Live Music Archive

A hand shot up out of the audience and waved emphatically, attempting to catch the celebrity’s attention. The spotlit fiddler

peered out into the darkness and candidly asked, “Do I know you? Am I related to you?”

The whole room burst into laughter and I felt like I was right there with Natalie MacMaster in her kitchen enjoying a

homespun “ceilidh,” (pronounced “kay-lee”) Celtic dance.

This “kitchen” had a world-famous celebrity, a top-notch symphony orchestra and over 450 paying guests at $40 each, but

that’s beside the point. It was still Natalie’s kitchen.

She went on to tune her violin patiently, though hundreds of eyes watched anxiously. Perhaps she sensed the urgency when she

joked that her tuning was, “Close enough for Celtic,” and the room chuckled again. Then this sweet, down-to-earth gal from

Cape Breton Island picked up her fiddle and the “kitchen” went up in flames! There wasn’t a foot within earshot that could

resist tapping to her phenomenal playing and dancing.

Earshot, but not eyeshot. Unfortunately, most of the audience could only see the virtuoso from the waist-up due to the level

seating arrangement of the hall. Natalie’s legendary clicks and clacks of tap shoes on the hollow stage stirred me to leave

my seat and watch the entire concert from the side aisle. Soon after standing, I ran back to my aisle to fetch my young

violin students, who were too short to catch the fancy footwork from their seats.

In true Celtic tradition, our quiet observation from the sidelines grew into louder foot stomping, which rapidly escalated

into energetic circle dancing and jigs. Natalie’s own dancing featured high kicks, quick spins and rhythmic tap dancing. As

the show progressed, her traditional Scottish step dancing morphed into groovy modern hip-hop and disco moves, including the

notorious and difficult “Moonwalk!”

Much to my surprise and delight, the music also went through a breathtaking metamorphosis. The concert started with

traditional Celtic melodies played by the silky string sections of the symphony. Next was a Cape Breton fiddle tune in A

major, what Natalie called the “Canadian key.”

After such traditional pieces, we learned that she was more multifaceted than imaginable. From a Latin mix to the gorgeous

jazz ballad, “Autumn Leaves,” we were all captivated by her versatility.

Concertmaster of the Okanagan Symphony, Denis Letourneau, was as mesmerized as the audience was! The classical virtuoso

beamed from ear to ear and repeatedly shook his head in awe and admiration of Natalie’s fiddling fireworks. Then he

contributed to the pyrotechnics when he joined Natalie for a musical goulash where “fiddling met violining.” Their duet

blended the popular fiddle tune “Devil’s Dream” with the intricate Bach Violin Partida in E!

“Denis, we have an expression back in Cape Breton,” said Natalie afterwards, “When we really dig in, we say we were ‘driving

‘er.’ Now you can go home and say last night you were really ‘driving ‘er!” Denis blushed. Natalie smiled. We all felt two

worlds converge and it felt wonderful.

As our cultures blend, I think we’ll be seeing a lot more “Traditional fusion” in music. Diverse forms of music, polar as

they may seem now, will soon merge and create new genres that people of all ages and walks of life can appreciate. Put a

symphony orchestra, a fiddler, a funk band and a bagpiper playing on stage at the same time and everyone from Grandma to the

teenager with the spiked hair will approve.

There will be growing pains, naturally. As in Natalie’s concert, there will be an obvious polarity in the audience in

deciding proper concert protocol. Some people at the concert didn’t know whether get up and dance in the aisles, or to be

content in sitting in quiet appreciation. Like any pioneers, we’ll find a middle ground that works for everyone. Heck, a

friend of mine once created “seated dancing” in such an awkward situation.

Natalie’s charm and talent, coupled with her obvious love of music, were enough to inspire me and several other violinists

present to explore new avenues of expression and technique. I couldn’t wait to get home to try some of the things she showed

us so flawlessly that night.

Natalie provided further inspiration when she agreed to sign fiddles my students had brought with them. Then she stood, weary

and tired, but smiling enthusiastically for group photographs with me and my fiddle students.

My students, young and old, talked about Natalie’s concert for weeks and have found a role model who will guide them into

wonderful new directions.

Thank you, Natalie. You are one amazing Canadian pioneer and we love you for it!

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years.

She currently writes columns for two Canadian publications and has been featured in Australia’s “Music Teacher Magazine.”

Writing allows her to teach people that the world of music is as fun as you spin it to be!

Rhiannon, age 29, has worn the hats of businesswoman, performer, events promoter, classical music radio host and school

orchestra music arranger in rural British Columbia, Canada.