2013 Magazine - Royal Caledonian Ball

THE ROYAL
CALEDONIAN BALL
MAGAZINE 2013

Aberdeen Asset Management
is delighted to support
The 165th Royal Caledonian Ball
www.aberdeen-asset.com
Issued by Aberdeen Asset Managers Limited, 10 Queen’s Terrace, Aberdeen AB10 1YG.
Authorised and regulated by the Financial Services Authority in the United Kingdom.
121001401

Welcome to the 165th Royal
Caledonian Ball. Thank you for
joining us – I am sure you will have
an enjoyable and memorable evening.
I am delighted to be Chairman for a third year.
It is a great honour to preside over this historic
Ball, which remains one of the most loved events
in the Social calendar. I was introduced to
reeling in London 25 years ago. Iona, Duchess of
Argyll was the first person who invited me to
the Caledonian. I remember very nervously
taking a large bowl of strawberries to her dinner
party and not knowing what to expect. She was
a wonderful and inspirational hostess. The
evening left a lasting impression on me and
instilled an abiding love of reeling. As an English
woman I had never seen anything so exotic,
glamorous and physically dangerous as the Great
Room in full flow mid Dashing White Sergeant.
I want others to experience the same magic that
I felt that night. It is my mission to bring in as
many new faces as possible each year. I am
particularly pleased to see children up in the
balcony again, adult beginners at my annual
practice party the week before (you know who
you are….), and that our ticket sales to under
25’s and the military have reached over 50%.
This year we are also welcoming guests from all
over the world – America, Canada, Russia,
Norway, Greece, Nigeria and Germany to name
a few. It is a great pleasure to see people coming
together in this way, experiencing our traditions
at an event that celebrates our history, but
maintains a sense of fun and youthfulness.
None of this is possible without the incredible
enthusiasm of my committee. Sadly, two of the
most long-standing and committed members of
my team are retiring. Many of you will have met
Sarah Bardswell over the 16 years she worked as
the Ball Secretary. What Sarah doesn’t know
about ticket sales, dress codes and eccentric
Letter from the Chairman
Lady Dalmeny
1
dietary requirements is
not worth knowing!
She was particularly
kind to me when I
started to attend the
Ball. Her knowledge
and love of the Ball is
quite unprecedented
and I shall miss her
hugely at our meetings.
However she is not permitted retire from the
dance floor!
Iona Argyll has also resigned and this will be her
last year as President. I could not have wished
for a wiser, calmer or more gracious person at
our helm. The Duchess has been a great
supporter of the Ball, exceptionally generous
with her time and the most elegant figurehead.
We are very pleased that Viscount Dupplin will
be our new President, after many years of hard
work as the Chairman of the Ball.
And finally…the dreaded fund raising. Please do
not switch off at this point. Underneath the
glamour, fun and the celebration of our Scottish
roots we have a serious purpose. We need your
support more than ever in these financially
difficult times so that we can continue to help
others. Please give generously tonight, either
direct donations or by bidding for one of the
exceptional prizes in the Silent Auction (pages 6-
7). If you have any ideas for further fundraising
through the year, please feel free to contact us.
Have a wonderful evening.
Lady Dalmeny
Chairman

2
Her Majesty The Queen

Her Royal Highness The Princess Royal
3

The Royal Caledonian Ball 2013
GENERAL PROGRAMME
10.00 pm
Pipes and Drums
of The London Scottish Regiment
10.30 pm
The processional march of the Set Reel
into the
Great Room
12.30 am
Breakfast will be served
3.30 am
Carriages
Pipes and Drums of
The London Scottish Regiment
by Kind Permission of Colonel David
Rankin-Hunt, LVO, MBE, TD
The Simon Howie
Broadcasting Band
Grosvenor House, Park Lane, LondonW1
Friday 3rd May 2013
4
DANCE PROGRAMME
Procession and Set Reel
1. Dashing White Sergeant
2. Reel of the 51st Division
3. Waltz
4. Eightsome Reel
5. Mairi’s Wedding
6. Foxtrot
7. Hamilton House
Breakfast
8. Duke of Perth
9. Waltz
10. Speed the Plough*/Kandahar Reel
11. Duke and Duchess of Edinburgh
12. Quickstep
13. Reel of the 51st Division
14. John Peel
*Also known as Inverness Country Dance
Carriages

Silent Auction
This year our Silent Auction is run by Superstars who have provided prizes in addition
to those so generously donated by the following. All proceeds from the Silent Auction
go to support our charities.
Kinloch Anderson Made to
Measure Kilt in the tartan of
your choice
Kinloch Anderson are foremost experts in
Highland Dress and have over 2,000 tartans
in their ranges. As well as a made to
measure kilt, your prize will include a
special, informative tour of the Shop, the
Heritage Room Museum, the Showroom
and the Production Unit in Edinburgh with
a member of the Kinloch Anderson family.
Kindly donated by Kinloch Anderson
Private 3 course pre-ball dinner
for up to 10 persons for the 2014
ball
Cooked and served by the Head Chef,
Alex Cooper of the Basement Galley in
the privacy of your own home. You won't
even come home to dirty dishes - they will
leave your home immaculate! Wine not
included.
Kindly donated by the Basement Galley
6
A week's fishing on the Deveron,
Aberdeenshire
Over the years the river has been renowned
as a salmon, sea trout and brown trout river
and is a well kept secret thanks to its better
known neighbours, the Dee and Spey. This
lot includes family accommodation for 6 in
a self catered flat. Dates and details by
mutual agreement.
Kindly donated by John Shields
Monotype by William Foyle
Holding his debut sellout solo show in
October 2012, William Foyle has been
heralded by critics as 'one to watch'. This
dynamic horse study is one of a recent series
by this young artist.
Kindly donated by William Foyle

All prizes must be claimed within one year of the ball
Dinner for 2 at the Basement
Galley Supperclub
You will enjoy a 6 course tasting menu in an
exclusive London location. A fantastic
evening with friends and strangers, the
Basement Galley hold their supperclubs in
extraordinary and exclusive venues in
London - most recently in a
decommissioned Victoria Line underground
carriage.
Kindly donated by the Basement Galley
Fly me to the Ball!
Two tickets to the Scottish Ball in New York
on Saturday 9th November, including
return flights from the UK. NB. Date of
ball may change
Kindly donated by Hiscox Ltd and The Scottish
Ball of New York
With special thanks to Viscount Dupplin and
Nan Chisholm
7
Silent Auction
Watercolour painting of your
house
By Lord Biddulph. Date by mutual
arrangement & accommodation to be
offered if you live somewhere tricky. This
prize makes for a wonderful present.
Kindly donated by Lord Biddulph
Dinner, Ball, Bed and Breakfast
at Grosvenor House Hotel for
the 2014 ball for 2
Enjoy a night of dinner and dancing at the
Caledonian Ball next year and no need to
get a taxi home! Spend a night in one of the
luxurious bedrooms at Grosvenor House
and enjoy one of their delicious breakfasts
to recover.
Kindly donated by JW Marriot

