Erik Chisholm: Piobaireachd for solo piano [download]
Composed 1929.
Computer typeset score (71p) from incomplete manuscript saved as pdf for immediate download.
The whole work consists of twenty-three short pieces which have been recorded over 3 later Music for Piano series CDs only one of which has been released. It is devoted to Chisholm’s setting of traditional Scottish Piobaireachd. The word simply means pipe music but has come to be applied to a specific form - a set of variations on a theme called Ceol mor, the “Big Music”. Chisholm’s approach to this remarkable genre is deeply informed by its technical idiosyncrasies.
He had the knowledge and pianism for this but he respects the tradition of pace and embellishment, though treating the drone element with inventive harmonic freedom.
Composed 1929.
Computer typeset score (71p) from incomplete manuscript saved as pdf for immediate download.
The whole work consists of twenty-three short pieces which have been recorded over 3 later Music for Piano series CDs only one of which has been released. It is devoted to Chisholm’s setting of traditional Scottish Piobaireachd. The word simply means pipe music but has come to be applied to a specific form - a set of variations on a theme called Ceol mor, the “Big Music”. Chisholm’s approach to this remarkable genre is deeply informed by its technical idiosyncrasies.
He had the knowledge and pianism for this but he respects the tradition of pace and embellishment, though treating the drone element with inventive harmonic freedom.
Composed 1929.
Computer typeset score (71p) from incomplete manuscript saved as pdf for immediate download.
The whole work consists of twenty-three short pieces which have been recorded over 3 later Music for Piano series CDs only one of which has been released. It is devoted to Chisholm’s setting of traditional Scottish Piobaireachd. The word simply means pipe music but has come to be applied to a specific form - a set of variations on a theme called Ceol mor, the “Big Music”. Chisholm’s approach to this remarkable genre is deeply informed by its technical idiosyncrasies.
He had the knowledge and pianism for this but he respects the tradition of pace and embellishment, though treating the drone element with inventive harmonic freedom.
No.1 Failte Chlann Raonuill (Salute for Clan Ranald)
No.2 Piobaireachd Dhuntrom (The Duntroon Piobroch)
No. 3 A 'Chomhraig Gharbh (The Desperate Battle)
No. 4 Failt' an t-Siosalaich (The Chisholm Salute)
No. 5 ' S Leam Fein an Gleann (The Glen is Mine)
No. 6 Lord Lovat’s Lament
No. 7 Failte Thighearna Na Comaraich (MacKenzie of Applecross's Salute) (Fragment)
No. 8 (MacLean of Coll putting his foot on the neck of his Enemy)
9. missing.
10. Failte Nan Griogairach. (The Macgregors’ Salute);
11.Failte Comunn Gaidhealach Albainn. (The Highland Society of Scotland’s Salute)
12. Cumha Phàdruig Òig Mhic Cruimein. (Patrick Og MacGrimmon’s Lament)
13. Cumha Air Son Triall Right Seumas (Lament for King James – 1688)
14. Cluig Pheairt (The Bells of Perth)
15. missing
16. Untitled
17. Cumh Righ Seorais III. (King George the Third’s Lament);
18. missing
19. Untitled
20. Is Fada Mar so tha Sinn. (Too long in this Condition); by Patrick Mor MacGrimmon 1715
21. Cumha Craobh Nan Teud (A Lament for the Harp Tree);
22. Lasan Phàdruig Chadig Mhic Cruimein (Patrick’s Flame of Wrath)
23. Cumha Na Cloinne (The Lament for the Children)
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