MUSICWEB (1):
According to the excellent liner-notes by John Purser, this present volume of ‘Music for Piano' by Erik Chisholm is likely to be the last. He writes that unless ‘current research work uncovers sufficient previously unknown material... [which] at present seems extremely unlikely,' there will not be an eighth volume. It is a job well done. I have had the pleasure of reviewing all previous releases of this series and have been struck by the vitality, technical competence and sheer ‘enjoyability' of virtually every work presented. The seventh volume is designed to tidy up a few loose ends. Purser suggests that this disc ought to be listened to ‘within the context of the whole series.' And he is correct. I guess it is unlikely that many people will set off on their exploration of Chisholm's piano music with this CD. Most of the pieces on this disc are ‘light' music – with the exception of the Elegies and the Fourth Sonatina. However, that does not mean that the other works are unworthy of our attention or lack inspiration and sheer musicality.
The most important pieces on this CD must be the five Elegies with which the CD opens. These are dark introspective numbers that reveal the pianistic style of Erik Chisholm at his very best. Most of these elegies are derived from tunes which the composer had found in a variety of ‘song books' such as the Reverend Patrick MacDonald's Collection of Highland Vocal Airs . However it is important to emphasise that these are not direct transcriptions of the tunes; nor are they simply arrangements or variations. This is not a pastiche of highlan' music designed to portray a sentimentalised view of the people and places of Scotland. Chisholm's music is manifestly influenced by his native musical sounds and rhythms, but the resultant can only be defined as a part of the Western tradition of both Schoenberg and Bartók. A note on the Chisholm Website explains this well – ‘He is also alone in his attempt to infuse into symphonic structure the forms of Celtic music-lore (e.g. the pibroch) as distinct from the introduction into present-day forms of merely discursive Celtic atmosphere.' These five elegies display this ‘symphonic structure' in spite of their short duration.
When I first came across Erik Chisholm's music I read somewhere that he had composed a Peter Pan Suite . Alas, as each CD was issued, this work appeared to be missing. However all things comes to he (or she) who waits.
The Suite was composed in London during 1924, which was some 20 years after James Matthew Barrie's children's classic was first published as a stage production. Many people have tried to get to the bottom of this timeless classic and analyses abound. However, it needs neither Freud nor Jung to enjoy the story, save to say that the underlying themes would appear to be a ‘conflict between the innocence of childhood and the responsibility of adulthood'.
Erik Chisholm's Suite is divided into five attractive, but rather concise movements. All the key players from Peter Pan and Wendy are incorporated into the music. From the capricious Peter himself, to the will o' the wisp Tinker Bell, the lugubrious Crocodile, the more complex than would at first appear ‘Wendy' theme. Finally, Captain Hook is portrayed by something a little more sinister.
There is nothing particularly difficult (aurally) about this music; however it fair to say that it is an adult's appreciation of the childhood story. Chisholm never indulges in sentimentality or kitsch.
The Sonatina No.4 is a different story. Part of a series of works entitled E Praeterita (From the Past) is is one of six such pieces. [For the connoisseur, Nos. 1 and 2 are given in Volume 3, No.3 on Volume 4 and Nos. 5 and 6 on Volume 5 of this series]
Only one movement is included of this three movement work: one has been lost and another has reappeared as ‘The Jew's Dance' in the Fifth Sonatina. John Purser suggests that this surviving first movement is effectively a transcription of a lute-dance by Hans Neusiedler (1508-1563). However in Chisholm's hands the music transcends time and becomes an exciting work that almost defies categorisation. It was completed in 1947.
The Three Suites presented here are attractive and enjoyable, but they are not in the composer's typical style. However they differ from much salon music in their ‘spareness' of texture, their lack of cliché and their harmonic subtlety. Listen to them one at a time.
The First Suite is in five ‘conventionally' named movements. It opens with a ‘Caprice ‘that is full of light and sunshine. Yet even here there is a depth and modernity of language that would not be found in a similar suite by Montague Ewing or Haydn Wood. The Feuillet d'album (Leafs from an Album) is a diverse little piece that explores a variety of moods and pianistic formula. The Scherzo is a chipper number that ‘exploits [the] rapid alteration of hands.' Certainly it sounds a bit tricky to my ear. The ‘waltz' is probably quite typical of the genre: pleasant but nothing more. Finally, the ‘Moto Perpetuo' brings the Suite to an exciting conclusion.
