Quotes & Comments (For quotes & Comments on Scotland's Music click here)
For Comments on John Purser's Poetry see WRITING - POETRY
For Comments on John Purser’s Radio Plays see WRITING -RADIO PLAYS
Review of John Purser’s Is The Red Light On?, BBC Scotland, Glasgow 1987 “The book – Is the Red Light On . . is, at 60 or so pages, short. It is also, of its kind, rather compulsive reading. I devoured [it] in a single session.
Purser is a wordsmith with a rich turn of phrase. He also tells a good tale. Additionally, he traces the history of the development of the orchestra (always a potentially deadly trawl through a tedium of statistics) through what he describes as “the real rather than official world.” . . . a warm and entertaining portrait of the human face of an orchestra.” Michael Tumelty, The Glasgow Herald, 15.6.1987.
“Out of print and difficult to find, but Chapter 8 Strike is essential reading for anyone involved in classical music.” “Pliable” www.overgrownpath.com, posted 1.10.2010.
For Comments on John Purser’s Radio Plays see WRITING -RADIO PLAYS
Review of John Purser’s Is The Red Light On?, BBC Scotland, Glasgow 1987 “The book – Is the Red Light On . . is, at 60 or so pages, short. It is also, of its kind, rather compulsive reading. I devoured [it] in a single session.
Purser is a wordsmith with a rich turn of phrase. He also tells a good tale. Additionally, he traces the history of the development of the orchestra (always a potentially deadly trawl through a tedium of statistics) through what he describes as “the real rather than official world.” . . . a warm and entertaining portrait of the human face of an orchestra.” Michael Tumelty, The Glasgow Herald, 15.6.1987.
“Out of print and difficult to find, but Chapter 8 Strike is essential reading for anyone involved in classical music.” “Pliable” www.overgrownpath.com, posted 1.10.2010.
Reviews of Erik Chisholm Scottish Modernist 1904-1965
“Purser’s welcome book will help to acquaint contemporary readers with the significant and fascinating musician who was Erik Chisholm.” John Robert Brown, In: Classical Music, July 2009.
“Not for the first or last time, the Scottish artist looked to a wider world than his English contemporaries, though Chisholm was as fascinated by the musical traditions of his homeland as Delius or Vaughan Williams were by theirs. But his researches into the pìobaireachd propelled him, not into a Celtic cul-de-sac, but into the company of continental folk-modernists such as Bartók and Szymanowski, both of whose work he championed in Scotland. He sensed that Scotland’s Gaelic inheritance might have more in common with the music of India and the East than the European mainstream. Chisholm’s contribution has been crying out for this reassessment – that it’s as readable as this is a real bonus.” Anon, “Book Reviews in Brief” In: The Scotsman 18.7.2009.
“ . . a comprehensive study of the composer and his music . . . The structure of Purser’s book is a model for future studies. He writes a basically chronological text, but not quite. He intersperses the biographical flow with chapters on various important aspects of Chisholm’s musical activities and influences and friendships . . . this is a superb publication. It is a massive investigation into the life and music of one of Scotland’s great, but massively underrated composers. It will provide the biographical and musical reference material for all interested parties for years to come . . . This is a book that can be read cover to cover, or can be used as a source book . . . a book that looks good and certainly feels good. The text is printed on high quality paper in a font that is clear and easy to read. The book is well illustrated, with a large number of musical examples, a fine collection of line drawings and a good selection of black and white and colour photographs. The style of the writing is readable without in any sense failing to uphold the highest of scholarly standards . . . for scholars and writers who are interested in this composer or the period of his activity, it is an essential purchase.” John France “Erik Chisholm, Scottish Modernist 1904-1965 . . .” In: British Music Society News 124, December 2009, pp.220-221
“Erik Chisholm’s place in the pantheon of composers is being re-assessed, to which John Purser’s fine biography entitled Erik Chisholm – Scottish Modernist is a significant contribution . . . Purser’s biography is a fascinating study, not only of the man himself, but also provides entertaining and easy-to-read analyses of his major works. This is an extremely important book, as it gives material witness to a significant twentieth-century composer, and John Purser’s prose style makes Chisholm’s vitality, imagination and energy jump off the page, making turning the page a real pleasure.” Michael Tuffin on “Book Choice” Fine Music Radio, Cape Town August 2nd 2010.
“The book is one of the most readable of its type I’ve come across in some time.” The Delian.
“This admirable biography . . . The author paints a beguilingly honest portrait of the indomitable Chisholm, buck teeth and all, but equally does not shirk at detailed analyses of his works along the way even at the risk of losing our patience in describing what, shamefully, in many cases has neither been performed much less published until now. That is, until we find ourselves carried away with the high tides of Purser’s poetry and passion in defense of his hero’s musical message to us.” Malcolm Troup, Piano Journal, Issue 90 2010, pp.43-44.
Annemie Stimie, Journal of Musical Arts in Africa, 2070-626X, Volume 6, Issue 1, 01 December 2009, pp.84-86.
