Martin and Olive Ferguson

From Glengarryceltic

Martin and Olive (Hall) Ferguson have left a musical heritage, begun in their respective childhood homes and continued throughout their marriage in Glengarry and later in Ottawa. Combined, they provided teaching, entertainment and enjoyment to many for over 40 years. We are very proud of our parents and their accomplishments, which have complimented the Glengarry musical heritage.

Martin grew up on the family farm on the seventh of Kenyon listening to his father playing the violin, accompanied on the piano by his mother, Catherine Cameron. There was a great deal of music when family and relatives gathered for Christmas, birthdays or during the summer when relatives arrived from the west. The McKercher and MacIntosh cousins were always ready to contribute, as were the MacRaes from Regina- with violin, piano, and song. Even the very young were encouraged to participate with the latest “piece” they had learned.

As a young man, Martin began his musical career playing the harmonica. He entertained at house parties and other social occasions, accompanying the fiddlers of the day. After returning to the family farm from California in 1928 (where he had worked for a number of years) he began playing violin. Martin had a great ear for music, be it the Scottish jigs and reels, waltzes, the American show tunes, or the big band music of the day, which he had heard while working in Los Angeles.

Olive Hall grew up with a similar family background, on the farm in Osgoode township, near the village of Metcalfe. Her dad enjoyed playing the old time tunes on his violin, and when relatives and neighbours gathered for house parties, the house would ring with music and dancing. Olive wanted to play the piano. However, her father said that Olive’s sister was a piano teacher and that Olive would get her music degree and become a violin teacher. She received her degree (ATCM) from the University of Toronto in 1930 and began teaching.

When Olive’s brother-in-law, Ross MacDougall, passed away in 1930, she came to St. Elmo to help her sister Melba and her two small daughters, Sybil and Dorothy. It was at a concert in the church hall at St. Elmo where Olive and Martin met. Both were participants on that musical evening, so music brought them together and was a common bond lasting throughout their married life.

After their marriage in 1932, they lived on the Ferguson farm. They began playing for family and social events, Martin on violin and Olive on piano. Olive continued her own classical music violin by playing solos, as well as accompanying students who had learned to play ‘by ear’, and now wished to learn to read music, and play with more accuracy. Some of these students continued playing throughout their lives, while others, although no longer playing, could perhaps appreciate more the fine tradition of Glengarry Scottish music. A few of these students were, Ralph and Donald MacIntosh, Sybil MacPhee, Billy MacQueen, Johnny ‘Mac’ MacCrimmon, Gordon MacDonald, Ewen MacMaster and Lloyd MacLeod.

Because of Martin’s health problems, it became necessary to leave the farm. In 1937 they bought a store in Dunvegan and he became the postmaster. Both continued to play at various social functions. As well, their home became a musical haven for any and all who loved music, whether to play or to sit back, listen and enjoy. Young musicians, just starting out and those with years of experience, were invited to share their talents. Our home, and the store, rang with music.

These tunes, Celtic, old time, and popular, were a big part of our daily life- except on Sunday. This was the day for sacred music, gospel tunes and hymns. This derived from our religious and cultural background. Whatever the reason, this was part of our Sunday ritual, and of course, it was all good music, no matter what day.

Martin always kept a violin in the store so that he could play in a quiet moment, or for anyone else for that matter. Anyone who played was always asked to ‘Give us a tune’. What talent passed through that store! Many of the old timers, no longer playing in public, always enjoyed playing the old time pieces. Johnny MacQueen, Donald Fletcher, or ‘Red’ Alex Stewart were always able to play that sweet music. Others were shy and would wait until customers had left before quietly taking down the violin from the postal box and gently playing a waltz, jig or reel, learned in a far off time, long ago, but still fresh and beautiful as when first heard.

For generations, Glengarry musicians would get together to enjoy making music and to learn new tunes. In the early fifties, these informal parties became more structured as a general group began to gather on a more regular basis. This was possibly a forerunner of the groups of today as Glengarry Old Time Fiddlers and the Glengarry Strathspey and Reel Society.

