Assessment: La Jolla Music Society’s tap-meets-classical music live performance successful with the viewers

For over a century, choreographers have taken live performance music and added dance, in ballets resembling “The Spirit of the Rose” or “Les Sylphides.” Visible motion complemented pre-existing music.

Genres the place dancers make music with their ft are extra intrusive propositions, imposing an additional musical layer over the composer’s authentic intent.

However, it has been efficiently finished with flamenco. In 1983, María Pagés added it to Bizet in Carlos Saura’s movie “Carmen,” and three years later, the 2 reconceived Falla’s “El Amor Brujo” as a flamenco ballet.

Faucet dance and classical music collaborations haven’t loved such excessive visibility, however which will very nicely change with pianist Conrad Tao and faucet dancer Caleb Teicher.Within the duo’s sold-out Friday efficiency in Baker-Baum Live performance Corridor in La Jolla, Bach, Brahms and Mozart had been embellished with time steps, shuffles and turns.

The present, titled “Counterpoint,” started with Tao softly and soulfully sounding the aria from Bach’s “Goldberg Variations.” Teicher sat beside an 8-by-8-foot wooden platform. I questioned how faucet dance might probably be added to Bach’s elegant melody with out ruining it.

About midway by the primary a part of the aria, Teicher stepped onto the platform and silently spun. He turned on one shoe like an ice skater, dragged his ft to create tender unbroken sounds, and as Tao ended the primary part, Teicher quietly tapped out the closing notes of the phrase with Tao. Teicher gently accompanied the remainder of the aria with spins, drags and punctiliously chosen tapping that revered Bach.

An analogous strategy was later taken with Brahms’ Intermezzo in E main, Op. 116, No. 4.

A extra typical pairing of jazz and faucet occurred in a finger-busting efficiency of Artwork Tatum’s conception of “Cherokee,” enhanced by Teicher’s time step combos. Elsewhere Tao improvised a jazz-like tonal piece with free-style footwork from Teicher.

An excerpt from Tao and Teicher’s prolonged dance work “Extra Without end” allowed us to see Teicher’s choreography, ably executed by him.

Might faucet have complemented Tao’s beautiful, detailed renditions of Schoenberg’s Waltz from his 5 Piano Items, Op. 23 or the Minuet from Ravel’s “Sonatine”? Maybe, however these moments got solely to Tao.

Teicher had solo spots. He carried out Brenda Bufalino’s model of Cole and Atkin’s Comfortable Shoe with out the unique music, a slowly swinging rendition of “Taking a Likelihood on Love.” He demonstrated that there was ample music within the trendy choreography alone.

In a program spotlight, Teicher tapped out Mozart’s “Turkish Rondo” with no extra accompaniment than his occasional good-natured scat singing. For the ending, he danced out the rhythms of this well-known work, permitting the viewers to produce the music in their very own heads.

The viewers favourite was Tao’s virtuosic association and efficiency of Gershwin’s “Rhapsody in Blue,” enhanced by Teicher’s blissful merger of jazz and Broadway faucet kinds.

All through, Tao was a musical grasp of many alternative kinds. His cool confidence was foil to Teicher, whose demure stage persona erupted into exuberant dancing.

Lately, La Jolla Music Society has broadened the number of music it presents. This live performance, the primary in its ProtoStar Progressive Collection, was successful with the viewers, and maybe factors the best way to extra inclusive occasions that usher in individuals who won’t in any other case attend a classical recital.

Hertzog is a contract author.

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