10th Musselburgh Festival 1984
by Norrie Williams
B&F April 1984
Junior Accordion
Under 12 Traditional Accordion Solo – Pentland Cup
1) Alan Frater (Carluke)
12 and Under 16 Traditional Accordion Solo – Jim Johnstone Cup
1) Dianne Armstrong (Armadale)
Junior Accordion Solo Pipe Music – Bill Black Cup
1) Dianne Armstrong (Armadale)
Junior Traditional Duet – Angus Howie Cups
1) Graham & Lorna Jeffrey (Earlston)
Senior Accordion
Senior Traditional Accordion Solo – Clinkscale Cup
1) Edward Galley (Forfar)
Senior Accordion Pipe Music Solo – Bill Powrie Memorial Cup
1) Edward Galley (Forfar)
Own Composition – Willie Wilson Cup
1) Maureen Anderson
Trios – Jimmy Blue Trophy
1) Neil Copland (Dundee)
Bands – Overall Winner - Iain MacPhail Cup
1) Craig McCallum (Penicuik)
Band – Rhythm Section - Arthur Easson Memorial Trophy
Craig McCallum (Penicuik)
CLASSICAL ACCORDION
Under 12 Classical Solo – Kelso Cup
1) Angeline McCloy (Wishaw)
Under 14 Classical Solo – Aberdeen Cup
1) David Preston (Shotts)
Under 16 Classical Solo – Dundee Shield
1) Elaine Hastie (Carluke)
Open Classical Solo – Jimmy Clinkscale Shield
1) Alan Preston (Shotts)
Under 16 Classical Duet - Alex MacArthur Cups
1) Ian Lowthian & Wendy Davidson
Open Classical Duet – Dunfermline Cup
1) Alan & David Preston (Shotts)
FIDDLE
Junior Fiddle Solo – MSR – Strathspey and Reel Association Cup
1) Alison Smith (Milngavie)
Junior Fiddle Solo – Slow Air – Dougie Welsh Memorial Cup
1) Maureen Turnbull (Dundee)
Senior Fiddle Solo – Slow Strathspey, MSR – St. Boswell Cup
1) Joan MacLaughlin (Oban)
Senior Fiddle Solo – Slow Air – Ron Gonella Cup
1) Stella Clark (Dundee)
Youngest Girl Competitor – John McQueen Medal
Kirsty MacDonald
Musselburgh Reflections
By Norrie Williams
Those who have been in the Brunton Main Hall on Musselburgh Festival Day will have seen the competitors emerge from the swing door over to the right and walk across a vast no-man’s land to mount that big stage which can be one of the loneliest spots on earth for a solo player waiting on the starting bell.
What goes on behind these swing doors? They give access to a long narrow store for stage props etc., the equivalent of the wings in a theatre. This ‘glory hole’ is used as the holding point for players waiting to enter the ‘arena’.
Throughout the day this is a busy place, especially during the Band and Trio Sections when it resembles Piccadilly Circus.
The atmosphere in this area is always taut, but about midway through the Evening Concert the tension increases dramatically as the moment of truth approaches for the select few who have reached the finals of one of the Senior Solo Traditional Accordion Classes.
Senior – A few years ago this title might have been more appropriatewhen the ages of this group could have ranged from 18 to 50, but of this year’s five intrepid souls the oldest is 18, a testimony to the technical expertise of today’s young players.
Judge
At this moment (7.20pm Saturday, 3rd March, 1984) in the ‘glory hole’ are Joan Blue – waiting on husband Jimmy who is going to judge the finals – Alex Little, MC, looking a picture of health and dotting happily back and forth through swing doors introducing the various turns, an ever-smiling Eddie MacDonald marshalling the ‘artistes’ and Jill Kinnaird of the BBC sitting quietly and unobtrusively to one side with clipboard and stopwatch.
As Freeland Barbour is on holiday, Jill is producing this year’s programmes of Festival highlights for ‘Take the Floor’.
Yours truly has been collecting the names of the tunes in the finalists’ march, strathspey and reel sets, at least the four that can be located.
