‘To civilize and inspire [folk tunes] with all the native Gallantry of the SCOTISH Nation’ was Geminiani’s concern, but the six members of US-based Makaris (after makar (pl., makaris), the name given to a royal court troubadour in medieval Scotland and today used to describe a Scottish bard) take a rather earthier and more exciting view of the Scottish national character on Wisps in the dell (New Focus Recordings fcr916, issued 2019, 68ʹ). William Napier’s publications of Haydn songs and George Thomson’s of arrangements by Beethoven, Hummel, Koželuch, von Neukomm, Pleyel and Weber take centre stage, along with items by Clementi, Kuhlau and Schubert, and an arrangement—in the tradition of George Thomson—by Makaris bassist Doug Balliett, of The bonnie house o’Airlie. However, with vocals, whistle, flute, piccolo, fortepiano, violin, cello and double bass, the group reaches beyond the drawing room to explore the liminal divide between the decorous and the less sedate performance contexts for the songs. The disc opens with a hauntingly rich-toned flute solo on the traditional Burning of Auchindoun, which unfurls into twisting, high and mesmerizing vocals. This is not mere lip-service to the ‘folkier side’ of early modern musical Scotland, but a natural and integrated synthesis of modes of performance. Thoughtful notes from Makaris cellist Kivie Cahn-Lipman draw attention to Hummel’s acerbic retort to George Thomson’s request that he supply rather simpler accompaniments: ‘I was indeed surprised to hear that your Public should find the … Accompanyments too difficult, as in our Country they would find them very easy’. He doesn’t quite go on to draw out the argument that this perceived discrepancy in prevailing standard could in reality reflect a discrepancy in prevailing skill-set: that the Scottish musical public may have been more accustomed to treating printed accompaniments as a kind of standard-sheet for a freer style of playing than the Austrians, and may consequently have had a preference for seeing less, rather than more. The ‘art’ repertory viewed through a Celtic folk prism has been widely dealt with recently by a range of sympathetic and knowledgeable practitioners, from Concerto Caledonia, Mhairi Lawson and others, but this is a worthwhile addition to the discography. Of particular appeal, in my view, is some enchanting wind playing, as in Weber’s The soothing shade of the gloaming.

中文翻译：

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耳语、蠕虫、野火和流浪者

Geminiani 关心的是“用苏格兰民族的所有本土英勇来文明化和启发[民间曲调]”，但总部位于美国的 Makaris 的六名成员（以makar (pl., makaris ) 命名，皇家宫廷吟游诗人的名字）在中世纪的苏格兰，今天用来描述一个苏格兰吟游诗人）在戴尔的Wisps上对苏格兰民族性格采取更朴实和更令人兴奋的观点（新焦点录音fcr916，发布2019，68ʹ)。威廉·纳皮尔出版的海顿歌曲和乔治·汤姆森的贝多芬、胡梅尔、科泽卢克、冯·诺伊科姆、普莱耶和韦伯的改编作品占据了中心位置，克莱门蒂、库劳和舒伯特的作品以及乔治·汤姆森的传统改编作品占据了中心位置Makaris 贝斯手 Doug Balliett，来自The bonnie house o'Airlie。然而，通过人声、口哨、长笛、短笛、古钢琴、小提琴、大提琴和低音提琴，该小组超越了客厅，探索了歌曲高雅和不那么沉稳的表演环境之间的界限。光盘以传统的奥金顿燃烧中令人难以忘怀的丰富音调的长笛独奏开始，展开成曲折、高亢而迷人的歌声。这不仅仅是对早期现代音乐剧苏格兰的“民谣方面”的口头服务，而是对表演模式的自然而综合的综合。马卡里斯大提琴家基维·卡恩-利普曼 (Kivie Cahn-Lipman) 深思熟虑的笔记提请注意 Hummel 对乔治·汤姆森 (George Thomson) 要求他提供更简单伴奏的要求的尖刻反驳：“听到您的公众应该发现……伴奏太难了，我确实感到惊讶，因为在我们的国家，他们会发现它们很容易'。他并没有继续提出这样的论点，即普遍标准的这种感知差异实际上可能反映了普遍技能的差异：苏格兰音乐公众可能更习惯于将印刷伴奏视为一种比奥地利人更自由的演奏风格的标准表，因此可能更喜欢少看，而不是多看。通过凯尔特民间棱镜观看的“艺术”曲目最近已被来自 Concerto Caledonia、Mhairi Lawson 和其他人的一系列富有同情心和知识渊博的从业者广泛处理，但这对唱片来说是一个值得的补充。在我看来，特别吸引人的是一些迷人的风演奏，就像韦伯的 Mhairi Lawson 和其他人，但这是对唱片的一个有价值的补充。在我看来，特别吸引人的是一些迷人的风演奏，就像韦伯的 Mhairi Lawson 和其他人，但这是对唱片的一个有价值的补充。在我看来，特别吸引人的是一些迷人的风演奏，就像韦伯的阴郁的舒缓阴影。