“an outstanding recent book by John Purser – Erik Chisholm, Scottish Modernist 1904-1965; Chasing a restless muse (Boydell & Brewer; 2009). Robert Matthew-Walker, International Record Review, January 2011, p.18.
“John Purser kann als Nestor der schottischen Musikgeshichtsschreibung bezeichnet warden . . . . . Pursers ausgezeichnet geschriebene Arbeit, die die Muiskgeschichte des 20. Jahrhunderts un einen weiteren wichtigen Mosaikstein bereichert, legt den Grund für weiterführende Untersuchungen – inbesondere auch für solche zu der Musik.”
“Purser can be described as the Nestor of Scottish music historiography . . . . Purser’s excellently written work has enriched the musical history of the 20th-century, providing another important piece of the puzzle and laying the foundations for further investigations.” Jürgen Schaawächter, Review: “John Purser: Erik Chisholm, Scottish Modernist . . .” In: Die Musikforschung Vol.64 Pt.1, Jan-March 2011, p.85.
“John Purser, an established expert on Scottish music, provides the first full-length account of Chisholm’s work as composer, conductor and concert-organiser in Scotland, South Africa, and, when opportunities could be found, around the world. . . . Sensibly, Purser splits a mass of activity across three chapters . . . This narrative account of Chisholm’s life is interspersed with commentaries on his musical works . . . The great strength of these commentaries is that they offer exposure to much-neglected musical works. The numerous score excerpts are clearly presented, and give a real flavor of Chisholm’s musical language . . . Purser is strong in his discussion of the role of Scottish traditional music . . . and the interaction of these sources with modernist techniques. The comparison of aspects of Indian music that influenced Chisholm with these earlier Scottish influences is also illuminating. . . . This book is greatly to be welcomed, both for the musical commentaries, which may inspire greater knowledge of this composer’s music, and for the first full-length account of Chisholm’s rich and varied musical life. Understanding of Chisholm’s work, and of the musical culture which he inhabited, is greatly enriched by the study. It becomes clear that Chisholm, as a composer and performer, made a distinctive contribution to the history of 20th-century music in Britain and the Commonwealth.” David Manning, CHOMBEC NEWS, Summer 2011, pp.15-16.
Reviews of Purser’s CD Liner Notes
Alexander Mackenzie Hyperion CDA 66764
“. . . generously tracked on the record and in the excellent notes.” Mayhew, J., “Mackenzie”, Review In: Classic CD May 1995, p68.
“John Purser’s knowledgeable and rightly enthusiastic annotations are a pleasure to read. All told, a delightful release.” Andrew Achenbach, “Mackenzie”, Review In: Gramophone, May 1995.
“John Purser writes the lengthy and helpful program notes.” Johnson, D., “Mackenzie”, Review In: Fanfare (USA), July/August 1995, p228.
“Huelgan comentarios.” “Sparkling commentary”. Cester, X., “Mackenzie”, Review In: CD Compact, June 1995, p47.
“sympathetic annotations by John Purser that might serve as a model for anyone hoping to interest people in unfamiliar yet worthwhile music.” Haller, “Mackenzie”, Review In: American Record Guide, July/August 1995, p148.
The Romantic Piano Concerto (9) Mackenzie/Tovey; Piano Concerti. Hyperion CDA 67023
“As ever, John Purser’s extensive annotations are a veritable storehouse of background information, infectious enthusiasm and perceptive observation.” Andrew Achenbach, “Mackenzie . . Tovey . .” In: Gramophone October 1998, p60.
Scottish String Quartets Meridian CDE 84445
“There is a wide culture too in the informative – indeed penetrating – sleeve notes by John Purser” Colin Scott-Sutherland, “Scottish String Quartets: In: British Music Society News 91 September 2001, p189.
Leo Scotiae irritatus Cantatas by John Clerk of Penicuik Hyperion CDA 67007.
“Definitely one of the most important releases of Scottish music, and one immeasurably enriched by John Purser’s enlightening notes.” Andrew Clarke, In: The Scotsman 1.5.1998.
Kinloche his Fantassie ASV Gaudeamus CD GAU 134
“The notes are extensive and informative. This is a must for any lover of Elizabethan music.” Tom Moore, In: Fanfare (USA) December 1993.
Fiddler Tam – the music of Thomas Erskine, 6th Earl of Kellie Linn CKD 240
“Interestingly, the outstanding notes by John Purser suggest that the mood of the quartet may owe as much to such Scottish influences as Ossian as to more obvious associations with Sturm und Drang.” Brian Robins, “Earl of Kellie” In: Fanfare 1.7.05
“John Purser’s liner notes for this disc are first-rate” James Reel Fanfare
Erik Chisholm Music for Piano Volume 1 Dunelm Records DRD0222
“An additional bonus to this disc is the liner note by John Purser . . which is full of very illuminating, and at times amusing information!” Jones, M., “Piano music of Erik Chisholm . .”, Review In: Tempo Vol.59, No.231, January 2005, p72.
Äusserst informative der Begleiitext von John Purser” “Extremely informative notes by John Purser”. Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 30.01.2009.
