The Banff and Buchan Collection

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Tape 1993.014 transcription

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[RS] Good evening and welcome as freens, freens we are of the late Hector MacAndrew. You folks sitting down there, the folk at the back of me, the people that I'll be introducing, and myself included--great friends of the late Hector MacAndrew. Either friends, devotees, enthusiasts, call it what you like, we are here for a common purpose to think about the great man and also by our efforts to raise some money so that it can be a tangible thing for the memory of Hector in years to come at Fyvie. We are going to have a special concert at Fyvie as you know, where Hector was gardener, born in 1903 he was, but a gardener in Fyvie for a long time. Such was the response that we had to shift from Fyvie, or I should say, not me, the Buchan Heritage Society had to shift from Fyvie here to Haddo and we are delighted to be here and we will have what we would call an informal evening together just thinking about Hector and his music. One, behind me, we have representatives of a few of our leading Strathspey and Reel Societies. We've got representatives tonight, and if I don't get it right they'll tell me lang afore the interval arrives. We've got Aberdeen, Cults, we've Garioch, Macduff, Oldmeldrum, Ythan. And to lead them a pupil, a lad that sought Hector's advice many a many time before. And now one of our leading violinists in the solo field, but a great conductor to boot. Let's welcome from Elgin Bill Bryant. Applause.

The first set if I can get that off the deck from Bill, starts off with 'William Marshall's Compliments,' is it Bill?

[BB] Yes.

[RS] So that, make sure we're on the right vein here. 'William Marshall's Compliments to Neil Gow,' the march, the Strathspey 'The Laird o MacIntosh,' and then we have 'Largo's Fairy Dance' with variations. Our combined orchestras: [applause; plays]


[RS] [Shouts] Thanks fiddlers, cheerio, ta ta, nice knowing you, you'll be back shortly. Once again, our fiddlers! [applause] Coming in here tonight, seeing different people, two for the first time, but delighted, just the number of people out here just in tribute to Hector. For example I met eh, just a few minutes ago Douglas Bell. You folk probably don't know Douglas Bell, but Douglas Bell is the last surviving relation of the Bonnie Lass o Bon Accord. He is indeed, Mina Bell, gie him a hand please. Ye canna see him in the dark but he is there. [applause] And for the very first time a charming lady I've never had the pleasure of speaking to her before, but I'm delighted to link up with Elizabeth Adair here tonight, BBC Producer many years ago with Hector's broadcasts [applause]. In fact the author o this poem may well be in the audience tonight, I have no reason to say yea or nay, but Bob Moncrieff--is Bob Moncrieff up from Edinburgh tonight? Are ye there Bob? It's a lang wey fae Edinburgh, I'll let ye aff! OK. This was sent in by Bob as a tribute to Hector MacAndrew, it was sent in fact to Hector after he had done a recital in Aberdeen.

I gaed ae nicht tae Aberdeen tae hear MacAndrew play,
In faith it wis a worthy nicht for music sweet and gay.
Tae hear him play 'Aul Robin Grey' wid nearly mak ye greet,
And efter at Fife's Eastmaist Neuk wi variations neat.

Syne some o Marshall's classic airs, like 'Mary Primrose' sweet,
and Madame Frederick's noble tone, their like ye'll never meet;
There was 'Highland Whisky's' lilting tune and 'Gow's Farewell' a gem,
And he fairly gart the bowhand yark wi 'Welcome Back Again.'

We've a glees played, 'McPherson's Blade,' and syne 'The Bonnie Duchess Tree,'
'MacKenzie Hay,' 'The Spey in Spate,' he played them a' tae me,
Pipe marches, jigs and hornpipes, laments he plays sae fine,
And it disnae seem tae fash him neen wi a' these tunes tae min.

Yon feckless new fangled modren schools wi their harmony sae queer,
Will nae inspire the Scottish heels tae dunt upon the fleer,
Oh thou who rules all from above pray bless his matchless hand,
And may his heaven-sent gift be heard ower a great Scotia's land.

[RS] And it certainly was heard a ower Scotia's land. I am not here to sing praises of Hector, because I've got a lot of people coming in just to have a friendly chat with me, just to speak a little bit about the man. Here's twa retired dominies for a start! That's the only way I'm going to describe them to you. You know them individually in your music fields as tremendous fiddlers and enthusiasts, but to me they are twa retired dominies! John Junor and Harry Smith--where are ye! [applause].