Stirling Castle, home to the famous
Stewart Kings and Queens is one of
Scotland’s most magnificent castles.
Built strategically on a majestic crag
overlooking the Ochil Hills it has played a long
and important role in Scotland’s history.
The castle is looked after by Historic Scotland,
the Scottish Government’s heritage agency. As
the biggest operator of visitor attractions in
Scotland, Historic Scotland care for 345
properties across the country from abbeys and
cathedrals to castles and palaces.
The centrepiece of Stirling Castle is the Royal
Palace of James V of Scotland. It is an
outstanding example of Scottish Renaissance
architecture and is Britain’s most complete
Renaissance royal palace.
In 2004 Historic Scotland embarked on an
exciting and innovative £12 million renovation
project to return the interior of the palace
apartments to how they may have looked in
the 1540’s, when it was home to a young
Mary, Queen of Scots and her mother Mary
de Guise.
The refurbishment of the royal palace marked
the fourth, final and most ambitious stage in
Stirling Castle
The Restoration of a Renaissance royal palace
10
Historic Scotland’s 20-year programme to
conserve Stirling Castle and enhance its
position as a must-see visitor attraction.
About the palace:
In 1538, James V of Scotland was preparing to
marry his second French wife. To mark the
arrival of his bride, James commissioned a
new Palace in Stirling Castle. It was intended
to be as fine as any princely residence she
would have known in the richer kingdom of
France.
The Palace was designed to display James V’s
wealth, learning and sophistication, as well as
asserting his right to rule.
Its elaborate decorative scheme, inside and
out, was inspired by the European
Renaissance. It drew on ideas from the
Classical world, employing elaborate symbols
and motifs to broadcast messages of power
and prosperity, wisdom and justice.
The Palace comprised Royal Lodgings for
the king and queen. Each apartment had
three spacious rooms – in ascending order
of privacy: an Outer Hall‚ an Inner Hall and
a Bedchamber. Access to these rooms was
restricted according to the rank of the
visitor and the royal privilege extended to
them.
Both Kings and Queens suites were located
on the same floor, arranged around a
courtyard known as the Lion’s Den.
These rooms were used for a variety of
purposes, including taking meals, greeting
important visitors, dancing and
entertainments, royal audiences and
meetings about affairs of state.

James never lived to see it completed, dying
in 1542. It continued however to be home
to his widow, Mary de Guise and her
daughter, the young Mary Queen of Scots,
until she was sent to France in 1548.
Stirling Castle and its palace fell into
disrepair in the 17th century. When James,
Duke of Albany and York (the future James
VII and II), visited in 1681 it was thought
unfit for him to stay there.
Neglect led to decay, but refitting for
military use ensured that some areas of the
palace remained in very good condition as
the army often covered up, rather than
removed, original features
The castle stopped being a military depot in
1964, before later becoming a paid-for
visitor attraction.
The Restoration of the Royal
Apartments:
The restoration of the interior of the palace
apartments was based on the latest research
to painstakingly recreate the apartments.
Historic Scotland’s aim was to recreate the
most authentic experience possible by
transporting visitors back into the world of
the Scottish Renaissance royal court,
surrounded by beautiful decorations, crafts,
works of art and furniture.
Costumed interpreters now take on the
roles of everyone from Kings and Queens to
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court officials and noblemen. Visitors not
only see what a royal palace looked like
when it was new, but glimpse the lives of the
people who lived and worked there.
The result is a visitor experience unlike
anything else in Scotland.
Craft Skills:
Central to this was using traditional artists and
craftsmen to replicate authentic Renaissance
style by using age old techniques and craft
skills.
Craftspeople from across the UK were
carefully selected to help painstakingly bring
the interior of the palace back to its original
glory.
Historic Scotland’s aim is to allow visitors to
experience the Palace as it could have been
when it was completed in the 16th century.
The result is that a visit to the six royal
apartments in the palace is very different from
a typical trip to a historic building or museum,
because visitors see what everything was like
when it was new. The tapestries are bright not
faded, the furniture unblemished rather than
antique – the paintwork still fresh on the
walls.
Each detail is the result of meticulous research
– many items are copied from surviving
examples. In fact, an amazing range of sources
have been used. The overall impression is of
strong colours, detailed motifs, rich materials

and the best craftsmanship of the day. After all,
James V’s intention was to use the design of his
Palace to demonstrate his wealth, knowledge,
power and taste as a leading European ruler.
The Stirling Heads:
One of the most ambitious elements of the
Palace project was the recreation of the
Stirling Heads – often referred to as Scotland’s
other crown jewels.
The heads – a series of metre-wide carved oak
medallions - depicted images ranging from
classical heroes to contemporary portraits,
originally adorned the ceiling in the Kings
Inner Hall. There is nothing quite like them
anywhere else in the world.
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After Stirling Castle fell from favour as a royal
residence it found a new role as an army
garrison. The royal lodgings were not
maintained as before and the ceiling
collapsed in 1777. Some of the heads were
lost or destroyed, with others being
dispersed. But even during the darkest
moment of their history there were those
who recognised their importance. Some
were saved as curiosities, others ended up in
private homes. But by the 1970s all the
remaining heads were back in public hands.
Many were displayed at the Smith Gallery in
Stirling and three are owned by National
Museums, Scotland
One of the most important parts of the
project has been to display the original
Stirling Heads in their own gallery, allowing
visitors to see the heads much closer-up
than any of the select few who would have
been admitted to the King’s Inner Hall five
centuries ago.
A new ceiling was also painstakingly created
from 34 newly carved copies of the
originals. Created over 4 years by expert
woodcarver John Donaldson they offer a
spectacular and stunning insight into the
palace’s past.

The Stirling Tapestries:
Historic Scotland also undertook an exciting
project to recreate one of the world’s finest
surviving sets of medieval tapestries as part
of the palace project. The new versions of
The Hunt of the Unicorn series have been
woven to adorn the walls of the Queen’s
Inner Hall – where Mary of Guise held
court in her palace at Stirling Castle.
This separately funded £2 million initiative
will see a total of seven tapestries, each
measuring 3.3m by up to 3.8m being handwoven
at the castle itself and at the West
Dean Tapestry Studio in West Sussex. They
tell a tale of the hunt and slaying of a
unicorn to obtain its horn, which has
magical powers of purification, after which
the creature returns to life.
Inventories from 1539 show that the
Scottish royal collection included a set
depicting ‘the historie of the unicorne’ which
may have been very similar. The new
versions are based on tapestries of a similar
period from the Low Countries and which
are now on display in the Cloisters Museum,
at New York’s Metropolitan Museum of Art.
Each new tapestry takes between two and a
half to four and a half years to make,
depending on its width. Four are currently
13
on display in the palace, with the final two
tapestries in the series due to be complete
by August 2014. Weaving can be seen in the
Tapestry Studio at Stirling Castle from
Saturday through Wednesday each week.
The tapestry project is a collaboration
between Historic Scotland and a range of
sponsors, principally the Quinque
Foundation and the Guild of Weavers with
funding channelled through the Historic
Scotland Foundation. The Met has been vital
to the project by giving HS permission to
copy the originals and allowing the weavers
unique access to study them.
One of the tapestries from the series is
currently on temporary display at the
Fleming Art Gallery at Mayfair in London
until June 1st 2013.
Appearing as part of a wider exhibition
entitled ‘Finding the Unicorn’, the
exhibition is a great opportunity to find out
more about the tapestry project and its role
as part of the wider Stirling Castle Palace
project.
The Opening:
The completed palace was honoured with a
Royal Opening by Her Majesty The Queen
in July 2011.
Since opening the palace Stirling Castle now
attracts over 400,000 visitors per annum,
offering a truly unique experience unlike
any other in the Scottish tourist attraction
industry.
The castle has won a number of awards since
the re-opening including being voted the
UK’s best loved heritage attraction by
members of Which? magazine.
For further information on Stirling Castle
please visit www.stirling-castle.gov.uk

