Classical music aficionados will be familiar with the stately form of the sarabande – a Spanish dance adopted into a languorous and tender musical style favoured by baroque composers such as Bach and Handel. For American composer Keir GoGwilt, however, the sarabande contains something far more radical. On his collaborative project The Zarabanda Variations, he enlists a 10-piece ensemble that combines free jazz with baroque strings and spoken-word poetry to delve into the colonial Latin American roots of the dance before it was popularised in 17th and 18th-century Spain.
On first listen, it’s hard to hear how this music could relate to the classical sarabande at all. Scrapes of atonal strings, clattering percussion, guttural vocalisations and sharp whistles create a cacophony of tension throughout, as if mirroring the passionate, whirling energy supposedly contained in the original forms of the dance. In fact, rather than creating a baroque sarabande fusion, GoGwilt’s compositions embrace its lesser-known historical references to produce something entirely new.