Both have known Hector for a gey lang time, so gentlemen if ye jist--you're a lot bigger than me, but I think we'll manage fine if ye jist stand beside me here. Harry's the biggest I think we'll stick him on there. But I think we'll start, John, with your great knowledge and enthusiasm for the music. I think you had a large part to play in Hector, this reserved sort of lad, eh being introduced to both radio and on record.

[JJ] Well I did give him a little bit of a push. And he needed a lot of pushing because he was very backward at coming forward. And regarding the radio part, I happened to be at the Saltire Society recital, and the gentleman who was talking was Dr Herbert Wiseman who at that time was head of BBC Scotland. So he gave a very interesting talk on Scottish music. And it was illustrated by records, BBC records, it was before tape recorders had come in. It was the lacquer, direct discs, he had a record player and he put on this programme. Now it was very interesting as far as it went, and after an interval we were invited to ask any questions. So I had a pal along with me ye see, and he knew my interest in the fiddle music.      So I said to Ernest, well that was very good, but where's the reference to the fiddle? Poor old fiddle, left out. Not a word. So eh, well he said why don't you ask a question. So he nudged me after the interval, and I rose to my feet very timidly--I was just a young lad then. And somebody asked a question about something else. And I said 'well Dr Wiseman, so far as it went your talk was very interesting and I enjoyed it, but just one thing you missed out'. 'And what was that'. And I said 'No reference to our traditional violin music in Scotland which means such a lot to us, particularly up here in the North East, the home of Scott Skinner. And I said I'm really just a wee bit disappointed that you did not have one illustration of it played on the fiddle. Oh, I don't mean any disrespect to the fiddle or violin music. Oh wonderful music, wonderful music.      And I don't mean any disrespect to Scott Skinner, far from it. I heard Scott Skinner, oh wonderful artist, wonderful artist. I've never forgotten Scott Skinner. But you see within the compass of this my time was restricted, you appreciate that. I said, yes, but it's not only now that we don't seem to get much fiddling, we don't seem to be getting it on the radio. I have been monitoring it on the radio over the last year or two and hardly ever hear a fiddle. And when we hear the fiddle music its played on accordions and I want to see it played on the correct instrument. Oh but we can't get fiddlers, you see the trouble is there just aren't any of them now. So I said, well I think I can put you right there. Now I said, I see a gentleman over there, dressed in a highland dress and he was at a concert the other night at the Cowdray Hall and there was a first class exponent of Scottish traditional music played. Oh really he said, who was that. And this gentleman chipped in, ye see. Oh yes, he said, that's quite right, I was there. Actually it was Hugh Welsh from Aberdeen, and eh I didn't know him of course, never met him. Oh yes, he said, I quite agree, that was a very fine recital that gentleman gave. Now what was his name again? Was it Andrew something I think. I said it was MacAndrew, Hector MacAndrew, and he's right on the doorstep of the BBC at Cults, just outside Aberdeen. And why does he not come forward? Well, I said, he's rather reticent but I'm sure he'd be delighted to broadcast. So out with his pencil and took a note, Hector was on a short time after that. And that was Hector.

[RS] Also on record John, very briefly on record. But again it was the same idea, of how Hector was introduced to record.

[JJ] Well I just pestered him, that's the only word. I pestered him. Look Hector, it's high time you made records now, you must make records. Oh well aye, it would be fine to make records. So I said right, now I got the opportunity. I went to the Scottish Symphony Orchestra's monthly programme in the Music Hall, the concert. When I came out I got the bus, I didn't have a car in those days. I sat beside a Miss Menzies who was from of the big music shops and I said the usual question--have you got any records of fiddle music played on the fiddle. Well she said no. now you know she said, it's a pity, because we do get people coming in particularly from the country, asking for fiddle music. But there just are no records in the catalogues. So I said, well surely there must be some way of getting a violinist on who plays his native music. Oh yes, she said you could try the local representative of the Parlophone Company. I said, who would he be? She gave me his name and address. So I said right, and I phoned up this gentleman, Mr Tosh. So I said, I believe you are the representative of the Parlophone Company and that part of your function is to look out for new talent, recording talent. Yes that is so, do you sing? I said, Oh no, no I sing, but its not up to your standards. No, no I said, I'm just enquiring for a friend. I happen to be very interested in Scottish traditional violin music. Now you haven't one record of it in your catalogues played on the instrument for which it was written. You've got plenty records played by instruments it was not written for, but you have not got one record. Oh he said, I believe you are right there. Is there anybody that you know? Yes, I've got one or two excellent friends, marvellous players in Aberdeen. And I named two. Well he said, eh, we might consider one, but we won't take two. One as a trial. Right.

