In addition to having extensive classical music training, she is accomplished in a broad array of fiddle genres. Her music journey found purpose when she fell in love with Celtic music at the Valley of the Moon Scottish Fiddling School at age Born in Northern California, Brittany grew up honing her craft at string camps nationwide, and developed her unique style of fiddling at the influence of her mentors, Bruce Molsky and Darol Anger. At seventeen, she released her debut, self-titled solo album produced by Anger.
Haas continued to tour and record while simultaneously earning a degree in Evolutionary Biology at Princeton University where she also minored in Music Performance. Haas has always been a much sought-after collaborator and session musician. Fraser has a concert and recording career spanning over 30 years, with a long list of awards, accolades, radio and television credits, and feature performances on top movie soundtracks Last of the Mohicans, Titanic, etc. Haas, a graduate of the Juilliard School of Music, is one of the most sought after cellists in traditional music today.
This seemingly unlikely pairing of fiddle and cello is the fulfillment of a long-standing musical dream for Fraser. His search eventually led him to find a cellist who could help return the cello to its historical role at the rhythmic heart of Scottish dance music, where it stood for hundreds of years before being relegated to the orchestra.
Together they are re-casting the cello in its historic role at the rhythmic heart of Scottish dance music. As year-old Natalie Haas brilliantly demonstrated on Thursday, accompanying the California-based Scottish fiddler Alasdair Fraser, it's depth of resonance and percussive potential put a potent spin on the rhythms of Celtic music. It is a fascinating combination, one that occasionally sounds like a baroque duo.
And then you realize that some of the great fiddle tunes by people such as Neil Gow were indeed written in the 18th century. When he played, often with a cellist, at Blair Castle, it probably sounded just like that. Otherwise, treat virtual performance with the same degree of care and quality you would a live performance—most importantly, be yourself and make sure you can laugh through all the technology fails, because they are bound to happen, even if you perfect everything on your end.
How will you continue going forward as a player? Will the quarantine change your path? I love that lifestyle and the sense of community it creates, and hope it becomes possible again one day.
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