2014年是苏格兰重要的一年，七月在格拉斯哥举行英联邦运动会（Commonwealth Games），九月举办独立公投，并迎接莱德杯（Ryder Cup）高尔夫球比赛的到来。为了迎接这一连串的盛事，小提琴家班乃德提特别录制了这张以故乡苏格兰为主题的专辑，作为历史见证。其中收录《苏格兰幻想曲》、《罗莽湖畔》、《我的爱像一朵朵红玫瑰》、《爱之吻》、《友谊万岁》（驪歌）、《温柔的光芒唤醒我》等雋永的经典名曲与民谣。
出生於苏格兰的班乃德提，一直以苏格兰的文化根源为荣，她是有史以来古典全英音乐奖（Classic BRITs）获得提名最多的女性音乐家。上一张专辑「银色小提琴」（The Silver Violin）仅以七週的时间便登上英国古典榜的第一名，并且还在流行榜上获得32名的好成绩，这是自1991年庞克小提琴家甘迺迪（Nigel Kennedy）之后，古典器乐专辑的最高名次。因为她杰出的成就，2013年即获颁「大英帝国最优秀勋章」（Most Excellent Order of the British Empire）之「员佐勋章」（Member，简称「MBE」）的肯定。
专辑中，除了班乃德提独挑大樑，与BBC苏格兰交响乐团一同协奏，此外还邀请知名的苏格兰音乐家合作，包括民谣歌手Julie Fowlis（曾为迪士尼-皮克斯的电影《勇敢传说》（Brave）之配乐献唱）、手风琴手Phil Cunningham，以及提琴手Aly Bain。悠扬的琴音将苏格兰经典的旋律詮释到无以复加的完美境界，无论是想体验新声音的乐友或是听门道的乐迷，都可以从这张专辑中获得极大的音乐享受。
发行公司： DECCA [发行商品]
产品制造地： 欧美 .
发行类型： CD . 古典 . 管弦乐 . 长笛 . 钢琴 . 小提琴 . 吉他 . 低音提琴 . 乐团 .
Homecoming A Scottish Fantasy
CD编号 : 4786690
演奏者 : 班乃德提 Nicola Benedetti - 查看所有专辑
专辑名称 : 归乡 – 苏格兰幻想曲
Homecoming – A Scottish Fantasy
音乐类型 : 古典音乐 [CD 小提琴(家)]
发行公司/日期 : 福茂 2014/7/16
内含片数 : 1
曲目 Bruch, Max Scottish Fantasy 1 I. Introduction; Grave, Adagio cantabile2 II. Scherzo; Allegro3 III. Andante sostenuto4 IV. Finale; Allegro guerriero5 Burns, Robert arr. Campbell, Paul Ae Fond Kiss 6 Trad/Burns, Robert arr. Limonov, Petr Auld Lang Syne Variations7 Burns, Robert arr. Campbell, Paul My Love is Like a Red Red Rose8 Skinner, James Scott arr. Benedetti, Nicola/Doorley, Éamon (cadenza Limonov, Petr/Benedetti, Nicola) Hurricane SetI. Spey in Spate II. The Hurricane9 I. Skinner, James Scott arr. Benedetti, Nicola/Cunningham, Phil II. trad arr. Benedetti, Nicola/Cunningham, Phil I. The Dean Brig o’ EdinburghII. Banks Hornpipe 10 Cunningham, Phil Aberlady 11 I. Trad arr. Fowlis, Julie/Cunningham, PhilII. Cunningham, Phil/MacDonald, IainIII. trad arr. Fowlis, Julie/Cunningham, PhilIV. Cunningham, Phil Mouth music and tunes setI. Bothan a bh' aig Fionnghuala/ Fionnghuala's BothyII. The Appropriate Dipstick III. Meal do bhrògan / Enjoy your shoesIV. Hogties12 Cunningham, Phil The Gentle Light That Wakes Me13 Trad, arr. Fowlis, Julie/Benedetti, Nicola/Doorley, Éamon Coisich a Rùin (Walk my beloved)14 Trad, arr. Campbell, Paul Bonnie Banks of Loch Lomond
Nicola Benedetti explores her Scottish roots in an album combining the traditions of classical and Scottish folk music. John Suchet's Album of the Week, 7 July 2014.
