WHO’S AFRAID OF ‘GOLDBERG VARIATIONS’? NOT THIS CHOREOGRAPHER.

By GIA KOURLAS

The pianist Simone Dinnerstein, left, with the choreographer Pam Tanowitz; they are collaborating on “New Work for Goldberg Variations.” Credit George Etheredge for The New York Times

Pam Tanowitz usually begins a dance when she has an idea for one. But her new premiere started differently: Simone Dinnerstein, an acclaimed pianist whose first love was dance, contacted her. They made a date for coffee.

 At that meeting, Ms. Dinnerstein brought several of her CDs for Ms. Tanowitz. “Real CDs,” Ms. Tanowitz said approvingly. “I like that. I’m old school.”

Among them was Ms. Dinnerstein’s recording of Bach’s “Goldberg Variations,” from 2007.

“I looked at her and said, ‘I’m not doing ‘Goldberg Variations,’ ” Ms. Tanowitz, 47, recalled. “I was scared of the music.” But then she wondered if that reaction — an unequivocal no — was the reason to do it.

 The fruits of her decision will be on display this week (Oct. 19-22) when Ms. Tanowitz and Ms. Dinnerstein present their collaboration, “New Work for Goldberg Variations” as part of Peak Performances at Montclair State University in New Jersey. Sinking her choreographic teeth into something so formal and known has turned out to be one of the biggest challenges of Ms. Tanowitz’s career.

 Ms. Dinnerstein, 45, wanted to work with a choreographer in order to stretch her own artistry. Ms. Tanowitz has stretched hers without realizing that she would: “I took the gig for one reason, but I’m actually ending up in a different place,” she said.

Baryshnikov Arts Center Prize Goes to Pam Tanowitz AUG. 10, 2017

 As usual, intricate steps are bountiful in her choreography for “New Work.” But there is also space and air between them. “This piece has been an exercise in restraint,” she continued. “I’m allowing myself to do things that I haven’t done in the past: to let certain things flow.”

 Ms. Tanowitz’s dances brim with inventive footwork and rigorous, often stringent choreography, in which the influence of Merce Cunningham is often apparent, yet the Bach has unleashed a more humane lushness in her approach.

 Growing up in New Rochelle, N.Y., Ms. Tanowitz studied modern dance at the Steffi Nossen School of Dance. She was never a member of a major dance company, but when she attended graduate school at Sarah Lawrence College, she met Viola Farber, the former Merce Cunningham dancer, who became a mentor.

 “She loved dancing, just dancing,” Ms. Tanowitz said, “And she gave me that love of dancing back.”

 Ms. Tanowitz is passionate about dance history, like her mentor was; she frequently includes references to works by an older generation in both ballet and the modern vernacular. That’s another reason she was intimidated by Bach. His music has been used by many choreographers over the years, but most nail-bitingly for her, by Jerome Robbins, whose celebrated “The Goldberg Variations” was made for New York City Ballet in 1971.

 “When people say, ‘Don’t worry about the Jerry Robbins,’” Ms. Tanowitz said, choking on a horrified laugh. “I’m like, no — I’m worried about the Jerry Robbins.”……………..

https://www.nytimes.com/2017/10/13/arts/dance/pam-tanowitz-simone-dinnerstein-new-work-for-goldberg-variations.html