The lad drawn to play second, Colin Dewar from Kingskettle, is missing.
Number one Raymond Laidlaw, Pencaitland, goes out through those doors on his lonely walk in front of 500 pairs of eyes and all our hearts go with him. His fine Guerrini instrument doesn’t matter at the moment, it’s the person behind it that is everyone’s concern.
One feels very proud indeed of these players who have gone through so much to reach this high point. There will obviously be some partisanship in the audience but when the chips are down like this everyone feels for each player in turn and wills them to go through note perfect. When the inevitable slip occurs, they all suffer along with the competitor. Pity they cannot all come out in first place, they deserve it.
Finishing
Raymond is just finishing his march when up the stairs comes Colin puffing and panting, having just bolted down a ‘chinky’ take-away, bungs on his Morino, says it feels a wee bit uncomfortable resting on his ‘sweet and sour’ or whatever, but not unduly perturbed he reaches the wings as the first competitor plays his final chord – a narrow squeak. Because of the panic we check that Colin’s bottom bellows strap is unfastened, wish him luck and out he goes.
I smugly hand Eddie MacDonald the third set of tunes and he says “thanks very much, but haven’t you forgotten something?” I scrutinize the paper to see if I have missed anything and look up puzzled. “Someone to play them,” he says.
I dash off along the maze of passages with my ears at full stretch listening for the march ‘Captain Carswell’ which will home me in on Jennifer Forrest of Airdrie. I find her with all the ‘diamonds’ on her Classique glittering in the lights.
We (the non-players) all keep up a light banter, imagining that this will put the players at ease. In fact, they’re probably thinking that they could do without this set of middle aged ‘ba-heids’ at this precise moment when they are trying to get into the right frame of mind.
Jennifer, who has had a good day – runner-up in Pipe Music and Trio Classes – but is obviously a bit tense, disappears into the hall.
Meanwhile a diminutive figure, wearing a full-length pale blue evening dress and a Hohner Gola, suddenly materializes, none other than Miss Rosemary Wright, the Principal of the British College of Accordionists.
Rosemary, who has been judging the classical all day, is going to do a spot immediately after the play-off. She actually looks more nervous than the five finalists, shaking her hands and working her fingers to limber up. Of course, she is also going out there to be judged and knows it. I have read all her articles on ‘Playing for others’ in the ‘Accordion Times’ and am rather wickedly looking forward to see how it works out in practice.
Edward Galley from Forfar (No 4) appears in harness, but his hands are getting sticky with perspiration, so he takes off his box and hands it to me. I buckle at the knees, not being used to Morino Vs – they are certainly Clyde-built. He rushes to the kitchen to run his hands under the cold tap – a good tip. We all get edgy while he’s away, but he makes it back during Jennifer’s reel.
Tension
Last man, James Grant, Eyemouth, is along in good time. He has had a long wait and this must tell. Again the small talk starts up to break the tension and this time a friendly argument ensues about the pronunciation of some of the tune titles.
The Airdrie lass comes back into the safety of the wings, obviously relieved, but shaking her head. Edward does his stint and returns and in answer to a “how did it go?” he makes facial expressions which could mean ‘not bad’.
Alex Little ushers James out and follows him to the stage for the introduction. This last player tackles tunes of incredible difficulty, requiring at least 10 fingers per hand and comes back at the end of his ordeal obviously not pleased with his efforts.
Various soothing comments are made as he passes through fastening up the shiny black Bugari.
Well, that’s it – another 10 minutes or so to wait for the results.
We disperse into the hall through those doors full of curiosity to hear Rosemary Wright. How will the audience, predominantly interested in traditional music, react to classical pieces played by an English visitor?
After a warm welcome and introduction by Alex Little, Rosemary, looking even tinier on that big stage announces her opening number in a clear, steady voice – no sign of nerves now.
This lady is in the virtuoso class and this level of playing can be appreciated even by those like myself who are not versed in this type of music – I always thought ‘Rallentando’ was a make of bicycle.
