Dramaturgy of the dialogue between dance and music in the choreography Véspera: a choreomusical analysis

ABSTRACT

Dramaturgy of the dialogue between dance and music in the choreography Véspera: a choreomusical analysis – With grounding in Mikhail Bakhtin’s dialogism and choreomusicology, this article addresses relationships between dance and music as a way of constructing meanings and, therefore, of dramaturgical elaboration. Choreomusicology is presented as a field of study specialized in dance and music, advocating for a gathering of related studies under this rubric. It is conducted a choreomusical analysis of the choreography Véspera (2023) by choreographer Christian Casarin for the Companhia Ballet Paraisópolis, demonstrating how dramaturgy can be evoked through the dialogue between the spatiotemporal forms of dance and music.

Keywords:
Choreomusicology; Dialogism; Space-time; Meaning of dance; Sound and meaning

RESUMO

Dramaturgia do diálogo entre dança e música na coreografia Véspera: uma análise coreomusical – Com fundamentação no dialogismo de Mikhail Bakhtin e na coreomusicologia, este artigo aborda relações entre dança e música como vias de construção de sentidos e, portanto, de elaboração dramatúrgica. Apresenta-se a coreomusicologia como campo de estudos especializado em dança e música, e defende-se uma reunião de estudos correlatos em torno dessa rubrica. É realizada uma análise coreomusical da coreografia Véspera (2023), do coreógrafo Christian Casarin, para a Cia. Ballet Paraisópolis, demonstrando como uma dramaturgia pode ser evocada pelo diálogo entre as formas espaço-temporais da dança e da música.

Palavras-chave:
Coreomusicologia; Dialogismo; Espaço-tempo; Significado da dança; Som e sentido

RESUMÉ

Dramaturgie du dialogue entre la danse et la musique dans la chorégraphie Véspera: une analyse choréomusicale – Cet article, fondé sur le dialogisme de Mikhail Bakhtin et la choréomusicologie, explore les interactions entre la danse et la musique comme moyens de construction des significations et d'élaboration dramaturgique. La choréomusicologie est présentée comme un domaine d'étude spécialisé qui regroupe la danse et la musique, en plaidant pour une intégration plus cohérente de ces disciplines connexes.. L’analyse choréomusicale de la chorégraphie Véspera (2023) du chorégraphe Christian Casarin pour le Companhia Ballet Paraisópolis illlustre comment la dramaturgie peut émerger du dialogue entre les formes spatiotemporelles de la danse et de la musique.

Mots-clés:
Choréomusicologie; Dialogisme; Espace-temps; Sens de la danse; Son et sens

This is a study about the relations between dance, music and dramaturgy from a choreomusical and dialogical point of view. While carrying out research on dance in music departments, I noticed the scarcity of academic discussion on sound issues specific to dance and especially on the role of sound in choreographic elaborations of meaning. There is a literature of sound studies in the areas of Theater and Cinema, and although they are areas related – see the widespread Tanztheater by Pina Bausch or the current trends in video dance –dance has its own diversity of relationships with sound, which can even diverge from theatrical and cinematographic sound issues. This justifies the need for a field of study that deals with the specificity of the contacts between dance and music – choreomusicology – and its own modes of dramaturgical dialogues.

Whether with or without the direct involvement of a dramaturg, it is a fact that sound choices are often relevant to dance dramaturgy. According to Paulo Caldas and Ernesto Gadelha (2016), in Dança e Dramaturgia(s), dramaturgical work addresses “different states of meaning, which concern direction as well as signification and sensation”, dealing with “a sense as close to knowing as it is to feeling” (Caldas; Gadelha, 2016, p. 215). Still little reported academically, but no less relevant, the dialog between musical and choreographic temporalities is shown to be one of the dramaturgical sources of this sense that is as close to knowing as it is to feeling. With a theoreticalmethodological basis in choreomusicology and Mikhail Bakhtin’s dialogism, a dramaturgical dialog of temporalities will be demonstrated in the choreomusical analysis of Véspera, a choreography from 2023, a neoclassical ballet by resident choreographer Christian Casarin for the Cia. Ballet Paraisópolis.

Sound or music?

In the literature on dance composition, it is possible to find both sound and music as possible stimuli for movement. In Dance Composition, Jacqueline Smith-Autard (2000) briefly makes a distinction between musical stimuli and sound stimuli (Smith-Autard, 2000, p. 20-21). In this author’s approach, sound stimuli are little different from musical stimuli, since the sounds of percussion instruments and songs are presented as purely sonic.

This need to distinguish between sound and music leads to conflicts faced by music historiography itself. In O som e o sentido: uma outra história das músicas, José Miguel Wisnik (1989) exposes the difficulty historians had in the first half of the 20^th century in finding a sense of continuity between the history of so-called Western music – which involves tonalism from Bach to Mahler – and avant-garde musical creations – mainly concrete, electronic and minimalist music, but also jazz and all popular music, which explored noise, the synthesizer, the pulse and mass media (Wisnik, 1989, p. 10-11). Faced with this rupture, one can see that it is the very dividing line between music as alleged complexity and sound as simplistic emptiness – or sound and noise, in Wisnik’s words – that is in dispute.

Aware of the issue, in Música de cena: Dramaturgia sonora, composer Livio Tragtenberg (1999, p. 134) argues that “the new technological means of sound generation and processing enable the creation of unprecedented and non-mimetic sounds and sound environments, which makes the musical sound/noise dichotomy obsolete”.