To my ear there is nothing of ‘persiflage' about the Second Suite: it may be fun, but it is never trivial. The first movement is a complex, involved piece that belies the playful nature of some of the passages and the the use of a nursery tune at the conclusion. The second movement, a Caprice is played ‘allegro scherzando'. This is an intense scherzo that has a wide variety of moods and a certain hard edge that denies the concept of a ‘musical joke.' The next movement is funny: it is based on Euphemia Allen's universally known chopsticks, which are subject to a number of ‘petite' variations. However even here there is an edginess that ensures the listener does not dismiss this as nugatory. The ‘Intermezzo' is a trippy little piece that nods towards the salon. John Purser suggests that it appears to be ‘an exercise in simple pianism [rather] than an inspired piece of music'. He suggests a little editing may have done it a power of good. The final ‘Jig' is complex and ‘fluent' however it is not a ‘bucolic' example so popular with composers of light music. It is an astringent piece of music.
The Third Suite is entitled ‘Ballet'. This is brittle, often staccato music that is hard to pin down. Purser has noted the cross-rhythms and the ‘quirky changes of pace.' Yet it is quite definitely ‘dance' music – one cannot listen to this without the mind's eye seeing it interpreted by a dancer. One recalls Chisholm's commitment to ballet – The Hoodie Craw and The Forsaken Merman being two important scores. The present Third Suite is often romantic in a fugitive sort of manner – but the abiding impression is of quicksilver. Puck or Robin Goodfellow is a likely inspiration.
John Purser sums this CD up very well when he notes that ‘we leave Chisholm's music then, not with any grand gestures, modernist assertions, Scottish determination or lyricism, but with unaffected, easy-going and undemanding pleasures...'
I have noted before the great commitment that the pianist Murray McLachlan has made to this cycle of seven CDs – as well as other recordings of Erik Chisholm's music. It is a major achievement that deserves to be lauded. The liner-notes by John Purser are essential reading, for apart from that author's excellent monograph on the composer, there is little information about the man and his music that is easily available. The sound recording is superb and benefits from the sympathetic acoustic of the Whiteley Hall, Chetham's School of Music, Manchester. One minor criticism: I would have liked to see the dates for all these pieces given, however it may well be that they are not yet definitively established.
Finally two things need to be said. Firstly, this is the authoritative edition of Erik Chisholm's music. I cannot imagine another cycle of this piano music being recorded in my remaining lifetime. We are fortunate to have such an exemplary production as that which Divine Art has provided for the listener over the past few years. And, secondly, it is hardly possible to listen to the works on this present CD and the other six and not wonder how such an important contributor to the literature of the piano has gone virtually noticed by lovers of piano music. I make no excuse for concluding this review by quoting myself! ‘I believe that Erik Chisholm is so important that his music ought to have International status rather than just a local interest. I repeat [again!] my assertion that this series of CDs showcase one of the most important “musical discoveries and revelations of the Twenty-First Century'.
John France
FANFARE:
And so it ends. This is the final volume of Murray McLachlan's epic journey to the center of Eric Chisholm's music. With it, though, a pointer toward the label Hyperion, and an upcoming release of Chisholm's two piano concertos. Tantalizingly, in the context of the Peter Pan Suite, the excellent booklet annotator John Purser makes mention of Chisholm's later operas.
The first of the elegies begins in typical Chisholm fashion: bagpipe drones, Bartókian hard-edged sonorities. Based on a tune in Patrick MacDonald's A Collection of Highland Vocal Airs, it is marked lento maestoso and pesante; the second elegy (two versions are given here) continues this ethos, but includes darker, quieter sections. The slow march of the third elegy includes some remarkably potent harmonies, while the fourth returns to the world of the first.
Impressionism seems to inform "Peter," the first movement of the Peter Pan Suite of 1924; "Wendy" (second movement) continues this current, although it develops further into contrapuntalist territory (beautifully explored by McLachlan). Predictably (but no less magically), it is the "Tinkerbell" fairy of the fourth movement that evokes the ephemeral nature of this Spirit; the central lullaby ("She Sighs for Peter") is beautiful. Captain Hook provides the necessary brawn for the finale. This is by far the most technically challenging movement, and McLachlan copes with its demands with real aplomb.