The Scottish Colourist: S. J. Peploe
Alice Strang, Senior Curator, Scottish National Gallery of Modern Art
Amajor exhibition of the work of the
Scottish Colourist S. J. Peploe (1871-
1935) can be seen at the Scottish
National Gallery of Modern Art in Edinburgh
until 23 June 2013, before selected works
tour to Aberdeen Art Gallery (13 July – 19
October 2013). This is the first retrospective
of the artist’s work to be held for almost thirty
years. It consists of over 100 paintings,
brought together from public and private
collections and includes many works rarely, if
ever, exhibited before.
Along with F. C. B. Cadell, J. D. Fergusson
and G. L. Hunter, Peploe is one of the four
artists commonly known as the ‘Scottish
Colourists’. They are the nation’s most
renowned early twentieth-century artists,
who are celebrated for their immersion in
modern French art and for a shared love of
brilliant colour applied in a painterly manner.
Peploe was the eldest and most successful –
commercially and critically – of the group and
it was his friendship with the others which
bound them together.
The Coffee Pot, c.1905
Peploe was born in Edinburgh in 1871 and
lived in the city all of his life, apart from the
years 1910 to 1912 which he spent in Paris
with Fergusson. His first solo exhibition was
held at The Scottish Gallery, Edinburgh in
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1903. He is best known for his fascination
with still-life painting and established his
reputation with works such as The Coffee Pot,
c.1905, which was painted in a manner
reminiscent of Edouard Manet and Dutch Old
Masters including Frans Hals and Rembrandt
van Rijn. The narrative implications of its
after-dinner atmosphere, the rich paint
applied with aplomb, the counterpoint of
bright white tablecloth against dark
background, the glint of light on silver and
glass and the touches of bright colour in fruit
and porcelain make this one of the
masterpieces of Peploe’s early career.
However, he is perhaps most celebrated for
the vividly coloured series of still lifes
executed between approximately 1918 and
1924, concentrating first on tulips and later on
roses. Tulips and
Fruit, c.1919 is a
fine example in
which the artist’s
attempt to
create the ideal
composition of
objects and
perfect harmony
of colours is
Tulips and Fruit, c.1919
realised in an
image which remains stunning almost 100
years after it was created. It seems that Peploe
never tired of painting this genre, writing in
1929: “There is so much in mere objects,
flowers, leaves, jugs, what not – colours,
forms, relation - I can never see mystery
coming to an end.”
Of equal importance to his still lives are the
Scottish and French landscapes that Peploe
painted throughout his career, usually en plein

air. Many of
these works are
rooted in his
friendships with
the other
Colourists; he
was introduced
Green Sea, Iona, c.1920
to the
Hebridean island of Iona by Cadell in 1920 and
first visited France with Fergusson in the early
1900s. At Iona, Peploe was particularly drawn
to the rocks, sands and views at the north of
the island, creating works such as Green Sea,
Iona, c.1920. In France, Peploe and Fergusson
embarked on painting trips from 1904, most
notably to Paris and the Normandy coast,
where they became steeped in Impressionist
and Post-Impressionist painting, including that
of Sisley, Pissarro and Cézanne. During the
1920s Peploe returned several times to France
to paint, including to Cassis with Cadell in
1924 and to Antibes with Hunter in 1928.
Fergusson moved to Paris in 1907, and three
years later, persuaded the newly-married
Peploe to join him. Peploe was thus amongst
the first British painters to see and respond to
avant-garde work by artists including Picasso,
Matisse and Derain. Fergusson recalled
“Peploe and I went everywhere together. I
took him to see Picasso and he was very much
impressed. We went to the Salon d’Automne
where we met Bourdelle, Friesz, Pascin and
others…I was very happy for I felt that at last
he was in a suitable milieu, something more
sympathetic than the RSA [Royal Scottish
Academy].” When Peploe returned to
Edinburgh in 1912, his new work was received
with scorn, but was widely exhibited in
London during the following two years.
After the outbreak of the First World War,
Peploe was declared medically unfit for
service. He then embarked on a period of
isolated experimentation whilst corresponding
with Fergusson and Cadell. Shortly afterwards
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they began their annual trips to Iona, whilst
throughout the 1920s their homes and studios
were within easy walking distance of each
other in the New Town.
Throughout the 1920s Peploe exhibited
regularly in Edinburgh, Glasgow and London
and in 1927 he was elected a member of the
RSA. From about 1924, he developed a style
characterised by an increasingly sombre
palette and rigorous technique, using more
rustic accessories such as a treacle-glazed
earthenware teapot and even lamb chops.
Peploe died in Edinburgh on 11 October 1935
and was buried in the family grave in the Dean
Cemetery. Memorial exhibitions were held at
The Scottish Gallery in 1936 and at the
McLellan Galleries, Glasgow the following
year.
The Scottish Colourist: S. J. Peploe
Scottish National Gallery of Modern Art
(Modern Two)
Until 23 June 2013
Sponsored by Dickson Minto W. S.
Tour of selected works to Aberdeen Art Gallery 13
July – 19 October 2013
www.nationalgalleries.org
Images
S. J. Peploe The Coffee Pot, c.1905
Private collection, courtesy Susannah Pollen Ltd
© The Fine Art Society, London, UK / The
Bridgeman Art Library
S. J. Peploe Tulips and Fruit, c.1919
Private collection
Photograph John McKenzie
S. J. Peploe Green Sea, Iona, c.1920
The Fleming-Wyfold Art Foundation
© The Fleming-Wyfold Art Foundation / The
Bridgeman Art Library

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The Lyon Office
by The Hon Adam Bruce, WS, Marchmont Herald of Arms
In the early 15th century King James II of
Scots sought to recapture Roxburgh
castle, the fortress that commanded the
Scottish March, or border, with England. In
anticipation of that event he appointed
Marchmont Herald to be his Royal Officer
for the March. Sadly the King perished
when one of the siege cannons he was
inspecting blew up. Happily for us the office
of Marchmont Herald still exists, and we
spoke to Adam Bruce, the current holder of
that office.
“Many people believe that Heraldry in
Scotland died out along with James II, but
they are very wrong. I’m living proof of that:
until recently I was Unicorn Pursuivant, but
was recently promoted by David Sellar, the
Lord Lyon King of Arms, to the office of
Marchmont Herald, part of Scotland's living
and breathing heraldic and ceremonial
executive.
At the Office of the Lord Lyon, who
oversees that executive, there are three
regular Heralds and three Pursuivants,
known as ‘officers in ordinary’, together
with four officers “extraordinary”. Lyon is a
Great Officer of State responsible for the
planning and execution of all State
Ceremonial in Scotland, but his primary role
is as the Heraldic Authority for Scotland,
where he grants people and businesses coats
of Arms, and arbitrates in contested matters,
or where a claim to a coat of Arms is
uncertain.
The role of the Officers of Arms is to
support him in those functions. One of the
Heralds, Snowdoun, is the full time Lyon
Clerk and Keeper of the Records, working
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alongside Lyon on the administration of
Lyon Office business. The rest of us assist as
time allows. We each have a particular
interest, whether in genealogy, the law of
heraldry, ceremonial, heraldic art or legal
and Scots history. We advise Scots all over
the world who want to apply for a coat of
Arms, or who want to inherit Arms carried
by an ancestor.
The Lyon Office is busier now than it has
ever been, serving domestic demand and
from across the diaspora. We are probably
the oldest surviving court of protection for
intellectual property in the world. A coat of
Arms is a piece of property, marking its
owner as part of the great Scottish global
family, and entitling them to the protection
of our Office.

