15th Musselburgh Festival 1989
by Norrie Williams
B&F April 1989
MUSSELBURGH 1989
Junior Accordion
Under 12 Traditional Accordion Solo
1) Andrew Gordon (Bonhill)
2) Kevin Swinton (St Boswells)
3) Ross Lothian (St Boswells)
12 and Under 16 Traditional Solo
1) Bruce Peebles (Forfar)
2) Wayne Robertson (Marywell)
3) Mhairi Coutts (Kirkcaldy)
Junior Accordion Solo Pipe Music
1) Wayne Robertson (Marywell)
2) Mhairi Coutts (Kirkcaldy)
3) Bruce Peebles (Forfar)
Junior Traditional Duet
1) Kevin Swinton & Ross Lothian (St Boswells)
2) Thrums Duo (Kirriemuir)
3) Elizabeth Flanagan (Galashiels) & Lynne Bradshaw (Selkirk)
Youngest Competitors
Angus Muirhead (Chirnside)
Heather Reid (Reston)
Senior Accordion
Senior Accordion Traditional Solo
1) James Grant (Eyemouth)
2) Michael Philip (Cardenden)
3) Liam Howitt (Cambuslang)
Senior Accordion Pipe Music Solo
1) Neil Caul (Guildtown)
2) Melanie Christie (Alness)
3) Gary Anderson (Bucksburn)
Senior Overall Accordion Champion (The Bobby MacLeod Trophy)
Lynn Gould (Huntly)
Open Buttonkey
1) Bruce Lindsay (Windygates)
2) Daniel MacPhee (Thurso)
3) Andy Greig (Pittenweem)
Trio
1) Marie Fielding (Edinburgh)
2) Tic Trio (Dufftown)
Band (Iain MacPhail Cup)
Ian Hutson (Dunbar)
Band – Rhythm Section (Arthur Easson Memorial Trophy)
Ian Hutson (Dunbar)
Own Composition
1) John Burns (Cumbernauld)
2) Michael Philip (Cardenden)
3) Wayne Robertson (Marywell)
Under 12 Classical Solo
1) Kevin Swinton (St Boswells)
2) Ross Lothian (St Boswells)
3) Stuart Hogg (Dunbar)
Under 14 Classical Solo
1) Lindsay Torrie (Armadale)
2) Elizabeth Flanagan (Galashiels)
3) Suzanne Colraine (Clydebank)
Under 16 Classical Solo
1) Craig Colraine (Clydebank)
2) Judith Baird (Biggar)
3) Jennifer Meek (Carluke)
Open Classical Solo
1) Russell Torrie (Armadale)
2) Grant Leslie (Dunbar)
3) Stephen McWhan (Locharbriggs)
Under 16 Classical Duet
1) Craig & Suzanne Colraine (Clydebank)
2) Judith Baird & Jennifer Meek (Carluke)
Open Classical Duet
1) Alan & Stephen McWhan (Locharbriggs)
Pamela Mutch (Armadale) & Fiona Cousin (Alva)
Fiddle Sections
Junior Fiddle Solo - MSR
1) Kathryn Nicoll (Kirriemuir)
2) Catriona Turnbull (Dundee)
3) Patricia Jessiman (Bridge of Don)
Junior Fiddle Solo – Slow Air
1) Carol Anderson (Bucksburn)
2) Kathryn Nicoll (Kirriemuir)
3) Catriona Turnbull (Dundee)
Senior Fiddle Solo – Slow Strathspey, MSR
1) Maureen Turnbull (Dundee)
2) Neil Dawson (Huntly)
3) Avril Anderson (Bucksburn)
Senior Fiddle Solo – Slow Air
1) Maureen Turnbull (Dundee)
2) Avril Anderson (Bucksburn)
3) Alistair McCulloch (Ayr)
Senior Fiddle Overall Champion (The Angus Fitchet Trophy)
Maureen Turnbull
Fiddle Group
Fiddlers Forte (Banchory)
Is There a Physiotherapist in the House
by Norrie Williams
A somewhat unusual variation of a well-known saying and a more than unusual request, when coming from the Compere at a Musselburgh Festival concert.
