The Ligeti Solo Sonata together with the graphic score led choreographer Harriet Macauley

to question particular truths and realities that music and art set forth. She asked the dancers

to respond to a series of lies they told about themselves. First they were to represent these lies

through sound, and then devise specific gestures that complemented these sounds.

Below are some of the technical gestures at the cello that translated directly to the graphic score,

and indirectly to the physical gestures at right. Language always mediated between disciplines.

Here, the gerunds that helped to translate technical to visual gestures appear above the music;

above the graphic score gestures appear feeling descriptors - informed by an exploration of synaesthesia -

that I produced for Harriet. The physical gestures devised by the dancers

were the last details to enrich the choreography. Exact mirroring between music and movement

was never our aim. To emphasise this, the musical and visual gestures appear here

in the original order of musical presentation, while the movement gestures are in alphabetical order.

Hover and click with abandon!