeatable evidence which is allowed to be falsified by new objective evidence. Richard Dawkins is one of my top heros......(need I say more ??). I assure you my "breakfast image" was entirely metaphorical -- which I used (perhaps poorly) to indicate what I consider to be a "mathematical" quality to the work of both Bach and Balanchine (an "architectonic gift" as you termed it).

P.S. No problem with the "Sean" vs "Sandy". Coincidently, I am often mistakely called Sean since I am male and folks normally don't associate the name Sandy with a man. Sean seems to be a common "mis-hearing".