But it was indeed uttered in earnest by the redoubtable ‘Alex Little M.C.’ midway through this years function. The knee cartilage of one of our stalwart hard-working helpers, Ian Forrest – father of dance bandleader Jennifer – had come painfully adrift, causing the affected leg to lock solid. Quite a drama developed with involvement of the police, Ian Powrie, David Steven (of Dunnet, in Caithness) and Dr Stella Wilkie, but all to no avail, so it was down in the lift and off home for Ian and into Monklands Hospital on the Sunday to put things right.
Despite all this excitement in the background, and the usual chaos and confusion in the wings, Alex manager to present a pretty tidy concert on stage, with no less than fifteen separate items crammed into just over two hours. One of the items was the finals of the Senior Accordion Pipe Music class, which fielded the maximum permissible number of six players, the first time this has happened, if my memory serves me correctly. Considering that the play-off and the adjudicator’s summing up would take at least 35 minutes, it really was quite a feat to squeeze in the other 14 turns. All the participants are to be congratulated for their excellent co-operation, which enabled things to run to time.
Adjudicator’s summing up – at Musselburgh we are fortunate in that the entries have stabilized at a level which normally allows a comfortable gap between classes. This means there is plenty of time for adjudicator’s comments at the end of each section , an important factor, as these remarks can be invaluable to competitors, parents and teachers alike and of considerable interest to the general listening audience.
Over the past 2 or three years I have been increasing impressed by the summing up and this year was no exception. I personally only heard the offerings from two of the judges but was very satisfied indeed with what was said. In both cases any criticism was constructive and tastefully delivered.
Firstly, then gentleman in the ‘hot seat’ for the Accordion Pipe Music, and Button Key Classes, Ivor Britton, a native Inveraray now living in Giffnock. Having had P/M Ronnie McCallum – piper to the Duke of Argyll – as mentor in his younger days, he certainly knows a thing or two about pipe music. Things were said with regard to interpretation which have needed saying for some time now.
The technique and ability of today’s accordion players is beyond question but only a handful adapt the pipe music satisfactorily to the accordion. As Ivor rightly said, “Go and listen to a piper”. He himself is a former Perth Championship winner and prior to switching to the 5-row, he played the 3-row British Chromatic for 15 years and his comments as to why this particular instrument is so suited to playing Scottish traditional music, were most informative, and evoked much favourable comment, not least from Association chairman, Jimmy Blue.
The increase in entries in the button-key section from 3 in 1988 to 7 this year, was encouraging, and hopefully this trend will continue. The British Chromatic is used by a very small select band of players compared with its Continental and ‘Domino’ rivals and could become an endangered species if not kept to the fore – unthinkable, perish the thought.
About 2 p.m. I was fortunate to be able to go over to the Church Hall and listen to several players in the Under 14 Classical Solo, and arrived just as a competitor got under way, so I stood in the kitchen and listened to the performance along with Dr Sandy Tulloch and the class floor manager, Tom Clark.
Now I am a complete ignoramus when it comes to classical music – some would say an ignoramus, full stop! – but even to my untrained ear, the feeling and expression came over loud and clear and the rendering certainly made a profound impression on me. Up to that point I had always felt that classical music should be left to concert pianists and ensembles, both large and small, made up by strings, wood-wind, brass etc., but not accordions – and I have heard Gervasio Marcosignori play. But last Saturday I became a convert, classical music can be good on the accordion. It’s surprising to think that it took a twelve year old to open my ears, in this case, Lindsay Torrie of Armadale, who incidentally won her class, the piece in question being ‘Tranquillo’.
I was also very taken with the remarks at the end of the section. Mr Cyril Pasby, an N.A.O. and B.C.A. adjudicator from Slough, was officiating. He is tall and dignified, and has a very warm-hearted, kindly approach and I was very impressed with his rapport with the competitors. For example, when commenting on one particular performance and addressing the audience in general he said “This competitor used the same piece earlier in the day, she obviously paid attention to my comments then, and she played better just now”. Then pointing to the player who was seated in the second row, he spoke to her directly, “Good girl – well done”. This was typical of his style. “I try not to ‘nit-pick’, try to be helpful – loved them all”.
After last year’s rise in the classical entries we were puzzled and a wee bit disappointed in the reduced numbers this time round and had a chat with Mr Pasby about it. He could only guess at possible reasons for this drop and these will be explored in due course. However, the good news is that he is genuinely delighted with the standard of classical accordion playing north of the Border and ranks it equal to any in the UK.
