THE HERITAGE OF THE SCOTTISH FIDDLE CHRIS DUNCAN CATHERINE STRUTT JULIAN THOMPSON

476 8036 THE RED HOUSE THE HERITAGE OF THE SCOTTISH FIDDLE CHRIS DUNCAN CATHERINE STRUTT JULIAN THOMPSON

THE RED HOUSE THE HERITAGE OF THE SCOTTISH FIDDLE 1 Crabbit Shona Set 4 45 Crabbit Shona (Angus R. Grant, The Nineties Collection, 1995) Major Montgomerie s Quick Step (Aird s Airs, 1782) The Southwest Bridge (Dan R. MacDonald 1911-1976) 2 Marni Swanson of the Grey Coast (Andy Thorburn, The Nineties Collection) 4 18, cello 3 Red House Set 4 16 The Red House (Walshe s Country Dances, 1731) Miss Russell of Blackhall (Robert Mackintosh, Petrie s 2nd Collection of Strathspey Reels and Country Dances, 1796) The Nine Pint Coggie (The Scottish Violinist, 1900) Fiddle, cello 4 Rorate (Oxford Book of Carols, 1928) 5 41 5 The Battle of the Somme (William Laurie, Army Manual of Bagpipe Tunes Book 2, 1934) 3 39 Fiddle, cello 6 Miss Mariane Oliphant Set 4 27 Miss Mariane Oliphant (Rossie) (Robert Mackintosh, Third Collection, 1796) Slängpolska efter Byss-Calle [Byss-Calle s Slängpolska] (Carl Ersson Bössa 1783-1847) 7 Lady Charlotte Campbell (Robert Mackintosh, The Athole Collection) 3 49 2 3

8 Lady Eliza Lindsay Set 2 22 Lady Eliza Lindsay (Elizabeth Lindsay, Celebrated Circus Tunes, 1791) Saratoga Hornpipe (Ryan s Mammoth Collection, 1883) 9 Farewell to Nigg Set 4 38 Farewell to Nigg (Duncan Johnstone His Complete Compositions) Paddy s Leather Breeches The Fyrish Reel (David Gordon, The Nineties Collection, 1995) Fiddle 0 Pearlin Peggie s Bonnie 4 18, cello! The Dean Brig o Edinburgh (Archie Allan, The Scottish Violinist, 1900) 3 24 Piano @ Reel Béatrice Set 3 57 Reel Béatrice Catharsis (Amy Cann), cello Unst Bridal March (Fiddler s Fakebook, David Brody, 1983) 3 52 Cello, piano $ Stumpie s Set 3 09 Stumpie s Jig (Chris Duncan) Port a Bhodaich (The Athole Collection) The Stewart s Rant (The Athole Collection) Fiddle, cello % Lydia s Garden (Muriel Johnstone) 4 53 ^ King over Water (McGibbon s Scots Tunes, Book II, c. 1746) 4 49, cello Total Playing Time 67 43 Chris Duncan fiddle Catherine Strutt piano Julian Thompson cello The heritage of Scottish fiddle music is one of both preservation and innovation. Modern Scottish fiddlers are just as committed to the performance of the traditional repertoire of centuries past as they are to works composed by their contemporaries, and rather than preserving a clear distinction between the old music and the new, the performance tradition ensures that each style influences the other. This recording includes some of the oldest traditional works for the Scottish fiddle alongside very recent works, often combined within the same medley or set. The combining of pieces in this way illustrates clearly the extent to which the old and new can be skilfully juxtaposed by the performer to create a cohesive entity. The use of cello as an accompanying instrument is consistent with the oldest performing traditions dating back to the 18th century, when improvised accompaniments were provided for the fiddle when playing for dance. The piano was a later taste, coming into favour as fiddle music began to be published with keyboard accompaniments for performance in the home by the amateur musician. For this recording both cello and piano provide accompaniment as well as taking on a soloistic role within certain pieces, often carrying the melody in the absence of the fiddle or while the fiddle takes on a harmonic function. The piano is increasingly heard in Scottish music in a completely solo capacity and this recording also features a work from the Scottish fiddle repertoire performed on piano alone. Ultimately the music of the Scottish fiddle is essentially part of the broader living tradition of folk music. It is continually evolving and assimilating new influences from other musical cultures and traditions whilst maintaining a firm and instantly recognisable link to its Scottish heritage. That so much music is still being written for the Scottish fiddle, and performed regularly all over the world, is testament to the enduring nature and popularity of the art form and confirmation that this distictive music will continue to flourish into the future. 1 Crabbit Shona Set From this first set, it s clear that the Scottish fiddle tradition is no glass-enclosed museum piece. Old and new are constantly rubbing up against each other, and while there are certainly purists who cavill at the influence of modern musical trends and new technology, there are equally players steeped in the traditional skills who draw inspiration from styles as diverse as bluegrass, ambient and techno, at the same time drawing new, young and enthusiastic audiences to their performances. The jig Crabbit Shona (crabbit being an Ulster variant of crabby in the sense of grumpy) is one 4 5

