A Suite of Dances (10/27/18)

This was a very ambitious program by the New York Classical Players and the Lincoln Center Library for the Performing Arts. For the record, I did not attend all of the different portions. Here’s the deal. Three of Bach’s Suites for Unaccompanied ’Cello (their title, not mine) were followed by a screening of Jerome Robbins’ A Suite of Dances (several movements from the Bach suites choreographed on, and performed by, Mikhail Baryshnikov). Heady programming. I know me, and I knew that three complete unaccompanied cello suites would swamp me. So I showed up at a time where I thought I would hear some cello music and see the screening. I lucked out.

When I arrived, they had just taken intermission after the first two suites had been played. As sometimes happens, a library representative speaks with the performers to get a little insight into the programming. In this case, Evan Leslie (from the library and who is also a cellist) spoke with cellists Julian Langford, Sujin Lee, and Julian Schwarz about how they approached this performance and, indeed, how each would approach the opening of Bach’s Suite No. 1 in G major. Each of the three played the opening of the first movement and it was ear opening for me. The notes were there, and the same—yet there were differences in interpretation. That’s understandable, but you don’t usually get to hear such differences that immediately.

After all three cellists had spoken and played, Mr. Schwarz played Suite No. 6 in D major (BWV 1012) – 1. Prélude; 2. Allemande; 3. Courante; 4. Sarabande;
5. Gavotte I; 6. Gavotte II; 7. Gigue. As in most Bach unaccompanied string works I’m familiar with, this one had a mix of austere, slightly unapproachable moments as well as more inviting moments. As the movement names imply, dance forms were involved or inferred, though dancing to them might be a little difficult. And that’s where the genius of Robbins shows up.

As with the earlier Robbins music/dance film program I saw at LPA, this included three separate film snippets—one with Robbins rehearsing Baryshnikov, and two performances, one from March 3, 1994 and one from May 29, 1994, both at New York State Theater at Lincoln Center. What can I say? It’s Baryshnikov, a solo cellist, and Bach. It’s interesting to see how the rehearsal moves translate (or don’t) into the final performances. But that’s what live theater is—whether it’s music, drama, dance, musical theater, or opera—it’s live and one of a kind. And that’s why I attend.

ConcertMeister