Box and Fiddle
Year 21 No 04
December 1997 / January 1998
Price 70p
20 Page Magazine
7 month subscription £8.00
Editor – Charlie Todd, 63 Station Road, Thankerton, Biggar, ML12 6NZ
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
For the ‘Composer’s Corner’ feature I’m very grateful to Major Gavin Stoddart B.E.M., Director of the Army School of Bagpipe Music in Edinburgh Castle for a quick response to my enquiry about the life histories of some of the great composers of pipe music. Readers can look forward to excellent write-ups on P/M Willie Ross, P/M Donald MacLeod, P/M G.S. McLennan and others.
This month we also make a start to the ‘Tune Titles’ feature suggested last month with an opening contribution from W. Chalmers of Johnstone in Renfrewshire. Now that it’s up an running let’s see if we can keep it going.
Record Reviews appear to be like buses – you see hardly any for months and then they all come at once. It’s great to get them because it demonstrates how healthy the recording side of our music scene is but it tends to swamp our ‘Record Reviewer’. Anyway the anonymous ‘Swampy’ and his team of helpers are hard at work and we look forward to the results.
Thinking ahead, remember to enter Musselburgh in your new year diary on Saturday, 7th March, 1998 and Jack Cooper advises that the dates for the Weekend Gathering at the Station Hotel in Perth are 27th / 28th June, 1998 when the Guest of Honour will be Dumfries bandleader Ian Holmes.
The next issue will see the start of a ‘Teachers Directory’ to assist parents in finding good all-round teachers. Teachers of any of the instruments featuring in our scene are invited to drop me a line with their details.
This will be the last issue for 1997, so may I take the opportunity to wish everyone a Merry Christmas and a Happy New Year.
Charlie Todd
The 1997 Shetland Accordion & Fiddle Festival
by ?
Bandleader Bill Black, in a humorous speech, formally declared the Festival opened sharp at 1 p.m. and made way for bandleader David Cunningham Jnr, on stage with his band, to strike the opening chord - ………………..
Composers Corner
Felix Burns
by Tom Cowing
Felix Joseph Burns was born in Perth on 5th March, 1864. He showed a remarkable musical talent from an early age, progressing from the tin whistle and mouth organ to the piano. He became a fine organist and, joining the local band, mastered a variety of brass and woodwind instruments. From an early age he showed a flair for original composition.
According to Leo Burns, Felix’s youngest son (now 97 years of age and living in Coventry), his father ran away from home at the age of 16 in 1880 and joined the ‘Moore and Burgess Travelling Minstrel Show’. As well as his instrumental skills he had a lifelong love of the theatre and showmanship as reflected in many of the titles of his tunes.
From there he moved on to be a pianist with a traveling ‘Diarama’ Show and it was during this time that he met and married Catherine Burns, his first cousin, from Motherwell (Lanarkshire). During a long and happy marriage they had thirteen children, nine of whom survived into adulthood. They were - sons Frederick, Douglas, Felix Jnr and Leo and daughters Catherine, Winifred, Susan, Leona and Doris.
In 1885 Felix, Catherine and their first two children arrived in the ‘Border City’ of Carlisle with the Diarama Show. Unfortunately the Manager of the Show absconded with the money, a not uncommon occurrence in those days, leaving the Burns family and the rest of the crew stranded.
Felix however, expressed his belief that they would be all right in Carlisle since he liked the look of the place. From his introduction to the Border City at the famous ‘Matchbox Music Hall’ he quickly established himself as a music teacher and working musician. His teaching studio above the Market Arcade in Carlisle contained two grand pianos and a concert harp.
While trying a piano in a local music shop one day he was asked by the manager about the tune he was playing. Replying that it was one of his own compositions the manager asked for a copy and sent it to a publisher in London who accepted it for publication.
This was to be the start of another very successful side of Felix’s career. He published a total of 16 ‘Popular Dance Albums’ (the last three were published after his death by Felix Jnr) which sold at 2 shilling each, in addition to a great many piano solos. Just for the record the Dance Albums were entitled Royal (1905), Imperial (1908), Great Britain (1910), Flag of Empire (1911), Vaudeville (1914), Vanity Fair (1915), London Town (1915), Merry Makers (1917), Gaiety (1918), Old Drury (1919), Black and White (1920), Tower of London (1921), Dickens (1922) and lastly Frivolity (1923). Collectively they contain no less than 120 compositions, an impressive collection in itself. His own personal favourite was a Barn Dance tune entitled ‘Woodland Flowers’.
Many of the titles therein reflect the period during which Felix lived, with the British Empire becoming the mightiest the world had ever see during his lifetime but seeing the sun set on it during the Great War of 1914-18. ‘Pageant to Empire’, ‘Queen Mary Waltz’, ‘Somewhere in France’ and ‘Over the Top’ to name but a few. His piano solos were published under several nom-de-plumes, a custom of the time – Leona Lacoste, Claud Roslind and Leon Fabrina.
