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Mackay's Memoirs | ||||
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Studio album by | ||||
Released | 15 April 2005 | |||
Recorded | 2005 | |||
Genre | Celtic fusion, classical | |||
Length | 20:17 | |||
Label | City of Edinburgh Music School | |||
Producer | Various | |||
Martyn Bennett chronology | ||||
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Review scores | |
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Source | Rating |
AllMusic | link |
Mackay's Memoirs is the last recorded work by Scottish Celtic fusion artist Martyn Bennett. It was released on 15 April 2005 by the City of Edinburgh Music School.
It is the recording of a piece commissioned for the opening of the Scottish Parliament on 1 July 1999 and is performed by the City of Edinburgh Music School Chamber Orchestra, conducted by Susan Emslie.
The composition for pipes, clarsach and orchestra was written in honour of the late Dr. Kenneth A Mackay of Badenoch after Bennett read Mackay's medical and personal journals written during his post as Free Church of Scotland missionary general practitioner in Moyobamba, Peru. The composition is based on the theme and first variation of the piobaireachd "Lament For Mary MacLeod" and opens with Psalm 121 and features the pipes, voices, clarsach and the classical orchestra.
It was recorded on the morning after Bennett's death on 31 January 2005 by the young people of Broughton High School who were unaware that he had died, the news being kept back until recording was over. [1]
Scotland is internationally known for its traditional music, which remained vibrant throughout the 20th century and into the 21st, when many traditional forms worldwide lost popularity to pop music. In spite of emigration and a well-developed connection to music imported from the rest of Europe and the United States, the music of Scotland has kept many of its traditional aspects; indeed, it has itself influenced many forms of music.
Scottish folk music is music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Neil and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.
Martyn Bennett was a Canadian-Scottish musician who was influential in the evolution of modern Celtic fusion, a blending of traditional Celtic and modern music. He was a piper, violinist, composer and producer. He was an innovator and his compositions crossed musical and cultural divides. Sporting dreadlocks at the height of his performing career, his energetic displays led to descriptions such as "the techno piper". Diagnosis of serious illness at the age of thirty curtailed his live performances, although he completed a further two albums in the studio. He died fifteen months after release of his fifth album Grit.
Pibroch, piobaireachd or ceòl mòr is an art music genre associated primarily with the Scottish Highlands that is characterised by extended compositions with a melodic theme and elaborate formal variations. Strictly meaning "piping" in Scottish Gaelic, piobaireachd has for some four centuries been music of the Great Highland Bagpipe. Music of a similar nature, pre-dating the adoption of the Highland pipes, has historically been played on the wire-strung Gaelic harp (clarsach) and later on the Scottish fiddle, and this form is undergoing a revival.
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