Considering this, this article proposes a two-pronged approach. Firstly, to assume sound and music as synonyms for the same intrinsic aspect of the art of dance, since there is no consensus on nomenclature that can clearly distinguish them, and this is already a recurring generalization in choreomusicology studies. Secondly, to consider all artistically significant sound as music, in accordance with both contemporary compositional approaches and the Bakhtinian premise that any aesthetic choice is the result of a dialogical intention.

About choreomusicology

Choreomusicology is a relatively recent field of study. The term was first coined by Paul Hodgins in 1991, but its legitimization as a field of research came from the work of researchers Inger Damsholt (1999) and Stephanie Jordan (2000). It is an area that presents a high heterogeneity of methodological approaches, but which sustains, among its different perspectives, the specialization in the study of the relations between dance and music. In the introduction to the book-collection of choreomusical studies, MusicDance: Sound and Motion in Contemporary Discourse, Patrizia Velori and Gianfranco Vinay (2018, p. 2) approach music-dance as a construct and emphasize the inseparability of sound and movement in dance performance and its reception:

Dance and music, when woven into a performance, cannot be considered as just arts and disciplines. They are also practices and events and as such can never be interpreted as works closed in themselves because they are open to a plurality of meanings and act on the viewer’s subjectivity.

Although the contact between dance and music is one of the sources of meaning in an artistic creation, in her thesis Choreomusical discourse: the relationship between dance and music, Inger Damsholt (1999, p. 125) points out that dance analyses in the 1990s tended towards formalism, as they only recognized relationships of correspondence or opposition between sound and movement. The author argues that the relationships of meaning between dance and music should be taken into consideration when interpreting dance works, as they have a relevance that cannot be ignored. Damsholt emphasizes, however, that analyzing the relations between dance and music may not always be relevant to all dance works, as different works and genres might place greater emphasis on relationships between other artistic elements, such as lighting, costumes, scenography, and multimedia.

Researchers often reflect on the reasons that may have delayed the development of choreomusicology as a field of research. The intense divergences between musical notation, dance notation and the very idea of choreography are pointed out as one of the possible causes of this delay. Such notation systems are not always based on common parameters – such as corresponding time indications between musical and choreographic compositions – and their static character deprives sound and movement of the physical dimension, since “the multisensory pulsation of the body gets extinguished in the [written] sign” (Velori; Vinay, 2018, p. 4).

In the introduction to the double volume on choreomusicology in the journal the world of music (new series), Kendra Stepputat and Elina Seye (2020) argue that the lack of common terminology and methodology between dance and music stems from the Cartesian dichotomy between mind and body that guided the development of Euro-American academia and, consequently, the dissociation between the disciplines of dance and music. This also resulted in a higher level of school and university institutionalization of music in relation to dance, since the former has a more pretentiously cerebral character than the latter.

These impasses, however, have not prevented researchers from various fields from investigating issues related to sound and movement. Several substantially choreomusical studies have been developed on the Latin American, African and Asian continents¹. These studies have contributed to the development of less Eurocentric research, since the unification or inseparability between music and dance is a common characteristic of many traditional cultures (Akombo, 2008; Sodré, 1998).

Since the early 1990s, various studies on sound and movement have been produced in the fields of anthropology, music psychology and cognitive sciences, addressing topics such as musical gesture, corporeality in music and embodied musical cognition (Stepputat; Seye, 2020). It is argued that, although the term choreomusicology is not found in works of this type, the fundamental idea – to study sound and movement and their interrelations – is basically the same. Thus, the authors present the benefits of bringing together research that has already been carried out on these themes, consolidating the knowledge that has already been gathered and making it possible to advance choreomusical studies:

Choreomusicology as presented here is definitely not a homogenous research field with one lineage of methodologies, approaches, and even terminology. Still, we see choreomusicology as a fitting umbrella term for the multifaceted theoretical and practical approaches in music-dance or soundmovement research. If we argue for the use of the term choreomusicology, we do this not to promote a new academic discipline, but for pragmatic reasons: to give the scattered research approaches a common term to use in order to connect with other researchers and be aware of related research in music-dance (Stepputat; Seye, 2020, p. 18, emphasis added).

In Brazil, for example, it is possible to find studies that fit notably into the choreomusical field: in the research on music and dance by Jorge Luiz Schroeder (2000; 2012), and in relations between dance and music from the perspective of embodied musical cognition, in the work of Andréia Nhur (Camargo, 2023; Nhur, 2020). In a previous bibliographic review, it was found that, even without being affiliated with the field of choreomusicology, ten national studies on music and dance – or sound and movement – had choreomusical points in common, such as the autobiographical perspective, defenses of the autonomy of dance in relation to music and the emphasis on dialogue between arts or between artists (Ribeiro, 2020). The issue of dialogue between arts, specifically, was a ubiquitous element in the studies analyzed in this literature review, whether as a simple metaphor or as a concrete description of the relationship between music and dance. Based on this, we sought to make dialog more than just a force of expression, but a methodological approach.

Relevance of dialogism for dance and music studies

These shared issues, emerging from apparently distant studies, indicate that they belong to the same sphere of discursive communication. In this sphere, dialogues take place on a broader level than might appear at first glance. This is how philosopher Mikhail Bakhtin (2016, p. 62) describes the constitution of language in Os gêneros do discurso, a book in which he sets out the fundamental notions of his dialogical thought. In it, the author argues that every utterance is a “[...] link in the chain of discursive communication and cannot be separated from the preceding links that determine it from both outside and inside, generating in it direct responsive attitudes and dialogic resonances”.