One of the joys of the role, and there are
very many, is to work with families and
Clans who have lost their Head or Chief.
Last year Lyon asked me to work with the
MacEwan and Ewing families to help them
choose who they want as their
Representative. The great Clan Donald has
embarked on a search for the missing Heads
of its Branches, and I am hopeful that in
New Zealand we may have found the senior
representative of the MacDonalds of
Glencoe.
As well as these private duties, we also have
formal public duties. We attend the annual
General Assembly of the Church of Scotland
to support the Lord High Commissioner
who is appointed as The Queen's
Representative for the week of the
Assembly. In the summer we attend The
Queen if she holds a service for the Order
of the Thistle (as she did last year when
HRH The Duke of Cambridge joined the
Order).
Every three years of so we help install the
new governor of Edinburgh Castle, and
when there is to be a General Election, we
march down the Royal Mile from the Signet
Library to the Mercat Cross – accompanied
by trumpeters and a military escort - where
Lyon will read the Writ of Dissolution to
announce that there will be an election. We
also participate in the Opening of the
Scottish Parliament, in part recreating the
ceremonial observed pre 1707. But, not all
our public duties are ancient. Together with
the English and Canadian Heralds we
escorted The Queen down the Thames as
part of the Jubilee River Pageant in London
last June, which was damp, but awe
inspiring.
In the absence of the Sovereign our public
role is to represent Her Authority; in the old
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days we were essentially diplomats and
enforcers of The Royal Will, who would
often try to make peace before battle and
pick up the pieces afterwards. Today our
role is mainly ceremonial, but we add colour
and keep these traditions alive.
We are part of the great tapestry of Scottish
life, representing old traditions and
protecting legal rights whether long held or
recently granted. But we are also a modern
and forward looking body, working to adapt
the art and science of heraldry to the
demands and expectations of today's
Scotland. It is a hugely enjoyable role, and
together with Lyon and my brother and
sister Officers, Rothesay, Snowdoun,
Ormond, Dingwall and Unicorn, I think we
add a bit of colour in a sometimes dreich
nation.”
(With thanks to Richard Bath of the Scots
Magazine in which a version of this interview was
originally published).
The heraldic badge of the
Marchmont Herald of Arms

Among Serena’s
forebears, there
is a long history
of artistic and musical
talent and commercial
innovation and vision.
Serena has brought all
these gifts together and
found a niche for herself
in the world of
fireworks. Although the
concept of putting music to fireworks is
centuries old, Serena feels the musical
element has been side-lined and needs to be
considered as instrumental as the fireworks,
for a truly outstanding display. This, she
believes, is the key to creating fireworks
displays that really inspire and leave people
feeling moved and elated.
Serena has loved music all her life. She started
learning the piano aged 3 and later studied
under a Russian concert pianist. She
continued studying Classical music at
Edinburgh University and performing
numerous piano recitals and later took her
training further in Music Production at the
prestigious London School of Sound.
Serena wants to change people’s perception of
what a firework display can be. She believes
that music can transform a display – creating a
new world of art and imagination that most
people have not yet experienced – developing
firework design into a new art form.
Tell us about your work
My work stems from a passionate belief in the
power of music and its ability to move people.
You can use music to illicit any emotion in
people, be it joyous, excited, sad or
contemplative.
Interview with Serena Foyle
Music Designer for Fireworks displays
20
To this end, I now create bespoke musical
soundtracks for fireworks displays, from small
private shows to large international
competitions. In all displays that I create, both
elements, the music and the fireworks, are
treated with equal importance. I design the
music for my displays and collaborate with a
fireworks designer, to create a high impact
result that captivates the audience.
You describe yourself as a
“pyromusical producer”. What is a
pyromusical?
Simply, it is fireworks set to music- both are
designed together, the one enhancing the
other. In a pyromusical, there is the potential
for the audience to experience the power of
the two elements of audio and visual
inextricably linked.
The term ‘pyromusical producer’ is a title that
has come about because until now there has to
my knowledge never been anyone who had
this specific role. The music is so often just an
afterthought, shoe-horned awkwardly into
even the most lavish displays. Music design is
the beginning of creating all pyromusicals and it
is crucial to get this right - a black sky is a
blank canvas on which the music can take the
mind on an infinite number of possible
journeys. Involving someone with musical
training and experience, right from the
beginning, will transform a display and
transport an audience, imprinting the
experience in their memories.
As the producer, I am responsible for designing
the soundtrack. I work from the very start of
the project with my chosen fireworks designer
to produce bespoke displays, gaining
inspiration from the surroundings and working
closely with the client.

You seem to have carved out a unique
niche for yourself how did you first get
in to it?
I have always been fascinated with the power
of sound and how it enhances how one feels.
As a pianist, I loved performing in concerts,
where I could take an audience on an
emotional journey. It is also why I am
fascinated by how music is used in films. I
realised the potential of this combination in
the world of fireworks had not been fully
explored.
What is your creative process?
The most important thing for me is to go to
the location and to meet the clients. I find my
mind can quickly begin to picture what music
will suit the atmosphere of the place and I can
make a judgement on what styles of music will
be right for their display. Each display is
different and the music directs what difference
this will make.
The fireworks will be choreographed to the
soundtrack and the fireworks designer and I,
will work very closely together on that. The
process is similar to that of ballet - the music is
the inspiration for the choreography.
You are a classically trained musician.
Do you have a favourite genre of music
to accompany your display?
21
I have an eclectic taste. With different styles
and combinations of music for each display,
the audience can never predict what journey
they are going to be taken on. I incorporate all
types of music in my productions - from
classical right through to all types of
contemporary dance music.
What projects have you recently
undertaken?
Earlier this year I designed the music for a
very large budget display at an estate outside
London and most recently I travelled to
Manila in the Philippines to compete in a
global pyromusical competition and I am
delighted to say that we won against 11 other
countries!
What was one of your most favorite
events?
I think really it was one which I organised for
charity (Marie Curie Cancer Care in Scotland)
at the wonderful Adam House, Mellerstain, in
the Scottish Borders. I selected the venue
because of its gloriously spacious setting and
magical view over the lake which gave me the
inspiration musically and the freedom to
create something very moving and entirely in
my own style.
For more information about Serena’s work, go
to www.serenafoyle.com

SET REEL ARRANGED BY Mr GUY DAWSON
Order of Procession and Plan
The Royal Caledonian Ball 2013
The President's Reel
Mr Andrew Murray Iona, Duchess of Argyll
Mr Louis Greig Lady Louise Burrell
The Hon Mr John Drummond The Hon Mrs John Drummond
Mr Roderick Corrie Lucilla, Lady Noble
Mr Adrian de Ferranti Mrs Adrian de Ferranti
Mr Peter Dunne Mme Marie Sophie Law de Lauriston
Mr James McCosh Ms Rannveig Bore
Mr Angus Macpherson Mrs Angus Macpherson
The Chairman's Reel
Lord Dalmeny Lady Dalmeny
The Earl of Dundonald Lady Caroline Duckworth
Mr James Fraser Mrs James Fraser
Mr Houston Morris Mrs Houston Morris
Scots Guards 1
Captain Will Tulloch Miss Jemima Shirreff
Captain Henry Greeves Miss Sian Mayor
Captain Charlie Catto Miss Harriet Collings
Mr Alex Maxwell Scott Miss Caroline Finnegan
Scots Guards 2
Captain Alistair Orr Ewing Major Nicola Wiseman
Captain Ivar Milligan Miss Sarah Peel
Mr James Dyson Miss Una Mckeown
Mr Chris Connolly Miss Louisa Hatfield
Highland Reel 1
Viscount Dupplin Viscountess Dupplin
Mr Victor Lamarque Lady Emma Mahmood
Mr James Anderson Mrs Matthew Benson
Mr Alexander Stewart-Clark Mrs Davide Taliente
Highland Reel 2
Mr Euan Ivory of Brewlands Miss Emily MacDonald
Mr Alexander Friend Miss Lily Hamnett
Mr William Culbert Miss Rosanna McCorkell
Mr Oliver Withers Miss Camilla McCorkell
Mr Harry Moule Miss Mhoraig Grossart
Mr Hector Falconer Miss Charlotte Hilton
Mr Alexander Grimston Miss Lucie Kempsey
Mr Christopher McCorkell Miss Roseanna Ivory of Brewlands
Mr Robert Kerr Miss Laura Cecil
Mr Myles Dowley Miss Ruth Stanley
22
2
4
8
10
12
Entrance side
Order of Procession
2 The Chairman's Reel
4 Scots Guards 2
6 Highland Reel 2
8 The London Scottish
10 The British Army
12 The Borders’ Reel
5
6
Sta