[RS] Turned out two--both Bill Hardie and Hector through that. Let's come to you now Harry. You knew more of the fireside ceilidh atmosphere with Hector, with many a session with him. Where did you meet him and what was the greatness of the man?

[HS] Well I came across Hector first of all in the Webster Auditorium in King Street. George Webster you know how he was employed in the old Do' School

[RS] We have his daughter here--Poppy.

[HS] Indeed! I know, I noticed Poppy in the audience. In fact I threw it out to the Buchan Heritage Society it might be a jolly good idea to have a similar concert for George Webster.

[RS] Let's get over with this one. Come on.

[HS] Well in any case I heard Hector play there you see. Although I didn't meet him late fifties, I met him early sixties and we very quickly established a very firm, lasting friendship. Both he and his wife, and my own wife and myself formed a very mobile quartet going to all places of pilgrimage for violinists like Dunkeld, Fochabers and so on. But we went forth on Aberdeen on many occasions socially and Hector was always at his best on these occasions of course, just with a smallish group of appreciative people. And he really performed excellently.

[RS] What was Hector's best--what was the greatness of the man?

[HS] Well, I think he was a romantic of course, he was always looking back to the golden age of fiddle playing, you know the mid eighteenth to the end of the nineteenth centuries. I think having being born in the Fyvie castle precincts he likened himself in a way to the Gows, to the Gows and to Marshall who were patronised by the people of these eh, Blair Castle and Fochabers Castle. I think Hector saw a parallel between him and them in that respect you see. As you know
yourself both of you, his technical abilities were more than adequate. They were excellent eh, even Menuhin when Hector finally met him at Blair Castle wondered about the wonderful bow arm he had you see. And another thing about Hector he was very emotional. I don't think you can play a slow air as Hector did without really feeling the tune. I think he really did, I can quote for example the like of Nameless Lassie and Chapel ?? and Auld Robin Grey.

[RS] Played differently every time he played it possibly?

[HS] No Robbie, that's not right. But always impeccably. When Hector played it was a definitive rendering, you felt that that canna be bettered you know. And I'm sure you felt the same.

[JJ] Absolutely, I agree entirely.

[RS] One sentence from each of you then. There is the definitive version. But what made the definitive version, but what made the finished version. Was it the bowing? What did he have in there that was ready to come out?

[JJ] well he had a strong personality you know Hector and I think this showed in his playing. When he was really warmed up he could get this fire into his playing and he, you could hear him playing for example, Largo's Fairy Dance. And when he's got going you know the variations are just brilliantly played, just absolutely brilliant.

[RS] Harry, one last sentence from you, and you've mentioned the bowing. Just, just something else, I mean he was in your eyes, he was up that wee step further than anyone else.

[HS] Oh yes, there's no doubt about it. His playing, the finished product from Hector was different from any other fiddler I've heard, no matter how technically brilliant that other player is, Hector had something special. I think it was the feel for the music of course. That would have come he would have told you from his father, his grandfather. And were all high class players.

[JJ] His grandfather was taught by a pupil of Neil Gow.

[RS] And he felt that coming through the line John?

[JJ] Oh yes, oh definitely he had that affinity for Gow music, Perth music.

[RS] Gentlemen thank you very much indeed, John Junor and Harry Smith. Thank you very much. [applause]. Thank you very much. What a nice way to put a platform up for Hector and now we introduce through another line, but again, complimentary line surely, we have the fine line of Hardie fiddlers throughout the generation here in the North East as we had with Hector carrying on that line, maybe more fragmented than the Hardie line. But we are delighted to welcome tonight from that Hardie line, all the way up from Edinburgh to play for us tonight, Mary Milne will be on piano--Mary are you there? On piano, Mary Milne of Banchory and Alasdair Hardie on fiddle [applause].

08 and 09
[RS] As Alasdair gets the bow organised, the tuning organised. He's going to start with Coilsfield House, followed by Whistle ower the Lave o't and then from mentioned in the poem in fact the East Neuk o Fife.

