2 3 LINDA BUCKLEY FROM OCEAN’S FLOOR

Ó Íochtar Mara (From Ocean’s Floor) 1 I Fil Duine (Gráinne speaks of Diarmuit) 4’28 2 II Cridhe lán do smuaintighthibh (A heart made full of thought) 5'14 3 III Gealach agus Grian (Sun and Moon) 6’11 4 IV Áimhréidh (Entanglement) 5’53 Iarla Ó’Lionáird voice · Crash Ensemble · Linda Buckley electronics

5 Fridur 12’02 Isabelle O’Connell piano · Linda Buckley electronics

6 Discordia 11’17 Joby Burgess percussion (canna sonora) · Linda Buckley electronics

7 Haza 14’29 ConTempo Quartet ConTempo Quartet · Linda Buckley electronics Bogdan Sofei violin Ingrid Nicola violin 8 Kyrie 9’50 Linda Buckley voice & electronics Andreea Banciu viola Adrian Mantu cello 9 Exploding Stars 8’17 Darragh Morgan violin · Linda Buckley electronics Crash Ensemble Ciaran McCabe violin Total timing 78’17 Maria Ryan violin Lisa Dowdall viola Kate Ellis cello

photo © Olesya Zdorovetska 2 How to introduce Linda Buckley’s music? is both local and international. Born in 1979, life and in Ó Íochtar Mara (2015), the most derived from the sound of one of the milking Perhaps it helps to begin with a conclusion, the youngest of nine children, she grew up on substantial work on this album, she draws on machines on the Buckley farm) and the second something the late Bob Gilmore wrote about her parents’ farm on the Old Head of Kinsale this legacy. She is a practitioner of sean nós, underscored by long notes in the strings. In the her work in 2008. For Gilmore what made Linda in County Cork. She stayed close to home for the Irish ‘old style’ of elaborately ornamented fi nal movement, the electronic sounds become Buckley’s music so special was its engagement her fi rst degree, studying at University College solo singing, and Ó Íochtar Mara (‘From more mobile, shadowing the main pitch centres ‘with an area of experience that new music Cork, and then went on to Trinity College Dublin Ocean’s Floor’) was written for the voice of in the voice, and the string quartet returns to is generally shy of, which, simplifi ed and for her doctoral studies. But she has spent Iarla Ó Lionáird, one of the fi nest contemporary the more subsidiary role it played in the fi rst reduced to a single word, I’d call ecstasy […] an extended periods abroad for artist-residencies, exponents of sean nós, accompanied by a movement. Two whispered passages interrupt emotional response to the world that sees the in Berlin, Iceland (a particular favourite, of string quartet and electronic drones. the singing before the music ends with what the bright places of life as clearly as the dark.’ which more later), Sweden, Italy, a Fulbright score describes as ‘soft “white noise” bowing The work is a song-cycle, each of the four Fellowship in New York, and now in Glasgow, […] like waves of the sea’: a haunting ending to A glance across the track listing on this movements based on Gaelic poems and each teaching at the Royal Scottish Conservatoire debut album suggests that Gilmore was onto anchored by an electronic drone. In the fi rst a work which is, as she acknowledges, ‘one of where she is the fi rst woman to be appointed to something. Each title explicitly identifi es a state movement the drone centres on B, and the the most personal things I’ve ever done’. of being, sometimes in the world of things, a composition post. strings weave simple patterns in and around Soon after completing Ó Íochtar Mara Linda but mostly in the world of the spirit. Gilmore What makes Buckley unusual is the way in Ó Lionáird’s vocal part. The second movement Buckley moved to New York City on a Fulbright was right about the music’s ecstatic qualities which she connects aspects of traditional works in a similar way, voice and strings scholarship. Relocations often raise questions too. Buckley loves how things sound, whether music – mostly Irish, but sometimes from moving rather more quickly and continuously, about belonging and Buckley’s extended stay they be acoustic instruments or the electronic other cultures too – to ‘new music’, that but at no point does a particular melodic line in New York raised existential questions that tones which create a halo of resonance around loose collection of evolving genres, styles and or fi gure emerge as the focus of the music. inform Haza (2016), for string quartet with the instruments, and her work celebrates tendencies that connects composers and This quality of continuous variation defi nes electronics. Haza was written for the ConTempo this sense of music as an intensely sensuous performers around the world. Generations of the music’s elusive beauty. It is also a defi ning Quartet, who commissioned it for a programme medium. When I fi rst got to know her we talked Irish musicians have sought ways of relating characteristic of the greatest sean nós singers that also included Bartók’s Fourth String about her aesthetic sensibility and it was the music of their homeland with other musical and this aspect of Ó Íochtar Mara, as much as Quartet. Something of the spirit of that music striking how readily she identifi ed it as distinctly traditions but the relationship between the Ó Lionáird’s presence, places the work within informs Buckley’s work, particularly in its latter Irish. For Buckley being Irish means having classical and Irish traditions has been perhaps the tradition. stages: Haza is the Hungarian word for ‘home’ access to both a profound melancholy and the the most awkward. In the third and longest movement, Ó Lionáird and during her time in New York Buckley was most illuminating moments of ecstasy. Linda Buckley is better qualifi ed than most to moves centre-stage with two extended vocal very conscious that Bartók had spent his last As is the case for many Irish artists of her resolve this dilemma. In her family the singing passages, the fi rst accompanied only by a deep years there, in poor health, short of money and generation, Linda Buckley inhabits a world that and playing of Irish music was part of everyday drone on A (the composer says that this was longing for his homeland.