Despite the fact that he was not blessed with the best of health he was able to cram an amazing amount of musical activities and achievements into his short working life. It is impossible to calculate the total number of his compositions as there were at least twenty-two known Publishing Houses turning out his music under his real name as well as his nom-de-plumes.
He had several part time activities as a musician also. He was the Bandmaster of the 4th Battalion Border Regiment (Volunteers). He was also organist and choirmaster of St Mary’s and St Joseph’s Church in Carlisle and he provided piano accompaniment at the Winter Concerts organized by the Town Council. He was engaged to organize and play at dances in fashionable houses throughout Cumbria and to accompany celebrated performers of the day when they visited Carlisle to give concerts.
Felix would take pride in giving one of his latest compositions its premier at one of the Carlisle Winter Concerts. He is remembered with much affection in his chosen ‘home town’ as a man who was proud of the Border City and contributed to its quality of life and its future. He was always eager to volunteer his services to assist any charitable cause or simply to help or give a little pleasure to those in need.
During, and following, the First World War there were many who needed all sorts of support and to have their spirits lifted. Felix knew that he was fortunate to be blessed with rare talents and that he should use them for the benefit of his fellow man and this he did on countless occasions. He was very well aware of the beneficial and therapeutic effects that music can impart.
In person Felix Burns was a pleasant, quietly spoken and earnest man. Despite his relaxed ways he was a man of great warmth and kindness and very great personality. He was a popular and good natured public figure and, in private, a loving father and dedicated family man who had attained his own success and brought up a highly talented family by his endeavours.
In later life Felix suffered from prolonged ill health (he was probably diabetic) but never complained. He died very suddenly on 19th January, 1920 at the age of 55. He had given 4 music lessons that day and still had 79 pupils on his register. Catherine, his wife, outlived him by 19 years and died in 1939.
To conclude, from impressions gained from my researches and from speaking with Leo, I should say that Felix Burns knew that it was not given to everyone to be a virtuoso but that everyone can enjoy music. He hoped that everyone who is blessed with the ability to play will try to appreciate music in all its forms and work to improve their skills for the betterment of their own enjoyment and satisfaction as well as the appreciation of those who listen to the music they pay.
As Scottish Dance Band musicians we are indeed lucky to benefit from so many fine tunes, bearing in mind that they were originally composed for a completely different musical idiom. His tunes have faced and passed the ultimate test – the test of time, which sees them in everyday usage a century after their composition. I hope that everyone, especially our younger musicians, enjoy these tunes.
The Story Behind the Tune Titles
I can think of no better way to kick off the ‘Tune Titles’ feature than an explanation of your examples i.e. ‘The 91st at Modder River’ and ‘Paardeberg’. Both pipe marches were composed to commemorate actions which took place in the Boer War in South Africa 1899 – 1902.
The 91st Highlanders (or 1st Battalion Argyll and Sutherland Highlanders) were ordered to cross the Modder River from a bridgehead and this they did against strong opposition. However after being pinned down all day they were forced to retreat having sustained heavy casualties.
‘Paardeberg’ was the scene of the encirclement and eventual surrender of the Boer General Crone and much of his army. This was the first real success of the War for the British which until then had been a series of disasters not the least of which was also commemorated in a well-known Retreat March’. At ‘Magersfontein’ the Highland Brigade suffered severely in an abortive night attack losing, amongst many others, their very popular General Andy Wauchope.
‘Magersfontein’ was composed by Piper, later Pipe Major John McLennan of the Highland Light Infantry (H.L.I.) who was wounded in the action and was awarded the D.C.M. for gallantry. He went on to compose many other fine pipe tunes later in his career.
Your mistake in referring to the 93rd (which was the 2nd Battalion of the A&SH and was not in South Africa) is not uncommon since it appears in some pipe books under that title. Hoping the above will be of interest to your readers.
Introducing the Committee
Our New Vice Chairman – Nicol McLaren
Continuing the injection of ‘young blood’ into the organisation, the new Vice-Chairman of the Association is Nicol McLaren (37) of Blairgowrie, leader of the Glencraig Scottish Dance Band.
Nicol, a Sales specialist with Dalgety Agriculture, started playing the accordion at 9 years of age when his father bought an old 48 bass Bell piano accordion from a junk shop in Stirling and found that he had a good ‘lug’ for the music – much to the disappointment of his teacher – Marion Campbell of Harbet who quickly realised he played what he heard rather than what was written!!
Scottish Dance Music was always around Nicol, however, with Ian McCallum (then with Grace MacCleaver’s Band) working for his father on the farm at Dunmore and uncle Alex MacArthur always around to give help and encouragement. Indeed it was Alex who gave Nicol his first inspiration to be a bandleader. On the opening night of the Biggar Accordion and Fiddle Club, the family were all part of the huge crowd in the Clydesdale Hotel when Alex asked his ‘wee nephew’ to have a tune. Alex then said he would put a bunch of ‘no-hopers’ around him to see if he could make a band out of them.