Erik Chisholm Music for Piano Volume I1 Dunelm Records DRD0223
“John Purser’s excellent notes . .” MacDonald, C., “Chisholm Piano Works, Volume 2”, Review In: International Record Review, 5, Issue 11, May 2005, p58.
“The informative notes by John Purser provide colourful background” Anon, “Erik Chisholm”, Review In: British Music Society News 106, June 2005, p342.
“It is good to follow the pieces alongside John Purser’s booklet notes, simply because he is so often spot-on in his descriptions.” Colin Clarke, www.musicweb-international.com/classrev/2005/June05/Chisholm_DRD0223.htm
“. . . the booklet contains informative liner notes by John Purser.” David Hackbridge Johnson, www.musicweb.uk.net/classrev/2005/Aug04/Chisholm.htm
Erik Chisholm Music for Piano Volume III Dunelm Records DRD0224
“ . . . excellent notes . . .” David Hackbridge Johnson
“The other, more extended one is on an unknown ground, which John Purser in his authoritative booklet notes hints may be by Chisholm himself.” Calum MacDonald, In: International Record Review, January 2008 p.55.
“ein informatives Booklet tragen zum uberaus positiven Gesamtein druck bei.” An informative booklet contributes to overall positive impression.” Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 13.02.2009.
Erik Chisholm Music for Piano Volume V Divine Art
“Booklet notes by John Purser are exemplary in their detailed knowledge and their usefulness.” Colin Clarke, “Classical Reviews, Murray McLachlan: CHISHOLM Piobaireachd”, Fanfare, 18.11.2009
“das Booklet exzellent . .” “ the excellent booklet”. Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 09.06.2009.
Erik Chisholm Music for Piano Volumes I- V Divine Art
“Finally the learned programme notes are a joy to read. In fact, they are absolutely necessary, due to the lack of information about and criticism of Chisholm’s music. John Purser certainly gives the listener a fine preview of his up and coming biography. This will surely be a remarkable and important musical study.” John France, www.musicweb-international.com/classRev/2009/Jan09/Chisholm_Piano1-4_DDV24131.htm
Erik Chisholm Music for Piano Volume VI Diversions ddv 24149
“With a good recording and booklet notes, those who have been following this series will eagerly wish to acquaint themselves with this release. Start with those Nocturnes.” Jonathan Woolf, MusicWeb-International.com 12.1.2011.
“The programme notes are extensive and excellent . . . and give as much information as can be wished for.” John France, January 2011
“ . . . und ein informatives Booklet in Englisch (in dem nur wenige Kleinigkeiten fehlen) vervollstandigen das Ganze.” “ . . .and an informative booklet in English (from which only a few small things are missing) complete the whole.” Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 15.09.2010.
“John Purser’s excellent notes seek parallels with this work and Sorabji’s Djâmî while also pointing out that Chisholm is the more earthy composer of the two.” Colin Clarke, Fanfare, Issue 34:6 July-August 2011
Erik Chisholm Music for Piano Volume VII Diversions ddv 24155
“John Purser, who has written a book about Chisholm, has some very informative and welcome sleeve notes. I also like the way he acknowledges the work of Chisholm’s daughter, Morag, who has used her resources to set up the Erik Chisholm Trust.” Dr. David C. Wright, Wrightmusic July 2011
“John Purser’s generous, informative and beautifully written liner notes” Michael Graubart, Music and Vision, 28.9.2011
“Tantalizingly, in the context of the Peter Pan Suite, the excellent booklet annotator John Purser makes mention of Chisholm’s later operas.” Colin Clarke, Fanfare, Issue 35:4 Mar/Apr 2012.
Chisholm Piano Concertos, Hyperion CDA 67880
“John Purser’s excellent booklet essay” Anne McAlister, McAlister Matheson Music, April 2012.
“the booklet notes are by Chisholm’s distinguished biographer John Purser, and all in all this disc has to be counted one of the most important contributions to British recorded music for some considerable time.” International Record Review ‘Outstanding’ Award, International Record Review April 2012
“The lucid notes are by John Purser, author of an excellent study of Chisholm (Boydell). Martin Anderson, International Piano May/June 2012 p.81.
Wallace, Symphonic Poems, Hyperion CDA 66848
“Finally, praise must also go to John Purser’s highly informative and eminently readable booklet-notes.” Stewart, M. “Wallace”, Review In: Gramophone 1.11.1996, p100.
Wallace, Creation Symphony, Hyperion CDA 66987
“John Purser’s characteristically enthusiastic and scholarly booklet-note.” Andrew Achenbach, “Wallace”, Review In: Gramophone February 1998.
Harlaw, Scotland 1411, Tulloch Music tm505
“The liner notes by John Purser are models of their kind, as is the design and layout of this handsome package.” Geordie McIntyre The Living Tradition, Issue 88.
Reviews of other Radio programmes
“Undoubtedly the tour de force of Burns night was Hot Entrails, a thoroughly blasphemous piece of broadcasting which took as its text the phrase from Dainty Davie, ‘splash gaed oot his gravy’, and nothing, if you understand me, to do with Sunday lunch. This phrase was taken into the body of a Burns-type kirk which allowed into its sanctified crannies the pagan indiscretions of ‘Mr. R. Burns’, as MacDiarmid was wont to call him. Bohemian scorn was poured on poor Clarinda and her swain Sylvander and their unrequited passions.
