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Senden’s work ‘Anoia’ struck me prior to seeing it in person, and before I had met him. Stone is a medium I have always been drawn to. Having been to Taranaki in New Zealand, where this rock is from, coupled with my love of abstract shape and textures, connected me to this piece immediately. I see it as egg-like, intriguing, somehow ancient and yet alive. I imagine the small scalloped shapes as the imprints of many fossilised single-celled organisms, discovered when the boulder was opened. The pitch of the sculpture is D, which ‘earths’ the music throughout. The opening of the rock is off centre, which I’ve represented musically by the exclusion of the 3rd and 4th degrees of the scale in the piano chord. The short, curly, scratchy scalloped shaped sounds on the violin are based around the resonant frequency of the opening, which is between F and G (350-392 Hertz). I have interpreted the roundness of the form, with its slight ellipsis, as a ground bass with an off-axis lilt to it, from which a melody forms.

credits

from Sculpture Bermagui​/​Four Winds Residency, released March 16, 2017
Anoia, Senden Blackwood. Composed by Holly Downes

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The String Contingent have reached ‘the upper echelon of instrumental exploration, arrangement, composition and performance’ (Tony Hillier, Rhythms Magazine). Their music ‘brings to mind the bluegrass records of Yo-Yo Ma and Edgar Meyer … with elements of Bach, Kronos Quartet and sometimes a splash of Philip Glass ... they are incredibly skilled ...’ (Ulf Torstensson, Lira Magazine). ... more

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