Strathclyde Suite, Glasgow Royal Concert Hall, 3 February 2008

Patsy Reid

SHOWCASING the third and final New Voices presentation at this year’s Celtic Connections, Patsy Reid’s Bridging The Gap commission reflected an ambitious young woman equally comfortable in the classical realm as she is in the traditional folk domain.

Her 50-minute piece comprised nine original melodies, each based on one of the seven modern modes of music (Ionian, Dorion, Phrygian, Lydian, Mixolydian, Aeolian and Locrian). While the terms might mean very little to the average listener devoid of a technical background in music, there was no denying each mode has a flavour, character and colour all of its own. You might not understand it, but you certainly felt the difference(s).

They led off with ‘Baby Broon’, a reel in the Aeolian mode (natural minor scale) that finished on the new, major chord of the next tune (or, a tierce de picardie for those with a keen ear for J.S. Bach). If there were any signs of nerves jangling within the 12-strong line-up, then they would surely have been broadcast here.

But they weren’t. The 2nd Movement, ‘The Strath Sunrise’, a piece full of complementary overlapping parts and counterpointing melody lines played at the same time – was certainly enjoyable… once you figured out what was going on.

With the connection between classical compositional concepts and folk structures (Strathspey, jig, reel, etc.) successfully achieved, the track titles themselves could have benefited from a more thematic collective. Then again, there’s every chance the Perthshire fiddler’s wish is to keep people guessing – and their imagination wandering.

Nestled at the left-hand side of the stage, and wearing a tasteful, black-and-gold polka-dotted velour dress, the blond-bomshell’s cohorts – namely Mhairi Hall (piano), Duncan Lyall (double bass) and cello player Natalie Haas (who flew over from Seattle just for this performance) – must be given special credit for adapting Reid’s initial scores.

Their well-worked Strathspey, ‘Not From These Parts’ (an aptly-titled folk tune from Scotland made all the more peculiar given few traditional works are written in the tune’s phrygian/locrian mode), quite easily the highlight of the performance.

There’s no doubting Patsy Reid has respect for both traditions, the Breabach member’s links between the classical and folk camps handled with a subtle, appreciative touch. Yet while there might have been more folk fans in the audience than classical ones, those in the former camp will have left his delightfully charming New Voices commission – just like the neutrals and the casual observers – with a better appreciation of the former. Bridging The Gap indeed.

© Barry Gordon, 2008

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