irs
1
3
7
9
11
Band Side
Band Stage
Order of Procession
1 The President's Reel
3 Scots Guards 1
5 Highland Reel 1
7 The Royal Regiment of
Scotland
9 Highland Reel 3
11 The New York Reel
Mr Harry McCorkell Miss Caroline Cranley
Mr Rupert Gerald Miss Sophie Emler
Mr Torben Sherwood Miss Rebecca Moule
Mr Thomas Steele Miss Elizabeth Tyler
Mr Ronald Gray-Cheape of Glenaladale Miss Victoria Kleiner
Mr Ralph Anderson Miss Jessica White
Royal Regiment of Scotland
Captain Jonathan Kerr Miss Harriet Stevens
Captain Edward Challis Miss Rebecca Lilywhite
Captain Timothy Towler Miss Lindsay Buck-Chatwin
Mr Alan Garratt Miss Madeleine Stevens
London Scottish
Major Geoffrey Strickland Mrs Mark Anderson
Captain Monty d’Inverno Miss Sarah Wood
Captain James Durcan Miss Nicola Capon
Captain Piers Wickman Miss Victoria Fiander
Highland Reel 3
Mr Guy Dawson Mrs Guy Dawson
Mr Dominic Bayne Mrs Dominic Bayne
Mr Adrian Hogarth Mrs Adrian Hogarth
Mr James Byatt Mrs Sarah Illingworth
The British Army
Captain Rorie Evans Miss Sophie Redlin
Captain George Hewson Miss Sophie Neech
Mr Bertie Garbutt Miss Philippa Wimberley
Mr Richard Harrap Miss Francesca Leat
The Borders' Reel
The Lord Biddulph Mrs Karen Liddell-Grainger
The Hon William Maitland-Biddulph Miss Catherine Campbell
Mr Tom Chamberlayne-Macdonald Miss Kym Erlich
Mr Niel Redpath Mrs Niel Redpath
The New York Reel
Mr Henrique Faria Miss Joan Gow
Mr Francis Goudie Mrs Francis Goudie
Mr Rudolf King Miss Angela Molineux
Mr Iain Macdonald Miss Nan Chisholm
23
Correct on 23.04.13

One may think that a Michelin star,
four AA rosettes, and the title of
‘AA Chefs’ Chef of the Year’ 2011,
would leave little room for any chef to
improve – but for Martin Wishart, new
heights of perfection are always possible. It
is undeniably Martin’s devotion to food and
thirst to excel which drives his success, and
thanks to training from the likes of Albert
and Michel Roux Jr., Marco Pierre White
and John Burton Race, Martin is able to
produce dishes with the utmost skill. Having
owned Restaurant Martin Wishart since
1999, Martin continues to spread his passion
for cooking. His cookery school, the
restaurant at Cameron House Hotel
(awarded a Michelin star in 2011), and The
Honours, which opened in July 2011, have
all been a huge success.
In the heart of Edinburgh's Leith district,
behind an unassuming and discreet frontage
lies Restaurant Martin Wishart with a
26
Martin Wishart
modern, classy and sophisticated interior.
The interior has been designed to create a
relax and calming atmosphere. The
restaurant was also voted number eight in
the UK by Harden’s and named one of
Toptable’s best-rated restaurants by diners.
The menus are imaginative, generous and
Martin works with the seasons. Vegetarian
options are always available. Come and enjoy
our selection of tasting menus and a la carte
dishes. From the opening amuse-bouche to
the closing petits fours, guests enjoy a
quality rivalled by few. Menu comprises
grilled Orkney scallop delicately placed on
an extraordinarily smooth pumpkin velouté.
Highlights of the tasting menu include
lightly poached langoustine ravioli
accompanied by braised endive spiked with
orange. Perfectly pink Ayrshire grouse will
be served in season. To finish, a decadent
Valrhona chocolate and hazelnut mousse.

Roasted saddle of French farmed rabbit
Served with young leeks, asparagus, mushroom & herb risotto, tomato & white wine jus
For the risotto
½ onion finely diced
1 clove garlic, peeled and finely diced
150g white button mushrooms, finely chopped
50g unsalted butter
150g Arborio or Carnaroli risotto rice
300-400ml chicken, hot
50g freshly grated parmesan
75g mascarpone cheese
The sauce
4 saddles of rabbit, bones removed and reserved
200ml white wine
1 carrot, peeled & chopped
1 small onion, peeled & chopped
1 clove of garlic, peeled & chopped
1 stick of celery, peeled & chopped
1 tomato chopped
300ml chicken stock
400ml double cream
To serve
4 saddles of rabbit (the 8 loins removed from
preparing the sauce)
16 fresh asparagus spears, peeled
12 baby leeks, washed & trimmed
1 small sprig of fresh tarragon
Salt
Vegetable oil for frying
27
1. Melt the butter in a wide based pan and
gently cook the garlic, mushrooms and
shallots for 2 minutes
2. Add the rice to the pan and stir well to coat
the rice with butter.
3. Add the stock a little at a time, stirring
continually until it is almost cooked.
4. Next add the parmesan and mascarpone
cheese and mix in well.
1. Chop the bones into 2cm pieces, roast them in
one tablespoon of olive oil on top of the stove
until golden brown,
2. Add the peeled & chopped carrot, celery,
onion, garlic & tomato to the pan and sauté for
4-5 minutes
3. Add the white wine to the pan and reduce by
2/3. Next add the chicken stock and reduce
this by 2/3.
4. Pour the double cream into the sauce and
bring to the boil, then simmer for 3-4 minutes.
5. Pass the sauce through a fine sieve and season
1. Heat a large sauté pan, then add one
tablespoon of olive oil.
2. Fry the rabbit loins on each side until golden
brown for 8-10 minutes in total.
3. Cook the asparagus and leeks in salted
boiling water for 3-4 minutes then drain
4. Place the risotto in the centre of each plate
and arrange finely sliced rabbit on top
5. Lay the asparagus and the baby leeks around
the outside of the rabbit, then pour the sauce
over the vegetables.

The National Trust for Scotland is the
conservation charity that protects
and promotes Scotland's natural and
cultural heritage for present and future
generations to enjoy. With over 312,000
members in Scotland, the UK and
internationally, as well as 3,000 volunteers,
it is the country’s largest conservation
organisation. Established in 1931, the Trust
acts as guardian of Scotland’s magnificent
heritage of natural, architectural and historic
treasures. It is an independent charity, not
part of Government, and acts on behalf of
everyone to safeguard our heritage.
We care for 129 properties that tell the long
story of Scotland, including 78,000 hectares
of landscape encompassing 10,000
archaeological sites, 46 Munro mountains,
the austere beauty of Glencoe and islands
and coastlines shaped by geology, time and
the elements. We are the third largest land
manager in Scotland, responsible for lands at
the core of Scotland’s national parks, seven
National Nature Reserves, 27 sites
designated as of European importance for
nature conservation and 46 sites of national
The National Trust for Scotland
28
importance. We estimate that at least two
million visitors enjoy our outdoor
properties every year.
Among the 400 islands and islets in our care
is the only mixed World Heritage Site in the
UK – the archipelago of St Kilda on the
western approaches of the North Atlantic –
designated for its terrestrial and marine
natural heritage and cultural landscape.
Abandoned by its human inhabitants in
1930, it hosts a fifth of the world’s Northern
gannets and the largest colonies in the
British Isles of Northern fulmar, Leach’s
storm-petrel and Atlantic puffin.
Humble, vernacular buildings - such as the
place of Dr David Livingstone’s birth in
Blantyre in 1813, Robert Burns’ cottage in
Alloway and JM Barrie’s birthplace in
Kirriemuir - compare with the grandest of
castles and country houses, including
Culzean, Crathes and Craigievar, each being
the scene of fascinating human stories
displaying ambition, fortitude, and weakness
leading to world-changing events and, it is
said, the odd haunting too.