Incidentally, when I was across at the Hall, which is an ideal venue for the classical – acoustically and atmospherically – all seats were occupied. In fact, good attendances were the order of the day at all competitions with the exception of the Main Hall ten minutes after the 9 a.m. start of the 12 and Under-16 Traditional Accordion solos, when six doughty souls were dotted like marker buoys in a sea of 450 chairs. Yet even at that early stage Jimmy Blue was introducing the competitors in lively fashion as if to a full house and the enthusiastic applause from the six ‘marker buoys’ fairly echoed round the hall. It is hard to believe, but there was still a great atmosphere even under those circumstances.
By contrast, in the same Hall from 2 p.m. onwards every seat was taken and from 4 p.m. there were upwards of 150 standing at the back. Needless to say the heat and audience reaction were terrific, as twelve Trios, three Fiddle Groups and ten Bands battled it out. As most will know, I have a habit of raving about the group playing, because it really does things for me, the balance, the choice of tunes, the key and tempo changes, the harmonies, the comradeship, and empathy of the players – there I go already. Space is limited so suffice it to say that the groups were maintaining the already very high standard, in fact, in the case of the Bands – I didn’t hear the Trios – I personally feel it is still rising.
This year’s effort must surely be one of the best yet and young Ian Hutson of Dunbar is to be congratulated on a most imaginative performance. I’ve nearly worn out the tape of the ‘Shepherd’s Fancy’ recording of the Band especially ‘Scarce o’ Tatties’ into ‘Hey, Ho My Bonnie Lass’ – what a change! 58 musicians took part in this last class of the day, playing a total of no less than 60 different tunes. We were certainly ‘cooking with gas’.
The Open Fiddle Groups, although only three in number, were a delight to the ear and on the eye, the bowing a model of military precision. When the winning ‘Fiddlers Forte’ would up the concert, M.C. Alex Little turned to me starry-eyed and said “I’m not normally a fiddle fanatic but that was absolutely tremendous, the highlight of my day”.
A great deal of effort and hard work is called for in setting up any group, but it becomes even harder when 3 or 4 fiddles are required in one ensemble. However, in terms of player satisfaction and audience reaction, the end result is worth all the graft. The size of the Trio and Band entries was most gratifying. Hopefully, the Open Fiddle Group section will build up steadily to give us 5 or 6 of these delightful formations.
And talking of fiddles, I had the pleasure of meeting adjudicator, Bill Cook, for the first time and of having a chat about this and that. Bill, as many will know, is conductor of Stirling S&R Society, leader of the Scottish Fiddle Orchestra, and fiddler with the broadcasting bands of Suzanne Gray and James Lindsay.
Amongst other things the subject of screens for adjudicators came up, and as to why fiddle judges prefer to dispense with these. Bill was able to cite an interesting case which had occurred that very morning, which illustrated the point. In the Junior Slow Air Class, one young player got bow chatter which from behind the screen would have been taken as nerves, but which in fact was the result of an incorrect hold on the bow with one finger under the screw acting as a pivot and allowing the bow to ‘see-saw’. Unlike nerves, a bit of advice and such a fault can be easily rectified. In a recent conversation, Jimmy Yeaman made the same point, that seeing the player enables technique faults to be spotted and corrected thereby enabling a higher standard to be reached. He also felt that when adjudicating, criticism should be kindly and constructive – a wrong word can put a player off.
Although I wasn’t able to hear much of the traditional accordion sections, the performance of the class winners at the concert was reassuring with the standard at the top still in the virtuoso class. I refuse to be drawn on where we go from here.
Although Musselburghwas once again basically all good news, there were the odd wee hiccups where one or two folk were temporarily not their usual happy selves. They can rest assured that their pleas did not fall on deaf ears, and that they will be dealt with ‘through the proper channels’. One complaint which was expected last year, but never materialised cropped up this year.
During the group classes, the majority of the audience could not see the players properly, because they were seated at ground level beside the piano. The explanation – 2 years ago, following complaints from players that the upright pianos used on the stage were not good enough – honky tonk jobs – the Committee negotiated for the use of the best piano available, in fact, one of the best by any standard, a ‘Steinway’ concert grand. Because one of these instruments weighs half a ton and is only supported on three points, it tends to find its own level if lifted on to the Brunton Hall stage, viz. back on the ground! So literally we’re back where we started. This is a tricky one to sort out, but at least the players are happy now.
