CONTEXT: I am increasingly realizing that the etiology of projects and productions take a more diverse range of paths. I used to think that it is the choreographer who always spearheads the production, bringing in the composer and the dancers etc., however this is happening less and less and especially on a large scale. Through working at The Met, I’ve realized that successful, fruitful and stable collaborations can come about starting with the production house and the composer and/or the work, then finding the choreographer and finally hiring the dancers. If anyone ever asks you how you’d feel about producing Harmonielehre with newly commissioned choreography, I would like for you to know that I exist and that I would be thrilled to create a big ensemble dance work to this exquisitely powerful, haunting and hopeful music of yours.

I would love to simply invite you to see my company perform, but alas, I am not independently wealthy, the arts funding system is what it is, and given those two realities, self-producing large-scale work or running a consistently working dance company is out of reach. Instead, I have assembled a collection of excerpts from various projects which align with your music in some way, or in how I would likely relate to and work with your music in this fantasy future commission I am envisioning.

Perhaps relevant, this is an excerpt from a solo I choreographed to Reich’s Cello Counterpoint. The way his rhythmic phrasing is incredibly groovy to me instinctively and the way that this music has so voices and layers that I can dig into from the top down (cognitively, like, it is some pretty wild math!) or bottom up (somatically, I can feel the logic in my bones) feels like