Classical review: Brilliant blend of ancient and modern springs some surprises

WHEN did Scotland last have a classical recording company with the staying power to hold its place in a struggling international marketplace and at the same time include a confident array of Scottish music and artists within its fast-growing catalogue? Personally, I can't recall such a time.

But for the past few years, the Edinburgh-based Delphian label – run by the tenacious Paul Baxter – has proved that it can be done. Delphian is anything but parochial, but its latest Scots-flavoured release is a typical reflection of Baxter's belief in the international standing of good Scots composers: some well-known, some new to even the most seasoned listeners.

Take the two exquisite "choral cycles" by Tom Cunningham, which form twin golden peaks in the varied choral landscape of Delphian's latest release – a beautifully crafted disc of settings by predominantly Scots composers of Scots poetry, both old and new, performed by Mike Brewer's unshakably good mixed vocal ensemble Laudibus.

The new CD – called Scotland at Night after the title of the earliest written of Cunningham's two works – is substantial, bold and imaginative. Mostly, however, it is full of surprises.

For a start, who is Tom Cunningham? The 63-year-old Edinburgh-born composer spent a considerable part of his working life – almost 20 years – as musical director of the Brussels Choral Society, before returning to his native city in 2002, since when he has become involved with various choirs, including the National Youth Choir of Scotland and Cappella Nova, for whom he wrote Scotland at Night.

His compositional style is quintessentially British in its liquid harmonies, well-nourished textures and frequent bouts of innocent wit. But most of all, his vital musical connection with his texts throw up a consistency of invention and imagination. And it's those texts that give the music its extra-special allure.

In both cases, they are by popular Edinburgh author Alexander McCall Smith. His words for these purposes are cast as poetry, not in the prosaic elasticity of his novels. Cunningham's music is truly collaborative, adorning McCall Smith's pithy imagery with a complementary dimension that is as enhancing as it is essential. The true magic of these settings derives from the fact that wordsmith and composer conceived both cycles as a collaboration from the start. The creative synergy is palpable.

Off the record, so to speak, it's worth noting that yet another intriguing collaboration between McCall Smith and Cunningham is under way, culminating in an opera – The Okavango Macbeth – specially written for local singers in Botswana, where it will be premiered in October at the No1 Ladies' Opera House. More on that, however, in a future column.

Back to the CD, and the choral fruits of this artistic partnership sit proudly in the company of Laudibus's burnished performances of Burns texts set by James MacMillan, Howard Skempton, Brewer himself and even that holiest of minimalists, Arvo Prt. The throbbing intensity of So Deep, a setting of My Luve's like a red, red rose, and the mystical resonances in The Gallant Weaver are surely among the most treasured and most heart-felt of MacMillan's works. As a counterbalance, the rugged contrapuntal style of Ronald Stevenson's A Medieval Scottish Triptych provides a more politically charged vigour. And in John Hearne's The Seagull, the evocative use of actual recorded seagull calls draws this disc to a magical, luminous close.

To order this CD at the special price, call The Scotsman music line on 01634 832789. Price includes P&P. Allow 21 days for delivery.