As always the Festival was a great social occasion, with the layout and atmosphere of the Brunton complex contributing to this in no small measure. One sees ‘weel-kent’ faces at every turn, as well as many new ones, and I got quite a kick out of meeting up with three members of the original Jim Johnstone SDB – Rob Johnstone, lead accordion (5-row Morino), Willie Turner (bass) and of course, Jim Johnstone himself. It was good to hear that they are still keen and keeping in practice. Incidentally, a previous red 5-row Morino belonging to Rob went to Donal Ring’s brother in Ireland.
But now it’s bouquet time. We had the most successful raffle ever at the Festival Dance and the Committee thank most sincerely all those Clubs and individuals who donated prizes, and the ‘Scottish City Link’ bus group who gave the ‘star’ item – 2 return tickets to any destination on the City Link network within the U.K. The lucky winner was Mr John Leslie, the well-known accordion teacher from Dunbar. We wish him happy journeys.
This year also saw the largest squad of helpers to date, absolutely first class, and they worked like ‘Trojans’ under the direction of Joe Greer of Tullibody. Marshalls, stewards, winners and the ‘heavy gang’ who spirited 450 chairs off the floor like ‘snaw off a dyke’ and transformed the Main Hall from concert to dance layout in an incredible 10 minutes. In addition to a small band of non-Club members who support us each year, the following Clubs were represented – Beith, Dingwall, Dundee, Galston, Lesmahagow, Mauchline, Milngavie, Newtongrange, Peebles, Renfrew and Thurso. Without these helpers the Festival just couldn’t take place.
The same applies to the adjudicators who really did perform a very difficult task and at times a thankless one. After 2 or 3 hours of total concentration they can feel completely drained. Also indispensable were the team of secretaries who worked away quietly giving background support to the judges.
At the risk of sounding like the proverbial gramophone record, Ken Mutch – wearing his ‘Shepherd’s Fancy’ hat – and his team have almost become an integral part of Musselburgh. Although not directly connected with the correct functioning of the Festival, they add a wee bit of spice, they generate bonhomie wherever they circulate, and their cool professionalism has a calming effect like the current ‘Intercity’ advert on telly.
Tucked away in a corner of the Main Hall lounge area, where Robbie Shepherd and Ken operate during the afternoon, or at the evening concert with 2 audio technicians Jim Ross and Mick Calder of Edinburgh – plus 2 tape recorders plus Ken plus ‘cans’. It is all so discrete and efficient.Nothing seems to be happening, yet we get a couple of excellent sessions on ‘Shepherd’s Fancy’ to keep the flag flying. Missed Fiona this year – on holiday.
Then we have the various radio stations who plug away on our behalf with the invaluable pre-Festival publicity and post-event results – Radio Forth (Robin Brock), Radio Moray (Andy Ross), Radio Tay (Billy Anderson), Radio West Sound (John Carmichael) and B.B.C. Radio Scotland (Art Sutter and Robbie Shepherd).
The Brunton and church Halls staff, caretakers and admin were always most co-operative and went out of their way to help from 7 a.m. Saturday to 1 a.m. on Sunday, and Mr Lamb and his catering staff from Edinburgh tirelessly and effectively satisfied the needs of the inner man.
There were, of course, the usual feats of determination and endurance. Competitors travelling long distances to be with us, from Thurso and John o’ Groats, the Borders and once again, that unique enthusiast Neil Lowry from Ballynahinch in Northern Ireland who because of the Ireland / Scotland Rugby International, had to stay over from Thursday until Monday, sleeping ‘rough’ because supporters had gobbled up all ferry and bed and breakfast accommodation. We salute him for his heart-warming support.
Not forgetting the senior citizens, Nancy and John MacKenzie from Conon Bridge, who brought their caravan down so that they could be available to help wherever and whenever required.
With all the tension, high points and disappointments of the competitions and the high pressure winner’s concert over, what better way to relax than to dance or listen the evening away to the Graeme Mitchell Band from the North East. A tight, polished, well balanced sound with bags of lift and a great message. I cannot pay them a higher compliment that to say that their music kept bringing Bobby MacLeod to mind.
And so to all those mentioned above, to Compere, Alex Little, to Jimmy Blue and his NAAFC Executive Committee, to my own Festival Committee and last but certainly not least, to those valuable souls without whom there would be no Festival at all – the competitors.
