new work for
goldberg variations

... a riveting dialogue of movement and music.
— The New York Times

New Work for Goldberg Variations (NW for GV) is an evening-length piece for piano and seven dancers, created by classical pianist Simone Dinnerstein and choreographer Pam Tanowitz. Inspired by and set to the live performance of Bach’s iconic and commanding score Goldberg Variations, the work is performed by Dinnerstein with Tanowitz’s company, Pam Tanowitz Dance. Dinnerstein, one of the foremost Bach interpreters of her generation (and a specialist in Goldberg), brings her nuanced understanding of the demanding score to the project; Tanowitz’s choreography will use a slyly deconstructed classical movement vocabulary to translate Bach’s intricate score into movement.

Duke Performances, Peak Performances, Summer Stages at the Institute of Contemporary Art/Boston, and Opening Nights Performing Arts have commissioned NW for GV, which engages with Bach’s essential keyboard work and acknowledges Jerome Robbins’ 1971 ballet set to that work, yet aims to radically redefine how a dance/music piece comes to be. NW for GV is mindful of tradition while pushing against it through the exploration of nuance, and by highlighting women's creative voices.

In Spring/Summer 2016 Tanowitz and Dinnerstein will engage in an exploration period in New York City during which the two will experiment with ideas in a studio setting. Both will then create and refine the work over the course of a series of creative residencies at MANCC, New York City Center, The Yard, Summer Stages at the Institute of Contemporary Art/Boston, and Peak Performances in the 2016-17 season. Finally, the work will premiere as the culmination of a production residency in October 2017 at Duke Performances, and then travel to confirmed co-commissioner sites Peak Performances and Opening Nights Performing Arts, with additional tour venues being booked across the country for the 2017-18 season and beyond.

An utterly distinctive voice in the forest of Bach interpretation, Ms. Dinnerstein brings her own pianistic expressivity to the ‘Goldberg’ Variations, probing each variation as if it were something completely new. She learned them herself and recorded them herself, then Telarc picked up the album and it became one of the success stories of the year.
— The New York Times

Ms. Tanowitz is the wittiest choreographer since Mark Morris. The tone is impersonal, formal, as modernist as the spiky music she prefers. The wit is in the steps and their sequencing, the unpredictable rhythms, the eccentric coordinations. The Mozartean complexity of the mirrored octet in her new ‘Heaven on One’s Head’ produced a buzz that lasted for days.
— The New York Times