Several characteristics of Bakhtinian dialogism contribute to its applicability in the choreomusical field. The first of these, explained above, is to reveal the dialogical resonances that run through different works on sound and movement. A second characteristic is found in the “relatively stable types of utterances” that determine two types of discourse genres: primary (or simple) genres and secondary (or complex) genres (Bakhtin, 2016, p. 12). Primary genres are made up of everyday utterances, such as the replies to a conversation between two people, which for the author represent the most basic and essential form of dialog. Secondary (or complex) genres “arise in the conditions of a more complex and relatively highly developed and organized cultural interaction (predominantly written) – artistic, scientific, socio-political, etc.” (Bakhtin, 2016, p. 15).

This division between genres makes it possible to observe choreomusical dialogues at various levels and in various forms: primary genres are manifested in the direct and verbal collaboration between music and dance artists, and secondary genres are manifested in the dramaturgical dialog that takes place between the various elements of a dance piece, or even in the scientific dialog that takes place between academic works of a choreomusical nature. This means that dialogical research is not guided by a subjectobject relationship, but by horizontal and bilateral communication, since “behind the text there is always a subject, a worldview, a universe of values with which one interacts” (Faraco, 2009, p. 43).

The distinction between primary and secondary genres is also relevant to choreomusical studies, as these two spheres operate via different codes: while in the former, communication between artists takes place via speech, in the latter, communication takes place either via writing – in the case of academic texts – or via forms of time and space created by dance, music, lighting, costumes, multimedia, etc. – in the case of artistic productions. It is in the field of dialog via time and space that Bakhtin provides yet another tool: the chronotope.

Presented in Teoria do romance II: as formas do tempo e do cronotopo the chronotope is initially defined by Bakhtin (2018, p. 11) as “the essential interconnection of the relations between space and time as they have been artistically assimilated in literature”. Although it is a term derived from biology and Einstein’s theory of relativity, the chronotope should not be understood scientifically but “almost as a metaphor” that expresses “the inseparability of space and time” and as “a category of content-form of literature” (Bakhtin, 2018, p. 11). Beyond literature, the chronotope is conceptualized as a broad epistemological category, because, despite being initially applied to literature in 1934, Bakhtin expands it to metaphysics in the chapter Observações finais of Teoria do Romance II, in 1973. This 1973 expansion allows the chronotope to be defined in various dimensions, without any of them completely exhausting or demonstrating the scope of this idea.

In the artistic-literary chronotope, there is a fusion of the signs of space and time into an apprehended and concrete whole. Here, time thickens and takes on corporeality, becoming artistically visible; space intensifies, incorporating itself into the movement of time, the plot and the story. The signs of time are revealed in space and space is apprehended and measured by time. This crossing of series and fusion of signs characterizes the artistic chronotope (Bakhtin, 2018, p. 12).

What matters to us, then, is this: whatever these senses are, in order for them to be part of our experience (and, beyond it, social experience), they must be given some spatiotemporal expression, in other words, a symbolic form that we can hear and see (a hieroglyph, a mathematical formula, a linguistic-verbal expression, a drawing, etc.). Even the most abstract thought is impossible without this spatiotemporal expression. Consequently, any entry into the field of the senses can only take place through the door of the chronotopes (Bakhtin, 2018, p. 236).

Beyond literature, one of the possible expansions of the chronotope is its application in the analysis of the various forms of time and space that are presented in the arts of music and dance, since it is in the crossing and interpenetration of spatiotemporal forms that, in Bakhtinian thought, meaning is constructed².

Time and space are two fundamental categories for dramaturgical studies. In A análise dos espetáculos, Patrice Pavis (2003) outlines a methodology for dramaturgical analysis that serves mainly theater, but is intended to be expandable to dance, dance-theater, cinema and mime. The author understands time, space and bodily unity as an interdependent trinomial that “constitutes a concrete world and a possible world in which all the visual, sound and textual elements of the scene are mixed” (Pavis, 2003, p. 139). Describing the alliance between these three elements, Pavis turns to the Bakhtinian chronotope and develops a filmic analysis. The application of Bakhtin’s chronotope to the multidisciplinary art of dance, on the other hand, was not developed by the author, but proves to be a relevant task for the analysis of choreomusical and dramaturgical issues typical of the contact between sound and movement.

Understanding the spatiotemporal elements peculiar to the arts of dance and music can be an obstacle to the accessibility of this analysis format, since dance artists do not always have technical training in music and vice versa. This problem is also frequently pointed out in choreomusicology (McMains; Thomas, 2013; Stepputat; Seye, 2020; Smith, 2005).

This issue will be taken into consideration in the subsequent choreomusical and dialogical analysis of Véspera. The musical aspects of the analysis will be developed according to the proposal of musicologist Phillip Tagg (2011), in Análise musical para 'não-musos': a percepção popular como base para a compreensão de estruturas e significados musicais. This author criticizes the predominance of poïetic competence in the field of music education and analysis – focusing on “creation, conception, production, composition, arrangement, performance, etc.” and argues for the need to “find alternative means of identifying and denoting musical structures from an aesthesic starting point” (Tagg, 2011, p. 9-10). Aesthesic skills involve “[...] remembering, recognizing, distinguishing musical sounds, as well as their culturally specific connotations and functions” (Tagg, 2011, p. 9), skills that are the basis of most dance artists’ musical knowledge.

This form of analysis is also part of the methodological approach used in my practice of music education to students and professional dancers at Ballet Paraisópolis. It is a journey in which direct dialogues with the dancers performing the piece, during classes in Musical Language for Dance, which began at the institution in January 2024, led to a month of observing rehearsals at the headquarters of Cia. Ballet Paraisópolis, a semi-structured interview with choreographer Christian Casarin and analysis of the premiere recording of Véspera. The meeting of all these voices resulted both in the following choreomusical analysis and in pedagogical material that developed, in the dancers, musical listening favorable to choreographic interpretation.

