Partition , partie II, pour Scots Musical Museum, Folk Songs, Scottish

Scottish Folk Songs

Description

Redécouvrez les partitions de morceau pour Scots Musical Museum , partie II, chansons, composition de Folk Songs, Scottish. Cette partition classique dédiée aux instruments suivants:

• voix
• continuo

La partition offre différents mouvements: 6 Volumes et est répertoriée dans les genres

• chansons
• chansons folkloriques
• Music histoire
• écrits
• pour voix, continuo
• pour voix avec continuo
• partitions pour voix
• partitions avec basso continuo
• pour voix, piano
• pour voix avec clavier
• partitions pour piano
• pour voix, clavecin
• partitions pour clavecin
• langue anglaise
• pour voix, piano (arr)

Visualisez encore une grande sélection de musique pour continuo, voix sur YouScribe, dans la catégorie Partitions de musique classique.
Rédacteur: William Stenhouse (1773?-1827)
Edition: Edinburgh: William Blackwood and Sons, 1853.
Libbretiste: various, including Robert Burns
Dédicace: The Catch Club Instituted at Edinburgh June 1771

Sujets

• Classique
• Basse continue
• Voix
• Folk music

Informations

• Publié par: FOLK_SONGS
• Nombre de lectures: 33
• Licence : Libre de droits
• Langue: English
• Poids de l'ouvrage: 4 Mo