Full marks for non-self-censorship to presenter John Purser who went on to challenge Scots to move now on independence, to give birth to the babe lest it turn to stone in the womb, and to the Mother of Parliaments to act, for once, as a real midwife.” Joy Hendry, The Scotsman Weekend, 30.1.1993, p.35.99.
Reviews of Purser as a performer
“intriguingly, you become aware of the solitary, meditative improvisation from the the things of the earth . . the link with original geo-musical culture is clear in the harmonic singing of Simon O’Dwyer and John Purser . . .” (Tony MacManus, “Earth Sounds” In: Cencrastus, Issue No. 63, P.39)
“Rideout’s rendition of a plaintive MacDougal gathering tune, accompanied by guest John Purser on the dord íseal, a Bronze Age bass horn, was nothing short of mesmerising . . .” Sue Wilson, The Scotsman, 14.8.2009, p.47.
“More than any of the other works, this piece offers a vision of the uncanny, and the soundtrack echoing through the gallery – an ever-present blend of horns, flutes and non-lyrical song performed by composer John Purser within High Pasture Cave – reinforces this impression. The imaginative might hear distant wind, bubbling underground streams, movement in the darkness and the sighing earth, waiting.” David Pollock, Review of Gill Russell’s Uamh at Royal Scottish Academy January 2011, reviewed in Northings, 11.01.2011.
“The sounds I was mishearing are in fact recordings made by Russell inside the stream passage in the cave of musicologist John Purser playing ancient instruments. You pick up the muffled sounds and echoes of the cave in the unfamiliar notes and sounds of bone flutes, harmonic singing and bronze horns. One of the most interesting aspects of Russell’s installation is the way her interventions in sound and light alter the viewer’s perception of time. The piece has a timelessness that stretches back (by evoking the ancient rites performed in the cave) and outwards (by simultaneously suggesting the otherworldly and cosmic). David Pollock, Review of Gill Russell’s Uamh at Royal Scottish Academy January 2011, reviewed in Aesthetica magazine, 11.01.2011.
“. . John Purser leaned persuasively into his viola [sic] as he stretched several young musicians and Mary Ann Kennedy’s not inconsiderable vocal range to their limits in a new classical work written for Sorley.” Norman Bissell, Northings, northings.com/2011/06/23/ainmeal-thar-cheudan-a-centenary-celebration-of-sor 28/06/2011
Reviews of Bertolt Brecht The Visions of Simone Machard Glasgow Citizen’s Theatre, 14th February – 4th March 1967, (Director Michael Blakemore)
“ . . . and one must mention the fine singing of John Purser as Simone’s angel-brother.” The Jewish Echo, 17.2.1967.
“ . . . and John Purser as a splendid and clear-voiced Angel.” Unidentified newspaper review From Our Special Correspondent Glasgow Feb.28.
“The exchanges between her [Simone/Joan] and her Angel (exceedingly well spoken, or rather sung, by John Purser) are the best of the play;” (Christopher Small, The Glasgow Herald 15.2.1967)
Other performances include appearances with Simon O’Dwyer on RTE The Late Late Show, and with Bonnie Rideout at the National Geographic Society, Washington (21.9.2009), The Barns at Wolftrap VA (30.4.2010), The Avalon Theatre, Easton MD (1.5.2010), The American Theatre, Hampton VA (6.5.2010), Laurinburg NC (19.3.2011)
Reviews of Purser as Producer
The Kilmartin Sessions CD Kilmartin House Museum, Kilmartin, Argyllshire. www.kht.org.uk
“It is refreshing to hear ancient music which is totally unsullied by New-Age clap-trap . . . The Sessions are the culmination of work by ancient music specialist, John Purser. . . Some of the tracks are not particularly “pretty”, but all are pretty damn interesting . . . It’s hard to describe something as original and inspiring as this, you will just have to hear it for yourself . . .” (Hilary Schrafft, Third Stone, The Magazine for the New Antiquarian, April-June 1998)
“. . . it is only speculative work of the deep and wide-ranging kinds mentioned here which will renew musical energy in the West – something we sorely need.” (Tony MacManus, “Earth Sounds” In: Cencrastus, Issue No. 63, p.39)
Scotland’s Fiddle Pìobaireachd Vol. 1, Tulloch Music tm504
“Fiddle pibroch is a neglected strand of Scottish music, and a concept once apt to get mainstream pipers hot under the collar.
In this stunning and welcome recording, produced by musicologist John Purser, the American fiddler and viola player Bonnie Rideout brings thought, passion and superb tone to these mainly 18th-century pieces, either composed for violin or adapted from bagpipe or clarsach originals, although there’s also Scott Skinner’s late 19th-century contribution to the genre, Dargai, and Rideout’s own haunting composition, The Selkie.” Jim Gilchrist, The Scotsman 20.06.2010.