Thank you one and all and here’s to 1990.
Junior Accordion
Under 12 Traditional Accordion Solo
1) Andrew Gordon (Bonhill)
2) Kevin Swinton (St Boswells)
3) Ross Lothian (St Boswells)
12 and Under 16 Traditional Solo
1) Bruce Peebles (Forfar)
2) Wayne Robertson (Marywell)
3) Mhairi Coutts (Kirkcaldy)
Junior Accordion Solo Pipe Music
1) Wayne Robertson (Marywell)
2) Mhairi Coutts (Kirkcaldy)
3) Bruce Peebles (Forfar)
Junior Traditional Duet
1) Kevin Swinton & Ross Lothian (St Boswells)
2) Thrums Duo (Kirriemuir)
3) Elizabeth Flanagan (Galashiels) & Lynne Bradshaw (Selkirk)
Youngest Competitors
Angus Muirhead (Chirnside)
Heather Reid (Reston)
Senior Accordion
Senior Accordion Traditional Solo
1) James Grant (Eyemouth)
2) Michael Philip (Cardenden)
3) Liam Howitt (Cambuslang)
Senior Accordion Pipe Music Solo
1) Neil Caul (Guildtown)
2) Melanie Christie (Alness)
3) Gary Anderson (Bucksburn)
Senior Overall Accordion Champion (The Bobby MacLeod Trophy)
Lynn Gould (Huntly)
Open Buttonkey
1) Bruce Lindsay (Windygates)
2) Daniel MacPhee (Thurso)
3) Andy Greig (Pittenweem)
Trio
1) Marie Fielding (Edinburgh)
2) Tic Trio (Dufftown)
Band (Iain MacPhail Cup)
Ian Hutson (Dunbar)
Band – Rhythm Section (Arthur Easson Memorial Trophy)
Ian Hutson (Dunbar)
Own Composition
1) John Burns (Cumbernauld)
2) Michael Philip (Cardenden)
3) Wayne Robertson (Marywell)
Under 12 Classical Solo
1) Kevin Swinton (St Boswells)
2) Ross Lothian (St Boswells)
3) Stuart Hogg (Dunbar)
Under 14 Classical Solo
1) Lindsay Torrie (Armadale)
2) Elizabeth Flanagan (Galashiels)
3) Suzanne Colraine (Clydebank)
Under 16 Classical Solo
1) Craig Colraine (Clydebank)
2) Judith Baird (Biggar)
3) Jennifer Meek (Carluke)
Open Classical Solo
1) Russell Torrie (Armadale)
2) Grant Leslie (Dunbar)
3) Stephen McWhan (Locharbriggs)
Under 16 Classical Duet
1) Craig & Suzanne Colraine (Clydebank)
2) Judith Baird & Jennifer Meek (Carluke)
Open Classical Duet
1) Alan & Stephen McWhan (Locharbriggs)
Pamela Mutch (Armadale) & Fiona Cousin (Alva)
Fiddle Sections
Junior Fiddle Solo - MSR
1) Kathryn Nicoll (Kirriemuir)
2) Catriona Turnbull (Dundee)
3) Patricia Jessiman (Bridge of Don)
Junior Fiddle Solo – Slow Air
1) Carol Anderson (Bucksburn)
2) Kathryn Nicoll (Kirriemuir)
3) Catriona Turnbull (Dundee)
Senior Fiddle Solo – Slow Strathspey, MSR
1) Maureen Turnbull (Dundee)
2) Neil Dawson (Huntly)
3) Avril Anderson (Bucksburn)
Senior Fiddle Solo – Slow Air
1) Maureen Turnbull (Dundee)
2) Avril Anderson (Bucksburn)
3) Alistair McCulloch (Ayr)
Senior Fiddle Overall Champion (The Angus Fitchet Trophy)
Maureen Turnbull
Fiddle Group
Fiddlers Forte (Banchory)
Is There a Physiotherapist in the House
by Norrie Williams
A somewhat unusual variation of a well-known saying and a more than unusual request, when coming from the Compere at a Musselburgh Festival concert.
But it was indeed uttered in earnest by the redoubtable ‘Alex Little M.C.’ midway through this years function. The knee cartilage of one of our stalwart hard-working helpers, Ian Forrest – father of dance bandleader Jennifer – had come painfully adrift, causing the affected leg to lock solid. Quite a drama developed with involvement of the police, Ian Powrie, David Steven (of Dunnet, in Caithness) and Dr Stella Wilkie, but all to no avail, so it was down in the lift and off home for Ian and into Monklands Hospital on the Sunday to put things right.
