Bach

Bach is presented as a study of movement, look, rhythm, breathing and presence in relation to musicality.
It is a selection of preludes and leaks contained in the two books that make up the well-tempered harpsichord composed by Johann Sebastian Bach in the 18th century, in which María Muñoz combines the dance of some preludes that sound live with the memory of some balladed fugues in silence.
The presence of the interpreter evolves within a pure movement work.

Bach is a rigorous work of movement language for which María Muñoz needed to travel alone to places that were probably inseparable from her deep understanding of music.

In the first full version of the piece, premiered at the Temporada Alta Festival 2005, the meticulous and exhaustive recording made by Canadian pianist Glenn Gould (1932-1982), accompanies the dancer with an unusual body, the pianist’s, with her breath and whisper she seems to be present in the scene.

In 2018, a reinterpretation of the solo with live music was presented at the Paris Philharmonic, in collaboration with the Théâtre de la Ville de Paris, with Dan Tepfer who, as knowledgeable in classical repertoire as experienced in improvisation jazz, brings a different vitality and texture to the solo, accompanying Maria Muñoz with her live performance and establishing a dialogue that reinforces improvisation in a game of complicity.

In 2016, María Muñoz transmits the piece to Federica Porello, Italian interpreter who works with Mal Pelo, and since then also dances Bach.