Dancers Go A-Fugeing: The Sydney Dance Company With the Australian Chamber Orchestra (amplified!) in ‘Project Rameau‘ by Andrew Miller

Rameau

Attributed to Jacques André Joseph Aved. Jean-Philippe Rameau (Dijon 1683- Paris 1764). Musée des Beaux-Arts, Dijon.


Project Rameau
Sydney Theatre, Wash Bay: 29 October 2012
until 3 November

Sydney Dance Company
Rafael Bonachela – artistic director and choreographer

Australian Chamber Orchestra
Richard Tognetti – artistic director and first violin

Music – Jean-Philippe Rameau, Antonio Vivaldi, J. S. Bach, arranged by Graham Sadler, Vi King Lim, Jennifer Powell
Lighting and set designs – Benjamin Cisterne
Costumes design – Rafael Bonachela and Fiona Holley
Dance director – Amy Hollingsworth

If the fugue is the highest form of counterpoint it’s because it is truly an art. No one would deny that fugues do not write themselves, yet they are based on simple, sincere imitation, the first, most obvious ingredient one hears, yet the freedom of the voices is the fugue’s sina qua non. Different voices “speak” their individual melodies, and miraculously the result is not only coherent but harmonious too, and, at least under the masters, such harmonies! From one point of view the fugue is the highest composer’s art, even over-specified, yet it is a form-texture deriving from the performer’s highest art, improvisation, the fantasy. The fugue is in a way the quintessence of music, taking something which initially seems rigid and rule-bound, well, at least over-obedient, and sheds those rules completely to become free and creative, the fundamentally horizontal linear elements become nonlinear, sounding just as sensible vertically; sound, a dumb mathematical, physical process obeying laws of time and space, is refined into an art which can speak directly to something deep inside a warm human being. So the fugue, even as theoreticians have for centuries tried to define it and the rules of its creation (without much success), culminating in Jean-Philippe Rameau’s Traité d’harmonie (1722), at the end of which he discusses fugues and how they are written, finally saying they cannot be reduced to general rules, except “le bon goût ou la fantasie.” J. S. Bach in turn put it most aptly of all… in his music.

Read the full review on the Berkshire Review, an international journal for the arts!