---
product_id: 28017723
title: "Homecoming - A Scottish Fantasy"
price: "₩50479"
currency: KRW
in_stock: true
reviews_count: 13
url: https://www.desertcart.kr/products/28017723-homecoming-a-scottish-fantasy
store_origin: KR
region: South Korea
---

# Homecoming - A Scottish Fantasy

**Price:** ₩50479
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Homecoming - A Scottish Fantasy
- **How much does it cost?** ₩50479 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.kr](https://www.desertcart.kr/products/28017723-homecoming-a-scottish-fantasy)

## Best For

- Customers looking for quality international products

## Why This Product

- Free international shipping included
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## Description

Violinist Benedetti plays Scottish folk and classical favorites in lush, expressive arrangements inspired by her heritage.

Review: Hmmmm. How did this one avoid becoming a smash hit of the top rank? - Given the undiminished popularity of Scottish/Celtic/Irish music, you would have thought that something this splendidly executed - and recorded - would make it a sensation. First of all, for many violin lovers, Benedetti's tone quality and shaping of the line is especially appealing. To my taste, it is virtually ideal. I prefer her to just about all the other European soloists who strive for a more lyrical sound these days, as opposed to the slash-and-burn, take-no-prisoners crowd. . . . Here she is beyond perfection in Bruch's Scottish Fantasy. Sentimental? Sure, and brilliantly so. Quite frankly, this is now my favorite rendition of the Bruch; it is profoundly satisfying. The first movement has never evinced either a pathos or an allusion to the tragedy of its subject this moving - nor, for that matter, a nostalgic sweep this impressive. Just the right amount of surging drama is applied, and in all the right places, without ever descending into melodrama. Nicola Benedetti's performance brings both affection and profound understanding to the work, and the orchestral accompaniment is ideally realized. In a work such as this, the orchestra's contribution is, of course, at least as important as the soloist, if not more so. Rory MacDonald's conducting is more than just a model of sympathetic collaboration; it's clear that he GETS it. Alas, such is very often not the case in either Brahms or Bruch these days, whether in the studio or the concert hall. This may be a 19th Century warhorse, but it should wear that title proudly because it is a masterwork in the grand style and of the highest order. The autocratic taste ogres who used to prevail have fortunately been supplanted in recent years by audiences who have awakened to Bruch's visionary Romanticism and by modern critics who have joined the ranks of the admirers, restoring Bruch to that perch of respectability he enjoyed 100 years ago. (The Dvorak is another masterpiece whose stock has soared recently.) . . . The great beauty of the semi-classical arrangements of things such as 'Ae Fond Kiss' are not to be missed. As for the folk offerings, they fit in wonderfully, seeming to inform rather than to contrast. The Julie Fowlis vocals are just right. Aly Bain and Duncan Chisholm are fiddling delights. The compilation is first-rate, both in selection and sequencing. And there is surprising depth in the folk offerings. Everywhere and always Benedetti supplies pitch-perfect sincerity or tasteful exuberance as required. . . . And the audio? You don't often hear 19th-Century, Central European violin concertos (and the Bruch is just as much the creature of German Romanticism as of enthusiasm for things Scottish) recorded with such an apt balance between soloist and orchestra and such clarity of textures. Much of the praise must go to Benedetti herself or to conductor Rory MacDonald, but also to other crucial factors such as superb microphone placement and to choice of venue - Glasgow City Hall. Only occasionally do even high-profile Brahms recordings feature sonics this successful. Of course, the thick Brahmsian textures are notoriously difficult to capture, even in studio settings, but Bruch is no walk in the park either. In the Scottish Fantasy, the engineering - no, make that the engineering decisions - dazzles. It's impossible to determine who deserves more credit - Mike Clements for the recording or Andrew Walton for the mixing. The results speak for themselves. Altogether, this is not just one of the finest semi-crossover albums, but, thanks to a sublime Scottish Fantasy, one of the best issues by a major label for classical violin and orchestra of recent years. Viva Benedetti!
Review: 'Homecoming' shares love of Scotland's best - This CD was a a joy to listen to, and the selection of tunes is a must for all those who love Scotland and its beloved music. The performance is a sampling of classic tunes with a pop slant. Indeed, some of the tunes have been slightly altered to suit fans of both. And while the artists don't have the star quality of Joshua Bell or The London Symphony Orchestra, they certainly shine. What they lack in technicality they more than make up for it with heart and enthusiasm. If you want technical perfection buy something else. If you want a a performance with soul and joy, this is it!