Scotland’s Fiddle Piobaireachd Vol.1 was nominated for a Grammy award in 2010 and won a Wammy in 2011.
Harlaw, Scotland 1411, Tulloch Music tm505
“The new album has been produced by musicologist and broadcaster John Purser, and includes a narrative CD in which he discusses the battle, along with commentary from Professor Alan Riach of Glasgow University and musical excerpts, very much along the lines of Purser’s acclaimed Scotland’s Music radio series.” Jim Gilchrist, The Scotsman, 26.1.2011 p.38.
“Bonnie Rideout has assembled a stellar cast of friends old and new in this mighty venture, with the able assistance of musicologist John Purser. John is also the producer . . . This is a listening experience to be savoured. It is a most impressive and moving remembrance, to quote John Purser, ‘of the age old battle between war and peace’. This is a landmark recording.” Geordie McIntyre The Living Tradition, Issue 88.
“Purser’s welcome book will help to acquaint contemporary readers with the significant and fascinating musician who was Erik Chisholm.” John Robert Brown, In: Classical Music, July 2009.
“Not for the first or last time, the Scottish artist looked to a wider world than his English contemporaries, though Chisholm was as fascinated by the musical traditions of his homeland as Delius or Vaughan Williams were by theirs. But his researches into the pìobaireachd propelled him, not into a Celtic cul-de-sac, but into the company of continental folk-modernists such as Bartók and Szymanowski, both of whose work he championed in Scotland. He sensed that Scotland’s Gaelic inheritance might have more in common with the music of India and the East than the European mainstream. Chisholm’s contribution has been crying out for this reassessment – that it’s as readable as this is a real bonus.” Anon, “Book Reviews in Brief” In: The Scotsman 18.7.2009.
“ . . a comprehensive study of the composer and his music . . . The structure of Purser’s book is a model for future studies. He writes a basically chronological text, but not quite. He intersperses the biographical flow with chapters on various important aspects of Chisholm’s musical activities and influences and friendships . . . this is a superb publication. It is a massive investigation into the life and music of one of Scotland’s great, but massively underrated composers. It will provide the biographical and musical reference material for all interested parties for years to come . . . This is a book that can be read cover to cover, or can be used as a source book . . . a book that looks good and certainly feels good. The text is printed on high quality paper in a font that is clear and easy to read. The book is well illustrated, with a large number of musical examples, a fine collection of line drawings and a good selection of black and white and colour photographs. The style of the writing is readable without in any sense failing to uphold the highest of scholarly standards . . . for scholars and writers who are interested in this composer or the period of his activity, it is an essential purchase.” John France “Erik Chisholm, Scottish Modernist 1904-1965 . . .” In: British Music Society News 124, December 2009, pp.220-221
“Erik Chisholm’s place in the pantheon of composers is being re-assessed, to which John Purser’s fine biography entitled Erik Chisholm – Scottish Modernist is a significant contribution . . . Purser’s biography is a fascinating study, not only of the man himself, but also provides entertaining and easy-to-read analyses of his major works. This is an extremely important book, as it gives material witness to a significant twentieth-century composer, and John Purser’s prose style makes Chisholm’s vitality, imagination and energy jump off the page, making turning the page a real pleasure.” Michael Tuffin on “Book Choice” Fine Music Radio, Cape Town August 2nd 2010.
“The book is one of the most readable of its type I’ve come across in some time.” The Delian.
“This admirable biography . . . The author paints a beguilingly honest portrait of the indomitable Chisholm, buck teeth and all, but equally does not shirk at detailed analyses of his works along the way even at the risk of losing our patience in describing what, shamefully, in many cases has neither been performed much less published until now. That is, until we find ourselves carried away with the high tides of Purser’s poetry and passion in defense of his hero’s musical message to us.” Malcolm Troup, Piano Journal, Issue 90 2010, pp.43-44.
Annemie Stimie, Journal of Musical Arts in Africa, 2070-626X, Volume 6, Issue 1, 01 December 2009, pp.84-86.
“an outstanding recent book by John Purser – Erik Chisholm, Scottish Modernist 1904-1965; Chasing a restless muse (Boydell & Brewer; 2009). Robert Matthew-Walker, International Record Review, January 2011, p.18.
“John Purser kann als Nestor der schottischen Musikgeshichtsschreibung bezeichnet warden . . . . . Pursers ausgezeichnet geschriebene Arbeit, die die Muiskgeschichte des 20. Jahrhunderts un einen weiteren wichtigen Mosaikstein bereichert, legt den Grund für weiterführende Untersuchungen – inbesondere auch für solche zu der Musik.”
“Purser can be described as the Nestor of Scottish music historiography . . . . Purser’s excellently written work has enriched the musical history of the 20th-century, providing another important piece of the puzzle and laying the foundations for further investigations.” Jürgen Schaawächter, Review: “John Purser: Erik Chisholm, Scottish Modernist . . .” In: Die Musikforschung Vol.64 Pt.1, Jan-March 2011, p.85.
