The performance was born with the idea of expressing the essence and spirit of music through the body. This is achieved through an analysis of the score for two pianos from a phraseological, agogic, and relational perspective, along with choreographic and choreological work based on the interpretative choices of the two pianists.

Music is movement, and for this reason, it can convey directions, intentions, character, or emotional sensations through precise elements combined in ever-different ways.

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After a careful reading and meticulous listening of the piece, the approach to creating the choreography became twofold: on the one hand, it aimed to respect the relationships between the two pianos, which are composed of encounters, harmonies, disharmonies, oppositions, and harmonizations. On the other hand, it was decided to create a body that resonates with the imagery evoked by these relationships. The idea is to allow movement to emerge from music and vice versa, to coexist the abstraction of sound with the concreteness of the body, following a precise and indispensable path where the emotional sensation of the piece seamlessly blends with its rigorous composition, all made tangible through dance.

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Despite the experimental method, devoid of narrative research, it becomes apparent how it is inevitable to glimpse possible narratives, stories, abstract imaginings, and distant reminiscences within the structure.

Here is an example of a performance with many facets, where you can rediscover the genius of the concept of variation on a theme in music, the power and capacity for poetic movement, the greatness of gesture, and the infinity of an apparently closed system.