The easy simplicity of the Fourth Sonatina (1947) is conjured by McLachlan's lightening of tone. Subtitled "From the Past," it originally consisted of three movements, one of which is lost; the other one can be found as part of Sonatina No. 5 in the present series. The movement is based on an appealing lute dance by Hans Neusleider (1508-63).
Good to have the three suites one after the other. Purser refers to these as "occasionally prolix," while referring to their overriding characteristics as "clarity and wit." This clarity manifests as an almost neoclassical transparency, and the wit seems to suit McLachlan's character perfectly. The central Scherzo of the First Suite is full of wit (and cross-handed effects, suavely delivered here). The charming Waltz that follows, borrowed from a suite for flute, clarinet, cello, and triangle, is pure salon music (I think it is actually a finer piece of music than the booklet annotator allows); the finale is a gentle moto perpetuo. The Second Suite lasts nearly 25 minutes and again derives some material from the suite for flute, clarinet, cello, and triangle. McLachlan's clean way with the two-part textures of the second-movement "Caprice" is most appealing: a charming set of variations on Chopsticks. McLachlan's trills in the penultimate movement ("Intermezzo") are similarly appealing, as is his lightness of touch and texture. A wonderfully quirky finale rounds the suite off.
Finally, the single movement of the Third Suite ("Ballet") is a playful, teasing dance that seems just right to conclude this major series of recordings. Bravo to all involved over at that enterprising record company, Divine Art, and to McLachlan for his clear devotion to this music.
Colin Clarke
MUSIC AND VISION:
Four youthful suites and two later pieces arising out of Erik Chisholm 's love of traditional Scottish airs and of Renaissance music bring to an end Divine Art 's recordings of his complete solo piano music . This is the way the series ends, not with a bang, but not with a whimper either. In the words of John Purser's generous, informative and beautifully written liner notes , this final volume 'to a certain extent, represents a tying up of loose ends', but it includes the four Elegies, a concentrated and coherent group of pieces which no-one interested in Chisholm 's compositions will want to be without.
The Elegies, whose dates of composition are uncertain, but which are undoubtedly mature works , begin the CD. Each is based on a traditional vocal air from the Scottish highlands, developed and decorated in a uniquely pianistic transformation of the great piobaireachd tradition of ornamentation on the pipes, and, though short, they are no mere arrangements of the tunes . The grim, stark first Elegy, compressed and full of bare fifths and octaves , is endowed with uncompromising power by Murray McLachlan .
He plays two versions of the second Elegy, a sombre pair of parallel but different meditations on the same air. The third Elegy is particularly full of extraordinary piobaireachd ornamentation, marvellously made pianistic.
The fourth Elegy returns to the tune of the first, more floridly decorated. The inclusion of the two versions of Elegy 2, introducing an element of theme and variation , and the varied return of the material of the first Elegy in the fourth make the four (really five) pieces into a rounded and unified ten-minute work .
The Peter Pan Suite dates from 1924 , when Chisholm was twenty. Its five movements are affectionate, varied, witty and colourful character studies of Peter, Wendy, the Crocodile, Tinker Bell and Captain Hook. In his notes, John Purser suggests that Tinker Bell's brief melancholy lullaby at the centre of her otherwise bright and appropriately ethereal bell-like piece might almost have come out of Patrick MacDonald's eighteenth- century collection of Highland vocal airs from which Chisholm drew the thematic material of the Elegies, but there is really very little Scottishness about this mostly diatonic , at times tonally quirky, at others subtly impressionist, suite despite Barrie's and Chisholm's shared nationality.
The Tinker Bell movement does exemplify one slight weakness, hints of which appear elsewhere in the early suites on this CD: Chisholm tends in ternary-form pieces neither to dramatise the return of opening material after a middle section by a strong cadence and a restart in the original key in the Baroque da capo tradition, nor to compose a lead-back, as in most Classical sonata recapitulations. In this movement, Murray McLachlan could perhaps have made the return of the delicate opening music work better by very slightly lengthening the 'Luftpause' before it, but altogether he plays colourfully and affectionately and balances the occasional unostentatious touches of imitative polyphony (such as in the Wendy movement) with subtle dynamic differentiation, making the whole suite thoroughly enjoyable .
