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TRACKS: To describe the partsongs as Scottish may be slightly anachronistic, in that most of the composers represented were writing for the English musical market, by virtue of their positions of employment. Principal of the Royal Academy of Music in London from 1888, Alexander MacKenzie was an exact contemporary of C H H Parry, himself Director of the Royal College of Music, where Hamish MacCunn was a member of his staff. It is therefore not surprising that we can detect resonances of Parry in both The Evening Star and Madrigal suggesting, rather, that this is a shared, late 19th century British style. John Blackwood McEwen entered the Royal College of Music as a student at the age of fifteen, and eventually became Principal when MacKenzie demitted office in 1924. In spite of their attachment to the London musical establishment, however, none of the three 'Macs' ever lost touch with his Scottish roots, whether composing on overtly nationalistic themes, or in the choice of texts - whilst the poetry of Robert Burns has assumed an international following, attracting a parallel range of musical settings in its wake. Best known as a writer of songs (and a frequent collaborator with Hugh MacDiarmid), Francis George Scott spent his working life in his native Scotland - latterly (from 1925 to 1946) as a Music Lecturer at Jordanhill College of Education, which during the 1990s merged with the University of Strathclyde and, in the process, became its Faculty of Education. |
PERFORMED BY: STRATHCLYDE UNIVERSITY CHAMBER CHOIR (Conductor: Alan Tavener) Producer: Rebecca Tavener Engineer & Editor: Tony Kime Recorded in Woodlands Hall, Glasgow Grateful acknowledgement is also made to William Coleman and Philip Gault (vocal coaches) Ann Logie (secretary) and John Purser (author of Scotland¹s Music) |
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fantastic new Scottish music from :: The Music Kitchen :: now available here | |||||||||||||||||
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