A couple of remarkable string-playing reflections and refractions of Celtic traditions have come my way recently: first, Jordi Savall's The Celtic Viol. It's about as far from the Chieftains as you can get, but Savall on viol and Andrew Lawrence-King on small harp find an astonishing delicacy and sensitivity in tunes by Neil Gow, O'Carolan, and traditional numbers.
These are performances that both restore the melodies to the time of their composition and reveal their timeless strength and simplicity. Have a listen to MacPherson's Lament to see what I mean.
A much wilder prospect is string player Bonnie Rideout's new disc of Scotland's Fiddle Piobaireachd (or pibroch - less accurate but easier to say). Rideout plays violin and viola on the disc, in these works from Scotland's big music (ceòl mòr) – pibroch being the most extended musical form composed for bagpipes over the centuries, and occasionally written for fiddle and clarsach (the small Scottish harp) as well. Rideout was born in Maine and now lives in Virginia, but has always played Scottish traditional music, and she performs with staggering intensity.
The music was a complete revelation to me. The first track, McDougall's Gathering, makes the viola sound like I've never heard it. The instrument speaks with a massive, mythic power in this piece, which was historically used to call clan members together. It's not as loud as the original pipes, but the viola gives the music another dimension.
If you're allergic to the aural assault of the bagpipes, here's the perfect way to hear what you've been missing in the musical riches of its repertoire. The disc isn't in the shops yet, but you can order it from bonnierideout.com - or at least you will be able to from August, when she gets back from touring.