product of this kind of cross-fertilisation. It was written by Angus R. Grant, the fiddler in Edinburgh band Shooglenifty, which includes among its instrumental line-up banjo, banjax, bouzouki, slide guitar and electronic sampling. Their music has been described as hypnofolkadelia and acid croft ; their debut album was named Best Folk Album of the Year by BBC Radio Scotland. Grant himself was taught from early childhood by his father, the renowned left-handed Lochaber fiddler Angus Grant, and wears his West Highland heritage proudly. Crabbit Shona, for example, despite its popularity as a remix, sits very comfortably with Major Montgomerie s Quick Step, first published in 1778 in Joshua Campbell s Collection of Newest and Best Reels and Minuets, though performed here from the first volume of Aird s Airs A Selection of Scotch, English, Irish, and Foreign Airs, adapted for the Fife, Violin or German Flute of 1782. The final piece in the set comes not from Scotland, but from Cape Breton Island in Canada; nevertheless, its Scottish credentials are impeccable. During the first half of the 19th century, Cape Breton experienced an influx of around 50,000 Highland Scots, a result of the Highland Clearances which saw tens of thousands of clansfolk evicted from their traditional lands. Scots culture has dominated the island ever since; there are still elderly Cape Bretonners who speak Gaelic as their first language. One of the finest Cape Breton fiddlers of modern times was Dan Rory MacDonald, a native of the Cape Breton town of Judique. MacDonald created over two thousand tunes, but had a special flair for reels, such as The Southwest Bridge. 2 Marni Swanson of the Grey Coast The Scottish fiddle tradition continues to grow and to evolve, with talented musicians like Andy Thorburn adding to the repertoire. Thorburn is best known as the keyboard player in Blazin Fiddles, a northern band featuring fiddle players from various regions of the highlands and islands, but his eclectic musical tastes include blues, rockabilly, salsa, classical and experimental. Several of his pieces were composed for the Grey Coast Theatre Company, an ensemble dedicated to the creation of indigenous Northern Scottish theatre, depicting life in the rural north of the country in a way that is passionate, original and stunningly down to earth. Marni Swanson of the Grey Coast is one such tune; composed in the mid-1990s, it is fast becoming a contemporary folk standard. 3 Red House Set It s not known for certain where or what the Red House was; one account places it in Berwick-upon-Tweed, the first Scottish town encountered by Edward I when he invaded Scotland in 1296. Berwick was a thriving port; the Red House was the headquarters of the Flemish merchants and craftsmen who had made their home in the town. Before sacking Berwick, Edward offered these Flemish settlers the chance to leave in safety; their reply was that they preferred to share the fate of the townsfolk who had made them so welcome. Edward is said to have torched the Red House, killing everyone inside including a bridal couple who had celebrated their wedding just as Edward s army was approaching. The Red House reel carries no hint of such gruesome tales. It appears in a Northumberland manuscript dated 1694 as Rood House Rant, and is found in Playford s 1695 edition of his Dancing Master and again in Walshe s Country Dances. The tune was clearly very popular, and was later used in numerous 18th-century ballad operas. It was taken up by Alan Ramsay in 1724 for his poem Where wad bonny Annie ly, and again some fifty years later, by Robert Burns who used it for his poem O, wha my babieclouts will buy? ( Oh, who will buy my baby clothes? ) which he claims to have sent to a young girl, a very particular acquaintance of mine, who was at that time under a cloud. The tune has been suggested as the ancestor of the English border song D ye ken John Peel. Miss Russell of Blackhall is a jig by Robert Red Rob Mackintosh (c.1745-1807), a contemporary of Niel Gow and an extremely fine fiddle player, widely considered Gow s most serious rival. He published four volumes of his own music between 1783 and 1803; Miss Russell is also found in Robert Petrie s Second Collection of Strathspey Reels and Country Dances (1796). There are several tunes, both Scottish and Irish, bearing the name The Nine Pint Coggie; this version is the one which appears in Skinner s The Scottish Violinist of 1900, where it is described as an Ancient Reel. A similar tune called The Collier s Daughter is found in Neil Stewart s 1761 collection, Newest and Best Reels or Country Dances. The word coggie usually refers to a small wooden bowl; this one, at nine pints (just over five litres), would be a substantial vessel indeed. 4 Rorate Nothing is known of the origins of the tune Rorate; the name comes from the opening line of a Christmas poem by the great Scottish poet William Dunbar (c. 1460-c. 1520): Rorate coeli desuper! Hevins, distil your balmy schouris! For now is risen the bricht day-ster, Fro the rose Mary, flour of flouris in modern English, Heavens, distil your balmy showers, For now is risen the bright Daystar From the rose Mary, flower of flowers... Dunbar s career included a Masters degree from the University of St Andrews, a long stint as a wandering Franciscan friar, at least one high-level diplomatic embassy engaged in the delicate business of securing a 6 7

