<BOBOKdHHHHHHKHLKpM K -Z`@xHH(FG(HH(d'`kl /jiKJJjo`p K4t(|DSETRj L@LLJPP!<LM^_ij( L M j L0jJEIF Highland Inheritance Concert Greyfriars Kirk, Edinburgh August 19, 1996 The voice of the violin has been adopted for countless musical styles but it is only a solo fiddler playing Scottish music who can convey the haunting emotion of this countrys past, capturing the sorrow and wanton despair of the ancient Highlands through simple musical themes which are explored in complex ornamentation. Alasdair Fraser, the current darling of Scottish fiddle-playing did not disappoint with selections from the Simon Fraser and Neil Gow collectjions. His driven bow is packed with fiery flair. Take, for example, the Leutenant Maguires Jig set, which featured the curlew and the Sound of Sleat. He pushed his bow with considerable force to attack the triplets, then he slowed down to throw in the richly hewn melody, which allowed the plaintive cries odf a moor-top curlew to sing through. It was not all gloom, though; the jaunty marches, sprightly strathspeys and howling reels showed off the joy of fiddling, whili a sensitive Wendy Stewart on clarsach and Ron Shaw on driving cello supplied fitting accompaniement. It is shamefull that the Scots nearly let this unique Highland music die out. But it is reassuring to know that exponents, such as Fraser, are forging a clear path for the future bring it all back home. The next generation have some inspirational leaders to follow. The Scotsman, August 21, 1996DSET|(HK 6*DSET|(HK *6*aFNTMTH HelveticaCUTSDSUMHDNIETBL8FNTM jCUTS DSUM HDNI ETBL