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

Scottish Folk Songs

Description

Consultez la partition de pour Scots Musical Museum , partie III, chansons, de Folk Songs, Scottish. La partition classique dédiée aux instruments tels que: continuo, voix
La partition se constitue d'une variété de mouvements: 6 Volumes et est classée 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)

Visionnez encore d'autres 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: 13
• Licence : Libre de droits
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

ILLUSTRATIONS
OF THE
POETRY AND MUSICLYKIC
OF
SCOTLAND.
PART III.
cci.
TUNE YOUR FIDDLES.
This song was written by the late Reverend John Skinner,
minister of the Episcopal Chapel at Longside, near Peter-
head. The author, in his letter to Mr Burns, says, that this
song was squeezed out of him by a brother parson in the
Duchess of Gordon's neighbourhood, to accommodate a new
Highland reel for the Marquis of Huntly's birth-day.
Mr Skinner was born at Balfour in the parish of Birse,
Aberdeenshire, on the 3d of October 1721. At a very early
period he displayed an uncommon genius in acquiring a know-
ledge of the Latin, Greek, and other languages. When only
thirteen years old, he appeared as a candidate at the annual
competition in the Marischal College of Aberdeen, and gain-
ed a considerable bursary, which he enjoyed during the usual
of fourperiod sessions in that university. Having finished
his academical studies, he was employed as a teacher ofyouth
till November 1742, when the congregation of Episcopalians
at Longside unanimously chose him to be their pastor. The
duties of this sacred office he discharged from that period till
his death, with such affectionate care and tender solici-
tude, as endeared him, almost beyond example, to his whole
flock. Mr Skinner died on the 16th of June 1807, in the
was «.*86th year of his age. He the author of an Eccle-
1
'siastical History of Scotland, and of some poems, and seve-
chiefly in theral excellent songs, Scottish language, which
were published in one volume after his decease, with a bio-
p—
190 CCI.—TUNE YOUR FIDDLES.
graphical sketch of the editor.the author's life prefixed by
Mr Skinner was an eminent scholar, a faithful and pious mi-
nister, and a most worthy and honest man.
The tune to which Mr Skinner's verses are adapted in the
"Museum, is called Huntly's Reel,"The Marquis of
which was composed by the lateMr William Marshall, butler
to the Duke of Gordon. Mr Marshall played the violin very
strathspey andprettily, and composed several other excellent
reel tunes. Burns, after giving it as his opinion, that Marshall
was of the age,the first (i.e. best) composer of strathspeys
"says, I have been told by somebody, who had it of
Marshall himself, that he took the idea of his three most ce-
lebrated " Huntly's Reel," hispieces, The Marquis of
-
1
" '" "Farewell, and Miss Admiral Gordon's Reel, from the
"old air, The Reliques. Mr MarshallGerman Lairdie."
must certainly have been quizzing the gentleman who gave
Burns this information, for there does not seem to be any
"resemblance whatever between the German Lairdie," (vide
Hogg's Jacobite Reliques, vol. i. 83. and Marshall'sp. )
" "or Farewell." WithMarquis of Huntly's Reel," his
"regard to his Miss Admiral Gordon's Reel," it is evidently
"taken from Holland,"the old tune called The Lowlands of
(compare the tune,No 1 15, in vol. ii. of the Museum, with No
"in vol. same work.) In my opinion, The235, hi. of the
Marquis of Huntly's Reel" is not only one of the best and
most original plagiarismsairs, but likewise more free from
than any other tune Marshall ever composed. The air in the
Museum curtailed. A ge-is very injudiciously altered and
nuine set of the tune, with the first verse of Mr Skinners
song, is therefore annexed.
TUNE FIDDLES.YOUR
Written ly the Air ly William Marshall.Rev. Mr Skinner.
2zzzz~
vzz-vzz
Tune your Marquis'fid- dies, tune them sweetly, Play the
;
-
I ,K' ~r~lr..',.— —
191Cd;—TUNE YOUR FIDDLES.
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5=5: 3^m
Fitted to bediscreetly; Here we are a band completelyreel
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3zE pi
in the thirdThe rest of this excellent song will be found
volume of the Scottish Musical Museum.192
ecu.
GLADSMUIR.
called a song,This beautiful poem, for it can scarcely be
