Please note that due to the current situation iC4C is closed to the public until Monday 15 June, which does mean this residency will not be going ahead as planned.
Any developments or rescheduling will be updated here once details have been confirmed.
However you can find out more about Elisabeth Schillings and her new work Sketches on Ligeti below.
Have ever two forms of art entered a closer and more intricate relationship than music and dance? But how does music actually move? How does dance sound? And where do these sounds and movements meet, once they are liberated from their purported duty (other word) to mimic or mirror, to illustrate, to produce an atmosphere, to provide a backdrop, or even to merely coexist, in neat separation?
The Hungarian composer György Ligeti said of his virtuosic Études pour piano that in the process of composition “tactile concepts were almost as important as acoustic ones”. The movements and developments of music, in other words, are not merely a matter of hearing but of sensation, they come to be felt “as a tactile form, as a succession of muscle tensions”. Through these forms and successions, his pieces thus behave like “growing organisms”, and it is following this line of thought that inspired the choreographer Elisabeth Schilling on her research of how to choreographically interpret those Études pour piano.