Erik Chisholm's six Sonatinas are subsumed under the collective title E Praeterito , but are distributed amongst Volumes 3, 4, 5, 6 and 7 of this series of recordings. The title, 'From the pst ', announces the provenance of their material. Sonatina No 4, on the present disk, was composed in 1947 and originally had three movements. One is lost . The other two are based on lute dances by the sixteenth-century composer Hans Neusidler. Chisholm almost certainly took them from Davison and Apel's well-known 1946 Historical Anthology of Music , one of them being the notorious Judentanz , which, making an unjustified assumption about the usual tuning of lutes in sixteenth-century Germany , Davison and Apel bizarrely transcribed from Neusidler's tablature as an early, and supposedly antisemitic, piece of radical bitonality. This is the version Chisholm turned into one of the movements of the fourth Sonatina. But at some point, this movement was transferred to Sonatina No 5 (though it is by no means clear from John Purser's notes whether this was done by Chisholm or by the makers of this series of recordings), leaving Sonatina No 4 as a very short single-movement work, a delightful elaborated transcription of two linked lute dances that is delicately pianistic without doing any violence to the essence of Renaissance domestic lute music. It seems a pity, though, that Sonatinas 4 and 5 were not placed on the same CD.
The three suites that complete this recording all date from 1923, a year before the composition of the Peter Pan Suite , when the composer was only nineteen. The charming , rather poignant first movement of the five-movement Suite No 1, arranged from a suite for flute , clarinet , ' cello and triangle, is marked Caprice: Waltz tempo . McLachlan plays it at about 102 beats to the minute, which is unusually slow for a waltz, whether Viennese , French or any other, but seems right for the character of the music.
It has a fast, quirky middle section, and here Chisholm's unmediated return to the opening music works very well. The middle of the Scherzo third movement goes on rather too long , and there is a rather too grandiloquent tierce de Picardie ending , while the fourth movement, a genuine waltz, is the nearest approach to salon music on the disk. The Suite as a whole is attractive , but at over eighteen minutes a little over-extended for its material.
Suite No 2, again in five movements, is, at more than twenty-three minutes, even longer. It seems to have been arranged from the same suite for four instruments that was the source for the first movement of Suite No 1, though the piano score contains indications of the instruments, suggesting that the relationship between the two versions may have been more intertwined. It is more brittle in character, drier and more staccato, than the first Suite. Its third movement consists of eight variations on a theme named 'Chopsticks' -- not the familiar tune of that name at all, but presumably so named because of the alternation of staccato notes in the two hands -- which are well-crafted in their gradual movement away from the theme, but would have greatly benefited from the eighteenth-century tradition of a slow penultimate variation. There is, indeed, a lack of variety in character and mood throughout the whole suite, which is probably the least rewarding piece on the CD.
Suite No 3, by contrast , is not really a suite at all, consisting as it does of a single six-minute movement entitled Ballet, in simple rondo form with two episodes, the last appearance of the main rondo material much varied and ending with a somewhat wistful, pianissimo , throwaway ending. Despite its being in a single tempo, the piece has enough variety and at the same time sufficiently interesting motivic interrelationships to make it into an unpretentious but satisfying conclusion .
This CD is not, perhaps, a disk to listen to from beginning to end in one session. But Murray McLachlan's conviction , his effortless technique , his avoidance of exaggerated rubato and the clarity of his textures , aided by the enviable acoustics and excellent piano of Chetham's Music School in Manchester , where the CD was recorded , and the intimate but not intrusively close microphone placement, all combine to make it more than 'a mere tying up of loose ends'. It begins with concentrated, weighty and intense music. It ends, like the whole series, not with a bang; pianissimo, but not with a whimper.
Michael Graubart
MUSICWEB (3):
This is the seventh and final volume in Divine Arts' complete solo piano music of Scottish composer Erik Chisholm, all performed by Murray McLachlan. Previous volumes have all been warmly received - see reviews of volume 1-4, volume 5 and volume 6. Volume 7 has itself also been reviewed (twice) here, and piece-by-piece descriptions of the music can be found there. At the foot of that page, furthermore, is a list of links to various Chisholm-related items of interest.
In his booklet notes, Chisholm's biographer John Purser admits that this final disc really only makes sense in the context of previous volumes. As he aptly puts it: "we leave Chisholm's music then, not with any grand gestures, modernist assertions, Scottish determination or lyricism; but with unaffected, easy-going and undemanding pleasures". Much has been written about Chisholm's authentic credentials as a musician of and for Scotland, particularly with regard to its ceòl mòr , but the pieces on this CD are perhaps the least Scottish of any in the series.
