Savourna Stevenson playing a live performance of ‘The Source’, the opening piece from her CD ‘Tweed Journey’. The Tweed Journey charts the course of the River Tweed ( in her native Scotland ) from source to sea, starting with solo harp then adding a new member to the band for each piece … so by track 7 it’s a 7 piece band … another excellent CD from Savourna.
A nice live performance of ‘Blue Orchid’ from SavournaStevenson. She originally wrote & recorded this as part of the music for a TV documentary about orchid flowers … and also recorded it on her excellent CD ‘Touch Me Like The Sun’ … a wonderful CD that everybody should own, even if they think they don’t like harp music! Savourna is a prolific composer and has written a lot of great music for theatre, dance, TV and film … and even writes for full symphony orchestra. A great creative talent … as well as a cracking good performer on the harp!
Savourna Stevenson playing a solo version of her ‘Silverado Squatters’, a fun little piece of bluegrass for harp. Part of the music she originally composed for a series of TV documentaries about the life and travels of writer Robert Louis Stevenson. It’s recorded with fiddler Aly Bain on her CD ‘Tusitala, Teller of Tales’
The remarkable Savourna Stevenson playing a solo version of her Fording the Tweed. Originally recorded as a harp & bass duo on her CD Tweed Journey.
Recorded at a concert in the “Singing the Storm” tour in 1996, with June Tabor (vocals), Savourna Stevenson (Harp) amd Danny Thompson (Double Bass).
The song, a “broken token” song, was written by the legendary Les Barker. This song is not on the “Singing the Storm” CD.
Water, from the ‘The White Swan’ on Calman the Dove
This short film features a number of different pieces of music. I like them all.
I have not sought the permission from the performers/artists for the use of their music. I would hope however that they will enjoy how I’ve used their music. I’ve loved the ‘Ocean of Sound’ LP of a number of years (& the book) and there’s loads of other good stuff on this double LP. I also really like Savourna Stevenson and her other stuff like ‘Fording the Tweed’ (Touch me like the Sun). The music featured in this film is as follows in chronological order:
Savourna Stevenson — ‘The White Swan’ from the album Calman the Dove — released 2000.
All other tracks are from the double album ‘Ocean of Sound’ 1996 compiled by David Toop
Savourna Stevenson – Harp
Aly Bain – Fiddle
Danny Thompson – Fiddle
THE SCOTSMAN • JIM GILCHRIST • THE ARCHES, GLASGOW ****
SAVOURNA Stevenson has developed an utterly distinctive and inventive harp sound, its Scottish roots infused with eclectic elements, resulting in lithe, jazz inflections or richly toned, impressionistic languor.
She was clearly delighted to be teaming up with two of the superb Marseilles-based Iranian percussionist family, the Chemiranis, and the results were frequently exhilarating. A lengthy percussion duet demonstrated the Chemiranis’ razor-sharp interaction and the multi-voiced chatter of their drums, before the ensemble, joined by double-bassist Brian Shiels and Gaelic singer Alyth McCormack, presented Persian Knight and Celtic Dawn, Stevenson’s settings of the words of the Lebanese poet and philosopher Kahlil Gibran (some of it translated into Gaelic by Aonghas MacNeacail).
Other effective instrumental pieces included the raga-like Emily’s Calling, with a single drum whirring alongside the harp, and Stevenson’s stealthy chiming over thrumming drums and bass in Time.
This was frequently beguiling music, delicate and intricate as fretwork but, between the rumble of passing trains and the intrusively noisy crowd allowed into the adjoining space, the Arches wasn’t the best place to appreciate it. Was that a dramatic flourish of Iranian drumming, or just the 8:15 for Wemyss Bay?
Arches, 253 Argyle Street, Glasgow
When Savourna Stevenson forsook classical piano studies for the Scottish harp in a fit of teenage rebellion, even she couldn’t have imagined that the instrument, almost forgotten at the time, would be the key to such varied musical adventures.
Whatever music she’s since heard in her head – be it jazz, blues, bluegrass banjo, African kora or Mexican mariachi band – Stevenson has translated it onto the harp without hint of novelty value or gimmickry. The result has been a body of work as individually expressive as it is unpredictably eclectic and that retains her Scottish roots while considering the next horizon.