bride for the young James IV, and an appointment as poet laureate at the Scottish court. Tune and poem are found together in the original Oxford Book of Carols, published in 1928. There, the tune (described as a little-known Scottish melody ) is set out in a regular four-in-a-bar metre suitable for congregational singing; on this recording, the mood is more lyrical and meditative. 5 The Battle of the Somme The Battle of the Somme refers to the four-anda-half month campaign around the River Somme in northern France during the First World War. Massive losses were sustained by both Allied and German forces; this infamous battle still holds the record for the largest number of casualties sustained by British forces in a single day, in any war, with 57,500 casualties including over 19,000 dead. By the end of the campaign casualties on both sides totalled over 1 million. The piece bearing this battle s name was originally composed as a 9/8 march for the highland bagpipes to be played as a retreat in this sense a retreat is a piece played not on the march but at the end of the day once soldiers have already returned to barracks. The composer was Pipe Major William Laurie (1882-1916) of the 8th Battalion Argyll & Sutherland Highlanders, one of a number of famous Scottish regiments involved in the campaign. This recording presents the piece as a slow air and is deeply effective as such the slow tempo and droning cello accompaniment sustain a sombre mournful mood appropriate given the inspiration for the piece. Performed in this way the piece is also reminiscent of the great Scottish funeral air The Flowers of the Forest, also a piece of mourning commemorating the aftermath of battle. 6 Miss Mariane Oliphant Set The links between Scotland and Scandinavia reach back to 794, the year of the first Viking raid. Music instruments, songs and dances has been moving back and forth across the North Sea ever since, and this set demonstrates the affinity between the traditional musics of the two cultures. Rossie is a tiny village in Perthshire, central Scotland. Its name is immortalised in several Scottish dance tunes: Mrs Cheape of Rossie s Strathspey, Mr Stewart Oliphant of Rossie s Reel, and the strathspey that begins this set: Miss Mariane Oliphant (Rossie). This last is another of Robert Mackintosh s tunes, published in his Third Collection of 1796. Its powerful melody is matched in this performance by a full, muscular piano accompaniment. The dance with which Miss Mariane Oliphant s strathspey is paired in this set is a Swedish slängpolska, or slinging polska in which dancers are swung under the arms. Byss-Calle is the nickname for Carl Ersson Bössa (1783-1847), the legendary Swedish nyckelharpa virtuoso a nyckelharpa being a medieval keyed fiddle, rather like a cross between a fiddle and a hurdy-gurdy. Like Paganini on the violin, Byss-Calle s talents were so impressive that they were widely believed to be of supernatural origin. 7 Lady Charlotte Campbell Charlotte Campbell seems to have been able to inspire the best in people at least, in fiddle players. She is the dedicatee of no fewer than four dance tunes: three strathspeys and a reel. Nathaniel Gow s strathspey is ranked among the finest Scottish fiddle pieces ever composed; Robert Mackintosh s reel in her honour, written in 1793, was described by Skinner in 1904 as the finest reel in B-flat extant. Mackintosh wrote two strathspeys for Lady Campbell; it is the second of these, sometimes called Lady Charlotte Campbell s New Strathspey, which is recorded here. Lady Charlotte Susan Campbell (1775-1861) was the daughter of John, the fifth Duke of Argyll, and was a lady-in-waiting to Caroline, Princess of Wales. She was a famous hostess and a woman of great refinement. La Belle Assemblée (or Bell s Court and Fashionable Magazine Addressed Particularly to the Ladies) described her in 1826 as a distinguished ornament of the world of fashion. Her mind was of the highest order her person at once elegant, graceful, and commanding. She was, if we mistake not, the first who introduced the style of Grecian costume in this country. The author of a number of romantic novels, Campbell was also close friends with such literati as Lord Byron and Sir Walter Scott. This recording, with its measured pace and elaborate embellishments, reminds us that the slower strathspeys were not thought of as dance tunes, but rather as recital pieces. 