When I think of the greatest Scottish composer, I want to know whether the emphasis should be placed on the Scottish nature of a composer’s output, or upon internationally accepted genres in which a Scot has excelled.
I suspect that Niel Gow (1727–1807) is thought of by many as the archetypal Scottish fiddler and the composer of many tunes that have become modern Scottish dance band standards. I tend to think of this as important because folk and dance music forms such an important part of Scottish culture. Of course, many have followed in his musical footsteps, and some will have written very popular tunes, but Niel is still the one who made the the critical transition between the music of the people and the music of the salon.
Some, of course, will consider that only classical music, or only pop music, should be taken into account. Scotland has no Beethovens. It does have composers called Robert Bruce and William Wallace, not to be confused with the medieval warriors of the same names. But as a general rule, Scottish classical composers are not household names. Those who know them will take up the cause of, say, Alexander Mackenzie, Learmont Drysdale, Erik Chisholm and many others, but we cannot claim that anyone has earned worldwide renown.
Scottish pop stars are often better known abroad, but I doubt many of them would claim the title of our greatest composer. Roy Williamson of The Corries wrote ‘Flower of Scotland’, but it is possible that few outside Scotland appreciate that achievement.
It is entirely possible that the greatest Scottish composer wrote for his sweetheart an air that has come down through history, even though the composer’s name has not.
