![]() Wenders remembers the “great complicity” Bausch had with her two music advisers, Matthias Burkert and Andreas Eisenschneider. “After Café Müller, maybe Lutz Förster’s pantomime solo in Nelken (Carnations) would come to mind, with The Man I Love.” It’s a sensational solo in which Förster – who took over as artistic director of the company after Bausch’s 2009 death – interprets the Gershwins’ yearning song through sign language. When I ask Wenders which of Bausch’s pieces use music best, he responds in desperation (“Where would I begin?”) but settles on a favourite. When Wenders made his 3D documentary Pina, there was even a release for its spectacular soundtrack which includes everything from the Sephardic folksong La Prima Vez, sung by Owain Phyfe, to the jazzy rump-shaker Fat Ass Joint by Brazilian producer Amon Tobin. ![]() The featured artists include Brian Eno, Ryuichi Sakamoto and Gustavo Santaolalla. Take Sweet Mambo, one of the highlights at this year’s Edinburgh international festival. ![]() Her company of dancers hail from around the world – Australian Julie Shanahan, Russian Andrey Berezin, Daphnis Kokkinos from Greece, to choose just three – and her soundtracks have a similarly international mix. Such is the power of the eclectic tracks used in the performances of her company, Tanztheater Wuppertal, it is the music as well as the moves that stays with you. ![]()
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