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Historic highlights in new programme Nederlands Dans Theater I

25 Jan 2010

Whereas in October Nederlands Dans Theater I  focused on the present with three world premieres during the festive opening of the jubilee season, it now shows the rich past in ‘Beyond Time’.  This revival programme comprises three classics:

Symphony of Psalms (Ji??í Kylián, 1978), Soldiers’ Mass (Ji??í Kylián, 1980) and Kleines Requiem (Hans van Manen, 1996); three highlights from Nederlands Dans Theater’s history.

‘Beyond Time’’s will premiere at the Lucent Danstheater, The Hague on Thursday 4 February, after which it will tour the Netherlands until 13 March.

Symphony of Psalms (1978) - Ji??í Kylián

Symphony of Psalms  is set to Igor Stravinski’s masterful choral piece of the same name. Kylián’s choreography to this religious and passionate composition is humane, lyrical and spiritual. The energy and dynamics of the group as a collective set the tone from which the belief in what binds people, in the human mind and in their strength shines through.

Symphony of Psalms is danced by eight men and eight women. Kylián made this ballet shortly after Sinfonietta, with which the company experienced its big international breakthrough. Symphony of Psalms also won acclaim at the time.

Soldiers’ Mass (1980) - Ji??í Kylián

Ji??í Kylián made this choreography in 1980 to the composition of fellow country man Bohuslav Martinu, besides Jana?ek the greatest Czech composer of the 20th Century. He composed Polní Mse (Soldiers’ Mass) on the eve of the Second World War as a protest against the war.

Soldiers’ Mass is a powerful requiem dance with male dancers only.  

Kleines Requiem (1996) - Hans van Manen

Van Manen created Kleines Requiem to three parts of Henryk Mikolaj Górecki’s Kleines Requiem für eine Polka. The Polish composer was commissioned to compose this piece by the Holland Festival, where it premiered in 1993.

Van Manen’s Kleines Requiem is a choreography for seven dancers who manifest various aspects of human relations. At its premiere in 1996, the piece was received as one of the highlights of Van Manen’s impressive oeuvre. 

‘A masterpiece ready to be framed and given pride of place in memory’s treasure-house’  (Telegraaf, November 1996)

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