One of the most remarkable pieces
of concerted music composed by a Scotsman was Sir Alexander Mackenzie’s Pibroch: Suite for violin and orchestra.
It was completed during 1889 whilst Mackenzie was on holiday in Braemar,
Scotland. Pibroch was dedicated to the
virtuosic Spanish violinist Pablo Sarasate (1844-1908) who gave the work’s
premiere at the Leeds Festival. Mackenzie described the work as a “Scottish
effusion” which seems as little modest. Certainly, the music was less inspired
by classical models than presenting a rhapsody based on certain tropes derived
from the folk music of Scotland. A Pibroch
can be defined as: ‘A form of music for the Scottish bagpipes involving elaborate
variations on a theme, typically of a martial or funerary character.’
Mackenzie’s Pibroch has three contrasting movements: Rhapsody, Caprice and a
Dance. Use is made of an old 17th century melody, ‘Leslie’s Lilt’ in
the finale, whilst the Caprice is a set of variations on the tune ‘Three Guid
Fellows.’
Now on to Gibraltar. Alexander Mackenzie relates this story on his autobiographical A Musician’s Narrative (London, Cassel & Co. Ltd, 1927). It is hard to establish an exact date for this holiday but based in internal evidence I would suggest around 1892.
“I took advantage of a much-needed
leave of absence by a trip to Gibraltar, where an odd incident happened. A
fellow-passenger and frequent visitor to the Rock – Mr Ernest A. Sandeman–
kindly offered to act as guide during a long walk on the day of arrival.
Returning at dusk (just at gun-fire, after which no appeal gains admittance), [1]
I heard the distant tones of a violin, and in the hopes of entertainment
proposed to trace them to their source.
Soon we stood before a high house,
much like those on Edinburgh, in the upper storey of which a good performer was
practising. “He is playing something of mine,” said I to my doubting friend. “Surely
I ought to know my own Pibroch?”
To be listening to a quite recently
published [2] and exceptionally difficult work on a dark night in so unlikely a
spot as “Gib” had a weird effect upon me. After mounting many stairs, I soon
found myself giving a lesson to an astonished and very promising young…native
of the Rock, the son of a regimental band master whose name has now escaped me.
The short holiday was made more
agreeable by trips into Spanish territory and other amenities consequent upon
introductions to officers of the garrison, which would not have been mine but
for the strange occurrence.”
[1] Effectively the curfew. It was fired at dusk between 5.40 and 8.30 pm after which the Land Port was closed. Mackenzie need not have feared: the other gates remained open until 11 pm.
[2] Violin and piano version published by Novello in 1899.
Alexander Mackenzie’s Pibroch can be heard on Hyperion CDA66975. The companion work on this CD is the accomplished Violin Concerto (1885). Malcolm Stewart is the soloist, and the Scottish National Orchestra is conducted by Vernon Handley (Concerto) and David Davies (Pibroch).
It has also been recorded by Rachel Barton Pine with the Scottish Chamber Orchestra conducted by Alexander Platt. Other works include the well-known Scottish Fantasy, op.46 by Max Bruch, John Blackwood McEwen’s Scottish Rhapsody ‘Prince Charlie’ and Pablo de Sarasate’s remarkable Air écossais, op.34. (Cedille Records CDR90000 083)
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