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Laura Risk, Jacqueline Schwab

Celtic Dialogue

  • 1. Up tails a' 3:55
  • 2. My Nanny O 4:45
  • 3. A wife of my ain 2:45
  • 4. She's sweetest when she's naked 2:52
  • 5. Dusty Miller 2:39
  • 6. Johnnie Faa 4:20
  • 7. The collier's daughter 3:26
  • 8. Robaidh dona górach 5:22
  • 9. The Highlander's farewell 2:02
  • 10. Lady Jean Lindsay's Minuet 2:35
  • 11. Johnnie Cope 4:54
  • 12. Gowd on your gartens, Marion 5:13
  • 13. Minuet in A, with variations 2:53
  • 14. Welcome home, my dearie 1:41
  • 15. Miss Carmichael's Minuet 4:08
  • 16. Cumha na cloinne 3:33
  • 17. Old Sir Symon the King 4:59
  • 18. Through the wood, laddie 4:40
    • Laura Risk - violin
    • Jacqueline Schwab - piano
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    69.00 PLN


    Nr kat.: DOR90264
    Label  : DORIAN (USA)

    Dynamic nuances, crisp, clear tone and appropriately stylistic bowing characterize Laura Risk?s fiddle lines on her newest recording, Celtic Dialogue. Risk's pure and gentle touch on the fiddle makes it sound like she is caressing the music from her instrument rather than simply playing it. The result is a softer, more melodic sound than the common fiddler?s, which suits a wide variety of Celtic music quite well. This isn't to say that she can?t bring out the fire of the fiddle; she also does that quite admirably. Despite Risk?s incredible talent as a fiddler, this recording would have difficulty standing out from other excellent Celtic fiddle albums if it weren?t for the incredibly inventive, bold, and varied piano accompaniments by Jacqueline Schwab. Schwab's arrangements are frequently sparse, but each note is so properly chosen and each rhythm so perfectly expressed in both timing and emphasis as to lift the music to a whole new level. The piano frequently comes out from the background to make memorable appearances as the melody instrument. Schwab's solos are sensuous and full of emotion, her fingers dancing across the keyboard with what sounds like incredible ease. Every touch adds texture, resonance, and depth to the music. The duo are so well-matched as to leave the listener convinced that they must have been playing together for most of their lives. This does not appear to be the case, for in the liner notes Risk thanks Alasdair Fraser for introducing them. Their choice of music is perfect for them, displaying their talents and understanding of Scottish music from the 18th century. This was an era of exploration in folk music, where people would experiment with other styles including classical music, which has a clear influence on many of the selections here. The fiddlers of the time also experimented by drawing on the resources of their fellow musicians, undoubtedly including harp and bagpipes. The result is a rich diversity of national music, as presented here. The recording starts with 'My Nanny O,' opening with a bold piano chord, which sustains while Risk?s fiddle takes the lead over a very sparse piano accompaniment. There are a number of familiar songs represented, including Robert Burn's 'A Wife of My Ain,' 'Dusty Miller,' 'Johnny Cope,' and 'Gowd on Your Gartens, Marion.' Equally well represented are tunes written as instrumentals including the fiery and upbeat fiddle tune 'The Highlander's Farewell,' which sounds much like a Highland bagpipe tune. There are several delightful minuets including 'Lady Jean Lindsay's Minuet' by Daniel Dow, who also wrote the well-known strathspey 'Monymusk.' There's a wonderfully upbeat hornpipe entitled 'Welcome Home, My Dearie,' filled with spunk and pizzazz, and a remorseful fiddle solo 'Cumha na Cloinne' (translates to 'Lament for the Children'), which is the ground (first movement) for a bagpipe piobaireachd, beautifully expressed. The recording closes with a quiet and nostalgic tune 'Through the Wood, Laddie.' Although this recording consists mostly of the more placid and relaxed music of Scotland?s 18th century, it is a far cry from a recording to sleep by. The dynamic expression produced by both Risk and Schwab are beautifully captured with Dorian?s famous recording methods, creating a feeling of being at a live acoustic concert. The sound is fresh and alive, much as the music seems to be when presented by this fabulous duo. (Dorian Music, 1999)