Violinist Nicola Benedetti says her new album - Homecoming - is a deeply personal journey through the music of her native Scotland, and it's certainly rare that classical pieces and Scottish folk tunes have been recorded alongside each other.
The inclusion of Bruch ’s Scottish Fantasy which uses traditional tunes, including those of Robert Burns, neatly links to three Burns songs arranged for violin and orchestra.
The Scottish folk music that ends the album includes some of Scotland’s most esteemed folk musicians including the singer Julie Fowlis whose voice can be heard on the Brave soundtrack. Benedetti joins in the ensemble with real gusto and feeling for the music.
The music of Benedetti's homeland is clearly close to her heart and performed with sensitivity throughout this refreshing album.
Catalogue No: 4786690
Release date: 7th July 2014
Length: 83 minutes
Medium: CD (download also available)
HOMECOMING: A SCOTTISH FANTASY
NICOLA BENEDETTI - HOMECOMING
Nicola Benedetti explores her Scottish roots in an album combining the traditions of classical and Scottish folk music
Nicola Benedetti’s new album on Decca Classics is deeply personal as she presents music of her native Scotland. There is no better way to highlight this personal journey than through the words of Nicola herself. Here she talks in more detail about Homecoming: A Scottish Fantasy.
Nicola Benedetti on Homecoming: A Scottish Fantasy
Compromising three parts, this album brings together two musical traditions, classical and Scottish folk; worlds that have for centuries, co-existed but rarely been recorded alongside one another. At the very heart of the album is Bruch’s Scottish Fantasy, a work that brilliantly captures Scotland’s folklore, landscape and people. Bruch’s usage of traditional Scottish tunes including those of Robert Burns, the ‘People’s Poet’ of Scotland provides a thread to Burns’ three songs arranged for violin and orchestra. The album ends with music that has inspired both Bruch and Burns; that of Scottish folk music, and includes a collaboration with some of Scotland’s most esteemed folk musicians; Phil Cunningham, Julie Fowlis and Aly Bain.
Bruch’s Scottish Fantasy
The use of folk song in classical music has survived innumerable changes in social, philosophical and compositional trends. Musicians have faithfully returned to its wholesomeness again and again, often utilising entire melodies or striving to capture the nuanced style of playing on paper. The German composer Max Bruch (1838–1920) looked to Scotland’s own for inspiration in creating his Scottish Fantasy, a work in four movements for violin and orchestra. For someone who has never visited Scotland, Bruch’s exploration of the landscape during this introduction is astonishingly clear. The solo violin line beckons the listener to join a journey through brooding terrain and heavy weather – rising and falling, wild and tumultuous. But with the sweet emergence of “Auld Rob Morris”, a bonnie Robert Burns tune, Bruch moves away from the land and onto the folklore of the Scottish people, and it is this which continues to take centre stage for much of the work. The second movement opens with a declaration of roughness and realness played by the orchestra. The solo violin enters with a convincing interpretation of “Dusty Miller” — euphoric, uplifting and virtuosic. The care and tenderness with which Bruch encases “I’m A-Doun for Lack of Johnnie” in the third movement reveals his true adoration for folk song in all its purity and simplicity. The final movement, based on “Hey Tutti Tati”, which Burns later adapted into “Scots, Wha Hae”, is a very challenging set of variations, appropriately written on a theme in the spirit of battle: the Battle of Bannockburn to be precise, one that proved to be quite successful for the Scots.
Robert Burns was born in 1759 in Ayrshire, the country where I was born and raised and my connection with the poet is very strong. As a child, I sang his songs and my mother grew up in a cottage down the road from one of his numerous homes. I recall the fear and ongoing nightmares brought on by his thrilling poem ‘Tam O’Shanter’. In paying tribute to Burns, I have recorded three of his most loved songs: Ae Fond Kiss; My Love is Like a Red Red Rose and Auld Lang Syne. These traditional melodies have been interpreted in all kinds of ways but it is believed this is the first time they have been arranged for violin and orchestra. Ae Fond Kiss, the first love song, is characterised by the passion and turmoil Burns felt in his painful relationship with “Clarinda” — Mrs Agnes (Nancy) McLehose. The second song, My Love is Like a Red Red Rose, is a euphoric declaration of how positive love — a state in which the ever amorous Burns very often found himself — can be. Auld Lang Syne is Burns’ best-known song — sung every year around the world on New Year’s Eve. But here, for solo violin, it is given in its original version — a far more subtle, sweet and contemplative ode to remembrance and nostalgia. I commissioned the orchestral arrangements from the Irish composer and orchestrator Paul Campbell, who has a natural love and understanding of Celtic music. Auld Lang Syne was arranged by the young pianist and conductor, Petr Limonov.