Our responsibilities contain and contrast
architecture that was once at the cutting
edge of technology, like Charles Rennie
Mackintosh’s Hill House, alongside turf
ramparts borne of military necessity on the
Roman world’s most northerly frontier.
Technology and conflict certainly come
together at Culloden, with its
internationally acclaimed immersive cinema
that puts you in the middle of the battle, and
will do so again using the very latest 3-D
digitisation at the new Battle of
Bannockburn centre which opens in 2014.
Management of landscape and buildings on
the very largest of scales also has to be
matched to almost infinite attention to
detail. Our experts conserve over 100,000
artefacts representing the everyday tools of
lives once lived and many great works of fine
art and interior decoration.
It is natural to expect an organisation like
the Trust to look after properties but we also
have a mission to promote and interpret our
shared heritage too. In urban areas and
across Scotland, we work with schools and
groups supporting disadvantaged children in
order to introduce them to our shared
heritage. We welcome thousands of school
children to our properties every year and
use every possible method to engage them in
29
the excitement and fascination that history
and nature can offer.
We also have an international dimension to
our work, as Scotland’s heritage also belongs
to the world: Our USA Foundation and the
Canadian National Trust for Scotland are
instrumental in keeping alive our heritage,
with the Scottish Diaspora raising generous
donations towards its upkeep.
Neither must it be forgotten that around
10% of the Trust’s membership resides in
London and the south-east of England. For
that reason among many, our London
Committee is vital to our work and plays a
significant part in the fundraising on which
we depend.
As a charity, with limited Government
funding, we depend almost wholly on
generous gifts, donations and bequests, as
well as the fees our members pay. We
estimate that it costs us at least £100,000
each and every day, or about £70 a minute,
simply to meet the basic costs of maintaining
our properties. However, given the real
treasures of world importance in our care,
we see this as a price worth paying.
For more information go to www.nts.org.uk
or email osmart@nts.org.uk to find out
about the events being organised by the
London Committee.

BROWN ADVISORY IS PROUD TO SUPPORT
THE ROYAL CALEDONIAN BALL 2013
Brown Advisory is an independent investment fi rm
committed to delivering a combination of fi rst-
class performance, strategic advice and the highest
level of service.
BALTIMORE • WASHINGTON • BOSTON • LONDON
020 3301 8130 • www.brownadvisory.com
SERENA FOYLE
Award winning music designer for
firework displays around the globe
www.serenafoyle.com
www.sereenafoyle.
com
PARTIES PA AR TIES CORPORATE CORPORAT CORPORATE TE EVENTS WEDDINGS
30
their future starts here
Boarding & Day Boys & Girls aged 9 to 18
For more information or to register please contact Felicity Legge
T: 01738 812546 E: admissions@strathallan.co.uk
www.strathallan.co.uk
Forgandenny Perthshire PH2 9EG
Strathallan is a Scottish Charity dedicated to education. Charity number SC008903
HB Rutherford & Co Ltd
are proud suppliers to the
Royal Caledonian Ball
hbrutherford
H B Rutherford & Co Ltd Design & Print Consultants
Bridge House, 118 Church Street
Broughty Ferry, Dundee DD5 1EU
T: 01382 737703
www.hbrutherford.com

In 2012 The Committee of the Royal
Caledonian Ball were delighted to be
able to support a wide range of very
worthwhile causes. This was only possible
thanks to your generosity and the incredible
donations of prizes that helped raise so
much in the Silent Auction.
The Committee meets in September to
discuss to whom it would like to donate. We
welcome nominations and suggestions, and
would ask that you email
secretary@royalcaledonianball.com if you
would like to tell us about a charity that you
think would benefit from our support. We
support Scottish people in the following
areas: the elderly, children, those with
disabilities, the injured and the homeless.
We always ensure a portion of our funds
raised goes towards charities with a military
connection – a reflection of our long and
proud association with the Armed Forces.
31
Charitable Giving
Charitable Giving
Bobath Scotland £5,000
St Andrews Children’s Society £3,000
Hops Scotsh Children’s Charity £3,000
Scottish Wheelchair Curling Society £2,000
Colonel’s Fund (Scots Guards) £1,500
Scot’s Guards Charitable Fund £1,500
Gordon Highlanders
Regimental Association £1,500
Queen Victoria School, Dunblane £1,000
Riding for the Disabled (Glasgow) £1,000
Drumpark School £1,000
St Catharines Sisters of Mercy,
Edinburgh £1,000
Skye & Lochalsh Young Carers £1,000
Sense Scotland £1,000
Gardening Leave £1,000
Monymusk Arts £500
TOTAL £25,000

Bobath Scotland
Cerebral Palsy
Centre
Bobath Scotland’s aim is to improve the
quality of life for people living with cerebral
palsy throughout Scotland. Bobath therapy
is suitable for all types of cerebral palsy and
we see children and adults throughout
Scotland. They can be referred to the centre
by their consultant paediatrician, their local
therapist, a GP, a family member or they can
self-refer. For many who come to Bobath
this is the first experience of discovering
what they CAN do as opposed to being told
what they cannot do.
£5000 can provide a year’s support for
children like Ike.
Bobath Scotland is determined to continue
to offer treatment on the basis of clinical
need rather than the ability to pay or the
existence of funding. Support from The
Royal Caledonian Trust can make such a
difference to children from all over Scotland
who require help at crucial stages in their
lives. With your help, children and families
can overcome the barriers that their
disability presents and fulfil their potential in
all aspects of their lives.
From everyone at Bobath Scotland, we hope
you have a wonderful evening and thank you
on behalf of all the Ikes who will be helped
thanks to your generosity.
32
Scotland’s Charity Air
Ambulance
We need you today… you may need us
tomorrow
Scotland’s Charity Air Ambulance (SCAA) is
the only charity-funded emergency air
ambulance service in Scotland. SCAA is an
independent registered charity, solely
funded by the communities of Scotland. It is
based in Perth, which is ideally placed to
support East Central Scotland and to
provide back-up to the two Scottish
Ambulance Service helicopters in Inverness
and Glasgow.
Our helicopter resource increases the air
ambulance capacity and resilience across
Scotland by 50% and it will be tasked to
time–critical medical emergencies where it
will:
• Save life
• Preserve life
• Increase survival rates

St Andrew’s Children’s
Society – SafeBase Parenting
Programme
In Scotland, one in five adoptions breaks
down in early years because of
insurmountable relationship difficulties
between the adopted child and their
adopters. This leads to children being
returned to local authority care with
resulting emotional trauma for both the child
and the adopter.
The SafeBase Parenting Programme has
become a very important support service for
parents experiencing relationship and
behavioural problems with their adopted
child.
Typical behaviours experienced by SafeBase
families before training include both physical
and verbal aggression which is unpredictable
and impulsive. Tantrums which become
oppositional and controlling are common.
Children frequently show anxiety as a means
of attention seeking. All of this leads to the
development of attachment difficulties
between the parents and the adopted child,
leading to additional difficulties within the
extended family.
Within the four day SafeBase programme is
Theraplay, an attachment-based approach
using structure and play to help challenging
children and their families. It assists parents in
providing their child with a more relaxed and
rewarding way of developing relationships.
Thank you to the Royal Caledonian Ball for
your donation of £3,000 from you last Ball.
Your support is very much appreciated by the
staff who delivers the training and the
SafeBase families.
33
The Monymusk
Arts Trust
Aberdeenshire
Since
opening in
1990 this
little Arts
Centre
has been
astonishingly successful in providing a window
for all the arts, for visitors of all ages, from all
walks of life and from all over the world. It
was founded in 1987 to preserve and renovate
a small, disused, 18th century building as a
centre for encouraging all forms of the arts in
the area.
Originally built in the 18th century as a
lapidary (stone-polishing) mill, it was turned
into an Episcopal Church in 1801 but was
boarded up in 1939 and had lain disused since
the war.
It is a beautiful little Georgian building and its
acoustics are renowned. The Scots have a
reputation for their appreciation of music and
famous musicians from all over the world have
performed here, as well as young musicians
from the university, academies or primaries.
The Centre is open daily from May to
September with crafts for sale and art
exhibitions. It has been fully supported by the
village people since its inception and a
generation have grown up not knowing the
village without the Trust’s activities.
Until 2008 up to three-quarters of the Trust’s
funding was raised using the estate for fundraising
events, with support from
Aberdeenshire Council. Both these have
ceased and the Trust’s financial situation is now
critical, so we are extremely grateful for The
Royal Caledonian Ball Trust’s donation which
ensured our concert programme this winter.
www.artstrust.org