Well - that band consisted of – fiddle Ian Powrie, second accordion Jim Johnstone, piano Bpbby Brown, bass Robin Brock and drums Bobby Colgan.
Nicol says “I came off the stage feeling about 10 feet tall and just couldn’t wait to have another go”. That memory has lingered on – it was typical MAcArthur – and from then on I wanted to lead my own band”.
The opportunity did not present itself for some time, however because Nicol stopped playing! While at Edinburgh University, studying agriculture, however, a pal who sang a bit and played guitar persuaded him to do a couple of ‘pub gigs’ – and the bug was back. The Glencraig SDB started in 1984 when Nicol, then a Salesman with S.A.I. in Blairgowrie was asked by a customer if he could put together a band for a church social. Two good friends Dave Bell on drums and Lorna Webster on accordion joined him for the night – and another half dozen bookings were had –the Glencraig was born! The diary grew, and with the inclusion of Gordon Howe on fiddle, Graham Berry on piano and Suzanne on bass, the band developed until, in 1989 they recorded their first cassette for the Dick Webster Cancer Fund and their BBC Broadcast for ‘Take the Floor’ – sadly only a few months after Uncle Alex’s untimely death.
Nicol says he has been very fortunate to have had very few personnel changes over the years and the current regulars of Nicol (lead accordion), Gordon Howe (fiddle), Neil Caul (second accordion), Maureen Rutherford (piano) and Dave Bell (drums) have been together for quite some time playing all over the country – and beyond (the last 3 years in Bahrain for St Andrew’s Night).
The band’s two cassettes for the Dick Webster Cancer Fund have helped Dick to raise the tremendous sum of over £30,000 for cancer relief and they have just released their first CD for the Shielburn Label. Another is to follow early in 1998.
Outside music, Nicol’s hobbies are rugby – he played full-back for Murrayfield R.F.C. for 12 years before retiring about 4 years ago, and golf – rather erratic and very frustrating.
To further Scottish music, he also hosts ‘Sporrans a Burling’ – a Scottish Dance Music programme on Heartland FM, a local radio station based in Pitlochry. “It’s a bit ‘non-hitech’ “ says Nicol, “but I enjoy doing the programmes. I’m the producer, presenter and sound engineer – the buck stops (and starts) with me!”
Nicol says he is delighted to have been elected to the post of Vice-Chairman of an organisation dedicated to the music he loves and pledges to do all he can to further the Association, the music and the young talent emerging today. “Working with Jim Johnstone (my boyhood hero!) is a wee boy’s dream come true, but the whole Executive Committee seem to work very well together. I believe our music, and our Association is in great hands!”
More Idle Thoughts of an Idle Fellow
by Sandy Tulloch
I used to think that the grace notes in pipe music were a convenient way for a piper to find the place. Two up, two down and hey presto, the note! But not so. The now defunct Lowland pipes had a stopped up bore and could play staccato but not so the Great Highland Bagpipe’s chanter which is like a through gaein’ close. Notes cannot be separated unless a grace note (or two or three or more) are stuck between them. The greatest number I have found in my collection is 9 ! Two row players may have difficulty!
Another piece of research fell on fairly stony ground. We have all possibly heard of something called ‘Heedrum Hodrum’ or more properly ‘Canntareachd’ which preceded manuscript. There were several teaching methods and not much evidence of agreement between them.
This curious method – a sort of Gaelic So-Fah system was in use until the first quarter of the 19th century when Angus MacKay, first piper to Queen Victoria published the first definitive work in 1838 using the Treble Clef. Key signatures were often wrongly used but soon discarded altogether because the pipe had only one scale of nine notes, roughly the scale of ‘A’ with a natural ‘G’. The pipe pitch has never been updated and is close to the modern Bb. But this apartthe scale intervals are also different giving the pipe scale a very distinctive sound. The C# is slightly flat, the D slightly sharp and the F# slightly flat. The high G is also slightly sharp. This peculiar scale does not lend itself to good harmonies and Retreats with Seconds have a very distinctive sound. Compositions by pipers show subtle differences to those by accordionists more used to the ‘normal’ scales. The occasional use of ‘G’ natural does not make a pipe tune. Far less Ceol Mor or Great Music. Bur as far a Ceol Beag (march, strathspey, reel and jig) is concerned, Scots audiences respond in a remarkable way even when played on the accordion. And curiously it is very often the oldest tunes which receive greatest applause. Bit I often wonder what a piper thinks of some of our efforts….!
The Stanley Ceilidh
by Bill and Anne Black
Another ‘Stanley Ceilidh’ Weekend has come and gone, and oh boy, what an array of talent appeared this year. It has often been said before that ‘this has been the best one ever’, but really this time was absolutely unbelievable. A total of 24 accordionists, 6 fiddlers, 6 pianists, 3 bass players, 5 drummers, 1 mouth organ player and 1 Jew’s harp player. The biggest job was getting everyone on stage within the time we had available, but we managed and even had half an hour spare before the clock caught up.
