Thomas Erskine, 6th Earl of Kellie: Fiddler Tam, Concerto Caledonia

Wine, women and song: such were the pleasures of life for Thomas Erskine, 6th Earl of Kellie. It would appear that he devoted his life wholeheartedly to all three; indeed, it was said of him that his nose was so red, it would ripen cucumbers. Not surprisingly, he died aged 49 of a “paralytic shock” followed by a “putrid fever”. However, Fiddler Tam (as he was dubbed on account of his skill on the violin) packed much into his relatively short life. Born in Kellie Castle, Fife, in 1732, he spent much of his early twenties in Mannheim studying composition and violin with Stamitz. On his return to Britain he was the first to exploit the new Mannheim style with its dramatic crescendos, and it is clear from his contemporaries’ correspondence that he was highly regarded as a composer. Much of his music has been lost; for a long time it was believed that a set of six overtures and six trio sonatas were the only compositions of substance to have survived, but some of his chamber music (including several string quartets) has since surfaced at Kilravock Castle. This is the first disc devoted entirely to Kellie’s music. It provides an excellent overview, ranging from symphonic-scale works for wind and strings to intimate trio sonatas, with an attractive short concert aria and song (sung by Mhairi Lawson) and a strathspey and reel (played by Cape Breton and baroque fiddler David Greenberg) thrown in. The Overture in C op.1 no. 2, really a small-scale symphony, boasts a rousing opening Allegro complete with Mannheim crescendo, a delicate Andantino second movement and lively concluding Presto Assai. The Overture in B flat, The Maid of the Mill, is in similar vein, with thrilling rhythmic energy and expressive use of oboes, horns and bassoon. Kellie clearly intended his Quartets to be played both as chamber and as orchestral music, so Concerto Caledonia give us a taste of each: the Quartet No. 8 is played as a “great Concert” with full strings and harpsichord, while No. 9 is played as a “small Concert” with string quartet. The latter work in particular is very fine, with a very catchy Allegro molto first movement, a sorrowful Adagio and a poised, elegant Minuet and Trio, complete with Scotch snaps. In the disc’s concluding Trio Sonata no. 6 in G a baroque flute substitutes for violin most effectively. I was astonished at the inventiveness and robust vitality of much of the music on this recording; the whole disc is an absolute delight, and will surely be enjoyed by anyone with even a remote interest in Scotland’s classical music heritage.