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Classical music in Scotland
Classical music in Scotland is all art music in the Western European classical tradition, between its introduction in the eighteenth century until the present day. The development of a distinct tradition of art music in Scotland was limited by the impact of the Scottish Reformation on ecclesiastical music from the sixteenth century. Concerts, largely composed of "Scottish airs", developed in the seventeenth century and classical instruments were introduced to the country. Music in Edinburgh prospered through the patronage of figures including the merchant Sir John Clerk of Penicuik. The Italian style of classical music was probably first brought to Scotland by the cellist and composer Lorenzo Bocchi, who travelled to Scotland in the 1720s. The Musical Society of Edinburgh was incorporated in 1728. Several Italian musicians were active in the capital in this period and there are several known Scottish composers in the classical style, including Thomas Erskine, 6th Earl of Kellie, the first Scot known to have produced a symphony.
In the mid-eighteenth century a group of Scottish composers including James Oswald and William McGibbon created the "Scots drawing room style", taking primarily Lowland Scottish tunes and making them acceptable to a middle class audience. In the 1790s Robert Burns embarked on an attempt to produce a corpus of Scottish national song contributing about a third of the songs of ''The Scots Musical Museum''. Burns also collaborated with George Thomson in ''A Select Collection of Original Scottish Airs'', which adapted Scottish folk songs with "classical" arrangements. However, Burns' championing of Scottish music may have prevented the establishment of a tradition of European concert music in Scotland, which faltered towards the end of the eighteenth century.
From the mid-nineteenth century classical music began a revival in Scotland, aided by the visits of Chopin and Mendelssohn in the 1840s. By the late nineteenth century, there was in effect a national school of orchestral and operatic music in Scotland, with major composers including Alexander Mackenzie, William Wallace, Learmont Drysdale and Hamish MacCunn. Major performers included the pianist Frederic Lamond, and singers Mary Garden and Joseph Hislop. After World War I, Robin Orr and Cedric Thorpe Davie were influenced by modernism and Scottish musical cadences. Erik Chisholm founded the Scottish Ballet Society and helped create several ballets. The Edinburgh Festival was founded in 1947 and led to an expansion of classical music in Scotland, leading to the foundation of Scottish Opera in 1960. Important post-war composers included Ronald Stevenson,〔(Gasser, M., "Ronald Stevenson, Composer-Pianist : An Exegetical Critique from a Pianistic Perspective" (Edith Cowan University Press, Western Australia, 2013) )〕 Francis George Scott, Edward McGuire, William Sweeney, Iain Hamilton, Thomas Wilson, Thea Musgrave and James MacMillan. Craig Armstrong has produced music for numerous films. Major performers include the percussionist Evelyn Glennie. Major Scottish orchestras include: Royal Scottish National Orchestra (RSNO), the Scottish Chamber Orchestra (SCO) and the BBC Scottish Symphony Orchestra (BBC SSO). Major venues include Glasgow Royal Concert Hall, Usher Hall, Edinburgh and Queen's Hall, Edinburgh.
==Origins==
The development of a distinct tradition of art music in Scotland was limited by the impact of the Scottish Reformation on ecclesiastical music from the sixteenth century, which replaced complex polyphony and organ music with monophonic congregational psalmody. The lack of a need for professional musicians to compose and perform liturgical music meant that there was not a group of trained musicians who could easily participate in the Italian-inspired idiom of classical music that developed almost everywhere else in Europe in the seventeenth century.〔J. R. Baxter, "Culture, Enlightenment (1660–1843): music", in M. Lynch, ed., ''The Oxford Companion to Scottish History'' (Oxford: Oxford University Press, 2001), ISBN 0-19-211696-7, pp. 140–1.〕 From the late seventeenth century music became less an accomplishment of the gentle classes and more a skill pursued by professionals. It was increasingly enjoyed in otherwise silent concert rooms, rather than as incidental entertainment in the houses of royalty and nobles.〔E. Lee, ''Music of the People: a Study of Popular Music in Great Britain'' (London: Barrie & Jenkins, 1970), p. 53.〕 Much of these concerts consisted of "Scottish Airs", native Scottish tunes developed for the lute or the fiddle.〔 The German flute was probably introduced into Scotland towards the end of the seventeenth century〔P. Holman, "A little light on Lorenzo Bocchi: an Italian in Edinburgh and Dublin", in R. Cowgill and P. Holman, eds, ''Music in the British Provinces, 1690–1914'' (Aldershot: Ashgate, 2007), ISBN 0-7546-3160-5, p. 79.〕 and the classical violin, which replaced older fiddles, in the early eighteenth century.〔J. Porter, "Introduction" in J. Porter, ed., ''Defining Strains: The Musical Life of Scots in the Seventeenth Century'' (Peter Lang, 2007), ISBN 3039109480, p. 35.〕 Music in Edinburgh prospered through the patronage of figures including the merchant Sir John Clerk of Penicuik (1611–74), who was also a noted composer, violinist and harpiscordist.〔 He studied in Europe with Bernardo Pasquini (1637–1710) and Arcangelo Corelli (1653–1713). The St. Cecilia's Society was founded in Edinburgh 1695 to promote musical performances.〔
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