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This approach, he explained, is formulaic and reductive. “[The same] music comes in a bunch of ways every night,” Morris said. “So do my dances...

Author: By Madeleine M. Schwartz, CRIMSON STAFF WRITER | Title: Morris Dances with Wolfgang | 2/3/2010 | See Source »

...result, he never rehearses with recorded music, which, he said, restricts the movement of the dance. In a video recording of a studio rehearsal shown during the talk, he said, “There is always room for being alive; that is why I always work with live music and live dancers...

Author: By Madeleine M. Schwartz, CRIMSON STAFF WRITER | Title: Morris Dances with Wolfgang | 2/3/2010 | See Source »

...choreographing “Mozart Dances,” Morris had an added consideration. Mozart’s music is notoriously tricky to choreograph to, Dyer explained to the audience. He mentioned that famed ballet choreographer George Balanchine himself allegedly claimed difficulty when setting dances to Mozart’s music...

Author: By Madeleine M. Schwartz, CRIMSON STAFF WRITER | Title: Morris Dances with Wolfgang | 2/3/2010 | See Source »

...Morris was not intimidated. “They say that Mozart’s music is too fragile, structurally too perfect,” he said. “As if, when you threw a branch, it would fall apart.” But while Mozart’s music is structurally sound, its supposed difficulty simply creates an intimidating aura around the composer’s work. “Mozart’s music is great,” he said. “Why not dance...

Author: By Madeleine M. Schwartz, CRIMSON STAFF WRITER | Title: Morris Dances with Wolfgang | 2/3/2010 | See Source »

Morris’s composition, which is set to two concertos and a sonata, often moves against major trends in the music. In “Eleven,” the first piece of the show, “The concerto is jagged and edgy,” he said. “The dance, on the other hand, moves in a very lyrical fashion...

Author: By Madeleine M. Schwartz, CRIMSON STAFF WRITER | Title: Morris Dances with Wolfgang | 2/3/2010 | See Source »

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