Recognition
The audience listen intently and give hearty applause. A second piece is rendered flawlessly with considerable expression and Rosemary gets well-deserved warm recognition.
She can be well pleased with he debut at Musselburgh. Time does not, unfortunately, permit an encore. Jimmy Blue, the Association Chairman, congratulates her as she glides out.
He then heads for the microphone to give the news that all are waiting for. For the second time that day Edward Galley collects the big one. As he passes once more through the glory hole with a handful of ironmongery he is pounced on by Robbie Shepherd, plus tape-recorder. Although he must be somewhat bewildered by events he sounds cool.
The concert continues, the aura of nervous tension behind these doors, although less intense, is still there, because various class winners are waiting to go on and do their party pieces.
I make off to snatch a quick cuppa, somewhat dazzled with admiration and emotion…
What has pleased me particularly about this Festival?
Firstly, the over-all high standard of playing in all classes. I may say this is also the opinion of the judges. A greater number of players in each section are now good or very good and this makes adjudication even harder. The quality was there right enough.
Increase
Secondly, the 50% increase in the junior fiddle entry and an almost full house in the new slow air competition. This is a tremendous encouragement to all connected with the organisation of the event. More power to the young players.
The standard of playing in the senior fiddle sections is also high, but the number are low. We cannot hope to emulate Kirriemuir or the ‘Golden Fiddle’, but we want the fiddle to come into greater prominence in the Association.
Finally, as last year, I was over the moon with the Trio and Band entries. In retrospect any recording company could have left tapes running for the enties two and a quarter hour session and without editing have issued two or three LPs of the most pleasing and contrasting styles and sounds. The standard was that good.
I was literally ‘high’ on the music at the end. The inventiveness and feeling shown throughout was nothing short of tremendous. Typical was a piano intro for the 6/8 march ‘Braemar Gathering’ and then the whole band hit it spot-on. Bob Scott and I were ten feet in the air. What an impact.
One of the most satisfying aspects is the fact that so many different musicians are taking the trouble to get together to work things out and rehearse. The no no duplication of players rule has reaped dividends.
Interest
Just for the record, if the Editor can spare the space, it would possibly be of interest to include a list of the players who participated in the groups – some well known names and some who will undoubtedly become so in the future. Just look at the statistics
Fiddlers - 15
Accordionists – 25
Pianists – 15
Bassists – 10
Drummers – 11
TOTAL - 76
Fiddle – Gregor Borland, Jean Ann Callander, Stella Clark, Judith Davidson, Bob Edwards, Margaret Ellis, Marie Fielding, Allan Johnstone, Gordon Johnstone, Andrew Knight, Margaret Quirrie, Alison Smith, Kathleen Smith, Maureen Turnbull and Jimmy Yeaman.
Accordion – Allan Anderson, George Carmichael, Kevin Clark, Tom Clark, Neil Copland, Colin Dewar, Alastair Edmondson, Owen Fielding, Jennifer Forrest, Ricki Franci, Gordon Hoggan, Simon Howie, Mark Kenneth, Colin Johnstone, Dorothy Lawson, Gary Mair, Malcolm Lillar, Craig McCallum, Lorna McWhinnie, Bruce Quirrie, Richard Ross, Donald Shaw, Dianne Smith, Hamish Smith and Gordon Wardlaw.
Piano – Neil Barron, Deborah Cavanagh, Colin Finlayson, Angus Howie, Dorothy Lawson, Morag McAskill, Alastair McGirr, Donald Mackenzie, Jean Milne, Anne Rutherford, Maureen Rutherford, Mrs Shaw, Gillian Simpson, Ian Strachan and Keith Wilson.
Double Bass – Duncan Burns, Douglas Cargill, John Delaney, Karen Leitch, Gregor McGillivray, Alastair MacLeod, Neil McMillan, John Quigley, Jimmy Ritchie and John Strachan.
Drums – George Darling, Hugh Gebbie, Neil Hutton, Graham Jamieson, Max Ketchin, Gus Millar, Billy O’Donnell, Grant Rennie, David Scott, Gordon Smith and George Stewart.
