CD: Meredith Hall, Matthew White, and La Nef: The Battle of Killiecrankie

There are several ways to deal with the arrival of the new year. No doubt there are those among you who faithfully tuned in to the Vienna Philharmonic's New Year's Day concert. It just wouldn't be a new year without "The Radetzky March" or, for that matter, longtime concert host Walter Cronkite. Prosit Neujahr to you all.

Another part of Europe where they mark the flip of the calendar page with great ceremony (or at least a prolonged party) is Scotland. And if the rest of the world hasn't taken up first-footing or fireballs to mark the new year, many of us sing "Auld Lang Syne" at midnight on New Year's Eve, thus guaranteeing an annual amateur performance of a Scottish tune -- in dialect, no less.

But why expose yourself to Scottish culture just once a year? Aside from attending the next "Burns nicht" -- coming up very soon, as we mark the birthday of poet Robert Burns in late January -- you can always find a good reason to immerse yourself in things Scottish, particularly the music.

One memorable Scottish-themed CD is Atma Classique's The Battle of Killiecrankie, featuring the early music ensemble La Nef and two Canadian vocalists, countertenor Matthew White and soprano Meredith Hall, both also known for their interpretations of early music.

La Nef, under the direction of Sylvain Bergeron, has had a series of theme albums with subjects ranging from historic (the Cathars) to literary (the Arthurian legend). This particular album unites the literary and the historic: familiar songs and instrumental works rooted in patriotism and yearning romanticism, two sides of the story of Scotland.

The martial music is brisk, inspiring, evocative. Yet there is no shying away from the painful realities of military service: separation, grief, possible defeat. This is an album of laments as well as marches, and alternates the battle cry with songs of sorrow.

Then again, the Scots never did shy away from the unpleasant details of war. I remember how stirring I found the song "Scots Wha Ha'e wi' Wallace Bled," and then a Scottish friend, in his glorious accent, carefully recited the lyrics to me, including the phrase "welcome to your gory bed." Okay. Plus most of us now have a pretty good idea of what became of William Wallace, thanks in part to Braveheart.

But as I suggest above, The Battle of Killiecrankie is meant to unite the themes of love and war, and in this it succeeds. Matthew White first addresses the fight for liberty (the aforementioned "Scots Wha Ha'e wi' Wallace Bled") and then partners Hall in the wistful, even haunting "Bonny Barbry O."

By the way, if you're any kind of self-respecting folkie, baby boomer, or Deadhead, you'll recognize the tune of "Bonny Barbry O," though you may know it by another name. Don't worry; the texts are included with the disc.

There are no fewer than eight love songs featured, most of them with a touch of melancholy, and then there's also Alexander Munro's thoroughly delightful Sonata on "Bonny Jean of Aberdeen." You may well have heard that melody as well in a simpler form, perhaps from traditional folk instrumentalists, but the sonata version here is not to be missed.

There's also a setting of Niel Gow's "Lament for the Death of His Second Wife," another hauntingly familiar instrumental piece.

But the album concludes on a hopeful note, with the suggestion of the return of the soldier to a joyous reunion ("Welcome Home My Dearie," "The Braes o' Killiecrankie"). May it be so for all families in the coming year.