Extrait

ILLUSTRATIONS
LYRIC POETRY AND MUSIC
SCOTLAND.
PART II.
ci.
WHEN GUILFORD GOOD.
isThe gaelic composed, itair, to which this is set, wassong
said, the about theby pipe-major of highland regiment,the old
appellation ofperiod when it was under thefirst embodied
" gallantAn freiceadan Thisdubh," or, The Black Watch.
regiment, wouldthe history of martial achievementswhose
theexhaust volumes, the world byis now better known to
title of or, asThe XLII. Highlanders,regiment Royalof
Cook, the bravefortycelebrated player, used to style it, the
tzva, loyalty,a title which their approvedundaunted valour,
and meritorious of the globe,services, in various quarters
have so to thejustly merited. The whimsical ballad, united
air isin the Museum, but though itwas written by Burns;
far from being happiestbad, it cannot be ranked amongst the
productions thisof our celebrated The incidents ofbard.
humorous political and so ge-squib are of recent occurrence,
nerally known, that explanation is unnecessary.
en.
TRANENT MUIR.
" void ofThis ballad, beginning The Chevalier being
"fear," is adapted to the old tune of Gillicrankie." It was
written Skirven, ansoon after the battle of Tranent, by Mr
H:
106 CII.—TRANENT MUIE.
opulent and respectable farmer in county of Haddington,the
and father of the late eminent painter, Mr Skirven of Edin-
burgh. The battle of Tranent Muir, between Prince
Charles Stewart, commonly Chevalier, atstyled the Young
the head of the Highland army, and Sir John Cope, com-
mander of the king's forces, was fought near the ancient vil-
lage of Preston, in on the 22d ofthe shire of Haddington,
September routed,1745. The royal army was completely
and Sir John Cope fled from the field with the utmost trepi-
dation. He was afterwards tried court-martial for hisby a
conduct in action, and acquitted.
followingThe notes may assist the reader to understand
some of the allusions in the song
—Stanza 2. " The brave Lochiel" was Donald Cameron
Lochiel, chief of the ofof Esq. clan Cameron ; a gentleman
distinguished talents and valour. He was wounded at the
battle of Culloden, but effected his escape to France in the
same vessel with his young master. He was afterwards ap-
to the command of a French regiment,pointed in considera-
tion of his great services and misfortunes, and died in 1748.
—Stanza 5. " Menteith the Great," was the reverend
clergyman of Longformacus, and a volunteer in the royal
army. Having accidentally surprised a Highlander, in the
easing nature, the night previousact of to the battle, he
pushed him over, seized his musket, and bore it off in triumph
Cope's camp.to
—Stanza 5. " And Simpson keen." This was another
reverend volunteer, who boasted, that he would soon bring
the dintrebels to their senses by the of his pistols ; having a
brace ofthem in his pockets, another in his holsters, and one
in his approachingbelt. On the enemy, however, his cour-
age failed him, and he fled in confusion and terror alongst
with the rest.
—Stanza 7. " Myeie staid, and sair he paid the kain,
man." He was a student of physic from Jamaica, and en-CII.—TRANENT MUIR. 107
tered as a volunteer in the royal army, but was dreadfully
mangled in the battle with the Highland claymores.
—8.Stanza " But Gard'ner brave." This was the gal-
lant Colonel James Gardiner, who commanded a regiment of
the king's dragoons on that unfortunate day. Though de-
serted by his troops, he disdained to fly, and, after maintain-
ing an unequal contest, single-handed, with the enemy for a
considerable time, he was at length despatched with the stroke
ofa Lochaber axe, at a short distance from his own house.
1— 'Stanza 9. " Lieutenant Smith, who left Major Bowie
when lying on the field of battle, and unable to move with
his wound, was of Irish extraction. It is reported, that,
after publication of the ballad, he sent Mr Skirven a
challenge to meet him at Haddington, and answer for his
Conduct in treating him with "such opprobrium. Gang
"awa back" said Mr Skirven to the messenger, and tellMr
Smith, I have nae leisure to gae to Haddington, but heif
1
likes to come here, T'll tak a look o him, and I think I canif
—fecht him Fllfecht him, and no Tiljust do as he did atif
—Preston Fll rin awa.''''
old, humorous, and dog-latin "The ballad, entitled, Prae-
lium Gillicrankium," by Professor Herbert Kennedy, of
University, is a literaryEdinburgh curiosity, and may be
sung to the same tune. Its author was descended of the an-
cient family of Kennedy of Haleaths, in Annandale. This
ballad is printed inmacaronic the second volume of the Scots
Musical Museum.
cm.
TO THE WEAVERS GIN YE GO.
Burns informs us, that this comic song, beginningMy
was ance as blythe andhea"t free, as simmer days were lang,
himself,was written by with the exception of the chorus,
which is old. Alluding to this song, our poet modestly
" Here let me once for all apologizesays, for many silly
compositions of mine in this work. Many of the beautiful
words. In hurryairs wanted the of other avocations, if 1;
108 CIII. TO THE WEAVERS GIN YE GO.
could string a parcel ofrhymes together any thing near toler-
able, I was fain to let them pass. He must be an excellent
1
poet whose —every performance is excellent.'' Reliques. The
old song will not do in this work the pretty enough.; tune is
Aird published it in the second volume of his Collection,
adapted for the violin, or german flute.
civ.
STREPHON AND LYDIA.
These tender "and pathetic verses, beginning All lovely
on the sultry beach, expiring Strephon lay," to the tune of
The Gordons had the guiding o't, were written by William
Wallace of Cairnhill, Esq. in Ayrshire. The Strephon and
Lydia, as Dr Blacklock informed Burns, were, perhaps, the
loveliest couple of their time. The gentleman was commonly
known by the name of Beau Gibson. The lady was the
gentle Jean who is celebrated in Hamilton of Bangour's
Poems. Having frequently met at public places, they form-
ed a reciprocal attachment, which their friends thought dan-
gerous, as their resources were no meansby adequate to
their tastes and habits of life- To elude the bad conse-
quences of such a connection, Strephon was sent abroad
with commission, and perished in Admiral Vernon'sa unfor-
tunate expedition to Carthagena, in the year 1740.
cv.
ROCK, BYON A SEAS SURROUNDED.
The words and music of this plaintive little lyric were
communicated by the late Dr Beattie ofAberdeen. Both of
them, I believe, his ownare of composition. Johnson, the
original proprietor of the Museum, calls the tune Ianthe the
lovely; but mistaken it is quitehe was ; a different air. The
tune "of Ianthe the lovely" was composed by Mr John Bar-
ret of London, organist, about the year and was after-1700,
wards published in tothe third volume of the Pills, in 1703,
a song of three stanzas, beginning
Ianthe the lovely, the joy of her swain,
By Iphis was lov'd, and lov'd Iphis again;
CV.—ON A ROCK, BY SEAS SURROUNDED. 109
She liv'd in the youth, and the youth in the fair,
Their pleasure was equal, and equal their share ;
withdrew,No time nor enjoyment their dotage
grew.But the longer they liv'd still fonder they
Barret's tune was selected by Mr Gay for one of his songs
beginning When he holds up hisin the Beggar's Opera, hand
arraigned Oswald also published the same Englishfor life.
tune in his Caledonian Pocket Companion, Book Fourth.
cvi.
O WHISTLE, AND I'LL COME TO YOU, MY LAD.
This air has generally been considered of Irish origin, be-
cause it was adapted to a song written by John O'Keefe,
Esq. in his comic opera of the Poor Soldier, which was first
acted at Covent Garden in 1783. The song begins Since
Pll I can. But the tune was com-love is the plan, love if
posed by the late John Bruce, an excellent fiddle-player in
Dumfries, upwards of thirty years before that period. Burns,
"in corroboration of this fact, says, this I know, Bruce, who
though a red-wudwas an honest man, Highlander, constant-
ly claimed it ; and by all the old musical people here, (viz.
Dumfries) he is believed to be the author of it.'" Reliques.
This air was a great favourite of Burns. In 1787, he wrote
the two stanzas in the Museum, and in August he1793,
are theadded two more. They here annexed to complete
song.
*
whistle, and I'll come to you, my lad,
O and I'll come to you, my lad,
Tho' father and mither and a' should gae mad,
O whistle, and I'll come to you, my lad.
* In some MSS. the two first stanzas are varied, as under—
O whistle, and I'll come to thee, my jo,O and I'll to thee, my jo,
Tho' father and mither and a' should say no,
O whisde, and I'll come to thee, my jo.
warilyBut tent, when you come to court me,
And come na unless the back yett be a-jee
Syne up the back style, and let naebody see,
And come as ye were na coming to me.;
110 CVL—» WHISTLE,O AND I'LL COME TO YOU, MY LAD.
Co