Although not always the most visible of performers, she invariably breaks out of her Borders retreat with renewed passion and her latest work, settings of Lebanese poet Kahlil Gibran’s texts for harp and Iranian percussion ensemble The Chemiranis, promises another eventful chapter in her continuing travelogue.
review by SUSAN MANSFIELD – The Scotsman
SAVOURNA Stevenson boldly takes the clarsach where no clarsach has gone before. In her hands, the Celtic harp has voyaged into the territory of bluegrass banjos, sitar-style cascades, Indian ragas and African beats.
A concert at Celtic Connections will preview tracks from her forthcoming album, her ninth, which has a distinctly Middle Eastern flavour. But this is only one aspect of her work.
“Scotland’s most adventurously accomplished clarsach player”, as she has been called, has many other strings to her harp, from writing orchestral work, to having her music featured on Sex and the City.
Persian Knight Celtic Dawn – a typical Stevenson title, with a quirky twist of humour – features the playing of Iranian percussionists, the Chemiranis, and in particular the zarb, a drum played with the fingers which can produce as many different notes as a piano and is described by Stevenson as “mesmerising”.
Two of the Chemiranis will join Stevenson for her Celtic Connections gig at the Arches on Saturday.
They first met and played together at the Real World Festival. “I was doing an all-night live broadcast for Radio 3, and all the artists were listening to each other as we waited for our turn to play, appreciating each other’s music. Argentine accordionist Raoul Barbosa was there, the Chemiranis and myself, and we all just started playing together. It was a lovely impromptu playing experience.”
She promised the Chemiranis that when the right opportunity arose, they would collaborate. When Stevenson began to write songs for her new album, using text from ‘The Prophet’, by Lebanese writer Kahlil Gibran, she realised the time had come.
“The album will be very much a meeting of cultures from East and West,” she says. “The intricacy and ornament of Persian music is a little like Celtic music. I want the Chemiranis to bring some of their culture to it.”
She was reminded of the musical potential of ‘The Prophet’ in 2002 when she was asked to play at Peter Gabriel’s wedding “on a beach in Sardinia”, at which Gibran’s passage on marriage was one of the readings. She has now set that, along with two other passages, to music. Gibran’s ‘Joy and Sorrow’ has been translated into Gaelic by her brother-in-law, the poet Aonghas MacNeacail, and will be sung by Alyth McCormack.
“I love to hear the human voice on my records. Just as music is an international language, the words of Gibran speak to anybody and everybody. It’s full of wonderful messages and symbols, a book you keep on the shelf and dip into. And it’s so international, we all feel the same about marriage, children, friendship.”
Stevenson is also increasingly being recognised as a classical composer. In 2001, she received a Creative Scotland Award – “a life-changing experience” – to write an orchestral work for young people. The resulting symphonic piece, ‘Misterstourworm and the Kelpie’s Gift’ was performed to great acclaim in 2003, with the actor Billy Boyd as the narrator.
“It was so successful that Children’s Classic Concerts decided to commission another one, which was an absolute joy,” she says. Hansel and Gretel was performed this season by the Scottish Opera Orchestra to capacity crowds at the Glasgow Royal Concert Hall, and Usher Hall in Edinburgh, narrated by Taggart actress Blyth Duff, wearing “a fantastic pair of witchy shoes.”
It’s a challenge for Stevenson to switch between different types of music, one day composing for herself at the clarsach, the next sitting at a desk with a full orchestral score. “It’s a very different world to break into, but I think it’s a really healthy thing to be involved in so many different kinds of music”.
“I’ve had such a warm reaction to my music from the orchestral players, maybe there’s something new for them in the fact that I started out in traditional music, with the likes of Fairport Convention and Aly Bain, and have been involved in world music and jazz. Hansel and Gretel also has a strong East-European element.”
She is following in the footsteps of her father, the composer Ronald Stevenson, who peppered her early piano lessons with eclectic musical influences. “I’m very lucky to have been exposed to so many different types of music from very early on. My father was passionate about Lewis Psalm-singing, pibroch and jazz, as much as classical music, and he would talk to me about these things when he was teaching me the piano.”
However, of all the places her music has ventured, perhaps the most unexpected is on to the set of Sex and the City, where a recording of her string quintet was used for scenes such as Charlotte’s wedding.
“My record company phoned me up completely out of the blue and said, ‘Somebody wants to use your music for Sex and the City’. I was a bit shocked, but it certainly gave me a bit more street cred with my teenage son and his mates.”