„BACH AL COMPÁS“

It is no coincidence that the creative artists Bettina Castaño and Thomas Demenga are bringing a new programme to the stage. At the 'Cello: Factory' (2003 Lucerne Festival), both artists showed their joy in delighting the audience's eyes and ears with their amazing expertise. Don't let this delicious musical/ dance treat 'Rhythm to Bach' pass without experiencing it.

 (2 artists, 1 technician, subject to change)

The six suites for Johann Sebastian Bach's violoncello solo were created at around 1720 in Köthen. However there is much speculation about the exact details, which cannot be clarified because the autograph has been lost. One thing that is certain, is that they were intended to form the second part of the violin suites and partitas (BWV 1001 – 1006), as on the title page of the autograph 'suites for violins solo' the words 'libro primo' (first book) are written. Whether the violin cello suites were indeed composed for the violin, has been doubtedas a result of the formal and musical layout. The suites for violoncello solo were probably printed for the first time in 1824 by the Parisian publisher 'Janet et Cotelle'.

Who Bach composed these suites for remains undiscovered. Perhaps Bach composed them at the suggestion of Christian Ferdinand Abel (1682 – 1761), who played as violoncellist and gambist in the Köthen chapel, and who took the position of 'premier musicus' under Bach.

How did it come to be then, that a great cellist interprets pieces of the Bach suites with a virtuoso, expressive flamenco dancer?

The reason is, that Bettina Castaño played cello herself during her youth, and has remained loyal to the instrument to this day. But flamenco dance is her passion. The cello is included in her flamenco performances as an important element. She plays the opening music to some dances herself – she sees the cello as her 'partner'. She also gets her 'classical' experience from the Basel symphony orchestra, where she dances 8 coreographies to the music of Manuel de Falla „El Amor Brujo" and „Zarzuelas" with the conductor Miguel Roa.

In 2002 she was asked to perform at the ' Davos International Music Festival'. Thomas Demenga was the artistic director at the time (www.thomasdemenga.ch). He quickly recognised firstly, the dance as being creative, virtuoso and full of temperament, and secondly, the world class standard and inprovisational ability of La Castaño. She was immediately struck by his cello playing and was able to develop the most beutiful choreographies. As a result of this, a great freindship between two artists began – a relationship with 'results'. Bettina Castaño arrived at Davos the first time with her flamenco group. However, the second time Castaño and Demenga had created the programme 'cello:factory'. In this prgramme, 4 celloists play brahms, Bach, tango argentino, charleston, slow fox, and bulerias. Bettina Castaño danced to this music with a lot of variety – correspondingly to the character and type of music.

Now, both of the artists reveal something new: Out of the 6 Bach suites, different themes are played and danced. Particularly the Bach suites are a huge challenge for all the celloinsts and for the dancer. These suites are grandious, full of soul and require particular people to interpret them. For example, for the third suite (BWV 1009) the choreographer Mark Morris was asked to develop a ballet choreography. As a result of the unbelievable abundance of movement, La Castaño has succeeded in creating a completely different style of flamenco dance.

The cello expert Thomas Demenga and Bettina Castaño (flamenco dancer) give an extraordianary performance with great expressionistic flair.