“John Purser, an established expert on Scottish music, provides the first full-length account of Chisholm’s work as composer, conductor and concert-organiser in Scotland, South Africa, and, when opportunities could be found, around the world. . . . Sensibly, Purser splits a mass of activity across three chapters . . . This narrative account of Chisholm’s life is interspersed with commentaries on his musical works . . . The great strength of these commentaries is that they offer exposure to much-neglected musical works. The numerous score excerpts are clearly presented, and give a real flavor of Chisholm’s musical language . . . Purser is strong in his discussion of the role of Scottish traditional music . . . and the interaction of these sources with modernist techniques. The comparison of aspects of Indian music that influenced Chisholm with these earlier Scottish influences is also illuminating. . . . This book is greatly to be welcomed, both for the musical commentaries, which may inspire greater knowledge of this composer’s music, and for the first full-length account of Chisholm’s rich and varied musical life. Understanding of Chisholm’s work, and of the musical culture which he inhabited, is greatly enriched by the study. It becomes clear that Chisholm, as a composer and performer, made a distinctive contribution to the history of 20th-century music in Britain and the Commonwealth.” David Manning, CHOMBEC NEWS, Summer 2011, pp.15-16.
Reviews of Purser’s CD Liner Notes
Alexander Mackenzie Hyperion CDA 66764
“. . . generously tracked on the record and in the excellent notes.” Mayhew, J., “Mackenzie”, Review In: Classic CD May 1995, p68.
“John Purser’s knowledgeable and rightly enthusiastic annotations are a pleasure to read. All told, a delightful release.” Andrew Achenbach, “Mackenzie”, Review In: Gramophone, May 1995.
“John Purser writes the lengthy and helpful program notes.” Johnson, D., “Mackenzie”, Review In: Fanfare (USA), July/August 1995, p228.
“Huelgan comentarios.” “Sparkling commentary”. Cester, X., “Mackenzie”, Review In: CD Compact, June 1995, p47.
“sympathetic annotations by John Purser that might serve as a model for anyone hoping to interest people in unfamiliar yet worthwhile music.” Haller, “Mackenzie”, Review In: American Record Guide, July/August 1995, p148.
The Romantic Piano Concerto (9) Mackenzie/Tovey; Piano Concerti. Hyperion CDA 67023
“As ever, John Purser’s extensive annotations are a veritable storehouse of background information, infectious enthusiasm and perceptive observation.” Andrew Achenbach, “Mackenzie . . Tovey . .” In: Gramophone October 1998, p60.
Scottish String Quartets Meridian CDE 84445
“There is a wide culture too in the informative – indeed penetrating – sleeve notes by John Purser” Colin Scott-Sutherland, “Scottish String Quartets: In: British Music Society News 91 September 2001, p189.
Leo Scotiae irritatus Cantatas by John Clerk of Penicuik Hyperion CDA 67007.
“Definitely one of the most important releases of Scottish music, and one immeasurably enriched by John Purser’s enlightening notes.” Andrew Clarke, In: The Scotsman 1.5.1998.
Kinloche his Fantassie ASV Gaudeamus CD GAU 134
“The notes are extensive and informative. This is a must for any lover of Elizabethan music.” Tom Moore, In: Fanfare (USA) December 1993.
Fiddler Tam – the music of Thomas Erskine, 6th Earl of Kellie Linn CKD 240
“Interestingly, the outstanding notes by John Purser suggest that the mood of the quartet may owe as much to such Scottish influences as Ossian as to more obvious associations with Sturm und Drang.” Brian Robins, “Earl of Kellie” In: Fanfare 1.7.05
“John Purser’s liner notes for this disc are first-rate” James Reel Fanfare
Erik Chisholm Music for Piano Volume 1 Dunelm Records DRD0222
“An additional bonus to this disc is the liner note by John Purser . . which is full of very illuminating, and at times amusing information!” Jones, M., “Piano music of Erik Chisholm . .”, Review In: Tempo Vol.59, No.231, January 2005, p72.
Äusserst informative der Begleiitext von John Purser” “Extremely informative notes by John Purser”. Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 30.01.2009.
Erik Chisholm Music for Piano Volume I1 Dunelm Records DRD0223
“John Purser’s excellent notes . .” MacDonald, C., “Chisholm Piano Works, Volume 2”, Review In: International Record Review, 5, Issue 11, May 2005, p58.
“The informative notes by John Purser provide colourful background” Anon, “Erik Chisholm”, Review In: British Music Society News 106, June 2005, p342.
“It is good to follow the pieces alongside John Purser’s booklet notes, simply because he is so often spot-on in his descriptions.” Colin Clarke, www.musicweb-international.com/classrev/2005/June05/Chisholm_DRD0223.htm
“. . . the booklet contains informative liner notes by John Purser.” David Hackbridge Johnson, www.musicweb.uk.net/classrev/2005/Aug04/Chisholm.htm
Erik Chisholm Music for Piano Volume III Dunelm Records DRD0224
“ . . . excellent notes . . .” David Hackbridge Johnson
“The other, more extended one is on an unknown ground, which John Purser in his authoritative booklet notes hints may be by Chisholm himself.” Calum MacDonald, In: International Record Review, January 2008 p.55.
