I have been enjoying reading The Rest is Noise: Listening to the Twentieth Century for our very first Dd Book Club so music has been on my mind more than usual. The perfect person to talk to about music in dance is Miro Magloire–choreographer, composer, musician, and artistic director of New Chamber Ballet. As NCB prepares for their final performances of the season, I was able to pause Miro for a couple of minutes to find out more about the music that defines his company…
Nicole: This performance sounds like quite an exciting end to the season for New Chamber Ballet! I understand you are presenting five ballets, one of which will be a premiere. Is there anything that you feel sets this program apart?
Miro: As always we will perform at City Center Studios rather than on a theatrical stage, and have live music for the entire program. Less typically, the program will consist largely of narrative ballets. It is also the farewell of three of our company members. And finally – and this is typical again – two of the works use music by composers not usually associated with ballet: Morton Feldman (the world premiere) and Karlheinz Stockhausen.
N: Why do you think some of these composers’ work is not typically choreographed to? What is it that draws you to these pieces of music?
M: Most of the music written since the end of Word War II does not have a continuous, easy-to-hear pulse. Choreographers gravitate to music with a pulse. But the rewards of stepping outside this box are immense: the quality of the music written in the past 80 years is stunning. You may have to invest a little bit more effort before choreographing to Stockhausen or Feldman, but their sound world will take your ballet to a completely unique place. It’s well worth the extra effort!
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