About WAVES CRASH

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Heading up the glen, I passed through a veil. It was a portal to the exact place I was, and I knew then I could not go back. I wasn’t alone – there was the presence of the land, the undergrowth, the creatures passing, and history standing nearby. As I went on, it became apparent to me that I had come to where that lonely young woman, Time herself, slept. That these were her things — her bedding, her strike-fire, her magic.

 

Having found out about Time’s way, it seemed only fair to let you know. I continued searching for her, and in these works, I found mirror fragments of her and her world. She’s around as time stretches in Arnold’s Lutra, in the frozen moment of encounter, and as time loops in the circling resonances of the landscape of Barbara Monk Feldman’s Clear Edge. She’s close-by in the intimacy of Fennessy’s re-sung The Blue Eyed Lassie, and in the gliding, exploratory melody which characterises Byström’s violin writing in Baum in der Stadt.

 

Eventually, I came across another trace of Time looking out from a rough rock shelter high in the Cuillin. Later, sat at their kitchen table, I mentioned Time’s mysterious bivvy spot to KNOCKvologan St artists Miek Zwamborn and Rutger Emmelkamp. The next day, we were off into the forest of Tireragan looking for it. 

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David Fennessy The blue eyed lassie
Christian Mason Efflorescence
Barbara Monk Feldman Clear Edge
Martin Arnold Lutra
Britta Byström Baum in der Stadt
Ryoko Akama 10 days’ etude
Stuart MacRae Haroldswick
Rufus Isabel Elliot A way out (world premiere)

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David Alberman violin
Louise McMonagle cello
Mark Knoop piano

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generously supported by the Jerwood Foundation, the London Symphony Orchestra, Hinrichsen Foundation, and the Vaughan Williams Foundation

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Photos by Kevin Leighton