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Bartók/Beethoven/Schönberg

Rosas

Coproduction: De Munt / La Monnaie (Brussels)

QUATUOR N°4
(from BARTÓK/AANTEKENINGEN - 1986)

Music: Béla Bartók, Quatuor n°4

Choreography: Anne Teresa De Keersmaeker

Lighting design:Luc Schaltin, Anne Teresa De Keersmaeker

Assistants for the revival: Fumiyo Ikeda, Cynthia Loemij, Johanne Saunier

Danced by Yuika Hashimoto, Anika Edström Kawaji, Cass, Laura Maria Poletti

Musicians: Ictus

Violin: Igor Semenoff, Liesbeth Baelus
Viola: Aurélie Entringer
Violoncelle: Geert De Bièvre

DIE GROSSE FUGE
(from ERTS - 1992)

Music: Ludwig van Beethoven, Grosse Fuge, op.133

Choreography: Anne Teresa De Keersmaeker

Lighting design: Luc Schaltin, Anne Teresa De Keersmaekr

Assistants for the revival: Cynthia Loemij, Mark Lorimer, Clinton Stringer, Jakub Truszkowski

Danced by Frank Gizycki, José Paulo dos Santos, Lav Crnčević, Thomas Vantuycom

Musicians: Ictus

Violin: Igor Semenoff, Liesbeth Baelus
Viola: Aurélie Entringer
Violoncelle: Geert De Bièvre

VERKLÄRTE NACHT
(1995–new version 2014)

Music: Arnold Schönberg, Verklärte Nacht, op. 4

Choreography: Anne Teresa De Keersmaeker

Costumes: Rosas / Rudy Sabounghi (Verklärte Nacht)

Lighting design: Luc Schaltin, Anne Teresa De Keersmaeker

Danced by Soa Ratsifandrihana, Boštjan Antončič

Musicians: Ictus

Violin: Igor Semenoff, Liesbeth Baelus
Viola: Aurélie Entringer,Jeroen Robbrecht
Violoncelle: Geert De Bièvre, François Deppe

Duration 2 h.

программка

However, it is true that these three pieces have previously been at the heart of other composite evenings. The performance does indeed also unite three different elements from my choreographic track, every time a different approach to a musical score that confronted me with very specific questions. After Fase, Rosas danst Rosas and Elena’s Aria, Quatuor no4 was the first time I accepted the challenge to write a very articulated, precise choreographic structure to contemporary music from the classical tradition. I had to find a choreographic answer to the way a string quartet gets the most out of a bare minimum. There is no room for excuses, no escape route to a broad orchestration. In a sense it was a continuation of Rosas danst Rosas, only in complete unison. That was a rather unusual statement considering the layered nature of the music but it was the best way to expose the dancing character of the music. The choreography to Die Grosse Fuge was the exact opposite, really. Every dancer’s part is grafted onto a specific line in the music so that the dance reflects the counterpoint in the music. Apart from the role of Cynthia Loemij, the only people dancing are men. In Verklärte Nacht I was working with musical themes and leitmotifs as well as with the question of how to transfer an underlying narrative to dance.

Anne Teresa De Keersmaeker

On this repertory evening, Rosas brings together three early works by Anne Teresa De Keersmaeker. In 1986, De Keersmaeker first ventured into the terrain of contemporary classical music with Bartók's string quartet Quartet No. 4. In a choreography punctuated by both playful and combative accents, De Keersmaeker took on the task of distilling a dance score out of Bartók's complex rhythms and layered harmonies. In the Grosse Fuge (1992), De Keersmaeker sets out to find a male vocabulary, with Rosas’ dancers challenging gravity in a piece that sought to provide a physical translation of Beethoven's ingenious use of counterpoint. The final piece of the evening, Verklärte Nacht (1995), presents a shamelessly romantic love story, in which the contrasting feelings of a man and a woman are dissected and interpreted in an expressive duet/trio based on Schönberg's eponymous musical score. Each of the three pieces constitutes a choreographic response to a specific historical score, unveiling De Keersmaeker's penchant for both abstract conceptualisation and narrative composition.

This production was realized with the support of the Tax Shelter of the Belgian Federal Government, in collaboration with Casa Kafka Pictures Tax Shelter empowered by Belfius. Rosas is supported by the Flemish Community and by the BNP Paribas Foundation.