[Alasdair Hardie plays two sets]

[RS] Well played Alasdair Hardie there, with Mary Milne on piano. The Wind on the Heath some people recognised, I think that comes into the second set that Alasdair played and there's a new cassette out of Duncan Chisholm of Inverness with the tune properly named as 'High the Cooper' but eh, Wind on the Heath was adapted by Alec Sim I think you older people will tell me, adapted by Alec as conductor of Aberdeen Strathspey and Reel Society and became known as Wind on the Heath. Well done Alasdair Hardie.

[RS] When Alasdair was playing that slow air, it reminded me of a true story of Angus Fitchet, my great pal Angus wrote a tune for Elizabeth in fact little Angus. We're still the same size Elizabeth but a wee bittie older now, and he was telling me that he was playing down in Dundee and I says to him what do you enjoy playing best of all is it slow airs, or is it marches, Strathspeys or reels. Robbie he says, I love slow airs, in that Dundonian accent I canna do, so I'll continue in my Aberdeen accent. He says, I love playing the slow airs. He says I was playin an old age pensioners do the other night, him--he's seventy-seven himsel! He says, I was playin at is old age pensioners, I was in this lounge Robbie, I was playin this slow air and when I play a slow air I always close my eyes to get the effect. And I'm in this lounge o this old folks home in Dundee and when I'm playing this slow air and I could hear the shufflin o feet, and I thought oh me Angus you've chosen the wrong tune to play. When I opened my eyes there was only one lady, one lady left in the lounge. So he says, I went up to her and I congratulated, thank you very much for staying you obviously enjoy slow airs. No, she said, somebody stole ma zimmer. [Laughs.]

[RS] We've no problems with that tonight, because we are all here, devotees of fiddle music, especially the word and the music of Hector MacAndrew tonight. And I am delighted to welcome two members of the family, one direct and one just slightly indirect. Great pleasure to introduce the son of Hector, Pat MacAndrew first of all, Pat MacAndrew. [Applause] And the lad who played for Hector many a time both in radio and on record, his nephew Sandy Edmonston. [Applause]. You're my size, Pat's a wee bit taller we'll go a wee bit nearer the mike, some folks couldnae hear at the back the last time we spoke. But Pat we'll start with you as being a son of this lad that was obviously a great fiddler. How did he come across as a family man, did he play the fiddle every night? How was he as a family man.

[PM] Well, he was an extremely kind father, affectionate father. He was a good friend to me and as far as playing the fiddle was concerned he played every night without fail. Where he worked there was an enormous garage. Do you remember it? It had wood panelling like this and the acoustics were absolutely tremendous, it was just like a recording studio and he used to go out to this garage and play for hours on end.

[RS] On his own?

[PM] On his own

[RS] Just perfecting something.

[PM] The people walking past, Westerton Road in Cults used to stop and listen.

[RS] DO you think that dedication of his, did that transmit itself onto the tunes in any way Pat?

[PM] Oh I'm sure it did. He was a man who experienced the whole gamut of human experience, he experienced great happiness, he loved a joke and a story, especially Aberdeenshire stories. But one way and another he also experienced great sadness in his life and unhappiness and I think this, his music was really an extension of these emotions. he had the lift and the vitality in his Strathspeys and reels and he had this tremendous sensitivity in his slow airs, where I feel he really pierced the heart of the music, he put soul into the music.

[RS] Sandy, you and I have been, well you have been with your uncle many a time, and we have shared a ceilidh many a time too. Twenty, six thirty other people there as well. I have this image of Hector when he was right into a slow air, he used to kinda stare at ye as if ye wisnae there. But dare ye move. How difficult or easy was it to play for him.

Well I didn't find it difficult at all, you know I was kinda brought up with his style and eh, you'd anticipate what he was going to do. I don't agree with Harry that he played the same way every time, but em, he was so tremendously musical that I didn't find it any effort at all. It was a delight to play for him actually.

[RS] So how did you, I mean, eh, I know you now as a great accompaniest, but were you quite the talented piano player before Hector said, come on nephew.

[PM] Yes he was. Not in the Scottish field, because, well I'd play with Hector when I was quite young, you know maybe eight or nine years old out at Keith Hall . At'd be about the age. And of course I'd to adapt because I was a classically trained player, as Hector was, at shouldn't be forgotten. Once I'd found out the chords and what the melody line was, it was just a matter of following mostly by ear at that time.

