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Patterns in motion: Sasha Waltz & Guests dance Riley’s In C

Par , 30 avril 2025

American minimalist composer Terry Riley will celebrate his 90th birthday in June. A number of tribute events have already taken place, with more scheduled throughout the year. So far, what I saw on Tuesday at the Queen Elizabeth Hall was the most compelling act of homage. The German dance company Sasha Waltz & Guests, who developed this production in 2021 and have since performed it over 75 times in 10 countries, joined forces with the London Sinfonietta for the “cross-disciplinary UK premiere” of Riley’s seminal In C.

Sasha Waltz & Guests with London Sinfonietta
© Josh Croll

The show began with dancers flitting across the stage, no musicians in sight. As the backlight gradually came on, it shifted from one colour of the rainbow to the next, subtly creating changes in mood – an astute detail in Riley’s symbolic universe, no doubt. Each dancer wore a distinct, vibrant hue, contributing to the carefree buzz of it all.

When Riley wrote In C in 1964, he had no idea it would spark a musical revolution, bringing repetition to the forefront of American experimental music and, eventually, to the mass market. In many ways, the active use of repetition has come to define what commercially successful classical music is over the past 50 years. Composed of 53 short fragments, In C allowed musicians to move through the score at will. As such, the work is often described as a form of guided improvisation.

The standout of the performance was the subtle parallel between the dance and the music – not something you could see directly, but something you could definitely feel, as both progressed through their own set of 53 patterns. The dancers didn’t try to map their routine onto the music, though they followed its pulse. Instead, they created something entirely their own, which worked precisely because of the nature of the score, allowing random textural combinations to emerge.

The choreography, much like the music, introduced an element that could be picked up by the other dancers. They danced both solo and as a collective, forming playful duos, trios and quartets, smiling at each other and occasionally breaking the fourth wall by entering the stalls. At times, they collapsed onto the floor or created one big living installation. Some particularly zany moments included the tickling of a chin in the air, a breaststroke routine and a jerky, inappropriate hand movement. Moments of magic came when dancers performed a duet that spanned the entire stage.

Sasha Waltz & Guests with London Sinfonietta
© Josh Croll

As for the music, it was a nuanced performance, clear and tight. The instruments smoothly faded in and out, creating unique timbral combinations. However, I found myself wishing for more oomph. The group was sparing with its full force, which only resulted in a few loud bursts, such as the tense, brass-heavy sequence or the introduction of overdrive guitar, both occurring in the second half. This could have been capitalised on more.

The performance was simply thrilling. Special shoutout must go to the dancers for their enviable endurance. The choreography struck a perfect balance between difference and repetition, curiosity and contemplation, energy and stillness. In a way, I found this hyper-dynamic dancing to be even bigger than the music itself, which was unexpected. Yet, in doing so, it offered a fresh and valuable rendition of Riley’s exuberant work. Even better: it had a repeat performance scheduled for the next day. Perhaps I should fully embrace repetition and improvised spontaneity. 

****1
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Voir le listing complet
“the most compelling act of homage”
Critique faite à Queen Elizabeth Hall, Londres, le 29 avril 2025
Riley, In C
London Sinfonietta
Sasha Waltz & Guests
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****1
Plongeon dans la destinée de Didon et Énée vue par Sasha Waltz
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Libertad, electrónica y lluvia: Sasha Waltz & Guests en el Grec
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Renovado Orfeo: Monteverdi a través de la danza de Sasha Waltz
****1
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