“Chopin’s preludes are of an order entirely apart...they are poetic preludes, analogous to those of a great contemporary poet, who cradles the soul in golden dreams.” -Franz Liszt.
These poetic “golden dreams” that Chopin’s contemporary was referring to were brought to life in the unprecedented partnership of the Chamber Music Northwest and Northwest Dance Project in their production of “Summer Splendors.”
The performance began with cellist Peter Wiley and pianist Yekwon Sunwoo performing the “Largo from Cello Sonata in G Minor” and the “Introduction and Polonaise Brillante in C Major.” The unadorned, minimalistic melodic lines of the “Largo” set the stage, quite literally, for the style of the first set of preludes, choreographed by Lucas Crandall. The much more embellished “Introduction and Polonaise Brillante,” in which Wiley and Sunwoo took turns exhibiting an impressive range and balance of emotion and virtuosity, introduced a theme of artistic excellence that continued throughout the evening.
Following the introduction by Wiley and Sunwoo (and a quick costume change by Sunwoo as he returned to the stage) was the main event: 24 preludes. Just as Chopin played the preludes in sets, as they were considered too short to be stand alone pieces, the 24 preludes were divided into four groupings of six with Lucas Randall choreographing one through six; Sarah Slipper, the founder of the company, choreographing seven through 13; Tracey Durbin choreographing 14 through 18 and Rachel Erdos choreographing 19 through 24.
The different groupings demonstrated the sheer athleticism and talent of both Sunwoo and the dancers. Sunwoo’s accompaniment, with his incredible stamina and fingers that flew over the keys in confident precision, was an artform in and of itself. The dancers’ contortionist-like physical feats resulted in audible gasps from the audience members; myself included.
Interspersed throughout the performance were unexpected, playful elements including the use of spoken word by the dancers, interaction between one of the dancers and Sunwoo to the extent that Sunwoo had to physically remove her from the piano bench and a sequence featuring the synchronized creation of paper airplanes by the dancers.
Another of Chopin’s contemporaries, Robert Schumann, once criticized the preludes saying, “I would term the preludes strange. They are sketches, beginnings of etudes, or, so to speak, ruins – individual eagle wings of all disorder and wild confusions.” The Northwest Dance Project and Chamber Music Northwest took these “sketches” and “ruins” and transformed them into an exhilarating evening of stellar musicianship and dance.
These poetic “golden dreams” that Chopin’s contemporary was referring to were brought to life in the unprecedented partnership of the Chamber Music Northwest and Northwest Dance Project in their production of “Summer Splendors.”
The performance began with cellist Peter Wiley and pianist Yekwon Sunwoo performing the “Largo from Cello Sonata in G Minor” and the “Introduction and Polonaise Brillante in C Major.” The unadorned, minimalistic melodic lines of the “Largo” set the stage, quite literally, for the style of the first set of preludes, choreographed by Lucas Crandall. The much more embellished “Introduction and Polonaise Brillante,” in which Wiley and Sunwoo took turns exhibiting an impressive range and balance of emotion and virtuosity, introduced a theme of artistic excellence that continued throughout the evening.
Following the introduction by Wiley and Sunwoo (and a quick costume change by Sunwoo as he returned to the stage) was the main event: 24 preludes. Just as Chopin played the preludes in sets, as they were considered too short to be stand alone pieces, the 24 preludes were divided into four groupings of six with Lucas Randall choreographing one through six; Sarah Slipper, the founder of the company, choreographing seven through 13; Tracey Durbin choreographing 14 through 18 and Rachel Erdos choreographing 19 through 24.
The different groupings demonstrated the sheer athleticism and talent of both Sunwoo and the dancers. Sunwoo’s accompaniment, with his incredible stamina and fingers that flew over the keys in confident precision, was an artform in and of itself. The dancers’ contortionist-like physical feats resulted in audible gasps from the audience members; myself included.
Interspersed throughout the performance were unexpected, playful elements including the use of spoken word by the dancers, interaction between one of the dancers and Sunwoo to the extent that Sunwoo had to physically remove her from the piano bench and a sequence featuring the synchronized creation of paper airplanes by the dancers.
Another of Chopin’s contemporaries, Robert Schumann, once criticized the preludes saying, “I would term the preludes strange. They are sketches, beginnings of etudes, or, so to speak, ruins – individual eagle wings of all disorder and wild confusions.” The Northwest Dance Project and Chamber Music Northwest took these “sketches” and “ruins” and transformed them into an exhilarating evening of stellar musicianship and dance.