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B00JLZVJSM |
| Best Sellers Rank | #84,267 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) #80 in Classical Fantasies |
| Customer Reviews | 4.6 4.6 out of 5 stars (340) |
| Date First Available  | May 10, 2014 |
| Is Discontinued By Manufacturer  | No |
| Item model number  | 028947866909 |
| Label  | Decca |
| Language  | English |
| Manufacturer  | Decca |
| Number of discs  | 1 |
| Original Release Date  | 2014 |
| Product Dimensions  | 5.59 x 5.16 x 0.39 inches; 3.88 ounces |

## Images

![Homecoming - A Scottish Fantasy - Image 1](https://m.media-amazon.com/images/I/716+EoXMoDL.jpg)
![Homecoming - A Scottish Fantasy - Image 2](https://m.media-amazon.com/images/I/81o7I3wsOrL.jpg)
![Homecoming - A Scottish Fantasy - Image 3](https://m.media-amazon.com/images/I/61MjHyt0KfL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ Hmmmm. How did this one avoid becoming a smash hit of the top rank?
*by T***N on November 1, 2015*

Given the undiminished popularity of Scottish/Celtic/Irish music, you would have thought that something this splendidly executed - and recorded - would make it a sensation. First of all, for many violin lovers, Benedetti's tone quality and shaping of the line is especially appealing. To my taste, it is virtually ideal. I prefer her to just about all the other European soloists who strive for a more lyrical sound these days, as opposed to the slash-and-burn, take-no-prisoners crowd. . . . Here she is beyond perfection in Bruch's Scottish Fantasy. Sentimental? Sure, and brilliantly so. Quite frankly, this is now my favorite rendition of the Bruch; it is profoundly satisfying. The first movement has never evinced either a pathos or an allusion to the tragedy of its subject this moving - nor, for that matter, a nostalgic sweep this impressive. Just the right amount of surging drama is applied, and in all the right places, without ever descending into melodrama. Nicola Benedetti's performance brings both affection and profound understanding to the work, and the orchestral accompaniment is ideally realized. In a work such as this, the orchestra's contribution is, of course, at least as important as the soloist, if not more so. Rory MacDonald's conducting is more than just a model of sympathetic collaboration; it's clear that he GETS it. Alas, such is very often not the case in either Brahms or Bruch these days, whether in the studio or the concert hall. This may be a 19th Century warhorse, but it should wear that title proudly because it is a masterwork in the grand style and of the highest order. The autocratic taste ogres who used to prevail have fortunately been supplanted in recent years by audiences who have awakened to Bruch's visionary Romanticism and by modern critics who have joined the ranks of the admirers, restoring Bruch to that perch of respectability he enjoyed 100 years ago. (The Dvorak is another masterpiece whose stock has soared recently.) . . . The great beauty of the semi-classical arrangements of things such as 'Ae Fond Kiss' are not to be missed. As for the folk offerings, they fit in wonderfully, seeming to inform rather than to contrast. The Julie Fowlis vocals are just right. Aly Bain and Duncan Chisholm are fiddling delights. The compilation is first-rate, both in selection and sequencing. And there is surprising depth in the folk offerings. Everywhere and always Benedetti supplies pitch-perfect sincerity or tasteful exuberance as required. . . . And the audio? You don't often hear 19th-Century, Central European violin concertos (and the Bruch is just as much the creature of German Romanticism as of enthusiasm for things Scottish) recorded with such an apt balance between soloist and orchestra and such clarity of textures. Much of the praise must go to Benedetti herself or to conductor Rory MacDonald, but also to other crucial factors such as superb microphone placement and to choice of venue - Glasgow City Hall. Only occasionally do even high-profile Brahms recordings feature sonics this successful. Of course, the thick Brahmsian textures are notoriously difficult to capture, even in studio settings, but Bruch is no walk in the park either. In the Scottish Fantasy, the engineering - no, make that the engineering decisions - dazzles. It's impossible to determine who deserves more credit - Mike Clements for the recording or Andrew Walton for the mixing. The results speak for themselves. Altogether, this is not just one of the finest semi-crossover albums, but, thanks to a sublime Scottish Fantasy, one of the best issues by a major label for classical violin and orchestra of recent years. Viva Benedetti!

### ⭐⭐⭐⭐⭐ 'Homecoming' shares love of Scotland's best
*by C***S on October 16, 2020*

This CD was a a joy to listen to, and the selection of tunes is a must for all those who love Scotland and its beloved music. The performance is a sampling of classic tunes with a pop slant. Indeed, some of the tunes have been slightly altered to suit fans of both. And while the artists don't have the star quality of Joshua Bell or The London Symphony Orchestra, they certainly shine. What they lack in technicality they more than make up for it with heart and enthusiasm. If you want technical perfection buy something else. If you want a a performance with soul and joy, this is it!

### ⭐⭐⭐⭐⭐ A Wonderful Performing Performing Beautiful Music
*by C***G on September 27, 2023*

I purchased this CD because I had heard Nicola's rendition of Loch Lomond, but I had no idea how many great pieces of music she performs on this CD. Truly a taste of Scotland with both familiar and new tunes/

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*Product available on Desertcart South Korea*
*Store origin: KR*
*Last updated: 2026-02-21*