I would like to say a very big thank you to all the musicians who gave up their time and made the effort to come along and support Anne and I in our quest to raise money for handicapped children. Without you all the weekend would be a complete flop.
I would also like to thank all the enthusiasts who gave us their support and donated to the cause so generously.
A special thanks must also go to the management and staff of the Tayside Hotel for their ready co-operation and efficient friendly service over the whole weekend.
To everyone who donated raffle prizes for the Saturday night draw, my sincere thanks. To Mabel Gray who donated a beautiful Christmas Hamper for the Friday night which raised a total of £302.50 in one raffle prize, thanks very much indeed.
Thanks also to Kathryn Nicol, Suzanne Gray and Dave Millward for taking charge of the raffle and collection on Friday night, and to George Hunter, Suzanne Gray and Ian Gray for their assistance at the door on Saturday night.
A very special word of appreciation must go to Anne (my wife) for all her hard work in preparation both before and during the weekend. To everyone who helped in any way at all, my sincere thanks.
The total amount of money raised over the weekend came to a staggering £1,924. The money this year is being donated to Rachel House in Kinross which is a hospice which does outstanding work in the case of terminally ill children.
I’ve said a special thanks to quite a number of people and hopefully no-one has been missed out, but I feel the most special thanks of all must be reserved for the young band from the Shetland Isles who played for our Saturday night dance. This was their first trip outside Shetland as a band and ‘boy oh boy’, did they leave their mark. The Colin and Alan Dance Band which consists of Colin Sutherland, accordion, Alan Nicolson, accordion, Margaret Couper, piano, Alan Scollay, bass, and Ian Tulloch on drums were absolutely fantastic and presented themselves in a really professional manner which was so nice to see. I’ve had a huge number of phone calls from people wondering when they will be back and expressing their heartfelt admiration for this superb band, Well, the good news is that they are going to make a return visit to the ‘Stanley Ceilidh’. This will take place on the first weekend in November in year 1999 as this is our 21st Anniversary of the Stanley Ceilidh so we are alredy looking forward to that.
Getting back to next year, the venue has been booked as usual for 6th – 8th November, 1998. We have been very fortunate in that we have managed to book the services of one of the top bands in Scotland for the Saturday night dance and that is Alasdair MacCuish and the Black Rose Ceilidh Band who have been great supporters over the years.
The musicians who gave us their support over the weekend were as follows - on accordion Hamish Smith, Dave Millward, Morag Robertson, John Gunn, Lesley Craig, Alex Morrison, Hamish McDougall, Jimmy Lindsay, Sandy Lindsay, Alasdair MacCuish, Scott Gordon, Lindsay Weir, Colin Garvin, Bruce Peebles, Iain Cathcart, Lynn Christie, Shirley Campbell, Lynne Gould, Duncan Black, Jock Loch, James Corbett, Pauline Bradley, and of course I managed to get a wee tune myself. Quite an impressive list in anybody’s book.
On fiddles were Kathryn Nicol, Margaret Couper, Susan McIntosh, Mark MacDougall, Carol Dobson and Ian Robertson.
On keyboard were Judith Robertson, Mabel Gray, Margaret Couper, Violet Morrison and Louise Campbell.
On drums were Robert McFadyen, Robert Simpson, Duncan Christie, George Gray and Ian Tulloch.
On bass were Suzanne Gray, Alan Scollay and Mark MacDougall.
And finally the two grand old gentlemen whose combined ages come to around 180 years. On mouth organ was Willie Atkinson from Wooler and on Jew’s harp was Angus McKinnon from Dallas in Morayshire.
All in all an absolutely brilliant weekend was had by all and I trust I will be able to welcome you all back to the ‘Stanley Ceilidh’ on the first weekend in November, 1988. In the meantime may I sincerely thank once again everyone who took part in any way at all to make the weekend such a fantastic success.
Until next year all the best of health, happiness and good music.
Record Review
The Hurricane – Wayne Robertson S.D.B. – Smith Mearns Recording SMR070
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
6th Dec 97 – John Renton SDB
13th Dec 97 – Calum Wilson SDB
10th Dec 97 – Lindsay Weir SDB
27th Dec 97 – Jim Johnstone SDB
3rd Jan 98 – OB from The Piping Centre, Glasgow - John Carmichael SDB with Roddy MacLeod and Peter Mallan
10th Jan 98 – Ian Holmes SDB
17th Jan 98 – Nicol McLaren & the Glencraig SDB
24th Jan 98 – OB from Queen’s Hall, Dunoon with Colin Dewar SDB (recorded 14.01.98)
31st Jan 98 – Iain MacPhail SDB
CLUB DIARY
B&F Treasurer – Mrs Margaret Smith, Smeaton Farm Cottage, Dalkeith, Midlothian, EH22 2NL
The main features in the above issue were as follows (this is not a comprehensive detail of all it contained. The Club reports, in particular, are too time consuming at this stage to retype).