Under 12 Traditional Accordion Solo – Pentland Cup
1) Alan Frater (Carluke)
12 and Under 16 Traditional Accordion Solo – Jim Johnstone Cup
1) Dianne Armstrong (Armadale)
Junior Accordion Solo Pipe Music – Bill Black Cup
1) Dianne Armstrong (Armadale)
Junior Traditional Duet – Angus Howie Cups
1) Graham & Lorna Jeffrey (Earlston)
Senior Accordion
Senior Traditional Accordion Solo – Clinkscale Cup
1) Edward Galley (Forfar)
Senior Accordion Pipe Music Solo – Bill Powrie Memorial Cup
1) Edward Galley (Forfar)
Own Composition – Willie Wilson Cup
1) Maureen Anderson
Trios – Jimmy Blue Trophy
1) Neil Copland (Dundee)
Bands – Overall Winner - Iain MacPhail Cup
1) Craig McCallum (Penicuik)
Band – Rhythm Section - Arthur Easson Memorial Trophy
Craig McCallum (Penicuik)
CLASSICAL ACCORDION
Under 12 Classical Solo – Kelso Cup
1) Angeline McCloy (Wishaw)
Under 14 Classical Solo – Aberdeen Cup
1) David Preston (Shotts)
Under 16 Classical Solo – Dundee Shield
1) Elaine Hastie (Carluke)
Open Classical Solo – Jimmy Clinkscale Shield
1) Alan Preston (Shotts)
Under 16 Classical Duet - Alex MacArthur Cups
1) Ian Lowthian & Wendy Davidson
Open Classical Duet – Dunfermline Cup
1) Alan & David Preston (Shotts)
FIDDLE
Junior Fiddle Solo – MSR – Strathspey and Reel Association Cup
1) Alison Smith (Milngavie)
Junior Fiddle Solo – Slow Air – Dougie Welsh Memorial Cup
1) Maureen Turnbull (Dundee)
Senior Fiddle Solo – Slow Strathspey, MSR – St. Boswell Cup
1) Joan MacLaughlin (Oban)
Senior Fiddle Solo – Slow Air – Ron Gonella Cup
1) Stella Clark (Dundee)
Youngest Girl Competitor – John McQueen Medal
Kirsty MacDonald
Musselburgh Reflections
By Norrie Williams
Those who have been in the Brunton Main Hall on Musselburgh Festival Day will have seen the competitors emerge from the swing door over to the right and walk across a vast no-man’s land to mount that big stage which can be one of the loneliest spots on earth for a solo player waiting on the starting bell.
What goes on behind these swing doors? They give access to a long narrow store for stage props etc., the equivalent of the wings in a theatre. This ‘glory hole’ is used as the holding point for players waiting to enter the ‘arena’.
Throughout the day this is a busy place, especially during the Band and Trio Sections when it resembles Piccadilly Circus.
The atmosphere in this area is always taut, but about midway through the Evening Concert the tension increases dramatically as the moment of truth approaches for the select few who have reached the finals of one of the Senior Solo Traditional Accordion Classes.
Senior – A few years ago this title might have been more appropriatewhen the ages of this group could have ranged from 18 to 50, but of this year’s five intrepid souls the oldest is 18, a testimony to the technical expertise of today’s young players.
Judge
At this moment (7.20pm Saturday, 3rd March, 1984) in the ‘glory hole’ are Joan Blue – waiting on husband Jimmy who is going to judge the finals – Alex Little, MC, looking a picture of health and dotting happily back and forth through swing doors introducing the various turns, an ever-smiling Eddie MacDonald marshalling the ‘artistes’ and Jill Kinnaird of the BBC sitting quietly and unobtrusively to one side with clipboard and stopwatch.
As Freeland Barbour is on holiday, Jill is producing this year’s programmes of Festival highlights for ‘Take the Floor’.
Yours truly has been collecting the names of the tunes in the finalists’ march, strathspey and reel sets, at least the four that can be located.
