Tanzen An Die Vltava

When I was twelve, my mum convinced me to join her at Alasdair Fraser and Natalie Haas’ Skye fiddle camp at Sabhal Mòr Ostaig. Despite my initial teenage reluctance, I tagged along, but upon arrival we found ourselves immersed in a beautiful community and returned for years. Now spread all over the world, I owe my love of traditional music to this big musical family and to my mum’s quiet perseverance. 

Leaving While Waiting was written as mum left this camp for what we’d later find out was the last time, while Sunny Commute popped into her head on a sunny walk to work through Kelvingrove Park.


Leaving While Waiting

This piece is inspired on the Kübler-Ross Grief Cycle model, more commonly known as the five stages of loss and grief, which was first introduced by the Swiss-American psychiatrist Elisabeth Kübler-Ross in her book 'On death and dying' (1969).
Each movement of this Cello Concerto depicts a different stage of this cycle; figuratively, the solo cello represents the person who has had a loss and the orchestra, the unavoidable destiny.
At present, after the tragedy and the commotion caused by the murder of Jo Cox, I would like to dedicate this piece to the people who are suffering from a grieving process due to the loss of this person, someone who lived and fought for human rights and, precisely for that reason, was deprived of the most important right: the right to life.

I. Denial
II. Rage
III. Bargaining
IV. Depression
V. Acceptance

'The Five Stages of Loss and Grief'- Cello Concerto

Composition start - August 2017
Composition end - December 2017
Soloist - Roo Geddes

IV (Violin & Piano)

After party

Flat Line

Written for Forvie Nature Reserve as part of the ‘In Tune With Nature’ competition, a collaboration with Scottish National Heritage and Fèis Rois. Scotland’s year of coasts and waters 2020. 

Gaither reflects the changing role Forvie has played over the course of history in supporting it’s inhabitants and visitors. People have been living and harvesting along this coastline since at least the mesolithic period. In the 12th century Forvie was a thriving farming village until advancing sands made it unsustainable to live there. During World War II locals would forage on the dunes for rabbits, shell fish and other foods to supplement their rations. It is an important habitat for birds such as arctic terns and oystercatchers as well as other wildlife. Not far from the Forvie coastline are the north sea oil reserves, yet another important human resource. 

The piece features a bed of audio which I recorded at the Forvie shoreline a few years ago whilst visiting my family in Inverurie. The melody and orchestration aim to reflect the shifting sands, the movement of the sea and the constant change of visitors to the area. The writing and production process took place during the COVID-19 lockdown with each contributor recording/engineering from home. 

James Lindsay - Composition, Bass, Guitar, Synths
Jack Smedley - Fiddle
John Lowrie - Keyboard
Scott Mackay - Drums 
Mixed by Euan Burton / Mastered by Chris Waite

Photo is one I took of my brother Andrew walking the beach at Forvie.

Leaving While Waiting

Roo Geddes

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