An audition of any of the discs will leave no doubt that Chisholm was a master of the piano miniature. Almost every work in these seven volumes has been either brief - concise is better - in itself or, where longer, consisting of smaller elements in the form of suites, with individual movements often under a minute long. The major exception is the Sonata in A 'An Riobain Dearg', which featured on Volume 1, whilst the Sonatine Ecossaise on Volume 5 constitutes another piano pillar exceeding the ten-minute mark. Yet that is not to dismiss any of the miniatures themselves as mere salon pieces or frivolities: the five Elegies, quasars in piano form, are anything but that, and the Suites are jam-packed with inventive, subtle and tantalising rhythms, harmonies and effects, interestingly reminiscent often, as has been pointed out by commentators, of Bartók, and perhaps Szymanowski.
It is hard to agree that sound quality here is "superb", as reported by one of the previous reviewers of this disc - "pretty good" would be more accurate, as the recording equipment gives the impression of being the wrong side of the open piano lid, and the piano itself does not sound quite in tiptop condition. There is also a minor, momentary technical blip at the end of track 21. The CD booklet however is neat and informative.
As mentioned in a previous review, the Erik Chisholm Trust describes the composer thus: "He is also alone in his attempt to infuse into symphonic structure the forms of Celtic music-lore (e.g. the pibroch) as distinct from the introduction into present-day forms of merely discursive Celtic atmosphere." That seems rather unfair on James MacMillan, Eddie McGuire and a few others from the past century, including Granville Bantock and William Wallace, and, outside Scotland , Arnold Bax. Yet there is little doubt that Grant Covell's assertion - prominent on the Trust's homepage - that "Erik Chisholm is the most interesting 20th-century Scots musician you've never heard of" has rung true for far too long. With luck, this outstanding piano series will push things along and ultimately lead to the recording of Chisholm's complete works. That would give a big boost to Scotland's cultural heritage and add to the musical treasures already turned up in Murray McLachlan's marvellous recordings.
Byzantion
WRIGHTMUSIC:
Murray McLachlan has done a very fine job in his seven CDs of Erik Chisholm's piano music and the musical world should be grateful to him.
It has been said that Chisholm's piano music is highly specialised but that certainly does not mean it is unworthy. It is time that people starting listening to his piano music, much of which has the essential quality of greatness which is originality. The massive Sonata in A is one of the finest British piano sonatas. Being original, it has its unusual moments but it is more accessible that the sonatas of Tippett.
I do not have to say how good a pianist McLachlan is. That is well known.
Chisholm's music is not easy to play. People have tried to classify it as somewhere between the Romantics and Impressionists but I would say that he is an independent just as, for example, Janacek was. In Chisholm's music there is sometimes an uncompromising virtuosity which McLachlan is certainly equal to.
The Elegies are based on A Collection of Highland Airs and begin with one after Dan Liughair.The second is after Tha mo ghruaidhean air preasadh and there are two versions , both presented here. The third is after Gur muladach tha mi's mi gun mhacnus, gun hanran.The fourth is based on Dan Liughair and is a strong and expressive piece. These are examples of many pieces which shows Chisholm's commitment and interest in the music of the Highlands. He never forgot his Scottish heritage.
In the Peter Pan Suite of 1924, the composer captures both the fantasy and childhood adventures very well. Peter is playful and unaware of danger, Wendy is thoughtful and reticent and Chisholm has caught her femininity and gracefulness. Tinkerbell has lovely 'music -box' music and the crocodile is sinister and the music suggests it is creeping up on you only to be put to flight. Captain Hook has an arrogant swagger. All are well portrayed. Chisholm can portray characters in a musical setting.
The Sonatina no 4 exists as one short movement. The title E Praeterita means from the past.This delightful miniature is based on a lute tune by Hans Neusiedler ( 1508 - 1563) and is charming, florid and well realised.
The Suite no 1 has five short movements.. .the first and fourth being a waltz or in waltz tempo, the third a scherzo and the finale a moto perpetuo. The first is the caprice in waltz tempo and is very engaging . Fun to play, if you can, and fun to listen to. The second piece is an Albumleaf , a sensitive andante with charming filigree and musical cascades one of many features of Chisholm's piano music. It has a melody that lingers and is therefore memorable. The scherzo has infectious humour and I actually laughed out loud. A man that can write music that makes you laugh happily must be clever ! McLachlan is obviously enjoying it as we are!