About Véspera

Companhia Ballet Paraisópolis (Cia. BP) was founded in 2022, from the first class of 17 dancers graduating from Ballet Paraisópolis, with the aim of making the professional scene viable for the institution’s students. Ballet Paraisópolis is a sociocultural project founded in 2012 by dancer and director Monica Tarragó, which provides nine years of completely free dance training, offering classes in classical ballet, contemporary dance, Pilates, dance history and musical language for dance. Students also have access to physiotherapeutic and nutritional care and expand their professional horizons with English classes and university scholarships. In the city and state of São Paulo in its first year, Cia. BP presented Paquita II ato (2022) staged by Weverton Aguiar, Bando (2022) and Véspera (2023), by Christian Casarin, making up the company’s classical, neoclassical and contemporary repertoire.

Christian Casarin is a dancer, teacher and choreographer. He has been with Ballet Paraisópolis since 2018, where he made his debut as a choreographer with LAC. Between 2019 and 2021 he was awarded, at the Joinville Dance Festival, with the works Tão Próximo and Ilê de Luz, also for Ballet Paraisópolis, in the junior contemporary solo category. In July 2022, Casarin created Bando, the first choreographic work made especially for the launch of the Cia. BP. From 2023, he took over as assistant director and became resident choreographer at Cia. BP, when he composed Véspera.

Véspera is a neoclassical ballet danced by 15 members of Cia. BP, 12 of whom are women and three men. Its premiere took place from April 20 to 23, 2023, at the Centro Cultural São Paulo (CCSP), Sala Jardel Filho. It lasts 15 minutes and is danced by the dancers in pointe shoes, appropriating the already traditional movement vocabulary established by the founder of neoclassical ballet, George Balanchine (1904-1983), and continued today by choreographers such as David Dawson and William Forsythe. This vocabulary is made up of expansions and distillations of the techniques and traditions of classical ballet, such as displacements of the body axis, twists in the alignment between shoulder and hip, emphasis on accentuation, acceleration of movements, intensification of the relationship with the music, minimalist costumes and sets, and abstract narratives. Unlike the physical homogeneity typical of European or North American ballet companies, Cia. BP is distinguished by the diversity heights, physical types and racial origins of its members, artistically reflecting the socio-economic diversity that is rooted in the geographical location of this social project.

Figure 1
Full cast of Cia. Ballet Paraisópolis in Véspera (2023). CCSP, São Paulo, Brazil.

Véspera’s music is a selection of four excerpts from Recomposed by Max Richter: Vivaldi – The Four Seasons (2012). This is a contemporary musical reinterpretation with traces of minimalism by the American Max Richter, who seeks to maintain familiarity with the original composition The Four Seasons (1723), by the Italian baroque composer Antonio Vivaldi (1678-1741). At a time when instrumental music was asserting itself over vocal music, Vivaldi consolidated the form of composing concertos for solo violin, four of which stood out 1723: Spring (RV 269), Summer (RV 315), Autumn (RV 293) and Winter (RV 297). In his reinterpretation of The Four Seasons, Max Richter kept the structure of four concertos in three movements⁴. Choreographer Christian Casarin selected, in turn, four excerpts from Richter’s concertos – Spring 1, Winter 2, Summer 2 and Summer 3⁵. In Spring 1 is the first moment of the choreography, which alternates between choreographic ensembles, duos and quartets. The songs Winter 2 and Summer 2 make up the second choreographic moment, with solos and trios. In the song Summer 3, the emphasis is once again on the choreographic ensemble.

According to Christian Casarin, the dramaturgical conception of Véspera was inspired by the star Vesper and the feeling of anticipation, of something about to happen. Casarin said that this theme relates to the very situation of the Cia. BP dancers during the creative process, as they were experiencing the eve of their transition from students to professionals, a time of high expectations and anticipation for what is to come. The choice of Max Richter’s music helped to reinforce the dramaturgy, as it imbued Vivaldi’s baroque music with an air of youth, establishing a dialogue between tradition and sound experimentation that also characterizes the Cia. BP’s neoclassical ballet vocabulary.

Choreomusical analysis of Véspera: First moment

In an interview, Casarin said that during the choreographic creation process for Véspera, he felt “hellised by the composer”, since “there was no point in going where the music didn’t ask to”. This perception demonstrates a dialog between an ongoing choreographic composition and a dramaturgy intrinsic to the musical composition.

In O processo dramatúrgico, dance and theater dramaturg Marianne van Kerkhoven (1997) states that “dramaturgy is found everywhere”, whether it is in putting on a play, creating a choreography or composing a concert. The author relates dramaturgy to structures: it is about ‘controlling’ the whole, ‘weighing’ the importance of the parts, working out tension between the parts and the whole, establishing relationships between actors/dancers or contrasts between musical themes (Kerkhoven, 1997). Now, if there are dramaturgies everywhere, it is to be expected that these different dramaturgies will meet and establish dialogues that can be peaceful, concordant, conflicting and even imposing – as in the case reported by Casarin.

Kerkhoven’s definition of dramaturgy is less sensorial and more structural, and therefore favors the visualization of dramaturgies in the contexts of abstraction typical of contemporary choreographic and musical aesthetics. It would be incorrect, however, to establish a dichotomy between structure and sensoriality in dramaturgy. The dialog between Vivaldi’s original composition, Richter’s recomposition and Casarin’s choreography shows that, even through the pure agency of Richter’s musical parameters, it was possible to choreographically evoke sensory aspects that communicate with Vivaldi’s understanding of art and nature.