Despite all this excitement in the background, and the usual chaos and confusion in the wings, Alex manager to present a pretty tidy concert on stage, with no less than fifteen separate items crammed into just over two hours. One of the items was the finals of the Senior Accordion Pipe Music class, which fielded the maximum permissible number of six players, the first time this has happened, if my memory serves me correctly. Considering that the play-off and the adjudicator’s summing up would take at least 35 minutes, it really was quite a feat to squeeze in the other 14 turns. All the participants are to be congratulated for their excellent co-operation, which enabled things to run to time.
Adjudicator’s summing up – at Musselburgh we are fortunate in that the entries have stabilized at a level which normally allows a comfortable gap between classes. This means there is plenty of time for adjudicator’s comments at the end of each section , an important factor, as these remarks can be invaluable to competitors, parents and teachers alike and of considerable interest to the general listening audience.
Over the past 2 or three years I have been increasing impressed by the summing up and this year was no exception. I personally only heard the offerings from two of the judges but was very satisfied indeed with what was said. In both cases any criticism was constructive and tastefully delivered.
Firstly, then gentleman in the ‘hot seat’ for the Accordion Pipe Music, and Button Key Classes, Ivor Britton, a native Inveraray now living in Giffnock. Having had P/M Ronnie McCallum – piper to the Duke of Argyll – as mentor in his younger days, he certainly knows a thing or two about pipe music. Things were said with regard to interpretation which have needed saying for some time now.
The technique and ability of today’s accordion players is beyond question but only a handful adapt the pipe music satisfactorily to the accordion. As Ivor rightly said, “Go and listen to a piper”. He himself is a former Perth Championship winner and prior to switching to the 5-row, he played the 3-row British Chromatic for 15 years and his comments as to why this particular instrument is so suited to playing Scottish traditional music, were most informative, and evoked much favourable comment, not least from Association chairman, Jimmy Blue.
The increase in entries in the button-key section from 3 in 1988 to 7 this year, was encouraging, and hopefully this trend will continue. The British Chromatic is used by a very small select band of players compared with its Continental and ‘Domino’ rivals and could become an endangered species if not kept to the fore – unthinkable, perish the thought.
About 2 p.m. I was fortunate to be able to go over to the Church Hall and listen to several players in the Under 14 Classical Solo, and arrived just as a competitor got under way, so I stood in the kitchen and listened to the performance along with Dr Sandy Tulloch and the class floor manager, Tom Clark.
Now I am a complete ignoramus when it comes to classical music – some would say an ignoramus, full stop! – but even to my untrained ear, the feeling and expression came over loud and clear and the rendering certainly made a profound impression on me. Up to that point I had always felt that classical music should be left to concert pianists and ensembles, both large and small, made up by strings, wood-wind, brass etc., but not accordions – and I have heard Gervasio Marcosignori play. But last Saturday I became a convert, classical music can be good on the accordion. It’s surprising to think that it took a twelve year old to open my ears, in this case, Lindsay Torrie of Armadale, who incidentally won her class, the piece in question being ‘Tranquillo’.
I was also very taken with the remarks at the end of the section. Mr Cyril Pasby, an N.A.O. and B.C.A. adjudicator from Slough, was officiating. He is tall and dignified, and has a very warm-hearted, kindly approach and I was very impressed with his rapport with the competitors. For example, when commenting on one particular performance and addressing the audience in general he said “This competitor used the same piece earlier in the day, she obviously paid attention to my comments then, and she played better just now”. Then pointing to the player who was seated in the second row, he spoke to her directly, “Good girl – well done”. This was typical of his style. “I try not to ‘nit-pick’, try to be helpful – loved them all”.
After last year’s rise in the classical entries we were puzzled and a wee bit disappointed in the reduced numbers this time round and had a chat with Mr Pasby about it. He could only guess at possible reasons for this drop and these will be explored in due course. However, the good news is that he is genuinely delighted with the standard of classical accordion playing north of the Border and ranks it equal to any in the UK.