If music is about communication , then both the composer and performer have succeeded.
The waltz is a bit of an enigma and the finale is really another joke in the best sense of the word. It may cause a pleasant frown since it is is highly entertaining and calls for a pianist of great skill. This music would go down well with any audience but it must be heard. It must be fun to watch being played as well.
The Suite no 2 has a prelude marked presto, a caprice marked Allegro scherzando then the ' Chopsticks' theme with eight following variations, an intermezzo and the finale is a jig. I judge that the opening prelude is tongue in cheek. You will either find it hilarious or a puzzle. At 3.45 , can you guess what the simple nursery tune is?
The caprice follows which is lyrical and shows the composer's enviable ability with counterpoint . The middle section is impressive with its ostinato figure and a left hand melody. Humour returns , at which emotion this composer was very able.
Now for Chopsticks which not the theme you expect and to which schoolchildren used to sing “Daddy washed his dirty shirt, Daddy washed it clean.” We used to play it on black notes only. But this is not the tune Chisholm uses. The variations are brief and playful. The final variations are especially fine.
Suite no 3 has one movement called ballet which is quirky and seems to suggest someone trying to lead you into mischief. Chisholm's piano music is never banal and always busy and active.
The sound is very good. John Purser, who has written a book about Chisholm, has some very informative and welcome sleeve notes. I also like the way he acknowledges the work of Chisholm's daughter, Morag, who has used her resources to set up the Erik Chisholm Trust. She lives a couple of miles from me and is a person of generosity and sincerity.
I understand that the pianist Danny Driver has just recorded Chisholm's two piano concertos and I am an enthusiast of Chisholm's Pictures from Dante , also recorded, which shows the composer's marvellous sense of orchestration.
Finally, a message for Murray McLachlan ..... thank you.
Dr. David C.F. Wright, DMus.
MUSICWEB (2):
This is the seventh and last volume in Murray McLachlan's Chisholm piano series. It began on Dunelm and migrated to Divine Art. The music is - broadly described - within a triangle described by Bartók, Grainger and Szymanowski. All three were guest performers and featured composers in Chisholm's notable 1930s Glasgow concert series.
The four Elegies are by turns gentle and subtle, clangourous and often coloured by the twists and turns of Scottish folk voices. Of tartan clichés and petty-coat shortcake there is thankfully none. Chisholm reaches far back to prehistory and but also is open to skirling Baxian declamation (as in the final Elegy) and melodic lilt. You can hear this especially in the third of the sequence of five - there are two versions of the second elegy.
The ten minute Peter Pan suite offers pictures of the fluttering Peter, the gentle Wendy, the gloomy minatory Crocodile, the liquid Ravelian high-chiming Tinkerbell and finally the stirring Captain Hook who swashbuckles heroically rather than playing the scoundrel. The little Paraeterita Sonatina no. 4 accompanies a dignified minuet with skirls - it has a Caledonian Purcellian mien.
The Suite No. 1 is roguish, conventionally dance-inflected, caught between a Godowsky pictorial dance suite and Bartókian grotesques. The Second Suite also straddles the concert hall-salon chasm. It builds in a Chop-Sticks style themes and eight little variations into the midst of four other pieces. The Jig finale skips along with gleam in its eye but like its companions it is a more subtle and nuanced creature that its counterparts in the First Suite. The Third Suite is subtitled Ballet - full of quirks and eccentricity. It gleams with ricochets and shafts of light amid a blitz of character pieces.
With what is presumed to be the complete piano solo production now in place how long must we wait for the Hindustani concerto - the second piano concerto? Not long it seems. The two piano concertos: No. 1 Piobaireachd and No.2 Hindustani were recorded in Glasgow City Halls on 8-9 June 2011 by Danny Driver and the BBCSSO conducted by Rory Macdonald. This will be released by Hyperion in 2012.
The notes - which are by no means perfunctory - are by Chisholm authority and biographer John Purser (“Eric Chisholm - Scottish Modernist 1904-1965”, Boydell & Brewer, 2009).
Rangy and gangly music quaffing deep from the authentic Caledonian aquifer.
Rob Barnett