Budapest, Royal Garden Pavilion, 8–9 November 2016
The musical culture of Central European nations has absorbed Haydn’s concept of the string quartet like no other region in the world. This musical arrangement also became the most important factor in Bartók’s instrumental style. This is mostly detected in his string quartets, and in the rhythmic and dynamic and harmonies of his traditional instrumental music which often differs from Western music. He made dance, the unique, organic world of movement which had been chiselled to perfection during the past centuries, audible in his music. Fine Tune grows from this organic, traditional dance culture. It talks about every day, instinctive phenomena which the man of today tend to simplify or to see as black and white, at the level of emotions and thought associations. The first movements of this piece displays the connections between music and dance, sound and movement; while the second movement deals with issues such as exclusion, hypocrisy and domestic violence without taboos. The performance is the iconic depiction of music through dance. Concert-choreography as a new stage genre evolves as the visualisation of dance as an expression of music. It talk about emotions we all know, and which we all need to fine tune from time to time.
Costume design: Szűcs Edit
Slam poetry: Horváth Kristóf “Színész Bob”
Music: Kelemen László Village Quartet
Choreographed and directed by Hégli Dusán
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