“What we call silence is for me comparable to a dense knot of noise, frequencies, and sounds,” says Rebecca Saunders. “From this surface of apparent silence I try to draw out and mould sound and colour." Samuel Beckett's works have become very important for the composer. Therein lies, perhaps, a certain parallel to Rebecca Saunders’s more recent music: in the increasing sparseness of a language that gradually shuts out the inessential and ornamental.
“Stirrings Still” is a music that seems to be inside and outside at once – both mobile sound sculpture and a journey beneath the surface of the sound waves, into the interior of a sound that suddenly seems more distant yet more intense. “Such and much more such the hubbub in his mind so-called till nothing left from deep within but only ever fainter oh to end,” Beckett writes at the end of his “Stirrings Still”. “Oh all to end.”
"We love to contemplate blue, not because it advances to us, but because it draws us after it.”. (Johann Wolfgang Goethe: Farbenlehre)
"Blue is darkness made visible … The darkness comes in with the tide.” (Derek Jarman: Chroma – A book of colour)
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