Johann Sebastian Bach & the Dance of Heaven & Earth

Bach & the Dance of Heaven & Earth
This book was initially designed as a brochure to accompany the workshops, demonstrations and performances of Prof. Paul ROBERTSON’S project exploring BACH’s music for solo violin. It dose not necessarily represent the results and views of the entire project, but aims to present a chosen viewpoint. To help explore the D-minor Partita, he invited Maren Stott to join the team with eurythmy, a contemporary art of movement. The experience has been mutually enriching for their performing arts. It has also opened up a deeper appreciation of what the universal, creative phenomenon music meant for Bach himself, and can be today. Only a universal genius could embrace the whole of life and express it entire.
Some poets, drawing on ancient teachings, sing of a “hidden song sleeping in everything” (Eichendorff). But to give it utterance, this singing-speaking—they were originally undivided—has to be recognised. The mythical singer Orpheus is able to control nature, being himself composed of harmonious, cosmic music; his music tamed wild animals, who then lay at his feet. The Cabbala relates how God created the human form and the world through uttering the sounds of the entire alphabet.
When we hear something we are moved by it. The inner movement, emotion, accompanies all our listening. Eurythmy (‘beautiful, harmonious movement’) makes this movement visible. The eurythmist him/herself is the instrument showing the audience the creative forces behind and in speech and music.
BACH studied the sacred traditions. Like all the musicians of his age he experienced the forms of dance of his day; his whole music dances. Even the Chaconne is a dance form in 3/4 time. In the related Passacaglia it is even expressed in the name: pasar una calle means “walking down the street” and relates to the processions of street music in early Spain. One day, Bach must have imagined, interpreters would recognise his music reflects the eternal dance of creation. Bach offered all his compositions to his Creator. Already in the title of the Orgelbüchleins of 1717 he writes: “Dem Höchsten Gott allein zu Ehren, dem Nechsten, draus sich zu belehren – To the honour of the highest God and for the edification of man.”
Bach and eurythmy greet each other, for their spiritual sources are shared. Eurythmy is the new art of our time that unites the essence of the existing arts—architectural proportions, sculptural form, colour, the word, and music. Through the eurythmical laws of movement and gesture, the eurythmist seeks to reveal something of the source of inspiration of poet and musician.