Editorial
For the ‘Composer’s Corner’ feature I’m very grateful to Major Gavin Stoddart B.E.M., Director of the Army School of Bagpipe Music in Edinburgh Castle for a quick response to my enquiry about the life histories of some of the great composers of pipe music. Readers can look forward to excellent write-ups on P/M Willie Ross, P/M Donald MacLeod, P/M G.S. McLennan and others.
This month we also make a start to the ‘Tune Titles’ feature suggested last month with an opening contribution from W. Chalmers of Johnstone in Renfrewshire. Now that it’s up an running let’s see if we can keep it going.
Record Reviews appear to be like buses – you see hardly any for months and then they all come at once. It’s great to get them because it demonstrates how healthy the recording side of our music scene is but it tends to swamp our ‘Record Reviewer’. Anyway the anonymous ‘Swampy’ and his team of helpers are hard at work and we look forward to the results.
Thinking ahead, remember to enter Musselburgh in your new year diary on Saturday, 7th March, 1998 and Jack Cooper advises that the dates for the Weekend Gathering at the Station Hotel in Perth are 27th / 28th June, 1998 when the Guest of Honour will be Dumfries bandleader Ian Holmes.
The next issue will see the start of a ‘Teachers Directory’ to assist parents in finding good all-round teachers. Teachers of any of the instruments featuring in our scene are invited to drop me a line with their details.
This will be the last issue for 1997, so may I take the opportunity to wish everyone a Merry Christmas and a Happy New Year.
Charlie Todd
The 1997 Shetland Accordion & Fiddle Festival
by ?
Bandleader Bill Black, in a humorous speech, formally declared the Festival opened sharp at 1 p.m. and made way for bandleader David Cunningham Jnr, on stage with his band, to strike the opening chord - ………………..
Composers Corner
Felix Burns
by Tom Cowing
Felix Joseph Burns was born in Perth on 5th March, 1864. He showed a remarkable musical talent from an early age, progressing from the tin whistle and mouth organ to the piano. He became a fine organist and, joining the local band, mastered a variety of brass and woodwind instruments. From an early age he showed a flair for original composition.
According to Leo Burns, Felix’s youngest son (now 97 years of age and living in Coventry), his father ran away from home at the age of 16 in 1880 and joined the ‘Moore and Burgess Travelling Minstrel Show’. As well as his instrumental skills he had a lifelong love of the theatre and showmanship as reflected in many of the titles of his tunes.
From there he moved on to be a pianist with a traveling ‘Diarama’ Show and it was during this time that he met and married Catherine Burns, his first cousin, from Motherwell (Lanarkshire). During a long and happy marriage they had thirteen children, nine of whom survived into adulthood. They were - sons Frederick, Douglas, Felix Jnr and Leo and daughters Catherine, Winifred, Susan, Leona and Doris.
In 1885 Felix, Catherine and their first two children arrived in the ‘Border City’ of Carlisle with the Diarama Show. Unfortunately the Manager of the Show absconded with the money, a not uncommon occurrence in those days, leaving the Burns family and the rest of the crew stranded.
Felix however, expressed his belief that they would be all right in Carlisle since he liked the look of the place. From his introduction to the Border City at the famous ‘Matchbox Music Hall’ he quickly established himself as a music teacher and working musician. His teaching studio above the Market Arcade in Carlisle contained two grand pianos and a concert harp.
While trying a piano in a local music shop one day he was asked by the manager about the tune he was playing. Replying that it was one of his own compositions the manager asked for a copy and sent it to a publisher in London who accepted it for publication.
This was to be the start of another very successful side of Felix’s career. He published a total of 16 ‘Popular Dance Albums’ (the last three were published after his death by Felix Jnr) which sold at 2 shilling each, in addition to a great many piano solos. Just for the record the Dance Albums were entitled Royal (1905), Imperial (1908), Great Britain (1910), Flag of Empire (1911), Vaudeville (1914), Vanity Fair (1915), London Town (1915), Merry Makers (1917), Gaiety (1918), Old Drury (1919), Black and White (1920), Tower of London (1921), Dickens (1922) and lastly Frivolity (1923). Collectively they contain no less than 120 compositions, an impressive collection in itself. His own personal favourite was a Barn Dance tune entitled ‘Woodland Flowers’.
Many of the titles therein reflect the period during which Felix lived, with the British Empire becoming the mightiest the world had ever see during his lifetime but seeing the sun set on it during the Great War of 1914-18. ‘Pageant to Empire’, ‘Queen Mary Waltz’, ‘Somewhere in France’ and ‘Over the Top’ to name but a few. His piano solos were published under several nom-de-plumes, a custom of the time – Leona Lacoste, Claud Roslind and Leon Fabrina.
