Yuval Pick’s perception of the music of Nico Muhly manifests itself through its structure, a sort of scaffolding which he aims to bring to life. Muhly’s music creates spaces in which to dance. The structural starkness of Muhly gives place to a process of research which can be nearly anthropological. The duo which Yuval Pick is creating is focused on the idea of unveiling the nature of movement, to an archaic form of energy, accenting a Dionysian expression. 
The movement focuses on the body’s center. Peripheral movements are cast aside, opting instead for an internal movement drive centered more in the torso and pelvis. The work is structured based upon this idea of a dynamic which follows our breathing patterns. More than the breath of the movement, it is the rhythm of the movement which structures the shape of the piece and the dialogue with the musicality of the body. 
The musical structure is a launching point for Pick’s research into the musicality of the movement. During the creative process, Nico Muhly’s score is alternately woven into the process, then totally left out. The two rhythmic structures, musical and choreographic, have their own internal, singular life, allowing a rich exchange of dialogue between them. 


To revisit Bach’s oeuvre, Yuval Pick and his dancers created a playlist of the classic works in the Bach repertory. 
Using an Ipod, they zap from one excerpt to another, creating their own acoustic space in real time. 
Based on this musical universe, Yuval Pick created a choreographic score, based on an exploration of the concept of weight: working with the weight of another person means accepting him or her with all his or her baggage, constantly adjusting, being transformed by his or her touch. 
The piece renders this kind of communication visible, signs of a heightened awareness of the other partner, the use of a common vocabulary which has developed out of the relationships between the performers.