64 75 Haza occupies a musical landscape familiar very ambient – but after about four minutes In Exploding Stars (2011) the same trajectory Linda Buckley is an Irish composer who from Ó Íochtar Mara, using sustained electronic the tone becomes fi rst more resolute and acquires a cosmic dimension. Once again we has written extensively for orchestra (BBC tones to create harmonic foundations for the then more varied. A shimmering semiquaver begin in a familiar place, Darragh Morgan’s bow Symphony Orchestra, Dresdner Sinfoniker, RTÉ string quartet, often blurring the distinction tremolo is introduced and the music becomes crossing the strings of his violin, but by the end National Symphony Orchestra, Irish Chamber between live and pre-recorded sounds. The a more dynamic fl ux in which these various of the music this has been overwhelmed by the Orchestra), and has a particular interest in work is in three continuous sections, and in elements ebb and fl ow. Over the last ten years seething energy of the tape part, a journey that merging her classical training with the worlds of the fi rst two, subtitled ‘Wonder’ and ‘Float’, post punk, folk and ambient electronica. She is Iceland has been a sort of second spiritual begins as a vision of the night sky and fi nishes the instrumental textures are mostly slow, ‘one of the leading fi gures in the thriving Irish home for Buckley and Fridur seems to invoke in the star itself. There’s a personal journey constantly varied, yet consistently athematic. new music scene’ (Christopher Fox, Tempo) with a particularly Icelandic ‘peace’ that is quite here too. The third section, ‘Rise, Home’, picks up her work being described as ‘exquisite’ (Philip uneasy, hard to maintain as the tectonic plates where ‘Float’ fi nished but soon the texture As a young composer Buckley attended the Clark, Gramophone) ‘strange and beautiful’ shift beneath the surface. starts to break up, with the quartet and Association of Irish Composers’ summer (Richard Dyer, Boston Globe), and ‘fantastically electronics at odds with one another. As the Discordia (2018) offers a more dystopian school, where one of the fi rst professional brutal, reminiscent of the glitch music of acts music becomes more animated, there’s an version of this progression. It was instrumentalists to play any of her music such as Autechre’ (Liam Cagney, Composing exhilarating modulation in which the music the Island). Collaborations include work with commissioned by Joby Burgess for his Canna was Darragh Morgan, and all the works with slips down a tone to the Dorian mode on A, experimental folk duo Anna & Elizabeth, Crash Sonora, an instrument assembled from tuned, instruments on this album retain a sense of the the electronics fade out and in a brief coda the Ensemble, Liz Roche Dance Company, Iarla vertical aluminium rods that he strokes with instrument-electronic dialectic that she learnt live instruments break free. It’s a conclusion O’Lionaird, Icebreaker and Ensemble Mise-En. rosin-impregnated gloves. Initially the other- as a student. But before Exploding Stars we that brings Haza to somewhere quite different Linda studied Music at University College Cork, hear Kyrie, in which Linda Buckley’s own voice from its beginnings fi fteen minutes earlier: worldly sonorities of the instrument seem to holds a Masters in Music & Media Technologies not ‘home’, yet somewhere recognisable, evoke another chilled Icelandic landscape but is immersed in a sea of electronic sounds. and PhD in Composition from Trinity College transformed, elevated. gradually they are challenged by other sorts This is the closest the album comes to the Dublin, a Fulbright Scholarship to New York of music. There’s an analogue synthesizer mesmerising live-electronic performances that and lectures in Composition at the Royal The other instrumental works on this album intervention (a bi-product from a Moog project have become as important to Buckley as her also trace a similar expressive arc: an initial Conservatoire of Scotland. that Buckley undertook with Jonathan Nangle) composed works. territory is established and sustained, only for www.lindabuckley.org that tips the music into downtown New York, the music to take an often surprisingly different I began these notes with a conclusion; perhaps turn. The piano piece Fridur (the Icelandic word and the clangorous latter phase of Discordia it’s right to fi nish with both a beginning and a Information about the artists on this disc for ‘peace’) opens on a chilled landscape, with channels Buckley’s dismay at the ugly populism promise of much more to come. can be found on NMC’s website: of the general election that greeted her when resonant harmonies fl oating above the glacial www.nmcrec.co.uk fl ow of the electronics – all very peaceful, all she arrived in the USA in the autumn of 2016. ©2020 Christopher Fox

