FRANCIS GEORGE SCOTT (1880-1958): Milkwort and Bog-Cotton, Crowdiknowe, Moonstruck, The Eemis Stane, The Sauchs in the Reuch Heuch Hauch, Ay Waukin, O, Amang the Trees, The Discreet Hunt, Je descendis dans mon jardin, Florine, Lourd on my Hert, The Watergaw, Country Life, Wheesht, Wheesht, O, wha my babie-clouts will buy?, My wife's a wanton wee thing, The Innumerable Christ, I wha aince in Heavens' Heicht, An Apprentice Angel, Hungry Waters, Te Deil o'Bogie, To a Lady, Cupid and Venus, The Old Fisherman, Im Tiroler Wirsthaus, In Time of Tumult, The Man in the Moon, First Love, Empty Vessel, The Wren's Nest, Love of Alba, The Wee Man.
Catalogue Number: 08J070
Reference: SIGCD 096
Description: A leading figure in initiating the Scottish musical renaissance that followed his generation, including figures such as Ronald Stevenson, and which continues to this day, F.G. Scott remained strangely neglected for decades despite enthusiastic endorsements from outspoken commentators including Sorabji. As composer he matured in the transitional period of the bridge between the 19th and 20th centuries - Sibelius, Busoni and Schönberg - an unique combination of Scottish ballad tradition and European trends. Many of these songs are settings of MacDiarmid, whose sometimes mordant, sometimes tender, always extraordinarily evocative and to the point poetry is set to music that matches its broad colloquialism, visionary qualities, fierce individualism and lightning-flashes of eccentric insight. Scott's chromatic idiom and extraordinary melodic gift are ideally suited to these little tone-poems of essentially Scottish life and thought, with their exaggerated drama, evocations of eerie, mist-laden landscapes, and moments of outrageous humor. In the settings of other poets too - Robert Burns and William Soutar, among others - Scott displayed a remarkable ability to translate their individual style into appropriate musical form, creating the impression of the songs as part of a folksong tradition, although of course all his material is original, and the vocal writing and accompaniments are all at the very highest level of European concert sophistication - as with MacDiarmid's 'Synthetic Scots' patois, there is actually nothing rustic about the craftsmanship that went into the fashioning of these apparently guileless miniatures. Throughout, there is an irresistible energy and many delicious turns of phrase which make this as attractive a release as it is important. Texts and translations (where necessary) included. Lisa Milne (soprano), Roderick Williams (baritone), Iain Burnside (piano).