Despite the fact that he was not blessed with the best of health he was able to cram an amazing amount of musical activities and achievements into his short working life. It is impossible to calculate the total number of his compositions as there were at least twenty-two known Publishing Houses turning out his music under his real name as well as his nom-de-plumes.
He had several part time activities as a musician also. He was the Bandmaster of the 4th Battalion Border Regiment (Volunteers). He was also organist and choirmaster of St Mary’s and St Joseph’s Church in Carlisle and he provided piano accompaniment at the Winter Concerts organized by the Town Council. He was engaged to organize and play at dances in fashionable houses throughout Cumbria and to accompany celebrated performers of the day when they visited Carlisle to give concerts.
Felix would take pride in giving one of his latest compositions its premier at one of the Carlisle Winter Concerts. He is remembered with much affection in his chosen ‘home town’ as a man who was proud of the Border City and contributed to its quality of life and its future. He was always eager to volunteer his services to assist any charitable cause or simply to help or give a little pleasure to those in need.
During, and following, the First World War there were many who needed all sorts of support and to have their spirits lifted. Felix knew that he was fortunate to be blessed with rare talents and that he should use them for the benefit of his fellow man and this he did on countless occasions. He was very well aware of the beneficial and therapeutic effects that music can impart.
In person Felix Burns was a pleasant, quietly spoken and earnest man. Despite his relaxed ways he was a man of great warmth and kindness and very great personality. He was a popular and good natured public figure and, in private, a loving father and dedicated family man who had attained his own success and brought up a highly talented family by his endeavours.
In later life Felix suffered from prolonged ill health (he was probably diabetic) but never complained. He died very suddenly on 19th January, 1920 at the age of 55. He had given 4 music lessons that day and still had 79 pupils on his register. Catherine, his wife, outlived him by 19 years and died in 1939.
To conclude, from impressions gained from my researches and from speaking with Leo, I should say that Felix Burns knew that it was not given to everyone to be a virtuoso but that everyone can enjoy music. He hoped that everyone who is blessed with the ability to play will try to appreciate music in all its forms and work to improve their skills for the betterment of their own enjoyment and satisfaction as well as the appreciation of those who listen to the music they pay.
As Scottish Dance Band musicians we are indeed lucky to benefit from so many fine tunes, bearing in mind that they were originally composed for a completely different musical idiom. His tunes have faced and passed the ultimate test – the test of time, which sees them in everyday usage a century after their composition. I hope that everyone, especially our younger musicians, enjoy these tunes.
The Story Behind the Tune Titles
I can think of no better way to kick off the ‘Tune Titles’ feature than an explanation of your examples i.e. ‘The 91st at Modder River’ and ‘Paardeberg’. Both pipe marches were composed to commemorate actions which took place in the Boer War in South Africa 1899 – 1902.
The 91st Highlanders (or 1st Battalion Argyll and Sutherland Highlanders) were ordered to cross the Modder River from a bridgehead and this they did against strong opposition. However after being pinned down all day they were forced to retreat having sustained heavy casualties.
‘Paardeberg’ was the scene of the encirclement and eventual surrender of the Boer General Crone and much of his army. This was the first real success of the War for the British which until then had been a series of disasters not the least of which was also commemorated in a well-known Retreat March’. At ‘Magersfontein’ the Highland Brigade suffered severely in an abortive night attack losing, amongst many others, their very popular General Andy Wauchope.
‘Magersfontein’ was composed by Piper, later Pipe Major John McLennan of the Highland Light Infantry (H.L.I.) who was wounded in the action and was awarded the D.C.M. for gallantry. He went on to compose many other fine pipe tunes later in his career.
Your mistake in referring to the 93rd (which was the 2nd Battalion of the A&SH and was not in South Africa) is not uncommon since it appears in some pipe books under that title. Hoping the above will be of interest to your readers.
Introducing the Committee
Our New Vice Chairman – Nicol McLaren
Continuing the injection of ‘young blood’ into the organisation, the new Vice-Chairman of the Association is Nicol McLaren (37) of Blairgowrie, leader of the Glencraig Scottish Dance Band.
Nicol, a Sales specialist with Dalgety Agriculture, started playing the accordion at 9 years of age when his father bought an old 48 bass Bell piano accordion from a junk shop in Stirling and found that he had a good ‘lug’ for the music – much to the disappointment of his teacher – Marion Campbell of Harbet who quickly realised he played what he heard rather than what was written!!
Scottish Dance Music was always around Nicol, however, with Ian McCallum (then with Grace MacCleaver’s Band) working for his father on the farm at Dunmore and uncle Alex MacArthur always around to give help and encouragement. Indeed it was Alex who gave Nicol his first inspiration to be a bandleader. On the opening night of the Biggar Accordion and Fiddle Club, the family were all part of the huge crowd in the Clydesdale Hotel when Alex asked his ‘wee nephew’ to have a tune. Alex then said he would put a bunch of ‘no-hopers’ around him to see if he could make a band out of them.