8 Lady Eliza Lindsay Set Elizabeth Dalrymple Lindsay, Countess of Balcarres in Fife (1759-1816), was a patroness of Edinburgh musicians. She was herself an accomplished keyboard player, and also a composer: a hornpipe she had written for her ten-year-old daughter, Lady Eliza Lindsay, was published in John Watlen s 1791 collection of Celebrated Circus Tunes. The tune is commonly used for the dance Captain McBride s Hornpipe. The Saratoga Hornpipe is variously attributed to the USA, Scotland and Canada; the New York City researcher Don Meade claims that the tune is named after the spa and resort town of Saratoga in New York (also famous for its summer horse racing season). The earliest published version seems to be Elias Howe s 1000 Jigs and Reels, published in Boston around 1867; it also appears in Ryan s Mammoth Collection (Boston, 1883). 8 9

The earliest hornpipes originated in the border country and were in a triple-time rhythm with a jaunty lilt; in the 18th century, a new type of hornpipe developed to a rhythm known as the Scottish measure. This had four beats to the bar, and was characterised by a three-note pompom-pom rhythmic motif which brought each section of the dance to a close. Both Lady Eliza Lindsay and the Saratoga Hornpipe are in the Scottish measure; in this performance, the pompom-pom motif is embellished in various ways: in Lady Eliza Lindsay, the third note is often tied to the second to create a jaunty syncopation and in the Saratoga Hornpipe, the second note is frequently decorated with a little turn. 9 Farewell to Nigg Set Farewell to Nigg is arguably the most famous bagpipe tune composed by Duncan Johnstone (1925-1999), a gifted piper and prolific composer; many of his tunes have become part of the standard bagpipe and Scottish folk music repertoire. The Nigg of the title refers to the village and bay that lies to the north of Inverness at the mouth of the Cromarty Firth. Paddy s Leather Breeches is a very popular bagpipe jig and has been a favourite of Scottish dance bands the world over for decades. Little is known of its origins, apart from an assumption that it may originally have been an Irish tune, although now it is virtually exclusively performed in the context of Scottish music. Paddy s Leather Breeches is also the name given to the dance steps of the Irish jig as performed as a character dance in Scottish Highland dancing. When danced by a male, the steps depict the character of Paddy expressing his anger at the actions of the careless washerwoman who has shrunk his prized leather pants. The Fyrish Reel is by contemporary Scottish fiddler and composer David Gordon. The piece was included in a seminal collection of fiddle music called The Nineties Collection; this was an initiative of the Traditional Music and Song Association of Scotland who sought to collect together fiddle works in the traditional style composed at the close of the 20th century. A number of other pieces on this recording are drawn from this important collection. 0 Pearlin Peggy s Bonnie Pearling is a type of lace made of white silk used for trimming the edges of garments the name refers to the delicate loops or pearls of thread. The tune, also known as The Laird of Foveran, achieved popularity set to the poem The Lassie o the Glen, by Angus Fletcher:...And though I wander now unhappy, Far frae scenes we haunted then, I ll ne er forget the bank sae grassy, Nor the lassie o the glen. The glen in question is Glendaruel in Argyleshire.! Dean Brig o Edinburgh This strathspey is generally attributed to Archie Allan of Forfar (1794-1831), thought to have been at one point a fiddler in Nathaniel Gow s band, who played neat and powerful especially in the Strathspeys. It appears in Skinner s pink book, The Scottish Violinist and again in his Harp and Claymore collection of 1904, where Skinner credits the tune to Airchie Allan and describes it as having been nursed & tended by Peter Milne, an itinerant fiddler known as the Tarland Minstrel who took up the tune and played it into popularity. The earliest known source, Davie s Caledonian Repository (1829) wrongly names as composer a Reverend Tough of Kinnoul; Skinner is quick to debunk this myth Tough s contribution, it seems, was only to supply a copy of the tune to Davie but at the same time Skinner asserts that the tune s original title was Miss Gray of Carse, which is a different piece altogether. The Dean Brig is a sandstone bridge in Edinburgh, spanning a deep valley over the Water of Leith. Designed and built by Thomas Telford, it was opened in 1831, and was important in opening access to the north of the city during the development of the New Town district. @ Reel Béatrice Set This