The story of Kinloch Anderson began
as a tailoring partnership between a
father and his two sons 145 years
ago. The management of our family-owned
company thereafter has passed directly from
father to son until the present day when
John Kinloch Anderson, the sixth generation
is the Chief Executive and his brother, Peter,
the Director of Brand Development. The
fifth generation remain fully active with
Douglas as Chairman and Deirdre as Senior
Director.
Some of the 5th, 6th and 7th generation Kinloch Andersons at the
Clan Gathering in 2009.
Some of the 5th, 6th and 7th generation
Kinloch Andersons at the Clan Gathering in
2009.
As foremost experts in Highland Dress since
1868 we are renowned in Edinburgh for kilt
making, all Highland Dress clothing and
accessories, ladies’ skirts, Scottish textiles
and gifts. The original activity of kilt making
The Kinloch Anderson Story
34
and Highland Dress remains central to the
Company’s image and we are proud to hold
Royal Appointments as Tailors and
Kiltmakers to HM The Queen, HRH The
Duke of Edinburgh and HRH The Prince of
Wales.
From 19th to 21st century and still market leaders in Highland Dress
We have a spacious shop in Leith where we
offer friendly service and professional
advice. Renowned for made to measure
kilts we have over 2,000 tartans in our
ranges which are also available for trousers,
waistcoats, skirts and other items to be
made in the tartan of your choice. Our
heritage story is told in our Heritage Room
Museum which was transformed last year
and now takes you from our humble
beginnings through Military and Civilian
uniforms, the manufacture of ladies’ Scottish
skirts, the Royal Family tartan connections
and right up to the development of the
Kinloch Anderson Brand overseas. There is
a large screen for presentations and
continuous digital display of Kinloch
Anderson merchandise made under licence
and sold in over 300 shops in the Far East.

In 1979 we were awarded the Queen’s
Award for Export which was based at that
time on the manufacture of classic ladies’
Scottish skirts in tartan or tweed mostly
exported to European countries and Japan.
Our skirt making activity continues in our
now smaller Production Unit in Leith.
We believe in quality but
we also believe in being
flexible and versatile. The
Breacan is a more recent
Kinloch Anderson kilted
garment specially designed
to meet the Scots’ desire to
dress in a more casual way.
It is not a substitute for the
traditional kilt, rather it
The Heritage Room
35
maintains Kinloch Anderson’s quality
standards but is made ready to wear, in
standard sizes and therefore at a more
affordable price.
Our tartan expertise extends beyond our
service and advice to customers in the Shop.
We also specialise in the design and
development of exclusive tartans for
individuals, companies and organisations
who thereby want to own, wear and enjoy
the use of their special Scottish identity.
These include whisky companies,
universities and schools, sporting
organisations and charities.
The Racing Stewart Team
The Kinloch Anderson philosophy is to be
true to our ideal of providing quality
merchandise with a strong Scottish emphasis
in a global niche market and to be a role
model for Scotland, upholding the highest
principles of integrity and service.
We very much hope that if you come to
Scotland you will visit Kinloch Anderson
in Leith as each and every one of you will
be most welcome.

Alongside whisky, tartan and a some
fiendishly complicated Highland
dances, Scottish salmon fishing has
an iconic reputation that occupies the minds
of serious fishermen from all over the
world. As with many stories about our
natural world, there is a lingering
perception that things aren’t quite as good as
they used to be and that a day on the river
might not quite compare with the stories
you have read in your grandfather’s fishing
diary. But is this perception a reality or are
we all victims of a bottle-half-empty
mentality that might be clouding our
judgement?
For a start we know a great deal more about
the Atlantic salmon in Scotland than we did
50 years ago. We now have a good idea
where the salmon travels to at sea. We have a
much better feel for how many of them
Scotland’s Atlantic Salmon
A Natural Resource To Be Proud Of
36
return and are starting to understand at least
some of the hidden secrets of this most
mercurial of fish, not least that each
catchment in Scotland - indeed each
tributary - seems to be occupied by fairly
discrete salmon “clans” that are genetically
quite distinct from each other. This
knowledge helps Scotland’s salmon

managers look after their salmon stocks in a
more informed way. And whilst it is true
that salmon are finding life, during the years
that they spend at sea, harder - possibly as a
result of significant changes in the marine
climate - managers at home are learning
how to offset some of the these problems
through a number of management measures.
For example, Scotland’s salmon fishermen
now return over 70% of the fish they catch,
allowing fishermen to enjoy their sport
whilst significantly reducing the impact on
populations. Furthermore net fisheries that,
in the 1960’s, took as many as half a million
fish a year now take a mere 10-20000 due to
net buy outs for conservation. Habitats have
been restored and large parts of catchments
that were not accessible to fish have been
made so through the removal of weirs and
dams allowing whole tributaries, that have
been blocked since the industrial revolution,
37
to flourish. On top of this the quality of
Scotland’s rivers has steadily improved due
to tighter environmental regulations. Even
heavily industrialised rivers like the River
Clyde are now seeing salmon swimming
amidst the tenements of downtown
Glasgow.
Scotland’s salmon fishermen now catch
around 85-95000 salmon a year. In 2010 the
highest ever rod catch was recorded during a
bumper year that saw 110,000 fish caught by
anglers. This is proof that, despite all the
problems facing our natural environment,
this fabulous fish can still produce thrilling
sport the match of salmon fishing anywhere
else in the world. Scotland also enjoys an
eleven month long season during most of
which Norwegian, Icelandic and Russian
fishermen are staring gloomily into their
vodka glasses in perpetual darkness.
Combine this with the great traditions of the
sport, for which Scotland is very much the
mother-ship, and the significant number of
jobs (over 2500) in the rural economy and it
is quite clear that this very Caledonian
resource is something that, yes, continues to
need nurturing and protecting, but of which
we can all still feel justifiably proud. For
more information and a copy of our annual
review of Scottish catches, go to:
www.rafts.org.uk
Andrew Wallace
Chairman – Rivers and Fisheries Trusts of
Scotland

The Duchess of Buccleuch and
Queensbury
Iona Duchess of Argyll
The Duchess of Argyll
The Marchioness of Huntly
The Marchioness of Lothian
Jennifer Marchioness of Bute
Lady Louise Burrell
The Countess of Pembroke
The Countess of Erroll
The Countess of Buchan
The Countess of Eglinton and
Winton
The Dowager Countess of Moray
The Countess of Moray
The Countess of Lindsay
The Countess of Kinnoull
The Countess of Elgin and
Kincardine
The Countess of Dalhousie
The Countess of Rosebery
The Countess of Mansfield and
Mansfield
The Countess Cowley
Lady Strathnaver
Viscountess Dupplin
Lady Dalmeny
Viscountess Stormont
Lady Anne-Louise Hamilton-
Dalrymple
Lady Louisa Stewart Howitt
Lady Diana Godfrey-Faussett
Lady Mary Biddulph
Lady Melissa Edwards
Lady Iona Ind
Lady Lucy Garton
Lady Emma Mahmood
Lady Georgina Bullough of
Culcreuch DL
Lady Elspeth Hordern
The Lady Saltoun
The Lady Kinnaird
Sian, Lady Biddulph
Jean, Lady Tweedsmuir
Joan, Lady Clydesmuir
The Lady Strathclyde
The Lady Hope of Craighall
Baroness Alexandra von und zu
Guttenberg
Baroness Carel van Randwyck
The Hon Mrs Thomas Lindsay
The Hon Mrs Montagu Erskine
The Hon Mrs David Dalrymple
The Hon Mrs Robin Gurdon
38
Patronesses
The Hon Charlotte Drummond
of Megginch
The Hon Mrs Herdman
The Hon Mrs Nicolson
The Hon Alexandra Foley
The Hon Mrs Fraser
The Hon Mrs Humphrey
Drummond of Megginch
The Hon Mrs Jonathan Forbes
Lady Agnew of Lochnaw
Lady Grant of Monymusk
Lady Colquhoun of Luss
Fanny Lady MacGregor of
Macgregor
Lady MacGregor of MacGregor
Lady Campbell of Succoth
Lady Lowson
Lady Butter of Pitlochry CVO
Lady Innes of Edingight
Lady Ivory
Lady Macpherson of Biallid
Lady Reid
Lady Stevens
Mrs Mark Anderson
Mrs Christopher Arkell
Mrs Richard Baillie
Mrs Nicholas Bardswell
Mrs Nicholas Bastin

