A way after remains or reflections

In his poem Bogland, Seamus Heaney writes about the influence of the landscape on the pioneers. He compares the Prarie of the Western USA with the Moores in Ireland.

A way after remains or reflections is certainly not a long walk into the sunset.

The ground swallows an endless horizon.

Every layer contains immaculate black.

The horizon appears again nonchalant fleeting it cleaves the ground to the ground.

Sound is not only individually received as the result of a physical process, but is also in a broader context an interface to abstract experience. Certain musical elements appear to be historical artefacts. In fact they can cause resonances in contemporary ears that to some extent go beyond the borders of temporal and physical experience.

A Way After The Fox’s Backbone

• partners: Longleash, echoraum, Gert Hecher
• instruments: Violin, Cello, Piano

The Fox went out on a chilly night He prayed for the moon to give him light For he’d many a mile to go that night Before he reached the town-o, town-o, town-o He’d many a mile to go that night before he reached the town-o

New-music piano trio Longleash teams up with Irish composer Adam McCartney on a beautiful new work, a way after the fox’s backbone, that explores the transmission of sound across gulfs of time and history. Inspired by the luminous painting technique and innovative composition of Flemish Renaissance painter Jan van Eyck, McCartney also draws on references to traditional Middle English poetry and folk song.

Recorded in Vienna at das Klavieratelier von Gert Hecher

OEK is a collection of six pieces. The name is a reference to the Tuvan word for yurt, or quite simply to the idea of home. The pieces are constructed using very simple material – scales built from tetrachords and suspensions, that blend together the intervals of the chromatic field. This abstract material is tempered, in turn, by the sounds of the instruments.

Available to purchase on vinyl from GOD Records.