From the 17^th century onwards, the rise of Baroque instrumental music gave rise to a historic clash between pure music and descriptive music. In pure music, it is proposed that musical expressiveness should be led and suggested by sound and nothing else but sound, which is primarily responsible for the emotional charge of music. In Música: entre o audível e o visível, Caznok (2008, p. 90) explains that the composition of descriptive music is based on

[...] the idea of imitating sounds or noises from the everyday world or from nature. Even though it is a conventional imitation, its sound appearance preserves the main characteristics of the imitated phenomenon so that the references are recognized and the original source can be identified.

In the article Il Cimento Dell’Armonia e dell’Inventione: The Four Seasons de Antonio Vivaldi, Paulo Roberto Peloso Augusto (2015) explains that, in this period, pure music was strongly Italian, while descriptive music was more practiced among the French. The composition of The Four Seasons would indicate, according to Augusto (2015), an influence of French music on Vivaldi, because even though composed within the conception of pure music, these four concertos present not only the titles of the seasons but also descriptions of natural and social phenomena of country life. These descriptions are presented in the musical score itself, in the form of four sonnets, corresponding to the four seasons, whose authorship is uncertain, and it is not known whether they were written before or after Vivaldi’s musical composition. The fact is that these sonnets set out to describe in a literal and verbal way what, in music, happens only through sound, with the intention of “inspiring performers and listeners to conceive a sound image” (Augusto, 2015, p. 33). Here is an excerpt from the Spring sonnet, corresponding to the first movement:

Spring has come and it is festive (Giunt’ è la primavera e festosetti)

The birds greet her with joyful song; (La salutan gl’augei con lieto canto;) And the fountains as the breezes breathe (E i fonti allo spirar de’ zeffiretti) They run in a sweet murmur (Con dolce mormorio scorrono intanto)

They come covering the air with a black cloak, (Vengon’ coprendo l’aer di nero amanto,)

lightning and thunder announcing the storm. (E lampi e tuoni ad annuntiarla eletti.)

But as soon as they fall silent, the little birds (Indi tacendo questi, gl’augelletti)

They resume their songful charm (Toman’ di nuovo al lor canoro incanto)

(Augusto, 2015, p. 35-36)⁶.

Kerkhoven’s concept of generalizing dramaturgy allows Baroque musical descriptivism to be understood as a form of dramaturgy intrinsic to musical structure. Max Richter did not take the sonnets into account in his composition, since the pure music approach had more prestige among composers from the 19^th century onwards. Casarin, when choreographing, was also unaware of the four sonnets. However, even though it purports to be abstract, Richter’s recomposition still carries and conveys Vivaldi’s descriptive heritage, which manifests itself in the possible dialogues between Casarin’s choreographic choices and the dynamic and affective attributes suggested by the sonnets.

From Vivaldi’s original music, Richter isolated the melody of the sonnet’s second verse in Spring 1⁷ (The birds greet her with joyful song), presenting it repeatedly in a divisi⁸ of eight violins plus a solo violin, as if there were nine simultaneous soloists in lag. This recomposition suggests a canon in progressive increase of density, but it is closer to the cumulative procedures of minimalist composers, and contrasts with a low, continuous phrase sustained by violas, cellos, double basses and harp.

Something of a bird could survive in the temporality of the melody used by Richter because, for Casarin, it suggested a sensation of ascending impulses, lightness, agility and multiple foci of energy, which for the choreographer is compatible with the young and energetic bodies of the Cia. BP dancers. In this indirect dialogue between sonnet and dance, mediated by music, Casarin chose to prioritize leaps and musical accents in the ascending points of the movement. The choreography also dialogues with the music on a structural level, giving more linearity and spatiality to the suggestion of canon presented in the violins, and puts on stage a diversity of real dancers’ canons in the choreographic ensemble. The structuring and musical descriptivism therefore help to translate into technical terms what the music asked of Casarin’s choreography.

Second moment: solo and trio

After an abrupt ending in suspension in the previous song, the stage empties, giving way to just one soloist. The music, in parallel, features only a solo violin with the original melody from the second movement of Winter⁹. It is in the accompaniment that Richter puts his authorial stamp, repeating a characteristic of the previous section: he replaces Vivaldi’s original pizzicato with a new continuum in long notes, but now without bass, in an almost static chord by fourths¹⁰ and harmonics¹¹ from violins, violas and cellos. About chords by fourths, Vincent Persichetti (2012, p. 80) writes, in Harmonia no século XX: aspectos criativos e prática:

Chords by perfect fourths are ambiguous in that, like all chords built with equidistant intervals (as diminished seventh chords or augmented triads), any member can function as the root. The indifference of this rootless harmony to tonality places the burden of key verification upon the voice with the most active melodic line.

In other words, in Winter 2 Richter’s harmonic choice places even more emphasis on the solo violin, which is the instrument with the most active melodic line in this song. In addition, Richter plays the solo violin in an intense rubato, so that the musical tempo is much more subject to the subjectivity of the soloist than to the musical metrics of the score. These temporal characteristics of the music highlight the soloist and thus invite the choreographer’s gaze to concretize this sound-temporal form of the solo into a choreographic-spatial form.

The solo by a female figure also relates, according to Casarin, to the very tradition of emphasizing the feminine, typical of George Balanchine’s neoclassical ballet. There is also a trace of solitude that connects the central solo of Véspera to the sonnet excerpt that describes the second movement of Winter: the sense of being in a private space, warm and distant from external coexistence: “Spending calm and happy days in front of the fireplace (Passar al fuoco i di quieti e contenti) While the rain outside drenches everyone (Mentre la pioggia fuor bagna ben cento)” (Augusto, 2015, p. 42).