“ein informatives Booklet tragen zum uberaus positiven Gesamtein druck bei.” An informative booklet contributes to overall positive impression.” Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 13.02.2009.
Erik Chisholm Music for Piano Volume V Divine Art
“Booklet notes by John Purser are exemplary in their detailed knowledge and their usefulness.” Colin Clarke, “Classical Reviews, Murray McLachlan: CHISHOLM Piobaireachd”, Fanfare, 18.11.2009
“das Booklet exzellent . .” “ the excellent booklet”. Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 09.06.2009.
Erik Chisholm Music for Piano Volumes I- V Divine Art
“Finally the learned programme notes are a joy to read. In fact, they are absolutely necessary, due to the lack of information about and criticism of Chisholm’s music. John Purser certainly gives the listener a fine preview of his up and coming biography. This will surely be a remarkable and important musical study.” John France, www.musicweb-international.com/classRev/2009/Jan09/Chisholm_Piano1-4_DDV24131.htm
Erik Chisholm Music for Piano Volume VI Diversions ddv 24149
“With a good recording and booklet notes, those who have been following this series will eagerly wish to acquaint themselves with this release. Start with those Nocturnes.” Jonathan Woolf, MusicWeb-International.com 12.1.2011.
“The programme notes are extensive and excellent . . . and give as much information as can be wished for.” John France, January 2011
“ . . . und ein informatives Booklet in Englisch (in dem nur wenige Kleinigkeiten fehlen) vervollstandigen das Ganze.” “ . . .and an informative booklet in English (from which only a few small things are missing) complete the whole.” Jürgen Schaarwächter, Review: magazine,klassik.com, reviews 15.09.2010.
“John Purser’s excellent notes seek parallels with this work and Sorabji’s Djâmî while also pointing out that Chisholm is the more earthy composer of the two.” Colin Clarke, Fanfare, Issue 34:6 July-August 2011
Erik Chisholm Music for Piano Volume VII Diversions ddv 24155
“John Purser, who has written a book about Chisholm, has some very informative and welcome sleeve notes. I also like the way he acknowledges the work of Chisholm’s daughter, Morag, who has used her resources to set up the Erik Chisholm Trust.” Dr. David C. Wright, Wrightmusic July 2011
“John Purser’s generous, informative and beautifully written liner notes” Michael Graubart, Music and Vision, 28.9.2011
“Tantalizingly, in the context of the Peter Pan Suite, the excellent booklet annotator John Purser makes mention of Chisholm’s later operas.” Colin Clarke, Fanfare, Issue 35:4 Mar/Apr 2012.
Chisholm Piano Concertos, Hyperion CDA 67880
“John Purser’s excellent booklet essay” Anne McAlister, McAlister Matheson Music, April 2012.
“the booklet notes are by Chisholm’s distinguished biographer John Purser, and all in all this disc has to be counted one of the most important contributions to British recorded music for some considerable time.” International Record Review ‘Outstanding’ Award, International Record Review April 2012
“The lucid notes are by John Purser, author of an excellent study of Chisholm (Boydell). Martin Anderson, International Piano May/June 2012 p.81.
Wallace, Symphonic Poems, Hyperion CDA 66848
“Finally, praise must also go to John Purser’s highly informative and eminently readable booklet-notes.” Stewart, M. “Wallace”, Review In: Gramophone 1.11.1996, p100.
Wallace, Creation Symphony, Hyperion CDA 66987
“John Purser’s characteristically enthusiastic and scholarly booklet-note.” Andrew Achenbach, “Wallace”, Review In: Gramophone February 1998.
Harlaw, Scotland 1411, Tulloch Music tm505
“The liner notes by John Purser are models of their kind, as is the design and layout of this handsome package.” Geordie McIntyre The Living Tradition, Issue 88.
Reviews of other Radio programmes
“Undoubtedly the tour de force of Burns night was Hot Entrails, a thoroughly blasphemous piece of broadcasting which took as its text the phrase from Dainty Davie, ‘splash gaed oot his gravy’, and nothing, if you understand me, to do with Sunday lunch. This phrase was taken into the body of a Burns-type kirk which allowed into its sanctified crannies the pagan indiscretions of ‘Mr. R. Burns’, as MacDiarmid was wont to call him. Bohemian scorn was poured on poor Clarinda and her swain Sylvander and their unrequited passions.
Full marks for non-self-censorship to presenter John Purser who went on to challenge Scots to move now on independence, to give birth to the babe lest it turn to stone in the womb, and to the Mother of Parliaments to act, for once, as a real midwife.” Joy Hendry, The Scotsman Weekend, 30.1.1993, p.35.99.
Reviews of Purser as a performer
“intriguingly, you become aware of the solitary, meditative improvisation from the the things of the earth . . the link with original geo-musical culture is clear in the harmonic singing of Simon O’Dwyer and John Purser . . .” (Tony MacManus, “Earth Sounds” In: Cencrastus, Issue No. 63, P.39)
“Rideout’s rendition of a plaintive MacDougal gathering tune, accompanied by guest John Purser on the dord íseal, a Bronze Age bass horn, was nothing short of mesmerising . . .” Sue Wilson, The Scotsman, 14.8.2009, p.47.
