Choreographed to Bach’s concerto in D Minor (utilized famously by George Balanchine in 1941), Concerto for Two Violins is a sleek and sharp salute to ballet’s past while marking the continued evolution of neoclassicism. Balanchine’s training in music theory provided one visual conception of the score. As King investigates the densely layered contrapuntal voices for himself, we hear beloved melodies anew. San Francisco Chronicle dance critic Alan Ulrich wrote that the piece delivered what LINES Ballet audiences have come to expect: “dancing of immense pliancy and emotional resonance by a team of amazingly resilient performers who relish the challenges that King’s choreography throws their way.”
Concerto For Two Violins was made possible through the White Bird 2013 Barney Choreographic Prize, awarded to Alonzo King, and supported by the Dorothy Lemelson Trust and the White Bird/MKG Financial Group New Works Fund, Portland, Oregon.
Concerto for Two Violins was also supported by the Lisa and John Pritzker Family Fund.