I am thankful to Harald and glad to know him for many reasons. I met him in Germany, where we were both employed at the Deutsche Oper Berlin (he currently dances with Ballet Preljocaj ) . He’s an instinctive musician; one of those dancers who hears music so acutely that if you decided to articulate four semiquavers differently today than yesterday, or to put in an extra rubato, he’d notice, and raise a cheerful eyebrow at you as he moved a limb or tendon in a correspondingly different way. It’s those dancers who make being a dance musician worthwhile – well, let’s face it, they make watching dance worthwhile.
As a musician, dancer, sound technician and friend, we had many conversations about music for dance in the various contexts one finds it in a theatre – classes, rehearsals, performances; the problems with conductors, the problems of stage monitors, tempo, sound equipment, cuing shows. As with so many other people in this calendar, I owe much of my understanding of dance and music to these conversations.