Have two art forms ever been so closely related as music and dance? But how does music actually move? And what does dance sound like? Where do sounds and movements encounter one another once they break away from convention of imitating or mirroring, of illustrating each other? This evening of dance centres around the Études pour piano by György Ligeti (1923–2006). The Hungarian composer, discussing these highly virtuoso pieces, said that in the composition process, ‘tactile concepts were almost as important’ to him ‘as acoustic ones’.
Musical movements and developments ‘are felt not only audibly, but also in a tactile form, as a succession of muscular tensions’. Ligeti’s pieces are vividly described as behaving like ‘growing organisms’.
This is precisely the idea that choreographer Elisabeth Schilling builds upon with her novel approach to the piano études; she treats dance and music as adjacent forms that grow alongside and intertwine with one another. In collaboration with five dancers and pianist Cathy Krier, she has created a dancing concert, or a concertising dance, replete with multisensory images. The work in progress already saw success as a solo piece at KUNSTFEST WEIMAR 2019.
The dancer and choreographer Schilling regularly dances in international productions including in the repertoire of SASHA WALTZ, TRISHA BROWN as well as creations by CLOD ENSEMBLE. Her choreographic work was created for a.o. TATE MODERN in London, GAUTHIER DANCE, SCOTTISH DANCE THEATIVE CREATIVE LEARNING and MUSEUM FOR ANGEWANDTE KUNST, Frankfurt a. M.