[RS] So the fact you were both classically trained maybe meant something?

[PM] I think so, indeed, technically it did.

[RS] But when eh we heard John Junor tonight speaking about that first record, I am sure that first record was it not, you playing piano for him with the banks was it not? Greenbraes and the banks.

[PM] Yes

[RS] Where was that made?

[PM] That was made in Glasgow.

[RS] At the time you were what, a student?

PM He couldnae afford my fare doon, so ye'd got paid instead!

[RS] Now, we'll hae no family squabbles here tonight! But I have seen at a concert at Hector would suddenly change his made, you had a programme made out and suddenly Hector wasn't in the mood and he says 'we'll play this instead'. You coped with that alright did you?

[PM] I did, I had to. He used tae say Lord, Sandy kens every move I'm gan tae mak and it's a damn good job.

[RS] You once told me, now I haven't spoken about this, I hope you remember, but I think it was at Banchory once, when he produced a bit o ?? dating a way back to 1700 or something wasn't it?

[PM] He says, ye'll min this tune Sandy it was made in 1863 and ye ken I jist barely min, but I think I micht.
      Sandy Edmonston and Pat MacAndrew, thank you very much. [Applause.] Two very fine accompanists in their own right. And we probably hope, or we hope before our concert finishes tonight that we'll maybe get them to join in a wee ceilidh that Hector would have enjoyed. But right now we switch from the fiddle music to the folk song.

[RS] And Hector I'm sure, well Hector I know on the times I spoke to him, and just as the birth of the things like the Traditional Music and Song Association was starting, he was a great lover of all things traditional If he was living today he'd see a great effort being made in keeping our tradition alive more so than it was in his days. He was ploughing if not a lone furrow, he was certainly ploughing furrows that wisnae very deep but we are very grateful to a number of people for keeping tradition alive in all forms. At's why I am delighted to welcome now the Chairperson, her official title, the Chairperson of the Traditional Music and Song Association of Scotland, but I know her better and you know do too as one of our finest folk singers in Scotland. I asked her what she was going to sing, and she gave me a title that I couldnae possibly remember, och I says, pick something that I ken, like the Hikin Song or something like that. She said, no I'm going to start with my Bonnie Laddie is eh, I canna even read my ane writing. She'll tell ye a aboot it when she comes on. Aileen Carr! [Applause].

[End of Side A.]


[Aileen Carr] Now I hope I'm free to adjust this am I, or will I just leave it where it is. That's if I'm able. Right. I first heard this song sung a number of years ago by a fine singer from Dumfries-shire called Heather Heywood. I'll just tighten this up. Em, Heather passed the song on to a fine singer from Aberdeenshire called Janice Clark, and Janice has passed it on to me. It's a song of unrequited love. It's called 'My bonnie laddie, never yet come by me'.

Oh it happened on a day, in the merry month o May,
I gaed oot tae meet my bonnie lad, he promised he'd come my way,
I gaed oot tae meet my bonnie laddie, he promised he'd come my way,
But my bonnie laddie never yet come by me.

Oh fit hae I said love, and fit hae I deen,
And fit objections tae me hae ye seen,
Or hae ye been a courtin another pretty maid,
Is that the reason laddie ye gang by me.

Oh naethin hae ye said love, and naithin hae ye deen,
And nae objections tae ye hae I seen,
But I hae been a courtin, another bonnie lass,
And that's the reason lassie I gang by ye.

Oh ye micht ha courted six, or ye micht ha courted siven,
Ye micht ha courted eight, nine, ten or eleven,
Ye micht a courted dizzens a' ower and ower again,
But been kinder tae yer auld love a ??.

Oh the trees they do grow high, and the leaves they arena rotten,
Although I am forsaken, I'm no hairtbroken,
I'll court anither laddie and you'll seen be forgotten,
And sae neatly bonnie laddie, I'll pass by ye. [Applause]

[AC] I'm never quite sure what to do with my hands when I'm singing. I think pockets or something to put them into, or a pair of galluses or something to hook ma thumbs round (laughs). Here's another love song. I don't know if you'd call it a song of unrequited love, in a way perhaps it is. It's not unusual to hear of young women marrying older men for their money, but these days they usually do it from choice. In this song the young girl has been married against her will to an older man, but being a bright kind of a girl she comes up with what I think is a fairly novel way of solving her unhappy situation and eventually she ties him to a bit of loose straw and he blows away in the wind. And if there's any moral to this song it's you can't make a silk purse out of a sow's ear. It's got a chorus, if I sing the chorus first you'll pick it up and you can join in.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow.

