I deliberately chose large sheets (18" x 24") for the score, because this open canvas forced me to realise
the music in bold shapes and vivid colours that defy the self-contained form of the Sonata in question.
More important, these shapes combine with colours to objectify the musical gestures essential to the work.
To simplify the music for translation to movement, and to externalise my understanding of
the Ligeti Solo Cello Sonata, I painted this graphic score. Originally conceived as
the interpretive common denominator for the project, this score became the linchpin of
the creative process. Together with choreographer, and later composer, we established
two perspectives, which were consistent with the two-movement duality of the Sonata.
These perspectives both met the original musical line with the physical line of movement,
and also interpreted the geometric lines of the graphic score through the musical lines
of fresh composition. The final performance coalesced in three parts: the choreographed Ligeti Sonata, a panel discussion with collaborators on creative process, and finally, the premiere of the new piece Lines for Gage (choreographed as structured improvisation).
Differences in graphic representation between the Capriccio (above) and Dialogo (below) reflect opposite interpretive
approaches, motivated in turn by the basic contrast of musical character. The virtuosic streaks of the Capriccio
demand the literal realisation of line, while the lyricism and harmonic shading of the Dialogo suggest the abstract.
While the Capriccio top and its bottom alter-images show the overall linear progression of the music, the Dialogo
shows the musical transition of perspective from representation of a unified space to sequential representation.