18 December 2025
This year’s Concerts by Candlelight tour marked the end of an era for Scottish Ensemble, as the final bow of Alison Lawrance, who has been the orchestra’s principal cellist for thirty-three years. Unbelievably that means Ali has been playing and touring with the ensemble for more than half of its entire existence.
Across decades of change, development, and growth for the organisation, she has been a constant presence; an essential rock for our players, and a favourite for our audiences.
In the midst of the tour we caught up with Ali for some quick reflections on 33 extraordinary years as a Scottish Ensemble musician. We even did a quick dive into the archive to dig out some favourite old pictures to look back over.
How did you first get started with Scottish Ensemble?
I clearly remember getting a phone call asking if I’d like to audition; I think they must have heard I’d recently left Scottish Opera. It was around this time of year, I had my audition at the beginning of December thirty-three years ago & was offered the job (no 2 cello), although my first work wasn’t until the following March. It started with a photoshoot in Pollock House, rehearsals for two days followed by concerts in Crieff & Paris.
Thirty-three years is quite a stretch of time. Do you have a favourite project for each of the decades you’ve been playing with the Ensemble (90s/00s/10s/20s)?
There are so many highlights that it’s hard to pick out the extra special! In the ‘90s probably the tours of National Trust Venues in Scotland. Such beautiful settings for intimate concerts. Our programs were quite traditional back then.
For the 2000s, probably our 2006 Outer Hebrides tour of all the islands from Lewis down to Barra. Stunning beaches, and quite a few post-concert sea swims & parties to enjoy. We used to do a lot of Scottish island touring & they’re still some of my favourite places to visit
In 2013 we had a lengthy USA tour straight after touring in China & Taiwan. So many long coach journeys & flights (we seemed to zig-zag across the width of the US) that by the time we got to Austin my legs were the size of elephants. But nevertheless that was an unforgettable tour that we didn’t want to end.
And most-recently I’d say our performance of Anno at the Barbican this year. I didn’t know if I would still have the stamina for this, so was delighted to be there giving it laldy!
Outside of a particular time, the Goldberg Variations stands out for me as a pivotal project. This gave me the confidence to move on to Impulse which I think is an absolutely amazing show.
Is there a particular memory or experience that sticks out to you from your time touring with SE?
Schloss Elmau in Germany…. It was Easter 2000. An amazing place to stay & do a few concerts. One of the violinists from the Amadeus quartet, I think it was Siegmund Nissel, was at the last concert on Easter Sunday when we played Strauss Metamorphosen septet version. The castle had some amazing violins in their collection including a golden age Strad which they let Clio play in one of the concerts. I think Steve Morris was also given a Strad to play. Sadly not a cello for me! We did some beautiful walks too, one being a late-night torch-lit procession… and we got lost!
What will you miss the most about touring with Scottish Ensemble?
I will miss making music with some of the most creative & beautiful people I’ve ever worked with. Scottish Ensemble is my family, and I have been lucky enough to tour around Scotland & the world with like-minded friends. We try to find delicious food, explore the area, hike up mountains, swim in the sea and then get to play wonderful uplifting concerts. What more could you ask for?