" blood-stanVd field," wasbeginning As over Gladsmuir's
and set towritten by William Hamilton of Bangour, Esq.
threewho published themusic by Mr William Macgibbon,
tunes. Gladsmuir is thewell known volumes of Scottish
Haddington, in the vicinityname ofa parish in the county of
Sirof the battle between Prince Charles Edward andwhich
September 1745. The events ofJohn Cope was fought, in
furtherremarks.this engagement are too recent to require any
CCIII.
GILL MORICE.
appearance of beingThe ballad of Gill Morice has every
a true narrative of an event that happened in a remote age,
have been modernizedalthough the language mav gradually
toin descending, by oral communication, from one generation
another. In Bishop Percy's Folio Manuscript, which, from
internal evidence, reign of Queenis at least as old as the
"Elizabeth, there is an old ballad, entitled Childe Maurice,"
in which the same incidents that occur in Gill Morice are de-
tailed, though in less polished and ruder language. A very
accurate copy of this old ballad may be seen in Jamieson's
Popular Ballads and Songs, vol. i. printed at Edinburgh in
1806. This gentleman justly observes, that the anonymous
editors of Gill Morice are not the only persons who have
studied to adorn and improve this interesting story. In
" Owen of Carron," it has received, from the chaste, elegant,
and pathetic, but diffuse pen of Langhorne, every embellish-
ment which that species of composition seems to admit of.
"Home has made it the ground-work of the tragedy of Dou-
glas," one of the most pleasingly-interesting dramatic poems
which modern times has produced and it hasmoreover been;
made the subject of a dramatic entertainment, with songs, by
Mr Rannie of Aberdeen, who is well known in the musical;
GILL MORICE. 193CCIII.—
of several very elegant and popular ly-world as the author
rical compositions."
Scottish ballad of GillPercy says, that the popularBishop
at Glasgow, for the second time, in 1755,Morice was printed
its preservation was owingwithan advertisement, stating, that
it wasfavoured the printers with a copy, asto a lady who
old women and nursescarefully collected from the mouths of
complete,reader that could render it more correct orand any
public with such improvements. Inwas desired to oblige the
versesconsequence of this advertisement sixteen additional
said) were produced. These lines were(lines he should have
previous to theirfor sometime handed about in manuscript,
butbeing incorporated in the ballad by that learned prelate ;
evidently modern interpolations. Gray, in one of histhey are
"says, I have got the old Scotchletters on Childe Maurice,
ballad on which Douglas was founded ; it is divine, and as
from hence (Cambridge) to Aston. Have you neverlong as
Aristotle's best rules are observed in it in aseen it ? manner
had never read Aristotle. Itthat shews the author begins
fifth act of the play (viz. ofHome's Tragedy ofDou-in the
it two-thirds through without guessingglas), you may read
when youwhat it is about ; and yet, come to the end, it is
1
not to understand the whole story.'impossible
ofroom in theAs Johnson, from want Museum, left out
the greater part of this very beautiful and justly celebrated
ballad, it is inserted entire, with the sixteen lines,here or four
stanzas, alluded to by Bishop Percy. These modern inter-
polations, however,-are printed in italics, to distinguish them
from the older verses.
GILL MORICE.
An old Scottish Ballad.
Morice was an erle's son,Gill
it waxed wideHis name ;
for his greatIt was nae riches,
his meikle pride,Nor yet
for lady gayBut it was a
That Uv'd on Carron side.; ; ; !
194 CCIII.—GILL MORICE.
" Whar sail I get a bonny boy,
That will win hose and shoen
That will gae to Lord Barnard's ha',
And bid his lady cum ?
"" And maun rin my errand, Willie,ye
And ye maun rin wi' speed
Whan ither boys gang on their feet
Ye sail hae prancing steed."
" no ! master dearOh no ! Oh my
for lifeI dar nae my
the bauld baron's,I'll no gae to
furth his wife."For to tryst
" My bird Willie, my boy Willie,
My dear Willie," he sayd,
How can ye strive against the stream?
be obey'd."For I sail
!"" dear heBut 0, my master cry'd,
your lainIn grene wode ye're ;
thoughts, I waldGie owre sic ye rede,
be ta'en."For fear ye should
" Haste, haste, I say, gae to the ha',
Bid her cum here wi' speid ;
If ye refuse my high command,
I'll gar your body bleid.
" bid her take t