Scottish Reflections by Bonnie Rideout & Maggie's Music Artists
This is a new release that features BONNIE RIDEOUT on Scottish fiddle & viola performing Scottish instrumental music featuring Bonnie Rideout & Maggie’s Music artists.Its a nice collections of music that from the Scottish repertoire but also has crossed over into the Celtic repertoirie as well. Bonnie is a 3-time US National Scottish Fiddle champion and this collections of music represents her performances over 10 years of musical collaboration with other top artists on the Maggie’s Music record label including Celtic harper- Sue Richards. This album represents musicians sharing their talents within a close Celtic community that is as small as your living room and as large as the world. Bonnie Rideout’s other albums include Soft May Morn, Celtic Circles, Kindred Spirits, Gi’Me Elbow Room, Scottish Fire, Scottish Rant, and A Scottish Christmas.
NOTES ON THE MUSIC- here's the liner notes about the music on this new release. More info: www.maggiesmusic.com
[Track 1] features Bonnie Rideout and the early music ensemble, Hesperus, presenting music from some of the earliest sources of Scottish, English, and Irish traditional folk music. For centuries the fiddle and the pipes have shared repertoire, complementing each other with similar ornamentation and the use of drone notes, as in these three tunes. MacDonald of the Isles is a pipe march, followed by a strathspey, which is the dance form most identified with Scottish traditional music. The Source of the Spey and The Periwig are reels first published in the Captain Simon Fraser Collection (1815). [Track 2] Bonnie joins four-time National Scottish Harp Champion, Sue Richards, on Seal Songs. These haunting melodies are from the Patrick MacDonald Collection (1784). In the Scottish hierarchy of nature, seals are almost equal in rank to humans. The Silkie myths tell of seals taking human form for short visits on land. [Track 3] The Thistle is a brilliant example of 18th century Scottish parlor music written by James Oswald, who was considered a fine composer of traditional Scottish fiddle tunes and also an example of what, in the 21st century, is referred to as “chamber folk music.” [Track 4] Charlie Glendinning wrote Dunblane after 16 children and their teacher were slain by a gunman on March 13, 1996, in Dunblane, Scotland. Reflecting on his composition, Mr. Glendinning said, “The tragedy was like an icy blast of winter returning to kill every flowering bud of spring….” In Bonnie’s arrangement, the fiddle and viola are joined by the piper, Paula Glendinning, with their instruments giving voice to those who were lost and the many who were left behind to remember forever. [Track 6] Lamentation of the Fallen Heroes of Waterloo, from the Nick Gow & Sons Collection, exquisitely renders a haunting retrospective of that famous battle of 1815. [Track 11] Sue Richards presents Lament for Limerick, Lochaber No More, and Irish Lamentation, a set of tunes from Ireland, Scotland and England, respectively. The Lament and Lochaber commemorate the mournful losses of war, while Irish Lamentation transforms these tunes into a lovely waltz, elegantly displaying the harmonic interplay of the Celtic harp, fiddle, and viola da gamba. [Track 12] Gloomy Winter evokes a reflective mood. Bonnie learned this tune from her teacher in a one-room schoolhouse she attended as a child in Maine. She was attracted to this beautiful melancholy Scottish air that speaks to matters of the heart and the coming of spring. Bonnie’s lush arrangement for strings features viola and fiddle. [Track 14] Minstrel of MacDonald’s is played in two versions; the first is Bonnie’s from the Patrick MacDonald Collection (1784), and the second is William Taylor’s from the Angus Fraser Collection (ca. 1874). Although not technically a piobaireachd (PEE-brahk) Bonnie plays this air in a similar style by building variations on the melody to create a moment of timelessness. Through subtle ornamentation, manipulation of different vibratos, and varied bowing techniques, Bonnie maintains continuity with the final tracks on all of her other recordings. The careful crafting of a simple melody truly represents Bonnie’s fiddling style and is a perfect tune to conclude this recording.