And I'm going to sing it lower than that, it's kinda warm in here tonight, and I'll drop it a bit.

Ma faither was a gentleman, and a gentleman was he,
But he's wad me to an old man, o three score years and three.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow.

And auld man he come pechin in, as though he wanted life,
But a young man he comes bouncing in saying kiss me my dear wife.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow.

Noo I hae got an auld man, with thirty ploos o land,
But I'd raither hae a young man wi only hat in hand.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow.

Noo when we gang tae oor bed he turns untae the wa,
Aye and ne'er a word tae me he speak till mornin light is daw.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow.

Some neighbours hae advised me to droon him in a well,
Aye and ithers hae advised me to grind him in a mill.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow.

But I hae taen my ane advise and I bore him tae a plain,
There I tied him till a winlestrae, noo he'll never come back again.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow.

Ma faither was a gentleman and a gentleman was he,
But he's wad me to an auld man o three score years and three.

Sing hie, Jeannie, hie, and sing low Jeannie low,
Oh ye canna make a singin bird oot o a hoodie crow. [Applause]

[RS] Thank you very much, Aileen Carr. Now the next item I have on the programme here, and I'll introduce them if eh, senior gentleman stays ootside, I didnae tell them to do that, but can we have the fiddlers that's comin in aboot, please come round me now, feel free to stand roon aboot me, I dinna mind. I'm being hemmed in here. I'm reminded of ….

[blank bit of tape]

[RS] … far hiv ye been Harry. He says I've been awa for a practice. He says, god almichty if ye canna play the thing after 92 years, it's a waste of time startin noo! (Laughs). At's absolutely true. It never is a waste of time when you get fiddlers together, enthusiasts together, it's never a waste of time. It's a tune together and as you've heard guests saying tonight, eh and I mentioned it too, and the lone furrow some of them ploughed in the lean years when there didn't seem to be the same interest in it, certainly the interest is there now. And a lot o that interest created with the expertise of the next artist on stage. But I would like the friens tae come in afore the mannie himsel. Can we have the friends of Angus Shaw in first please! Come in here and make yourselves at home. Naebody'll bite ye. Oh Angus is in first, there he is. Angus Shaw. {Applause). Mary is at the piano. I really would like the rest of the fiddlers would come, because I know Angus is playing a slow air to start with but eh, if you take your seats. There's Barbara Mathieson for a start. There's Bill Hardie from Edinburgh, the other one that made the record at the same time. {Applause} Have your seats, we're having a solo from Angus here. There's Bill Bryan our conductor, John Junor who's been on before, Jim Crichton at the back there. Eh, John Gerrard is coming forward now, and we've got Harry Smith--is that ye a! Have I got ye a noo, hope I div.

[??] We're all geriatric players.

[??] Spik for yersel! Spik for yersel. Ye dinna ask me tae play.

[??] Oh we've a few young ones to give us a boost.

[??] Not at all. Are you happy enough there Angus?

[??] Yes.

[??] Because Angus Shaw, I mean it's like a who's who of the best of fiddlers when you mention Angus' name now, because Judy Davidson was one pupil he seen right through to take the Scottish title, Angela Smith another, Becky Hunter, I mean you can reel them off the great eh, work he's been doing in Banchory. But he's going to play himself tonight, the solo Fyvie Castle, and it's most appropriate this being special concert for Hector, this mood of Fyvie Castle. Then after that Angus Shaw and friends will play 'Makworth,' 'The Shakins o the Pokie'--a tune composed between Peter Milne and Scott Singer and then Mrs Forslie. But first of all Angus Shaw and 'Fyvie Castle.'

