Everyone knows the name Robert Burns, but an Independent Aberdeen record company has put its own spin on his songs.
Luckenbooth Music has released an album of Robert Burns songs called Ae Spark o’ Nature’s Fire. The tracks have been arranged by Scottish contemporary composers, including Professor Paul Mealor. Jillian Bain Christie is a soprano who has lent her voice to the vocals. Jillian was born and brought up in Aberdeen but is currently dividing her time between the city andLondon. She is an accomplished musician but also an artist and designed the artwork for the sleeve of themusic.
HOW DID YOU FIRST GET INVOLVED WITH LUCKENBOOTH MUSIC?
I first met Frances Milne, the co-founder of Luckenbooth Music, through choral singing when I was an undergraduate at Aberdeen. We were both members of the choir Con Anima, and as I progressed in my vocal training she was, and continues to be, very supportive – regularly coming to concerts and operas I’m performing in.Frances first approached me in autumn 2015 about making an album of Burns songs. The subsequent project has been a fantastic opportunity for me so early in my professional career.
WERE YOU ALWAYS MUSICAL WHEN YOU WERE GROWING UP?
Music has always been an integral part of my life. Growing up, I learned several instruments. I was extremely fortunate to have Murray McLachlan, a concert pianist, (head of keyboard at Chetham’s School of Music and fellow Aberdonian) as my piano teacher who provided me with a thorough musical grounding, which has been invaluable when studying music at university.
ARE YOUR FAMILY MUSICAL?
Yes, my brother is an accomplished drummer. At one point, we each had a drum kit in the house. I think my parents were extremely tolerant to put up with that. I still play the piano, but I really only use it now for aiding me with composition and learning new vocal repertoire.
WHO IS YOUR FAVOURITE ARTIST?
It’s impossible to name just one, as I’ve been influenced by many. I particularly like Albrecht Dürer, William Hogarth, Kurt Schwitters and Joseph Cornell. I also admire the work of many living artists – Cornelia Parker, Ingrid Siliakus and Peter Callesen to name but a few.
WHO WOULD YOU LOVE TO COLLABORATE WITH?
Björk and Evelyn Glennie.
IS THIS YOUR DAY JOB?
Yes. I consider myself to be very fortunate as I manage to combine a career both as a musician and artist. The balance of work depends completely on what I have on at any time, so my schedule varies widely from month to month. In March, for example, I am doing production design for Aberdeen University Opera Society’s Sweeney Todd, and then the following week, I’m premiering one of my own compositions in Zurich.
HOW FAMILIAR WERE YOU WITH THE WORKS OF BURNS BEFORE THIS?
I was reasonably well acquainted with the works of Burns, but mostly as a listener – I hadn’t performed much myself, so recording an album of his songs was an exciting challenge for me.
HOW DID YOU MAKE THE SONGS SPECIAL AND DIFFERENT FOR LISTENERS?
Because so many of the melodies Burns used were traditional, his songs have been widely claimed for the folk-music tradition. There is, however, an equally strong tradition of settings and arrangements of Burns’ song by classical “art-song” composers from Burns’ own time to the present day. There are settings of Burns by composers as famous as Haydn and Beethoven, for example. Despite this, there aren’t many recent recordings of trained singers performing Burns. One of my main interests is contemporary music, and I often give first performances of works by living composers. I thought that it would be particularly exciting to have the album comprised entirely of arrangements by recent and living composers, demonstrating that the practice of setting his lyrics and arranging his tunes is a tradition alive and well in the 21st century, and in no sense just as a historical exercise.
WHAT WAS IT LIKE WORKING WITH THE COMPOSERS?
The arrangement of Ae Fond Kiss was specially written for me by Professor Paul Mealor, who was my composition tutor when I was studying at Aberdeen. I have worked with him on many occasions, so he really knows how to write for my voice.
DO YOU DRAW A LOT?
I draw every day, even when I’m travelling. I have several notebooks which I use for sketching out ideas that literally go everywhere with me – even to the pub.My pianist, Catherine Herriott, and I recorded Ae Spark o’ Nature’s Fire at Watercolour Music, Aryhoulan. The recording studio is situated on the banks of Loch Linnhe, and there is a magnificent view of Ben Nevis from the studio window which was a constant source of inspiration, to both myself and Catherine, throughout the recording process. When creating the cover artwork it seemed apt to therefore incorporate this view of Ben Nevis into the final piece.
WHY DO YOU THINK THE WORK OF BURNS IS STILL POPULAR TODAY?
The appeal of Burns is universal – his innate ability to speak to people from all walks of life still rings true today.
WHAT IS YOUR FAVOURITE SONG ON THE ALBUM?
Ae Fond Kiss is particularly special to me. Not only is it a beautiful arrangement, but to have a composer and close friend to write a piece specifically for me is a real honour, and wonderfully personal.