Scottish Reflections by Bonnie Rideout & Maggie's Music Artists
This is a new release that features BONNIE RIDEOUT on Scottish fiddle & viola performing Scottish instrumental music featuring Bonnie Rideout & Maggie’s Music artists.Its a nice collections of music that from the Scottish repertoire but also has crossed over into the Celtic repertoirie as well. Bonnie is a 3-time US National Scottish Fiddle champion and this collections of music represents her performances over 10 years of musical collaboration with other top artists on the Maggie’s Music record label including Celtic harper- Sue Richards. This album represents musicians sharing their talents within a close Celtic community that is as small as your living room and as large as the world. Bonnie Rideout’s other albums include Soft May Morn, Celtic Circles, Kindred Spirits, Gi’Me Elbow Room, Scottish Fire, Scottish Rant, and A Scottish Christmas.
# Posted on September 23rd 2002 by tilythehon
Bonnie Rideout's Scottish Reflections- liner notes
NOTES ON THE MUSIC- here's the liner notes about the music on this new release. More info: www.maggiesmusic.com
[Track 1] features Bonnie Rideout and the early music ensemble, Hesperus, presenting music from some of the earliest sources of Scottish, English, and Irish traditional folk music. For centuries the fiddle and the pipes have shared repertoire, complementing each other with similar ornamentation and the use of drone notes, as in these three tunes. MacDonald of the Isles is a pipe march, followed by a strathspey, which is the dance form most identified with Scottish traditional music. The Source of the Spey and The Periwig are reels first published in the Captain Simon Fraser Collection (1815). [Track 2] Bonnie joins four-time National Scottish Harp Champion, Sue Richards, on Seal Songs. These haunting melodies are from the Patrick MacDonald Collection (1784). In the Scottish hierarchy of nature, seals are almost equal in rank to humans. The Silkie myths tell of seals taking human form for short visits on land. [Track 3] The Thistle is a brilliant example of 18th century Scottish parlor music written by James Oswald, who was considered a fine composer of traditional Scottish fiddle tunes and also an example of what, in the 21st century, is referred to as “chamber folk music.” [Track 4] Charlie Glendinning wrote Dunblane after 16 children and their teacher were slain by a gunman on March 13, 1996, in Dunblane, Scotland. Reflecting on his composition, Mr. Glendinning said, “The tragedy was like an icy blast of winter returning to kill every flowering bud of spring….” In Bonnie’s arrangement, the fiddle and viola are joined by the piper, Paula Glendinning, with their instruments giving voice to those who were lost and the many who were left behind to remember forever. [Track 6] Lamentation of the Fallen Heroes of Waterloo, from the Nick Gow & Sons Collection, exquisitely renders a haunting retrospective of that famous battle of 1815. [Track 11] Sue Richards presents Lament for Limerick, Lochaber No More, and Irish Lamentation, a set of tunes from Ireland, Scotland and England, respectively. The Lament and Lochaber commemorate the mournful losses of war, while Irish Lamentation transforms these tunes into a lovely waltz, elegantly displaying the harmonic interplay of the Celtic harp, fiddle, and viola da gamba. [Track 12] Gloomy Winter evokes a reflective mood. Bonnie learned this tune from her teacher in a one-room schoolhouse she attended as a child in Maine. She was attracted to this beautiful melancholy Scottish air that speaks to matters of the heart and the coming of spring. Bonnie’s lush arrangement for strings features viola and fiddle. [Track 14] Minstrel of MacDonald’s is played in two versions; the first is Bonnie’s from the Patrick MacDonald Collection (1784), and the second is William Taylor’s from the Angus Fraser Collection (ca. 1874). Although not technically a piobaireachd (PEE-brahk) Bonnie plays this air in a similar style by building variations on the melody to create a moment of timelessness. Through subtle ornamentation, manipulation of different vibratos, and varied bowing techniques, Bonnie maintains continuity with the final tracks on all of her other recordings. The careful crafting of a simple melody truly represents Bonnie’s fiddling style and is a perfect tune to conclude this recording.
# Posted on September 23rd 2002 by tilythehon