Main Auditorium, Glasgow Royal Concert Hall, 14 January 2010

GALICIAN piping superstar Carlos Nunez walked on stage to close the first half of the first concert of Celtic Connections 2010 and remarked that around the world the perception is growing that “…something exciting is happening in Scotland..”.

True North Orchestra

It is, and one of the most exciting things that is happening is the True North Orchestra, brainchild of Jim Sutherland, fusing for the first time classical and traditional musicians. Oh, of course there have been collaborations and crossovers before now, but nothing that has been so fully unsegregated and inclusive. And big.

The theme of the evening turned out to be exploration; exploration of sound, textures, partnerships, by both the Orchestra and its guests – Chris Stout, the quintessential Shetland fiddler, foraying exuberantly into Latin jazz territory with two Brasilian musicians from Sao Paulo and one from Basle, and more Brasiliana from Nunez and his bodhranist brother Xurxo.

The consummately innovative, smartly besuited trio Lau, augmented by Stuart Nisbet on pedal steel and backing vocalists Inge Thomson, Corrinna Hewat and Bella Hardy; and Fraser Fifield’s untitled piece, which cannily tapped the potential of the National Youth Pipe Band, weaving mesmerising, echoing waves and rounds into a very fine work which deserves to be added to the repertoires of both classical minimalism and piping.

It takes a brave singer to stand in front of the True North Orchestra; both Kathleen MacInnes, utterly resplendent in scarlet stockings and shoes, and Grammy-nominated Maura O’Connell passed the test. MacInnes’ husky voice could wring tears from a lump of Lewisian gneiss, while O’Connell’s has so much power that it should probably be covered by the Geneva Convention.

TNO’s composition must be unique among orchestras. If I had any doubts about hiding a galaxy of trad fiddle talents, Chris Stout and Aidan O’Rourke among them, in a string section, they were instantly assuaged by the glittering perfection of the results.

At the back, the ubiquitous James Mackintosh was one of four formidable percussionists swapping drumkits, bells and vibes, the brass section included Ryan Quigley’s haunting trumpet, and the bagpipe and whistle section (how many orchestras have ever ventured into this territory?) featuring Ross Ainslie, Ali Hutton and Fraser Fifield.

Sutherland’s compositions succeeded in integrating the bagpipes fully into the orchestra. Usually it’s like a drunken uncle singing at a wedding; everyone freezes till it’s over, then tries to pretend it didn’t happen… here strings and pipes augmented each other. The Orchestra was conducted with care and panache by the thinking Scotswoman’s pinup, Greg Lawson, more usually seen in front of the podium as fiddler with Mr McFall’s Chamber, sundry ‘proper’ orchestras and Moishe’s Bagel.

The perennial trouble with the Opening Concert at this festival is that it is a sampler of concerts to come, which often tends to mean “a bit of a ragbag”, and so it proved. Such a fragmented programme renders pacing impossible, and to make things worse, lengthy confusions over leads caused many longeurs while singers and musicians frantically searched for words to fill the gaps.

However, it is a pleasure to report that there was none of the muddied sound that marred most of the concerts in the Main Auditorium last year. The sound was generally crisp, clear and nicely separated, no mean feat considering the unique orchestral ensemble on stage.

© Jennie Macfie, 2010

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