Incidentally, when I was across at the Hall, which is an ideal venue for the classical – acoustically and atmospherically – all seats were occupied. In fact, good attendances were the order of the day at all competitions with the exception of the Main Hall ten minutes after the 9 a.m. start of the 12 and Under-16 Traditional Accordion solos, when six doughty souls were dotted like marker buoys in a sea of 450 chairs. Yet even at that early stage Jimmy Blue was introducing the competitors in lively fashion as if to a full house and the enthusiastic applause from the six ‘marker buoys’ fairly echoed round the hall. It is hard to believe, but there was still a great atmosphere even under those circumstances.
By contrast, in the same Hall from 2 p.m. onwards every seat was taken and from 4 p.m. there were upwards of 150 standing at the back. Needless to say the heat and audience reaction were terrific, as twelve Trios, three Fiddle Groups and ten Bands battled it out. As most will know, I have a habit of raving about the group playing, because it really does things for me, the balance, the choice of tunes, the key and tempo changes, the harmonies, the comradeship, and empathy of the players – there I go already. Space is limited so suffice it to say that the groups were maintaining the already very high standard, in fact, in the case of the Bands – I didn’t hear the Trios – I personally feel it is still rising.
This year’s effort must surely be one of the best yet and young Ian Hutson of Dunbar is to be congratulated on a most imaginative performance. I’ve nearly worn out the tape of the ‘Shepherd’s Fancy’ recording of the Band especially ‘Scarce o’ Tatties’ into ‘Hey, Ho My Bonnie Lass’ – what a change! 58 musicians took part in this last class of the day, playing a total of no less than 60 different tunes. We were certainly ‘cooking with gas’.
The Open Fiddle Groups, although only three in number, were a delight to the ear and on the eye, the bowing a model of military precision. When the winning ‘Fiddlers Forte’ would up the concert, M.C. Alex Little turned to me starry-eyed and said “I’m not normally a fiddle fanatic but that was absolutely tremendous, the highlight of my day”.
A great deal of effort and hard work is called for in setting up any group, but it becomes even harder when 3 or 4 fiddles are required in one ensemble. However, in terms of player satisfaction and audience reaction, the end result is worth all the graft. The size of the Trio and Band entries was most gratifying. Hopefully, the Open Fiddle Group section will build up steadily to give us 5 or 6 of these delightful formations.
And talking of fiddles, I had the pleasure of meeting adjudicator, Bill Cook, for the first time and of having a chat about this and that. Bill, as many will know, is conductor of Stirling S&R Society, leader of the Scottish Fiddle Orchestra, and fiddler with the broadcasting bands of Suzanne Gray and James Lindsay.
Amongst other things the subject of screens for adjudicators came up, and as to why fiddle judges prefer to dispense with these. Bill was able to cite an interesting case which had occurred that very morning, which illustrated the point. In the Junior Slow Air Class, one young player got bow chatter which from behind the screen would have been taken as nerves, but which in fact was the result of an incorrect hold on the bow with one finger under the screw acting as a pivot and allowing the bow to ‘see-saw’. Unlike nerves, a bit of advice and such a fault can be easily rectified. In a recent conversation, Jimmy Yeaman made the same point, that seeing the player enables technique faults to be spotted and corrected thereby enabling a higher standard to be reached. He also felt that when adjudicating, criticism should be kindly and constructive – a wrong word can put a player off.
Although I wasn’t able to hear much of the traditional accordion sections, the performance of the class winners at the concert was reassuring with the standard at the top still in the virtuoso class. I refuse to be drawn on where we go from here.
Although Musselburghwas once again basically all good news, there were the odd wee hiccups where one or two folk were temporarily not their usual happy selves. They can rest assured that their pleas did not fall on deaf ears, and that they will be dealt with ‘through the proper channels’. One complaint which was expected last year, but never materialised cropped up this year.
During the group classes, the majority of the audience could not see the players properly, because they were seated at ground level beside the piano. The explanation – 2 years ago, following complaints from players that the upright pianos used on the stage were not good enough – honky tonk jobs – the Committee negotiated for the use of the best piano available, in fact, one of the best by any standard, a ‘Steinway’ concert grand. Because one of these instruments weighs half a ton and is only supported on three points, it tends to find its own level if lifted on to the Brunton Hall stage, viz. back on the ground! So literally we’re back where we started. This is a tricky one to sort out, but at least the players are happy now.