This sonnet excerpt, however, is somewhat at odds with Richter and Casarin, since the music no longer features the pizzicatos that Vivaldi used to represent raindrops, and the dance has less of a sense of calm and happiness than the anticipatory restlessness of Véspera’s dramaturgy. This restlessness is revealed in Casarin’s choice of time, as he choreographed the solo with a slightly greater rhythmic intensity than the slowness that the music initially suggested. When asked about this choice, Casarin said that, at that moment, he felt the need and openness to slightly tear up the relationship between music and dance, as a way of imprinting his authorship.

Figure 2
Solo from the second moment of Véspera (2023). Dancer: Isabela de Souza. CCSP, São Paulo, Brazil.

After the solo, a trio is presented to the sound of Summer 2¹². The accompaniment of this song has similar initial characteristics to the previous one – long notes and harmonics in the violins – making it easy to transition from one song to the next.

Casarin’s choreography uses a new rhythmic element of the violas to underline the entrance of the two dancers on stage, so that the bass timbre corresponds to masculinity. At this point, a bass line also appears on cellos and double basses, traditionally known as the lament bass, characterized by four descending diatonic notes – in this case G, F, E-flat and D – and historically used in musical discourse to express sadness or melancholy (Ross, 2011)¹³. As the solo violin melody emerges, a new dancer finally joins the trio, in the same direct relationship between solo dancer and solo violin as in the previous solo.

Both the choice of movement, in which the female dancer’s lifts and drags by the male dancers predominate, and the choice of music create an atmosphere of introspection and uncertainty similar to that of the solo presented earlier, but because it is a trio, there is no solitude: there is support, guidance, there is a sense of collectivity. Later, this character of shared melancholy also manifests itself in the music, through a contrapuntal dialog between the solo violin and the viola.

We can see that Richter’s recomposition for the trio prioritized minimalism over fidelity to the original. The melody used by the composer does not belong to the second movement of Vivaldi’s Summer: it is a partial melody from the first movement of Autumn¹⁴. Both melodies feature the same elements of sustained notes and large descending melodic leaps, but the melody from Autumn has a shorter melodic motive and is therefore more suitable for being performed repeatedly in a minimalist arrangement – in keeping with the cyclical character of the lament bass. Another common feature of these two melodies is the content of the sonnets that describe them, as both passages refer to moments of sleep and rest:

Autumn, first movement

And of the liquor of Bacchus so many lit (E del liquor di Bacco accesi tanti) They end their fun in sleep (Finiscono col sonno il lor godere.)

Summer, second movement

It deprives tired limbs of their rest (Toglie alle membra lasse il suo riposo) The fear of lightning and violent thunder (Il timore de’lampi, e tuoni fieri,)

And of flies and blowflies the furious flock! (E de mosche e mossoni il stuol furioso!)

(Augusto, 2015, p. 39-40).

Casarin’s choreography, on the other hand, does not deal with sleep, drunkenness, flies or storms. However, the trio’s female dancer has a characteristic passivity that is close to that of sleep, a sleep that is not at all peaceful and whose movement has traces of restlessness and questioning – analogous to the restlessness of a choreographic rhythm that is more intense than the musical rhythm of the previous solo. In other words, even though they are danced to two different songs, there is a choreographic, thematic and musical compatibility between solo and trio that unites them as two parts of the second moment of Véspera.

Figure 3
Trio from the second moment of Véspera (2023). Dancers: Giovana Guimarães (above), Bruno Antunes (left) and David Bem (right). CCSP, São Paulo, Brazil.

Third moment

The last song suddenly begins in fortissimo, with the return of the choreographic ensemble formations typical of the first moment, establishing a relationship of symmetry in the overall structure of the ballet. This is Summer 3¹⁵. Thus, between the two songs of the second moment there was a common sound element that contributed to the transition from one track to the other; between the second and third moments it is the lament bass that fulfills this function. Whereas in the trio of the second moment the bass line appeared in long notes, in the third movement the same melodic line appears in rhythmic unfolding, both in the bass and in the accents of the first tempo of each bar.

One of Richter’s main changes when recomposing the third movement of Summer was the displacement of a rhythmic accent. Within the ternary time signature, Richter chose to put an accent on the first beat and on the upbeat that precedes the third: 1 and 2 and 3 and. The accent on upbeat generates polyrhythm, as it creates a binary metric by dividing the ternary measure into two equal parts by means of the accent: 1 and 2 and 3 and. The polyrhythmic coexistence between ternary and binary contributes to intensifying the musical impulse for choreographic movement¹⁶,¹⁷.

While in the first moment the musical impulse was upward and suggested the movement of leaps, in this fourth moment the music has strongly descending melodies, suggesting weight, as well as presenting an almost uninterrupted flow of different musical events. In recomposing Vivaldi, Richter eliminated several pauses between phrases, planned the accompaniment elements and prolonged the melodic repetitions. These are typical musical procedures of minimalism, which in this case help to emphasize the stormy character that the sonnet describes for the third movement of Summer:

Oh, how true are your fears (Ah, che pur tropo i suoi timor’ son veri)

The sky thunders and blazes, and diluvious (Tuona e fulmina il Ciel, e grandinoso)

cuts off the tops of the spikes and alters the grains (Tronca il capo alle spiche e a’grani alteri) (Augusto, 2015, p. 40).

