Clare O'Connell: Light Flowing
Clare O'Connell (cello), Eleanor Turner (harp), Marianne Schofield (double bass)
The album is framed by two short triptychs by Edmund Finnis: Three Solos has echoes of Bach in the double-stops of the first movement, before a more restless exploration of pizzicato in the...
Clare O'Connell: Light Flowing
Clare O'Connell (cello), Eleanor Turner (harp), Marianne Schofield (double bass)
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The album is framed by two short triptychs by Edmund Finnis: Three Solos has echoes of Bach in the double-stops of the first movement, before a more restless exploration of pizzicato in the...
About
Light Flowing is an album of works for cello performed by Clare O'Connell as part of NMC's Artist Series. The album features works by composers Edmund Finnis, Nick Martin, Emilie Levienaise Farrouch, Natalie Klouda and Alex Mills and is inspired and tied together conceptually by ideas of light, depth, simplicity, the search for a perfect line, and capturing an otherworldly beauty that these carefully chosen composers represent within their different sound worlds.
Speaking about the album, cellist Clare O'Connell said: 'This body of work expresses what I want to hear and play on the cello. I am always looking for new music which represents how I think and feel and so I began looking for an introverted introspective simplicity, which I hoped would transport the listener to a place of peace. It has been a huge privilege to explore with them all, and I'm enormously proud of what has been created.'
O'Connell is joined on the album with harpist Eleanor Turner for Alex Mills' work Zenith for cello and harp; and double bassist Marianne Schofield for Figures of Eight for cello and double bass by Edmund Finnis.
Contents and tracklist
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Awards and reviews
July 2025
The album is framed by two short triptychs by Edmund Finnis: Three Solos has echoes of Bach in the double-stops of the first movement, before a more restless exploration of pizzicato in the second, and a wide-ranging eloquent line in the third. Figures of Eight follows the same pattern, this time with the addition of a double bass, but again with a rhythmic pizzicato central movement and lyricism burgeoning in the third.