These early gatherings of musicians took place at their homes- at the MacPhees, home of Donald Edward and Mary Frances, the MacMillans, (Clarence and Edna) the Rosses of Lancaster, (Rueben and Hazel), the Brittons of Monkland, Fergusons in Dunvegan, just to name a few. Some of the participants at that time also included Father MacPhail, Duncan MacDonald and a very young Rev. Bruce Ross.

Musicians from this group played for various concerts, church socials, and other musical evenings. Among these musicians were several pianists, Mary Frances MacPhee, Edna MacMillan, Olive Ferguson, Betty Ross, Harriet MacKinnon just to name a few.

Around this time a small orchestra (now called a band) was formed. It was made up of Martin Ferguson and Edna MacMillan on violins, accompanied by Olive Ferguson on piano. They played for local dances, wedding and anniversary celebrations, and one year they were the featured band for the Highland Games dance.

What has always been so amazing about these artists is their ability to have instant recall of literally, hundreds of tunes. Name a tune and these fiddlers can immediately remember and then accurately play it. I believe there is something really remarkable in this, and yet, it seems to be taken quite for granted by those who do it. Just name the tune and they have it.

It has always been intriguing to me to hear the names of some of these tunes. Many, such as Bonnie Dundee, The Road to Isles, or even the Devil’s Dream, seem to be self-explanatory. But what are the stories behind titles like, Wedding of the Crows, Cameron’s Got His Wife Again or Steamboat? What great tales must be out there!

I believe it was 1954 that Martin and Olive joined with others to bring out the violin and step dancing contests. These were held in early fall at the Bonnie Glen. This brought together local and regional contestants. There were several categories for amateur and professional, young (under 16) and older (over 65). Several of the judges were also featured guests, including Winnie Chafe of Cape Breton. There was prize money and trophies for the winners and a good time was had by all.

Martin was always intrigued with the music of the violin, and the instrument itself. After doing violin repairs for several years, he decided to try his hand at actually creating one. A perfectionist in music and in carpentry, he combined these talents to begin (what seemed to his family) a daunting task. He carefully chose the wood, the front of spruce or hard pine, the back and the tail piece of maple. Then came the labor of cutting, gluing, staining and sanding (and staining and sanding again and again). After some 200 hours, he would try out the sound, “always a gamble” he said. Martin made several violins, selling some and keeping some, these of which his grandchildren are proud to own.

After their move to Ottawa, Martin continued his violin making, as well as repairing violins brought to him. Some of these repairs were made to very old editions which he would bring back to life, adding new strings, bridges, and wood repair work. As well there was bow hairing, which was a definite challenge. All this restoration was a delight to do. It was dad’s belief that the restoration and then the playing gave ‘life’ to the old instruments.

As well as violins, Martin began making grandmother clocks. This was a smaller version of the grandfather clock and gave him great pleasure to see the time movement and to hear the chimes, another ‘speaking instrument’ dad would say.

Olive continued her teaching in Ottawa. Some students were young men and women, some were children (three of her grandchildren included, Murray, Ross and Marilyn Kippen) and there were also retired people who always loved violin music and now had time to take up the art.

After Martin’s death in 1972, Olive continued with violin repair work. She also continued to teach until a minor stroke suffered in 1990 made it too difficult to play those pieces loved or to instruct her pupils.

Their musical tradition continues today with their daughters, Sherrill and Sheila, granddaughters, Lori, Kelli, Traci and Marilyn and now great granddaughter, Braelyn.

This music has long been part of our culture, from the immigration of our forefathers to Glengarry, to the present day when young people continue to learn violin, song, and step-dancing. Martin and Olive were part of this heritage, brought along by the love, enjoyment and pure pleasure it gave. How pleased they would be that this long tradition continues to flourish.

By Sheila Ferguson Kippen