In Scotland it is impossible to ignore folk music. Scots are fiercely proud of it, and many still love dancing and listening to it. The importance of the violin in Scottish music is undisputed — a folk band is incomplete without one, fiddle tunes make up an enormous body of reels and jigs, and the violin is a primary exponent of the intensely soulful yet rarely indulgent slow airs. My own violinistic path didn’t bring me closer to the Scottish tradition. In pursuing a classical education, i was encouraged to avoid mixing styles because the physical techniques required are so different. This collaboration gave me the opportunity to face the challenges of playing Scottish traditional music with some of Scotland’s most esteemed folk musicians: Phil Cunningham, Aly Bain and Julie Fowlis.
With Phil, Aly and Julie’s help and patience, I came a little way towards finding my own place within Scottish folk music. In trying to understand the rhythmic, stylistic and interpretational differences, I felt a disorienting shift in both my mental and physical state. The question quickly became ‘How far down this road do I go?’. I came to the same conclusion as when trying to find my way in the minefield of options in interpreting Baroque music: try it all, research as much as possible, and settle on where your voice lies most comfortably. The classical and folk story is one of endless collaboration and crossover, shared material and playing techniques. Our education categorises and separates traditions that were never that far apart. The more connections of this nature I discovered, the freer I felt to take liberties.
The idea of liberation inspired the idea of adding a cadenza to one of James Scott Skinner’s tunes “The Hurricane”. Skinner, born in 1843, studied classical violin with the French maestro Charles Rougier, played in orchestras and also worked as a dance master. He embraced all styles and integrated these discoveries into his own compositions such as “Dean Brig o’ Edinburgh” and “Banks Hornpipe”.
The music of Phil Cunningham features strongly on the album, and it was an honour to record Aberlady – named after the town the entire band stayed in during the recordingThe Gentle Light that Wakes Me and Hogties with the man himself.
This tribute to Scottish music would have felt incomplete without representing the Gaelic language and culture. Gaelic was the predominant language of Scotland until the end of the 11th century. By the later middle age, it had retreated to the Highlands and Hebrides, which maintained some degree of independence within the Scottish state. The number of Gaelic speakers today is estimated at just 58,000. “Coisich a ruin” is a waulking song: music that accompanied the practice of waulking cloth (beating newly woven cloth against a table to soften it) by groups of women.
The Bonnie Banks o' Loch Lomond' is one of Scotland's most loved tunes. First published in 1841, this tune has inspired many interpretations from composers and performers over the years. Paul Campbell’'s arrangement glides through a variety of guises and upholds the versatility of “The Bonnie Banks”. From melancholy to heroic pride, from a rough and ready 6/8 reel to classical virtuosity, before returning for one last “‘goodbye”’.
01. I. Introduction; Grave, Adagio cantabile
02. II. Scherzo; Allegro
03. III. Andante sostenuto
04. IV. Finale; Allegro guerriero
05. Burns, Robert arr. Campbell, Paul Ae Fond Kiss
06. Trad/Burns, Robert arr. Limonov, Petr Auld Lang Syne Variations
07. Burns, Robert arr. Campbell, Paul My Love is Like a Red Red Rose
08. Skinner, James Scott arr. Benedetti, Nicola/Doorley, Éamon (cadenza Limonov, Petr/Benedetti, Nicola) Hurricane Set
09. I. Skinner, James Scott arr. Benedetti, Nicola/Cunningham, Phil II. trad arr. Benedetti, Nicola/Cunningham, Phil I. The Dean Brig o’ Edinburgh
10. Cunningham, Phil Aberlady
11. I. Trad arr. Fowlis, Julie/Cunningham, Phil
12. Cunningham, Phil The Gentle Light That Wakes Me
13. Trad, arr. Fowlis, Julie/Benedetti, Nicola/Doorley, Éamon Coisich a Rùin (Walk my beloved)
14. Trad, arr. Campbell, Paul Bonnie Banks of Loch Lomond