Well - that band consisted of – fiddle Ian Powrie, second accordion Jim Johnstone, piano Bpbby Brown, bass Robin Brock and drums Bobby Colgan.
Nicol says “I came off the stage feeling about 10 feet tall and just couldn’t wait to have another go”. That memory has lingered on – it was typical MAcArthur – and from then on I wanted to lead my own band”.
The opportunity did not present itself for some time, however because Nicol stopped playing! While at Edinburgh University, studying agriculture, however, a pal who sang a bit and played guitar persuaded him to do a couple of ‘pub gigs’ – and the bug was back. The Glencraig SDB started in 1984 when Nicol, then a Salesman with S.A.I. in Blairgowrie was asked by a customer if he could put together a band for a church social. Two good friends Dave Bell on drums and Lorna Webster on accordion joined him for the night – and another half dozen bookings were had –the Glencraig was born! The diary grew, and with the inclusion of Gordon Howe on fiddle, Graham Berry on piano and Suzanne on bass, the band developed until, in 1989 they recorded their first cassette for the Dick Webster Cancer Fund and their BBC Broadcast for ‘Take the Floor’ – sadly only a few months after Uncle Alex’s untimely death.
Nicol says he has been very fortunate to have had very few personnel changes over the years and the current regulars of Nicol (lead accordion), Gordon Howe (fiddle), Neil Caul (second accordion), Maureen Rutherford (piano) and Dave Bell (drums) have been together for quite some time playing all over the country – and beyond (the last 3 years in Bahrain for St Andrew’s Night).
The band’s two cassettes for the Dick Webster Cancer Fund have helped Dick to raise the tremendous sum of over £30,000 for cancer relief and they have just released their first CD for the Shielburn Label. Another is to follow early in 1998.
Outside music, Nicol’s hobbies are rugby – he played full-back for Murrayfield R.F.C. for 12 years before retiring about 4 years ago, and golf – rather erratic and very frustrating.
To further Scottish music, he also hosts ‘Sporrans a Burling’ – a Scottish Dance Music programme on Heartland FM, a local radio station based in Pitlochry. “It’s a bit ‘non-hitech’ “ says Nicol, “but I enjoy doing the programmes. I’m the producer, presenter and sound engineer – the buck stops (and starts) with me!”
Nicol says he is delighted to have been elected to the post of Vice-Chairman of an organisation dedicated to the music he loves and pledges to do all he can to further the Association, the music and the young talent emerging today. “Working with Jim Johnstone (my boyhood hero!) is a wee boy’s dream come true, but the whole Executive Committee seem to work very well together. I believe our music, and our Association is in great hands!”
More Idle Thoughts of an Idle Fellow
by Sandy Tulloch
I used to think that the grace notes in pipe music were a convenient way for a piper to find the place. Two up, two down and hey presto, the note! But not so. The now defunct Lowland pipes had a stopped up bore and could play staccato but not so the Great Highland Bagpipe’s chanter which is like a through gaein’ close. Notes cannot be separated unless a grace note (or two or three or more) are stuck between them. The greatest number I have found in my collection is 9 ! Two row players may have difficulty!
Another piece of research fell on fairly stony ground. We have all possibly heard of something called ‘Heedrum Hodrum’ or more properly ‘Canntareachd’ which preceded manuscript. There were several teaching methods and not much evidence of agreement between them.
This curious method – a sort of Gaelic So-Fah system was in use until the first quarter of the 19th century when Angus MacKay, first piper to Queen Victoria published the first definitive work in 1838 using the Treble Clef. Key signatures were often wrongly used but soon discarded altogether because the pipe had only one scale of nine notes, roughly the scale of ‘A’ with a natural ‘G’. The pipe pitch has never been updated and is close to the modern Bb. But this apartthe scale intervals are also different giving the pipe scale a very distinctive sound. The C# is slightly flat, the D slightly sharp and the F# slightly flat. The high G is also slightly sharp. This peculiar scale does not lend itself to good harmonies and Retreats with Seconds have a very distinctive sound. Compositions by pipers show subtle differences to those by accordionists more used to the ‘normal’ scales. The occasional use of ‘G’ natural does not make a pipe tune. Far less Ceol Mor or Great Music. Bur as far a Ceol Beag (march, strathspey, reel and jig) is concerned, Scots audiences respond in a remarkable way even when played on the accordion. And curiously it is very often the oldest tunes which receive greatest applause. Bit I often wonder what a piper thinks of some of our efforts….!
The Stanley Ceilidh
by Bill and Anne Black
Another ‘Stanley Ceilidh’ Weekend has come and gone, and oh boy, what an array of talent appeared this year. It has often been said before that ‘this has been the best one ever’, but really this time was absolutely unbelievable. A total of 24 accordionists, 6 fiddlers, 6 pianists, 3 bass players, 5 drummers, 1 mouth organ player and 1 Jew’s harp player. The biggest job was getting everyone on stage within the time we had available, but we managed and even had half an hour spare before the clock caught up.