As always the Festival was a great social occasion, with the layout and atmosphere of the Brunton complex contributing to this in no small measure. One sees ‘weel-kent’ faces at every turn, as well as many new ones, and I got quite a kick out of meeting up with three members of the original Jim Johnstone SDB – Rob Johnstone, lead accordion (5-row Morino), Willie Turner (bass) and of course, Jim Johnstone himself. It was good to hear that they are still keen and keeping in practice. Incidentally, a previous red 5-row Morino belonging to Rob went to Donal Ring’s brother in Ireland.
But now it’s bouquet time. We had the most successful raffle ever at the Festival Dance and the Committee thank most sincerely all those Clubs and individuals who donated prizes, and the ‘Scottish City Link’ bus group who gave the ‘star’ item – 2 return tickets to any destination on the City Link network within the U.K. The lucky winner was Mr John Leslie, the well-known accordion teacher from Dunbar. We wish him happy journeys.
This year also saw the largest squad of helpers to date, absolutely first class, and they worked like ‘Trojans’ under the direction of Joe Greer of Tullibody. Marshalls, stewards, winners and the ‘heavy gang’ who spirited 450 chairs off the floor like ‘snaw off a dyke’ and transformed the Main Hall from concert to dance layout in an incredible 10 minutes. In addition to a small band of non-Club members who support us each year, the following Clubs were represented – Beith, Dingwall, Dundee, Galston, Lesmahagow, Mauchline, Milngavie, Newtongrange, Peebles, Renfrew and Thurso. Without these helpers the Festival just couldn’t take place.
The same applies to the adjudicators who really did perform a very difficult task and at times a thankless one. After 2 or 3 hours of total concentration they can feel completely drained. Also indispensable were the team of secretaries who worked away quietly giving background support to the judges.
At the risk of sounding like the proverbial gramophone record, Ken Mutch – wearing his ‘Shepherd’s Fancy’ hat – and his team have almost become an integral part of Musselburgh. Although not directly connected with the correct functioning of the Festival, they add a wee bit of spice, they generate bonhomie wherever they circulate, and their cool professionalism has a calming effect like the current ‘Intercity’ advert on telly.
Tucked away in a corner of the Main Hall lounge area, where Robbie Shepherd and Ken operate during the afternoon, or at the evening concert with 2 audio technicians Jim Ross and Mick Calder of Edinburgh – plus 2 tape recorders plus Ken plus ‘cans’. It is all so discrete and efficient.Nothing seems to be happening, yet we get a couple of excellent sessions on ‘Shepherd’s Fancy’ to keep the flag flying. Missed Fiona this year – on holiday.
Then we have the various radio stations who plug away on our behalf with the invaluable pre-Festival publicity and post-event results – Radio Forth (Robin Brock), Radio Moray (Andy Ross), Radio Tay (Billy Anderson), Radio West Sound (John Carmichael) and B.B.C. Radio Scotland (Art Sutter and Robbie Shepherd).
The Brunton and church Halls staff, caretakers and admin were always most co-operative and went out of their way to help from 7 a.m. Saturday to 1 a.m. on Sunday, and Mr Lamb and his catering staff from Edinburgh tirelessly and effectively satisfied the needs of the inner man.
There were, of course, the usual feats of determination and endurance. Competitors travelling long distances to be with us, from Thurso and John o’ Groats, the Borders and once again, that unique enthusiast Neil Lowry from Ballynahinch in Northern Ireland who because of the Ireland / Scotland Rugby International, had to stay over from Thursday until Monday, sleeping ‘rough’ because supporters had gobbled up all ferry and bed and breakfast accommodation. We salute him for his heart-warming support.
Not forgetting the senior citizens, Nancy and John MacKenzie from Conon Bridge, who brought their caravan down so that they could be available to help wherever and whenever required.
With all the tension, high points and disappointments of the competitions and the high pressure winner’s concert over, what better way to relax than to dance or listen the evening away to the Graeme Mitchell Band from the North East. A tight, polished, well balanced sound with bags of lift and a great message. I cannot pay them a higher compliment that to say that their music kept bringing Bobby MacLeod to mind.
And so to all those mentioned above, to Compere, Alex Little, to Jimmy Blue and his NAAFC Executive Committee, to my own Festival Committee and last but certainly not least, to those valuable souls without whom there would be no Festival at all – the competitors.
Thank you one and all and here’s to 1990.