set is a fine example of the ability of Scottish fiddle music to reach beyond the borders of its native land. Reel Béatrice comes from Québec in French-speaking Canada, where it was popularised by Joseph Bouchard, who recorded it on a 78rpm record in 1938. In more recent times, it has been taken into the repertoire of the button accordion player Philippe Bruneau. Its origins, however, appear to lie in Italy, with a tune known as Oggi nevica (Today It s Snowing), which was a polka in the ballo liscio tradition smooth dancing such as the waltz and the mazurka, as opposed to skipping or hopping dances. Catharsis is a reel by the contemporary fiddler Amy Cann, from Vermont in New England, USA. She describes her inspiration for the tune as follows: My boyfriend at the time had asked me to save a certain Saturday for us to have some quality together time, and I had loyally turned down a lucrative wedding gig... Come Friday night I find a phone message: An old friend of mine is in town and we re going hiking I don t remember if you and I had anything planned, but you can join us if you want. I knew that if I called him right back I d probably kill him, so I played the fiddle first. The tune pretty much wrote itself in about two minutes. Unst Bridal March Unst, with a population of around 500 and a surface area of only 120km 2, is the northernmost inhabited island of the Shetland group: closer to Bergen in Norway than to Aberdeen. Scottish 10 11

territory since 1468, the Shetland Islands were for the previous five centuries a Norse colony, and Shetland culture retains many strong resonances with the culture of Scandinavia. Wedding marches, for example, are a Scandinavian tradition. With tunes such as the Unst Bridal March, the fiddler would lead the bridal couple from the church to the bride s house for the post-wedding festivities. In this recording, the cello imitates the droning of the sympathetic strings on the hardanger fiddle, a Norwegian folk instrument. $ Stumpie s Set Stumpie s Jig was written by Chris Duncan and named after a baby Eastern Rosella that was abandoned by its parents in a hollow stump near Duncan s home. The bird also had a short, stumpy tail, making its name doubly apt. Unfortunately Stumpy turned out to be an aggressive pet and was donated to a wildlife sanctuary. The strathspey Port a Bhodaich and the reel The Stewart s Rant are both taken from The Athole Collection of the Dance Music of Scotland, an important source of 870 works (strathspeys, reels, jigs, hornpipes and country dances) compiled by James Stewart Robertson in 1884. The collection draws on works from various major collections by Niel and Nathaniel Gow and Captain Simon Fraser s The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles; as such it includes works by known composers from the golden age of Scottish fiddle music as well as many traditional works of uncertain origin. The largest singlevolume collection of Scottish fiddle music, since a major reprint in 1961 The Athole Collection has been integral to the resurgence of interest in Scottish fiddle music in the latter part of the 20th century and into the 21st. % Lydia s Garden Muriel Johnstone combines her considerable talents as pianist and composer with her many decades of experience as a dancer, and her strong interest in dance music has led her to record a number of discs of comparatively obscure tunes, both preserving and bringing to life again many otherwise difficult to obtain pieces. Lydia s Garden was written by Johnstone as a birthday gift for another keen dancer, Lydia Hedge. The piece was originally written as a two-part tune about Lydia s garden, one of her favourite pastimes, but grew to a four-part tune, with her garden becoming her growing group of friends and family. ^ King over Water...And I ll be Lady Keith again, That day our king comes owre the water. Whether it was actually Lady Keith (née Lady Mary Drummond, daughter of the Earl of Perth) who penned these words is not known, but the air King over Water (or When the King Comes owre the Water) is often known as Lady Keith s Lament. It s a Jacobite song, bewailing the English rule of Scotland and looking forward to the return of the descendants of the deposed James II: his son James Francis Edward, the Old Pretender, and his grandson Charles Edward, the Young Pretender or Bonnie Prince Charlie. The tune was first published in McGibbon s Scots Tunes, Book II (c.1746) but it dates back at least to the 17th century. Curiously, it bears a number of similarities to an Irish Protestant anti-jacobite air, Boyne Water, celebrating the victory of William of Orange over James II at the Battle of the Boyne in 1690. Chris Duncan Born in the New South Wales town of Narrabri, Chris Duncan started fiddle lessons at the Newcastle Conservatorium when he was eleven but it was