He's awa tae tune his fiddle. As he's going to tune his fiddle you know the story don't you about Skinner and Peter Milne had hardly any money left when they were at a festival somewhere, and they went into the bar and one of them, I don't know which one, took out this pokie, at that time it was a hole in yer pooch and the money would go right through, they'd this pokie. And out of the pokie they had all of the change on the bar counter and between the two of them they were able to buy a drink for the two of them. And that afternoon, so the story goes, they wrote the tune, 'The Shakin's o the Pokie.' That's coming up shortly, but right now this marvellous slow air by Angus--'Fyvie Castle.' [Plays]

[RS] Thank you very much Angus Shaw and friends! Angus, it's time to lead the old codgers. Not true at all. Once again, Angus Shaw and friends. [Applause.] Mary on piano there, it's Mary's youngsters coming forward now and once again, once we get the seats set up. But I, I can't highlight enough, you've heard me saying often on air I'm sure but I really mean it, the amount of work that's been done in this recession period, where there was John Junor so enthusiastic for a bit fiddle music and looking for a platform for the greats of the time. The platform was not readily coming until you pushed yourself forward, but the platform is there now, through the Strathspey and Reel societies, through the accordion fiddle clubs, through the different concerts, dances, the platform is there and it's all through the hard dedication of people like Angus Shaw teaching and Mary Milne teaching as well, Mary on piano. Mary Milne [applause]. So once again, when the youngsters are ready Sandy, bring them in and I'll patter about here until they're ready. When eh, remind me when I saw Mary up there just now, there they are now. This is Mary Milne's junior fiddles. This is youngsters being taught now by Mary, so come on a hand to them as they come in, let them settle down [applause]. I was asking at the back, who was the youngest. I'm not going to highlight the youngest, but I know there's at least three o them only eleven years old, and the oldest een is twelve. [Applause.] That's right, eleven years old. And just to get settled in now.
     I'm reminded of Mary and her dad, the late Sandy Milne, when that famous oft repeated programme on the telly with the eh, down at Blair Atholl, it wasn't a story against Sandy, but it was when Yehudi Menuhin was going to play a slow air. And at the rehearsal in the afternoon, it was…the Kirriemuir Strathspey and Reel Society and the Angus Strathspey and Reel Society, and there was two, as Angus described them, 'aul fogies', there was two veteran fiddlers sittin there and they had to make room tae let Yehudi sit down and he would play this slow air. So he wis between this two lads in their late seventies presumably, and Yehudi turned round a wee bit of embarrassment, because he hadn't played a slow air like that, he'd never played a tune like that in his life before. And he turned round to one of the lads and he says, I'm very sorry he says, but you know, you know I'm not very sure what I'm doing. And this aul lad put his haund on his shouder and says, dinna worry min, ye're atween twa guid men!. [Laughs, applause.]

19-20 and 21
Well, I'm between a lot of good youngsters here just now. The leader is Evelyn Milne and on piano we've got Joan Macintosh. Joan and Evelyn, starting off with a march, strathspey and reel. Well two Strathspeys isn't it? 'Cameron Highlanders,' then 'Glen Grant and Earl Grey,' and 'The Marquis of Huntly.' And then they'll finish off this half, after that we take an interval, with a slow air, 'Glencoe' and then 'The Banks Hornpipe.' But the march 'Cameron Highlanders,' the young fiddlers of Mary Milne's Junior Fiddlers from Banchory. [Applause.]



[RS] Welcome back again to the second half and welcome to these youngsters [applause]. They did so well for us in the first half, they start off the second half for us. And before we get the youngsters on to play for ye, I think we should acknowledge the efforts again. When I spoke earlier on about the tutors down the line, well you know there's the stages between tutors and tutors, surely. And the slightly older ones, only slightly older than these affa young lookin craiters roon aboot me just now, we have on piano tonight, Joan Macintosh, Joan on piano [applause]. And Evelyn Milne. [applause]. I'll give you full freedom in a moment, but just to announce the start of Mary Milne and the Young Fiddlers. This is a set including two slow airs. The first one starts with the Bonnie Anne, that's followed by the Peterhead Polka, a tune that I have heard and I've eh, I understand that Jim Duncan was with us tonight but Jim has had to go home, and disappointing that I hadna got a chance to speak with him, because Jim was instrumental in starting not only, well starting the Buchan Heritage Society, but the amount of work he done instrumental in suggesting Hector so, I would like to think that we would say to Jim, thank you very much indeed for all the work he's done on that. Please, Jim Duncan [applause]. That was the first time I heard the Peterhead Polka, played by his father in law, James Dickie. Then we have this anagram of Scott Skinner's tune, Goodbye ?? Goodbye Ingram or whatever, and at's finished by what they call now in America (bad American accent) Big John's Reel, called John T. McNeill. But we start in simpler mood by 'Bonnie Anne,' led by Evelyn. [Applause.]


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