Based on this weighty music, descending melodies and moto continuo¹⁸, Casarin still uses the jumps from the first movement, but now emphasizes spinning movements, rapid and wide displacements through space and a greater diversity of simultaneous choreographic events on stage. The tempestuous nature of the musical temporality generates a certain disorienting effect, which helps to accentuate the impression of movement built up in the choreographic spatiality. This intense movement, in turn, is a return to the sense of youthfulness and energy characteristic of the first moment, but now with less lightness and more emphasis on demonstrating the technical virtuosity of the Cia. BP’s young dancers.

Casarin’s choice of minimalism is common to several contemporary dance and neoclassical ballet choreographers, from Anne Teresa de Keersmaeker’s work with composers Thierry de Mey and Steve Reich to William Forsythe’s more recent ballets with composers Thom Willems and James Blake, for example. This is due to certain spatiotemporal characteristics that manifest themselves in the dialog between dance and minimalist musicality.

Wisnik (1989, p. 175) interprets minimalist music as presenting “an unconscious nontime; the compulsion to repeat, whose return in ostinato¹⁹ empties time”. It is argued that both minimalist music and 20^th century aleatoric music, by giving up the linearity of tonal music, also give up time, emphasizing the notion of musical spatiality (Kramer as cited in Damsholt, 1999). This is one of the origins of the notions of soundscape and ambient music. The idea of constructing spaces through music – and not tempos – is also described by Max Richter himself in an interview about his recomposition of Vivaldi (Stone-Davis, 2015).

Damsholt (1999) goes on to conclude that, although dance and music have time as a common element, they can use it in substantially different ways. In the case of dance to minimalist music, the musical emphasis on spatiality opens more possibilities for the linear and temporal development of the dance itself. In this situation, the musicality of the relation between music and dance becomes less evident than the musicality of the dance itself.

Even though it is still imbued with the descriptive ancestry of Vivaldi’s sonnets, Max Richter’s music has managed to gain a following in the dance field²⁰ due to the openness that its minimalism allows for choreographic temporal composition. This openness favored both the choreographic development of Véspera and the contact between this neoclassical ballet and its Western classical music roots. In this way, perhaps one of Max Richter’s intentions in recomposing Vivaldi is realized: that his music should not only be heard by academics, but that it should be “an invitation to dialogue” (Stone-Davis, 2015, p. 49).

Final considerations

Presenting aspects of baroque descriptive music, melodic-harmonic directionalities, rhythmic elaborations and musical minimalism, the choreomusical analysis of Véspera was able to highlight various relationships between temporalities and spatialities of sound and movement, which are part of the dramaturgical composition of this choreography. The sonnet excerpts from Vivaldi’s The Four Seasons, although not direct elements of Richter’s musical recomposition or Casarin’s choreographic composition, were a dramaturgical tool capable of evoking dialogues between the spatiotemporal forms of sound and movement.

However, the intention is not to make sound a determining or totalizing element in Véspera’s choreographic choices. Returning to Bakhtin, it is important to emphasize that, for a real dialogue to be established, there must be a clear delimitation between the self and the other, because it is this autonomy that guarantees responsiveness to the statements:

The work, like the replica of the dialog, is ready for the response of the other (of others), for their active responsive understanding, which can take different forms: educational influence on readers, on followers and continuers; it determines the responsive positions of others in the complex conditions of discursive communication a given field of culture. The work is a link in the chain of discursive communication (Bakhtin, 2016, p. 34-35).

In other words, a choreographic response to a musical composition can be more artistically fulfilling the more it is able to be autonomous in relation to the music, to be the other of the music – just as, if a piece of music is composed for a dance that has already been choreographed, the music can be the other of the dance. A choreomusical composition can be a dialog of active responses that preserves the irreducible materialities of sound and movement and, at the same time, pursues a dramaturgical elaboration that brings these two fields into contact.

In this sense, the musical approach in aesthesic terms – of musical reception – and not poïetic, as proposed by Tagg, as well as the frequency of footnotes explaining technical musical terms throughout the analysis, is an example of consideration for the intrinsic differences between the two artistic areas and an effort to guarantee the quality of the dialog between the parties.

Previous work and this article have demonstrated the usefulness of Bakhtinian dialogism for music and dance studies, based on the idea of chronotope (Santos, 2023). The use of the term chronotope, however, requires a broader study. In developing this idea, Bakhtin was referring to the recurrence of literary forms of time and space that made up the genre of the novel.

Similarly, choreomusical analysis of a broader choreographic sample can reveal the recurrence of specific spatiotemporal forms in a dance genre. This can already be seen, for example, in the recurring relationship between contemporary dance and neoclassical ballet and minimalist music, as reported by choreomusicology scholars. Other dance genres may turn out to be, as Bakhtin said, “relatively stable types of enunciation”, prone to a range of specific musical practices, different levels of dialog between musicians, dancers and choreographers, the presence or absence of live music, different roles for music in each phase of a creative process, characteristic relationships between musical rhythm and choreographic rhythm, among many other aspects. As a result, recurring spatiotemporal forms can be revealed, in other words, choreomusical chronotopes that bring with them a new range of sound and movement dramaturgies.

It is hoped that this study can contribute to expanding the dialogues between sound and movement, between music and dance, and that choreomusicology serves not as a method, but rather as a unifying factor among the diverse voices that engage with this vast and intriguing subject.

