| Vast forms that move fantastically |
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This is a project which examines the influences of music and dance on one another. They are two basic forms of human expression that are strongly linked, and this project is an attempt to find a satisfying collaboration and an equal partnership between these two art forms as well as to make the dance palpable, audible and visible in a concert situation. Stephanie Beck has worked in an intense collaboration with the choreographer Archi.Wil and a group of young musicians and dancers.
The programme she has constructed consists of works by Johann Sebastian Bach, Marcel Grandjany and Claude Debussy. The idea behind the structure of the programme is that the dance elements in the music become more and more obvious with every piece until with the last piece dancers physically show the dance elements of the music through the choreography of Archi.Wil. The programme consists of the following works: |
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| J.S. Bach |
French Suite No. 6 in E-major |
| M. Grandjany |
Children’s Hour, Suite for the Harp |
| C. Debussy |
„Danse sacrée et Danse profane“ for Harp and String Quintet |
| C. Debussy |
Trio Sonata for Flute, Viola and Harp |
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The journey from an abstract but audible dance in the music to the concrete realisation of dance performed on stage starts with the French Suite No. 6 by Johann Sebastian Bach. The movements of the suite are based on original dances that would have been performed at the French court. Each movement has recognizable dance-like characteristics but is written in a stylised way and was not intended to accompany the dance which inspired it. The dance in the music can therefore be felt but the piece itself remains abstract.
Marcel Grandjany takes this one step further with his suite for the harp. The five movements can be seen as different scenes of a ballet, varying in mood, colour, spirit and have a more obvious dance-like and almost theatrical character.
The next step in the programme is the Danses by Claude Debussy. The title “Danse sacrée et Danse profane” speaks for itself. Dance is a clear inspiration for the piece and can be found in the writing of these two sharply contrasting movements.
The Trio Sonata for flute, viola and harp is perhaps the least obviously dance-like piece of music in the programme. Stephanie finds that it has strong dance-like elements in it, and three dancers physically show this approach to the music on stage. The structure of the sonata, the colours and gestures that emerge provide a generous basis for choreography. The complexity of the writing makes the task of choreographing this piece a difficult but nonetheless very interesting one.
The title of the project “Vast forms that move fantastically” is also linked to the choreography of Debussy’s Trio Sonata. It is a line taken from a poem by Edgar Allan Poe, whose writing had strongly influenced Debussy, and this particular phrase served as a basis for the choreography to this piece. |
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| This project was successfully performed in at the Royal Academy of Music in London in September 2007 and at the Theater am Kirchplatz in Schaan (Liechtenstien) in January 2008. Debussy’s Trio Sonata was presented by the dancers and musicians as part of the Resolution! – Festival at the Robin Howard Dance Theater (The Place) in London in February 2008. Further collaborations with the choreographer Archi.Wil are planned for the near future. |
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| The Hibernia Trio (Flute, Viola, Harp) |
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| The Hibernia Trio was formed in August 2007. The ensemble’s first project was a performance of Debussy’s Trio Sonata in a cooperation with the dancer and choreographer William Collins. Ever since the trio has performed in various venues such as the Royal Academy of Music, the Royal College of Music, the Robin Howard Dance Theatre at the Place London and the Theater am Kirchplatz in Schaan, Liechtenstein. Future engagements include concerts at the Gutenberg-Festival in Balzers, Liechtenstein and in Ireland. |
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| Triona Milne studied at the Royal Academy of Music and went on to pursue her postgraduate studies at the Royal College of Music where she was granted the George Stennet Award. She was a member of the Gustav Mahler Jugendorchester, the Verbier Festival Orchestra and has a trial with the RTE Concert Orchestra. |
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| A graduate of the Royal Northern College of Music, flautist Alison Murphy is currently studying for a Master of Music with Jaime Martin at the Royal College of Music, where she is the recipient of a Leverhulme Scholarship. Alison has played Principal Flute with numerous ensembles including the London Philharmonic Orchestra, Camerata Ireland and the RTE Orchestra and is Principal Flute with the European Union Youth Orchestra. |
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| Stephanie Beck studied at the Landeskonservatorium Feldkirch with Nicoletta Alberti and finished her Masters Degree at the Royal Academy of Music with Skaila Kanga, where she received a Junior Fellowship. She was a member of the European Union Youth Orchestra, the World Philharmonic Orchestra and is now working in London with ensembles such as the Aurora Orchestra, the Southbank Sinfonia, the RPO Concert Orchestra and the European Chamber Players |
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