86 7 Ó Íochtar Mara (From Ocean’s Floor) I Fil Duine 7th Century I Gráinne speaks of Diarmuit IV Áimhréidh 20th Century IV Entanglement

Fil duine There is one Siúil, a ghrá , Walk, my love, frismad buide lemm dí uterc, on whom I should gladly gaze, cois trá anocht – on the beach tonight – dí a tibrinn in mbith mbuide, to whom I would give the bright world, siúil agus cuir uait walk, and put away your tears – huile, huile, cid dí upert. all of it, all of it, though it be an unequal bargain. na deora – rise up and walk tonight é irigh agus siú il anocht Traditional translation by Gerard Murphy ná feac do ghlú in feasta nevermore bend your knee II Cridhe lá n do smuaintighthibh 16th Century II A heart made full of thought ag uaigh sin an tslé ibhe at that mountain grave tá na blá tha sin feoite those fl owers have withered Cridhe lá n do smuaintighthibh A heart made full of thought agus tá mo chná mhasa dreoite ... and my bones have rotted ... tarla dhú inne ré n-imtheacht; I had, before you left. caidhe neach dá uaibhrighe What man, however prideful, (Labhraí m leat anocht (I speak to you tonight ris ná ch sgar bean a intleacht? but lost his perfect love? ó í ochtar mara – from ocean’s fl oor – labhraí m leat gach oí che I speak to you every night Bró n mar fhá s na fí neamhna Grief like the growing vine ó í ochtar mara ...) from ocean’s fl oor ...) tarla oram re haimsir; came with time upon me. ní guth dhamhsa mí mheanma Yet it is not through despair shiú ileas lá cois trá – I once walked on the beach – tré a bhfaicthear dú inn do thaidhbhsibh. I see your image still. shiú ileas go hí ochtar trá – I walked to the water’s edge – rinne tonn sú gradh le tonn – wave frolicked with wave – Sgaradh eó in re fí oruisge, A bird lifting from clear water, ligh an cú r bá n mo chosa – the white foam tongued my feet – nó is mú chadh gré ine gile, a bright sun put out – d’ardaí os mo shú il go mall I slowly raised my eye mo sgaradh re sní omhthuirse such my parting, in troubled tiredness, ’gus ansiúd amuigh ar an domhain and there far out on the deep tar é is mo chompá in chridhe. from the partner of my heart. in aimhré idh cú ir agus toinne where foam and wave tangle chonaic an t-uaigneas i do shú il I saw the loneliness in your eye by Maghnas Ó Dómhnaill translation by Thomas Kinsella ’gus an doilí os i do ghnú is and the anguish in your face. III Gealach agus Grian III Sun and Moon shiú ileas amach ar an domhain I walked out onto the deep (from A Ó gá naigh an chú il cheangailte) 18th Century (from O youth of the loose bound hair) ó ghlú in go com from knee to waist and from waist to shoulder Agus shí l mé , a stó irí n, And to me, my dear, agus ó chom go guaille nó gur slogadh mé until I was engulfed go mba ghealach agus grian thú , you were sun and moon, by anguish and loneliness. agus shí l mé ina dhiaidh sin and more than that sa doilí os ’gus san uaigneas. go mba sneachta ar an sliabh thú , you were the snow on the hills, translation by Ciarán Mac Murchaidh agus shí l mé ina dhiaidh sin and more than that still by Caitlí n Maude (1941-1982) go mba ló chrann ó Dhia thú , you were a guiding-light from God, Courtesy of the Caitlin Maude Estate nó go mba tú an ré alt eolais or the star of knowledge Published by Cló Iar-Chonnacht ag dul romham is ’mo dhiaidh thú before and behind me.

Traditional translation by Ciará n Mac Murchaidh

108 911 Thanks to all the musicians who took part in this journey – friends as well as performers, from my Darragh Morgan, Linda twenty year relationship with Crash Ensemble through to sharing stories of milking machine drones Buckley and David Lefeber with Iarla Ó Lioná ird, and Darragh Morgan being the fi rst musician I ever wrote for, combining violin (Producer/Engineer) at and electronics, at the age of eighteen. This sparked a love of merging instrumental and electronic All Saints, East Finchley, textures, which is the thread running throughout the whole record. To Adrian Hart and David Lefeber London for their sonic magic in recording, mixing and production, and Craig Carry for creating the beautiful cover artwork. Thanks to Nicol Hay for his encouragement and support, and I wish to dedicate this to my parents Mary and Daniel Buckley, who instilled in me the love of music, and are the strongest people I know. – Linda Buckley

Ciaran McCabe, Maria Ryan, Kate Ellis, Lisa Dowdall (Crash Ensemble) at Hellfi re Studio, Dublin Joby Burgess at All Saints, East Finchley, London Isabelle O’Connell at Hellfi re Studios, Dublin

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