Music review: Scottish Fiddle Orchestra, Usher Hall, Edinburgh

This Shetland-themed concert from the Scottish Fiddle Orchestra conveyed a heart-warming sense of bow-driven commitment and community, writes Jim Gilchrist

Scottish Fiddle Orchestra, Usher Hall, Edinburgh ****

Robert Fergusson’s famous poetic injunction, “Fiddlers your pins in temper fix / And roset weel your fiddle-sticks”, comes inevitably to mind when confronted by the 140-plus-strong Scottish Fiddle Orchestra, a vigorous assembly of fiddlers bolstered by accordions, cellos, double basses, flutes and a hefty percussion section – not to mention their inspiring, wheelchair-borne piper, Katie Robertson (aka “Katie the Wheeled Piper”).

Directed by Blair Parham – who seems to conduct as much with the swing of his kilt as with his baton – and MC’d by Robert Lovie, their programme may have included such old chestnuts as Highland Cathedral and a clap-along Scotland the Brave, but much was thoughtfully chosen with, in this instance, a Shetland theme. This prompted several zestful tune sets, not least some spirited jigs composed by the late, great Willie Hunter and traditional reels led off by the familiar Willafjord (though did they really need that rather stolid drum beat?).

The Scottish Fiddle Orchestra PIC: Michael Traill

The orchestra’s long-standing leader, Yla Steven, gave a lingering solo interpretation of Hunter’s much-loved air, Leaving Lerwick Harbour, orchestra sounding gently behind, while The Shetlander, a hornpipe composed by the orchestra’s late founder, John Mason, received sprightly duet treatment from June Nelson and Caroline Winn.

There were memorable interludes from the orchestra’s guests, the Ross Ainslie and Ali Hutton trio, two celebrated pipers joined by respected guitarist Jenn Butterworth. Ainslie and Hutton switched deftly between Highland pipes and low whistles, the latter particularly mellifluous in a slow version of Lucy Farr’s Hornpipe, and the orchestra joining in numbers such as Ainslie’s wistful Lullaby For Mel and the high-powered exuberance of Kings.

Following a sonorously percussion-driven Old Man Of Hoy, all three pipers joining in, we were played out and left with a heart-warming sense of bow-driven commitment and community.