not until he was a teenager that he embraced Scottish fiddle music. His inspiration was the sight of legendary folk fiddler Bob McInnes from the Southern Highlands of NSW, who was energetically playing for a Scottish dance. In those early years of the late 1970s McInnes was one of only two Scottish fiddlers in Australia. Chris Duncan became the third and together they pioneered Scottish fiddle music in Australia. Chris Duncan formed a band of his own, Harp and Claymore, and played for dancing both nationally and internationally for over 21 years until he moved on to play full time as a duo with Catherine Strutt. For nearly thirty years he has been performing and giving workshops and classes in the art of the Scottish fiddle across Australia and internationally. He has been a leading figure in the development of Scottish fiddle clubs in Australia and the Music under the Mountains Celtic music school in Tasmania and Victoria. He is the master of his art, the definitive expert on the strathspey, and today, it would be a formidable pursuit to find a 12 13

Scottish fiddle player in Australia who has not been inspired and influenced by the unprecedented talent of Chris Duncan. Catherine Strutt Catherine Strutt was born to musical parents who, when she was three, founded a bush band; calling it Coalbrook Ceilidh, they played up and down the east coast of Australia for 25 years. After taking up the piano at twelve years of age, Catherine Strutt joined the band at 14. and sensitive accompanist. She teaches piano regularly at the Music under the Mountains Celtic music school. Julian Thompson Julian Thompson is one of Australia s most versatile and adventurous cellists, with a career that has incorporated all facets of music making including solo recitals, concerto appearances, chamber music, CD recordings, orchestral playing, artistic advising, teaching and composition. Festival, as well as appearing as a performer. He also plays regularly with the Australian Chamber Orchestra. Julian Thompson combines his career as a classical musician with a busy schedule as a performer in non-classical genres, especially folk music, and he has appeared at most of Australia s major folk festivals. Executive Producers Robert Patterson, Lyle Chan Recording Producer Virginia Read 1-3, 5-$, ^, Stephen Snelleman 4, % Recording Engineer Virginia Read 2, 3, 5, 8-0, @-$, ^, Yossi Gabbay 1, 4, 6, 7,!, % Editing and Mastering Virginia Read Editorial and Production Manager Hilary Shrubb Publications Editor Natalie Shea Booklet Design Imagecorp Pty Ltd Cover Photo Black Rock Cottage, Glen Coe, Scottish Highlands Chris Ladd/Getty Images Artist Photos Catherine Strutt (Chris Duncan, Catherine Strutt), Clara Tuisk (Julian Thompson) Artwork p2 Catherine and Jennifer Strutt www.thestruttsisters.com Booklet Notes Natalie Shea and Robert Patterson With the demise of the popularity of bush dancing in the early 1990s, Coalbrook, who had become pivotal in the bush music scene, had a name and genre change and are currently playing Scandinavian traditional music as Salmiakki Pelimannit. This new band has played at many folk and dance festivals including Kaustinen in Finland and Nordlek in Denmark and Sweden. Catherine Strutt has undertaken extensive studies at various schools of folk music around the world, including Alasdair Fraser s Valley of the Moon Music School in California, the Ceilidh Trail School of Celtic Music and St Ann s Gaelic College in Nova Scotia. She is considered to be one of the finest Scottish-style piano players in Australia and is well respected as an innovative After graduating from the Australian National University School of Music he was awarded a Fulbright Scholarship in 2000 and he completed a Masters degree at Indiana University in 2002, studying under the cello luminaries Tsuyoshi Tsutsumi, Janos Starker and David Baker (Jazz). In 1997 Julian Thompson was appointed Principal Cello with the Canberra Symphony Orchestra, a position that he continues to hold. In 2005 he appeared with the CSO as soloist in Dvořák s Cello Concerto, winning the Critics Circle Award for that year s most outstanding musical performance. In 2006 he performed Haydn s C major Cello Concerto with the Haydn Bande. Between 2004 and 2006 he was Artistic Adviser to the Canberra International Chamber Music Recorded 17 September 2000 4, %, 31 May 2003 1, 6, 7,!, 29 May 2004 5, 7, 9, 12 September 2004 2, @, 18-19 September 2004 3, 0,, $, ^ and 13 March 2006 8 in the Eugene Goossens Hall of the Australian Broadcasting Corporation s Ultimo Centre ABC Classics thanks Alexandra Alewood and Melissa Kennedy. www.chrisandcatherine.net 2006 Australian Broadcasting Corporation. 2006 Australian Broadcasting Corporation. Distributed in Australia and New Zealand by Universal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited. 14 15