It started life as a study for harpsichord; a simple aria, and a set of 30 variations. Today, it’s not only one of the most well-known of Bach’s works – it’s one of the most interpreted. From theories that its structure deliberately mirrors the ascent of the nine spheres of Ptolemaic cosmology, to the claim that the whole thing is a cleverly coded rebuke to a critic who had snubbed the composer, there is clearly something about this sprawling, complex piece which invites interpretation.

 

 

Now, Jonathan Morton (Scottish Ensemble) and Örjan Andersson (Andersson Dance) have come together to create their own. With 11 musicians and 5 dancers moving together as equal partners, the audience is given the singular experience of musician and dancer performing as one, casting a 21st-century light on the notes and the spaces between them. Should we simply listen to the music, or can we move?

 

Scottish Ensemble is a string orchestra built around a core group of performers led by Artistic Director Jonathan Morton (violin). Their programming approach spans music from Baroque to contemporary work, and they perform in venues as diverse as Europe’s leading concert halls to derelict urban spaces. Scottish Ensemble is based in Glasgow, UK.

Andersson Dance is led by choreographer ÖrjanAndersson. Since 1996 Örjan has created numerous works for various contexts, from the intimate to the larger format. The exploration of music has always been in focus, whether it’s in the form of newly-composed electronica, folk music or classical works. Andersson Dance continuously invites artists - dancers, composers, light designers, set designers, costume designers – to create collaborations with them in various formats. ÖrjanAndersson also creates various commissions for other companies, theatres and opera houses. Andersson Dance is based in Stockholm, Sweden.

 

Musicians: Scottish Ensemble
Dancers: Andersson Dance
Choreography: Örjan Andersson
Musical direction: Jonathan Morton
Music: J.S. Bach - Goldberg Variations (arr. Sitkovetsky)