Solos Bach & Gould (2010)

The dance in Solo on Bach & Glenn is based on a written score, a series of instructions for the dancer created in close relationship with the soundtrack (Glenn Gould’s explanations about his way of playing and his recorded Goldberg Variations).

In 2009 the score used for Solo on Bach & Glenn (2008) by Albert Quesada was rewritten and passed on to 2 other dancers. They learned the movement score, created their own interpretation and performed it with the soundtrack over a period of 2 weeks in Brussels.

After three months of practice (each on their own), they gathered for a month, and composed a piece having both new interpretations of the score as a starting point.

The duet Solos Bach & Gould offers two different views on a written score with the sound of Mr. Glenn Gould talking and playing.

Choreography:  Albert Quesada
Adaptation and created with:  Federica Porello, Mireia de Querol & Petra Söör
Performed by two of the above metioned dancers.
Music:  Outtakes of a recording from Glenn Gould’s Goldberg Variations from J. S. Bach, 1955.Interview to Glenn Gould about his recording on 1981 of J. S. Bach’s Goldberg Variations.
Sound and Video Editing:  Albert Quesada

BHUM3web-1297305 BHUM3web-1297317 BHUM3web-1297322 BHUM3web-1297328 Solo on Bach & Glenn



– Escena de la memoria (catalan)

– Resolution! 2010, Robin Howard Dance Theater, 19th of February 2010

“…subtly spellbinding.”
 Keith Watson, dance critic of Metro, London

“Albert Quesada’s Solo on Bach and Glenn, is as simple as the title suggests; one man on stage and his reaction to two great masters. If the anatomy of Gould and his piano could be divided and splayed across the space, Quesada sequentially embodies different parts in action. Although it might be conjecture that Glenn Gould experienced the phenomenon of Synesthesia, Quesada’s Solo seems to incorporate this unorthodox computation of sensation; metaphorically he dances the piano’s hammers, its sounds, Gould’s thoughts, his fingers, his feet, the emotional responses to the interviewer’s questions and the silence.  Later Quesada speaks the words of Gould, then speaks the music. Imbibed with humour, this bold, subversive study demonstrates Quesada’s strength as an artist”.
Zoe Cobb, reviewer for Resolution! 2010


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