Mrs Christopher Boyle
Mrs Evan Bruce-Gardyne
Mrs Anthony Brumwell
Mrs Andrew Butler
Mrs David Campbell of Strachur
Mrs Nigel Chamberlayne-
Macdonald
Mrs Charles Craig
Mrs Alexander Crawford
Mrs Mark Cubitt
Mrs Guy Dawson
Mrs Richard de Klee
Mrs Mark Fairbanks Smith
Mrs Nicholas Fane
Mrs Colin Farquharson of
Whitehouse
Mrs Logie Fitzwilliams
Mrs Anthony Foyle
Mrs James Fraser
Mrs Simon Fraser
Mrs Robin Garrett-Cox
Mrs Alexander Galitzine
Mrs Angus Gilroy
Mrs Gladstone of Capenoch
Mrs Fiona Glynne-Percy
Mrs Andrew Gordon
Mrs Dominic Grieve
Mrs Hay Drummond
Mrs Alexander Hay of Duns
Mrs Thomas Hay
Mrs Humphrey of Dinnet
Mrs Micky Ingall
Mrs Jamie Landale
Mrs Alastair Leslie
Mrs Karen Liddell-Grainger
Mrs Henry Lowson
Mrs Ranald MacdonaldYr of
Clanranald
Mrs Macdonald of Tote
Mrs Charles Macdonald of Tote
Mrs Andrew Macdonald
Mrs Iain Macdonald
Mrs Guy Macpherson-Grant
Mrs MacGregor of Cardney
Mrs Antony Mackenzie Smith
Mrs Alastair Mathewson
Mrs Jeremy Mead
Mrs Houston Morris
Mrs Andrew Murray
39
Mrs Harry Nickerson
Mrs Richard Oliphant of
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Mrs Christopher Pease
Mrs Niel Redpath
Mrs Oliver Russell of
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Mrs Iver Salvesen
Mrs John Shields
Mrs John Stansfeld
Mrs Robert Stansfeld
Mrs Charles Steuart
Forthringham
Mrs Thomas Steuart Fothringham
Mrs Ralph Stewart-Wilson of
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Mrs Jon Strickland
Mrs Barnaby Swire
Mrs Mark Tennant
Mrs Roger Tym
Mrs Charles Vyvyan
Mrs Paul Wakefield
Mrs Charles White
Mrs Justin Young

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Dafydd Jones
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Parties, Portraits and Weddings
07931 501268 dafyddj@btinternet.com
Proud to supply the dance floor for
The Royal Caledonian Ball
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t: 0207 819 9669
We are here to help with all your private staffing
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Crossflight Limited
is proud to sponsor
The Royal
Caledonian Ball
2013
Crossflight is celebrating
25 years of providing
tailored distribution
soltuions including
international express
courier, mail & fulfilment
and logistics services
Honoured to be entrusted
with the mailing of the
invitations for The Royal
Caledonian Ball 2013
www.crossflight.com
42

The Ball is held under the patronage of:
HER MAJESTY THE QUEEN
HIS ROYAL HIGHNESS THE DUKE OF EDINBURGH
HER ROYAL HIGHNESS THE PRINCESS ROYAL
THEIR ROYAL HIGHNESSES THE DUKE AND DUCHESS OF KENT
President:
IONA, DUCHESS OF ARGYLL
Vice Presidents:
THE EARL OF ERROLL
Mrs HAY DRUMMOND
VISCOUNT DUPPLIN
Chairman:
LADY DALMENY
Members of the Executive Committee:
The LORD BIDDULPH Mr GUY DAWSON
Mrs LOGIE FITZWILLIAMS Miss ANTONIA FOYLE
Mrs BENEDICT GOODALL Mr ALEXANDER IRVINE-FORTESCUE
Mr HENRY LOWSON Mrs HOUSTON MORRIS
Mr ANDREW MURRAY Captain LORD RAMSAY
Mr JOHN SHIELDS
Members of the Scottish Committee:
Mr PATRICK COLQUHOUN Mr & Mrs JAMES FRASER
Mr RODDY MARTINE Mr BRIAN ROSS
Mrs JON STRICKLAND Mr FRASER ROBERTSON
Mrs Nicholas Bardswell (Sarah)
Ball Secretary
Retired 2012
The Royal Caledonian Ball 2013
Ball Secretary:
Mrs THOMAS MARTIN (Leonora)
Garden Lodge, 26 Prospect, Corsham, Wiltshire, SN13 9AF
Tel: 07880 746231
Email: secretary@royalcaledonianball.com
Magazine Editor:
Mrs BENEDICT GOODALL (Emily)
Email: emily@royalcaledonianball.com
In aid of The Royal Caledonian Ball Trust
Registered Charity No. 213074
43
Iona, Duchess of Argyll
President
Retired 2013

The Executive Committee of The Royal
Caledonian Ball Trust would like to thank all
those who have supported the Ball so generously.
In particular:
Silent Auction donors:
Kinloch Anderson
The Shields Family
The Lord Biddulph
Mr William Foyle
The Basement Galley
Grosvenor House Hotel
The Scottish Ball of New York
Hiscox Insurance
Particular thanks to:
Hon Adam Bruce WS,
The Marchmont Herald of Arms
James Etheridge at Albert Hall Dance Floors
Guy Dawson at Crossflight
HB Rutherfords Printers
We should also like to thank the
following individuals and trusts who
have given their generous support
through donations:
Mr Euan Baird
Mr and Mrs Matthew Benson
Mr James Campbell-Johnson
The Buccleuch Charitable Foundation
Viscount Coke
Mr Steven Couttie
The Countess Cowley
The Countes of Dalhousie
Mr and Mrs David Dalrymple
The Earl of Dundonald
Lady Lucy Garton
Mrs Dominic Grieve
44
Acknowledgements
Mr & Mrs R Griffith
Hon Hugo Grimston
Mrs Houston Morris
Lady Macpherson of Biallid
Mrs Jennifer Mainwaring
Mrs Methven Way
Mrs Serena Prest
Mrs Christine Reid
Mrs Alexandra Robson
The Countess of Rosebery
The Duchess of Rutland
Mr Alan Roxburgh
Mrs John Stansfeld
The Staples Trust
Mrs Alastair Struthers
Jean, Lady Tweedsmuir
Mrs Anne Wareing
Photograph of Her Majesty The Queen
by Mark Lawrence
Photograph of Her Royal Highness
The Princess Royal by Ian Coates
Photographs of The Royal Caledonian Ball
by Dafydd Jones www.dafjones.com
If you would like to be added to our mailing list,
have moved or changed your name, please
contact the Ball Secretary:
Mrs Thomas Martin (Leonora)
Email: secretary@royalcaledonianball.com

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Front cover
S. J. Peploe
Green Sea, Iona, c.1920
The Fleming-Wyfold Art Foundation
© The Fleming-Wyfold Art Foundation /
The Bridgeman Art Library
Back cover
The Hunt of the Unicorn tapestry
Stirling castle
Courtesy of Historic Scotland