The lad drawn to play second, Colin Dewar from Kingskettle, is missing.
Number one Raymond Laidlaw, Pencaitland, goes out through those doors on his lonely walk in front of 500 pairs of eyes and all our hearts go with him. His fine Guerrini instrument doesn’t matter at the moment, it’s the person behind it that is everyone’s concern.
One feels very proud indeed of these players who have gone through so much to reach this high point. There will obviously be some partisanship in the audience but when the chips are down like this everyone feels for each player in turn and wills them to go through note perfect. When the inevitable slip occurs, they all suffer along with the competitor. Pity they cannot all come out in first place, they deserve it.
Finishing
Raymond is just finishing his march when up the stairs comes Colin puffing and panting, having just bolted down a ‘chinky’ take-away, bungs on his Morino, says it feels a wee bit uncomfortable resting on his ‘sweet and sour’ or whatever, but not unduly perturbed he reaches the wings as the first competitor plays his final chord – a narrow squeak. Because of the panic we check that Colin’s bottom bellows strap is unfastened, wish him luck and out he goes.
I smugly hand Eddie MacDonald the third set of tunes and he says “thanks very much, but haven’t you forgotten something?” I scrutinize the paper to see if I have missed anything and look up puzzled. “Someone to play them,” he says.
I dash off along the maze of passages with my ears at full stretch listening for the march ‘Captain Carswell’ which will home me in on Jennifer Forrest of Airdrie. I find her with all the ‘diamonds’ on her Classique glittering in the lights.
We (the non-players) all keep up a light banter, imagining that this will put the players at ease. In fact, they’re probably thinking that they could do without this set of middle aged ‘ba-heids’ at this precise moment when they are trying to get into the right frame of mind.
Jennifer, who has had a good day – runner-up in Pipe Music and Trio Classes – but is obviously a bit tense, disappears into the hall.
Meanwhile a diminutive figure, wearing a full-length pale blue evening dress and a Hohner Gola, suddenly materializes, none other than Miss Rosemary Wright, the Principal of the British College of Accordionists.
Rosemary, who has been judging the classical all day, is going to do a spot immediately after the play-off. She actually looks more nervous than the five finalists, shaking her hands and working her fingers to limber up. Of course, she is also going out there to be judged and knows it. I have read all her articles on ‘Playing for others’ in the ‘Accordion Times’ and am rather wickedly looking forward to see how it works out in practice.
Edward Galley from Forfar (No 4) appears in harness, but his hands are getting sticky with perspiration, so he takes off his box and hands it to me. I buckle at the knees, not being used to Morino Vs – they are certainly Clyde-built. He rushes to the kitchen to run his hands under the cold tap – a good tip. We all get edgy while he’s away, but he makes it back during Jennifer’s reel.
Tension
Last man, James Grant, Eyemouth, is along in good time. He has had a long wait and this must tell. Again the small talk starts up to break the tension and this time a friendly argument ensues about the pronunciation of some of the tune titles.
The Airdrie lass comes back into the safety of the wings, obviously relieved, but shaking her head. Edward does his stint and returns and in answer to a “how did it go?” he makes facial expressions which could mean ‘not bad’.
Alex Little ushers James out and follows him to the stage for the introduction. This last player tackles tunes of incredible difficulty, requiring at least 10 fingers per hand and comes back at the end of his ordeal obviously not pleased with his efforts.
Various soothing comments are made as he passes through fastening up the shiny black Bugari.
Well, that’s it – another 10 minutes or so to wait for the results.
We disperse into the hall through those doors full of curiosity to hear Rosemary Wright. How will the audience, predominantly interested in traditional music, react to classical pieces played by an English visitor?
After a warm welcome and introduction by Alex Little, Rosemary, looking even tinier on that big stage announces her opening number in a clear, steady voice – no sign of nerves now.
This lady is in the virtuoso class and this level of playing can be appreciated even by those like myself who are not versed in this type of music – I always thought ‘Rallentando’ was a make of bicycle.