“More than any of the other works, this piece offers a vision of the uncanny, and the soundtrack echoing through the gallery – an ever-present blend of horns, flutes and non-lyrical song performed by composer John Purser within High Pasture Cave – reinforces this impression. The imaginative might hear distant wind, bubbling underground streams, movement in the darkness and the sighing earth, waiting.” David Pollock, Review of Gill Russell’s Uamh at Royal Scottish Academy January 2011, reviewed in Northings, 11.01.2011.
“The sounds I was mishearing are in fact recordings made by Russell inside the stream passage in the cave of musicologist John Purser playing ancient instruments. You pick up the muffled sounds and echoes of the cave in the unfamiliar notes and sounds of bone flutes, harmonic singing and bronze horns. One of the most interesting aspects of Russell’s installation is the way her interventions in sound and light alter the viewer’s perception of time. The piece has a timelessness that stretches back (by evoking the ancient rites performed in the cave) and outwards (by simultaneously suggesting the otherworldly and cosmic). David Pollock, Review of Gill Russell’s Uamh at Royal Scottish Academy January 2011, reviewed in Aesthetica magazine, 11.01.2011.
“. . John Purser leaned persuasively into his viola [sic] as he stretched several young musicians and Mary Ann Kennedy’s not inconsiderable vocal range to their limits in a new classical work written for Sorley.” Norman Bissell, Northings, northings.com/2011/06/23/ainmeal-thar-cheudan-a-centenary-celebration-of-sor 28/06/2011
Reviews of Bertolt Brecht The Visions of Simone Machard Glasgow Citizen’s Theatre, 14th February – 4th March 1967, (Director Michael Blakemore)
“ . . . and one must mention the fine singing of John Purser as Simone’s angel-brother.” The Jewish Echo, 17.2.1967.
“ . . . and John Purser as a splendid and clear-voiced Angel.” Unidentified newspaper review From Our Special Correspondent Glasgow Feb.28.
“The exchanges between her [Simone/Joan] and her Angel (exceedingly well spoken, or rather sung, by John Purser) are the best of the play;” (Christopher Small, The Glasgow Herald 15.2.1967)
Other performances include appearances with Simon O’Dwyer on RTE The Late Late Show, and with Bonnie Rideout at the National Geographic Society, Washington (21.9.2009), The Barns at Wolftrap VA (30.4.2010), The Avalon Theatre, Easton MD (1.5.2010), The American Theatre, Hampton VA (6.5.2010), Laurinburg NC (19.3.2011)
Reviews of Purser as Producer
The Kilmartin Sessions CD Kilmartin House Museum, Kilmartin, Argyllshire. www.kht.org.uk
“It is refreshing to hear ancient music which is totally unsullied by New-Age clap-trap . . . The Sessions are the culmination of work by ancient music specialist, John Purser. . . Some of the tracks are not particularly “pretty”, but all are pretty damn interesting . . . It’s hard to describe something as original and inspiring as this, you will just have to hear it for yourself . . .” (Hilary Schrafft, Third Stone, The Magazine for the New Antiquarian, April-June 1998)
“. . . it is only speculative work of the deep and wide-ranging kinds mentioned here which will renew musical energy in the West – something we sorely need.” (Tony MacManus, “Earth Sounds” In: Cencrastus, Issue No. 63, p.39)
Scotland’s Fiddle Pìobaireachd Vol. 1, Tulloch Music tm504
“Fiddle pibroch is a neglected strand of Scottish music, and a concept once apt to get mainstream pipers hot under the collar.
In this stunning and welcome recording, produced by musicologist John Purser, the American fiddler and viola player Bonnie Rideout brings thought, passion and superb tone to these mainly 18th-century pieces, either composed for violin or adapted from bagpipe or clarsach originals, although there’s also Scott Skinner’s late 19th-century contribution to the genre, Dargai, and Rideout’s own haunting composition, The Selkie.” Jim Gilchrist, The Scotsman 20.06.2010.
Scotland’s Fiddle Piobaireachd Vol.1 was nominated for a Grammy award in 2010 and won a Wammy in 2011.
Harlaw, Scotland 1411, Tulloch Music tm505
“The new album has been produced by musicologist and broadcaster John Purser, and includes a narrative CD in which he discusses the battle, along with commentary from Professor Alan Riach of Glasgow University and musical excerpts, very much along the lines of Purser’s acclaimed Scotland’s Music radio series.” Jim Gilchrist, The Scotsman, 26.1.2011 p.38.
“Bonnie Rideout has assembled a stellar cast of friends old and new in this mighty venture, with the able assistance of musicologist John Purser. John is also the producer . . . This is a listening experience to be savoured. It is a most impressive and moving remembrance, to quote John Purser, ‘of the age old battle between war and peace’. This is a landmark recording.” Geordie McIntyre The Living Tradition, Issue 88.