Notes

• 1
  The fascicles Choreomusicology 1 and Choreomusicology 2, which are part of volume 9 of the journal the world of music (2020), stand out in choreomusical research beyond Eurocentric axes, addressing: choreomusical interactions in Senegalese dance, visualization of music via the body in Balinese dance, hierarchy and interaction choreomusical in Romanian gypsy dance, musicality and practice of Argentine tango in cosmopolitan contexts, temporality and appropriation of salsa music and dance in Benin, the power of merengue musicality in the Dominican Republic. Noteworthy is the article on the separation of music and dance in translocal contexts, which points out the profound differences in the relations between music and dance that dance genres can undergo throughout history and under contexts of migration and diaspora.
• 2
  Expansions of the chronotope towards the scenic and cinematographic fields can be found in A imaginação cronotópica na literatura e no cinema: Bakhtin, Bergson e Deleuze em formas de tempo, by Bart Keunen (2015), and in O corpo da dança como arena de valores e o cronotopo do teatro – exercício de análise, by Marília Amorim (2023).
• 3
  The Cia. BP cast in this photo is made up of dancers Anna Galati, Carolina Monteiro, Bruno Antunes, David Bem, Giovana Guimarães, Haissa Santos, Irene Stella, Isabela de Sousa, Kemilly Luanda, Maria Daniela, Maria Ilydio, Tamires Barros, Vitoria Andregueti, Wellington dos Anjos and Yasmin Sousa.
• 4
  Movement is the name given to the different tunes into which a piece of music is divided. The use of the term has its origins in Baroque dance suites, which were subdivided into minuets, bourées, sarabandas, passacaglias, in other words: different dance movements. Even when they no longer referred to dance, musical works from the 17^th century onwards continued to use the term movement to refer to the different musical moments that make up a whole.
• 5
  The ways of naming the four violin concertos differ between Vivaldi and Richter: while the former uses only the name of the season – as in Spring – the latter chooses to always number the three movements – as in Spring 1 – thus emphasizing the serial character of their recomposition.
• 6
  The complete sonnets of The Four Seasons, as well as the musical sections corresponding to each of them, have been demonstrated in detail in an analysis on the Euterpe website. This analysis can be used to support frthe understanding of the topics discussed in this article (Cueto Jr., 2017).
• 7
  Available at: https://youtu.be/41IOkVjy3MM?si=zt6EoXjcN8gwsHg_. Accessed on: June 2^nd, 2023.
• 8
  Divisi is an Italian term used when a section of the orchestra (in this case, the violins) does not play the same musical part, but are divided into several different musical lines, providing additions that can be rhythmic, melodic and/or contrapuntal.
• 9
  Available at: https://youtu.be/_IoUt373aQY?si=W28OUscQFVO34ZCs. Accessed on: June 2^nd, 2023.
• 10
  The sound of chords by fouths can be heard in the many examples in this Wikipedia entry: https://en.wikipedia.org/wiki/Quartal_and_quintal_harmony. Accessed on: Feb. 1st, 2024.
• 11
  Harmonics are a string instrument technique that consists of pressing the string lightly at specific points, with the intention of making the higher and less intense frequencies of its harmonic series sound.
• 12
  Available at: https://youtu.be/KIvgU1NsKJE?si=c_vcbSlvM-pfRXiC. Accessed on: June 2^nd, 2023.
• 13
  The lament bass carries an extensive dramaturgical tradition, from the Renaissance opera of Claudio Monteverdi (1567-1643) to contemporary movie soundtracks and pop music. This journey can be seen and heard in a video essay on the Listening in channel: https://www.youtube.com/watch?v=Sois056oa-8. Accessed on: jan. 14^th, 2024.
• 14
  Available at: https://youtu.be/_asquxq5Wl4?si=Yznh1SwZxCsFsl8o&t=219. Accessed on: June 2^nd, 2023.
• 15
  Available at: https://youtu.be/pcnqTtniflI?si=cWxlBLEWys5E5O9f. Accessed on: June 2^nd, 2023.
• 16
  This polyrhythm acts on the body in a similar way to the syncopation of Brazilian music. In Samba, o dono do corpo, Muniz Sodré (1998) states that the syncopation of jazz and samba, by placing accents on tempos considered weak in the time signature, incites the listener to “fill in the empty time with bodily marking – clapping, wiggling, swaying, dancing” (Sodré, 1998, p. 11). The “voids” in time opened up by the syncopation would therefore be one of the explanations for the “mobilizing power of black music in the Americas”, whose magnetism “comes from the impulse (provoked by the rhythmic void) to complete the absence of time with the dynamics of movement in space” (Sodré, 1998, p. 11). In other words, these forms of music and dance are related through complementarity and interference between their times and spaces.
• 17
  This same rhythmic aspect was very relevant in a previous choreomusical analysis of the choreography Agora (2019), by Cassi Abranches (Santos, 2023).
• 18
  From the Italian, continuous movement. Describes music that has a fast tempo and few changes in structure and texture from start to finish.
• 19
  From the Italian, obstinate. Describes the constant repetition of the same musical phrase, over which other sound elements can develop.
• 20
  Max Richter’s recomposition of The Four Seasons has also been choreographed by Canadian Crystal Pite in Season’s Canon (2016) and by English David Dawson in Four Seasons (2018), as well as being a musical repertoire that recurs frequently in major Brazilian dance festivals, such as the Joinville Festival in Santa Catarina (Brazil).
• This original paper, translated by Thuila Farias Ferreira, is also published in Portuguese in this issue of the journal.

Availability of research data:

the dataset supporting the results of this study is published in this article.

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• Editor in charge:
  Gilberto Icle

Publication Dates

• Publication in this collection
  11 Apr 2025
• Date of issue
  2025

History

• Received
  14 Feb 2024
• Accepted
  12 Aug 2024