Recognition
The audience listen intently and give hearty applause. A second piece is rendered flawlessly with considerable expression and Rosemary gets well-deserved warm recognition.
She can be well pleased with he debut at Musselburgh. Time does not, unfortunately, permit an encore. Jimmy Blue, the Association Chairman, congratulates her as she glides out.
He then heads for the microphone to give the news that all are waiting for. For the second time that day Edward Galley collects the big one. As he passes once more through the glory hole with a handful of ironmongery he is pounced on by Robbie Shepherd, plus tape-recorder. Although he must be somewhat bewildered by events he sounds cool.
The concert continues, the aura of nervous tension behind these doors, although less intense, is still there, because various class winners are waiting to go on and do their party pieces.
I make off to snatch a quick cuppa, somewhat dazzled with admiration and emotion…
What has pleased me particularly about this Festival?
Firstly, the over-all high standard of playing in all classes. I may say this is also the opinion of the judges. A greater number of players in each section are now good or very good and this makes adjudication even harder. The quality was there right enough.
Increase
Secondly, the 50% increase in the junior fiddle entry and an almost full house in the new slow air competition. This is a tremendous encouragement to all connected with the organisation of the event. More power to the young players.
The standard of playing in the senior fiddle sections is also high, but the number are low. We cannot hope to emulate Kirriemuir or the ‘Golden Fiddle’, but we want the fiddle to come into greater prominence in the Association.
Finally, as last year, I was over the moon with the Trio and Band entries. In retrospect any recording company could have left tapes running for the enties two and a quarter hour session and without editing have issued two or three LPs of the most pleasing and contrasting styles and sounds. The standard was that good.
I was literally ‘high’ on the music at the end. The inventiveness and feeling shown throughout was nothing short of tremendous. Typical was a piano intro for the 6/8 march ‘Braemar Gathering’ and then the whole band hit it spot-on. Bob Scott and I were ten feet in the air. What an impact.
One of the most satisfying aspects is the fact that so many different musicians are taking the trouble to get together to work things out and rehearse. The no no duplication of players rule has reaped dividends.
Interest
Just for the record, if the Editor can spare the space, it would possibly be of interest to include a list of the players who participated in the groups – some well known names and some who will undoubtedly become so in the future. Just look at the statistics
Fiddlers - 15
Accordionists – 25
Pianists – 15
Bassists – 10
Drummers – 11
TOTAL - 76
Fiddle – Gregor Borland, Jean Ann Callander, Stella Clark, Judith Davidson, Bob Edwards, Margaret Ellis, Marie Fielding, Allan Johnstone, Gordon Johnstone, Andrew Knight, Margaret Quirrie, Alison Smith, Kathleen Smith, Maureen Turnbull and Jimmy Yeaman.
Accordion – Allan Anderson, George Carmichael, Kevin Clark, Tom Clark, Neil Copland, Colin Dewar, Alastair Edmondson, Owen Fielding, Jennifer Forrest, Ricki Franci, Gordon Hoggan, Simon Howie, Mark Kenneth, Colin Johnstone, Dorothy Lawson, Gary Mair, Malcolm Lillar, Craig McCallum, Lorna McWhinnie, Bruce Quirrie, Richard Ross, Donald Shaw, Dianne Smith, Hamish Smith and Gordon Wardlaw.
Piano – Neil Barron, Deborah Cavanagh, Colin Finlayson, Angus Howie, Dorothy Lawson, Morag McAskill, Alastair McGirr, Donald Mackenzie, Jean Milne, Anne Rutherford, Maureen Rutherford, Mrs Shaw, Gillian Simpson, Ian Strachan and Keith Wilson.
Double Bass – Duncan Burns, Douglas Cargill, John Delaney, Karen Leitch, Gregor McGillivray, Alastair MacLeod, Neil McMillan, John Quigley, Jimmy Ritchie and John Strachan.
Drums – George Darling, Hugh Gebbie, Neil Hutton, Graham Jamieson, Max Ketchin, Gus Millar, Billy O’Donnell, Grant Rennie, David Scott, Gordon Smith and George Stewart.