I would like to say a very big thank you to all the musicians who gave up their time and made the effort to come along and support Anne and I in our quest to raise money for handicapped children. Without you all the weekend would be a complete flop.
I would also like to thank all the enthusiasts who gave us their support and donated to the cause so generously.
A special thanks must also go to the management and staff of the Tayside Hotel for their ready co-operation and efficient friendly service over the whole weekend.
To everyone who donated raffle prizes for the Saturday night draw, my sincere thanks. To Mabel Gray who donated a beautiful Christmas Hamper for the Friday night which raised a total of £302.50 in one raffle prize, thanks very much indeed.
Thanks also to Kathryn Nicol, Suzanne Gray and Dave Millward for taking charge of the raffle and collection on Friday night, and to George Hunter, Suzanne Gray and Ian Gray for their assistance at the door on Saturday night.
A very special word of appreciation must go to Anne (my wife) for all her hard work in preparation both before and during the weekend. To everyone who helped in any way at all, my sincere thanks.
The total amount of money raised over the weekend came to a staggering £1,924. The money this year is being donated to Rachel House in Kinross which is a hospice which does outstanding work in the case of terminally ill children.
I’ve said a special thanks to quite a number of people and hopefully no-one has been missed out, but I feel the most special thanks of all must be reserved for the young band from the Shetland Isles who played for our Saturday night dance. This was their first trip outside Shetland as a band and ‘boy oh boy’, did they leave their mark. The Colin and Alan Dance Band which consists of Colin Sutherland, accordion, Alan Nicolson, accordion, Margaret Couper, piano, Alan Scollay, bass, and Ian Tulloch on drums were absolutely fantastic and presented themselves in a really professional manner which was so nice to see. I’ve had a huge number of phone calls from people wondering when they will be back and expressing their heartfelt admiration for this superb band, Well, the good news is that they are going to make a return visit to the ‘Stanley Ceilidh’. This will take place on the first weekend in November in year 1999 as this is our 21st Anniversary of the Stanley Ceilidh so we are alredy looking forward to that.
Getting back to next year, the venue has been booked as usual for 6th – 8th November, 1998. We have been very fortunate in that we have managed to book the services of one of the top bands in Scotland for the Saturday night dance and that is Alasdair MacCuish and the Black Rose Ceilidh Band who have been great supporters over the years.
The musicians who gave us their support over the weekend were as follows - on accordion Hamish Smith, Dave Millward, Morag Robertson, John Gunn, Lesley Craig, Alex Morrison, Hamish McDougall, Jimmy Lindsay, Sandy Lindsay, Alasdair MacCuish, Scott Gordon, Lindsay Weir, Colin Garvin, Bruce Peebles, Iain Cathcart, Lynn Christie, Shirley Campbell, Lynne Gould, Duncan Black, Jock Loch, James Corbett, Pauline Bradley, and of course I managed to get a wee tune myself. Quite an impressive list in anybody’s book.
On fiddles were Kathryn Nicol, Margaret Couper, Susan McIntosh, Mark MacDougall, Carol Dobson and Ian Robertson.
On keyboard were Judith Robertson, Mabel Gray, Margaret Couper, Violet Morrison and Louise Campbell.
On drums were Robert McFadyen, Robert Simpson, Duncan Christie, George Gray and Ian Tulloch.
On bass were Suzanne Gray, Alan Scollay and Mark MacDougall.
And finally the two grand old gentlemen whose combined ages come to around 180 years. On mouth organ was Willie Atkinson from Wooler and on Jew’s harp was Angus McKinnon from Dallas in Morayshire.
All in all an absolutely brilliant weekend was had by all and I trust I will be able to welcome you all back to the ‘Stanley Ceilidh’ on the first weekend in November, 1988. In the meantime may I sincerely thank once again everyone who took part in any way at all to make the weekend such a fantastic success.
Until next year all the best of health, happiness and good music.
Record Review
The Hurricane – Wayne Robertson S.D.B. – Smith Mearns Recording SMR070
Take the Floor – Saturdays at 6.30pm with Robbie Shepherd
6th Dec 97 – John Renton SDB
13th Dec 97 – Calum Wilson SDB
10th Dec 97 – Lindsay Weir SDB
27th Dec 97 – Jim Johnstone SDB
3rd Jan 98 – OB from The Piping Centre, Glasgow - John Carmichael SDB with Roddy MacLeod and Peter Mallan
10th Jan 98 – Ian Holmes SDB
17th Jan 98 – Nicol McLaren & the Glencraig SDB
24th Jan 98 – OB from Queen’s Hall, Dunoon with Colin Dewar SDB (recorded 14.01.98)
31st Jan 98 – Iain MacPhail SDB
CLUB DIARY
