Selected Choral Works of Learmont Drysdale

Home , August Manns, Ethel Smyth, Fairyland, Hamish MacCunn, John Blackwood McEwen, Scarba

SELECTED CHORAL WORKS OF LEARMONT DRYSDALE,

SCOTLAND'S FORGOTTEN COMPOSER

by KENNY M. SHEPPARD, B.M., M.M.Ed.

A DISSERTATION

FINE ARTS

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY

Approved

Accepted

December, 1987 fl

U 3

The author of this document is very grateful to Dr. Lee Rigsby who, even after his retirement, continued to offer encouragement, scholarly advice and thorough proof reading. It was Dr. Rigsby who first introduced the author to the music of Learmont Drysdale. This dissertation could not have been prepared without the assistance of Ms. Sheila Craik, Music Librarian for the Library of Glasgow University, who made the Drysdale Collection available to the author. Appreciation is extended to Dr. Robert Horick who spent many hours teaching the author how to operate a word processor. Knowledge of this instrument was of considerable benefit. Dr. Donald Bailey succeeded Dr. Harold Luce as Chairman of the author's dissertation committee. Both of these gentlemen provided valuable advice during the writing of this document. Part of the financial resources for the author's research was provided by the Cullen Faculty Development Program through Southwestern University.

11 TABLE OF CONTENTS

ACKNOWLEDGMENTS ii LIST OF FIGURES iv CHAPTER I. MUSIC IN VICTORIAN ENGLAND 1 II. MUSIC IN NINETEENTH-CENTURY SCOTLAND 15 III. LEARMONT DRYSDALE 31 IV. STYLISTIC FEATURES AS REVEALED IN SELECTED VOCAL WORKS 94 LIST OF REFERENCES 14 6 APPENDICES A. LIST OF WORKS BY LEARMONT DRYSDALE 14 8 B. CONDUCTOR'S SCORE OF THE KELPIE, NOS. 2, 4, 7 AND 15, BY LEARMONT DRYSDALE, EDITED BY KENNY SHEPPARD 161 C. THE KELPIE, VOCAL SCORE. PUBLISHED BY PATERSON AND SONS, LONDON, 1891 249 D. HARK! 'TIS THE BREEZE OF TWILIGHT CALLING LEARMONT DRYSDALE 413

111 LIST OF FIGURES

1. Double tonic 9 6

2. Hark! ^Tis the Breeze (measures 1-10) 99

3. No. 1, measures 1-2 104

4. No. 1. Derivations of sea motive 104

5. No. 1, measure 11. Depth motive 105

6. No. 1. measures 1-5. Kelpie theme 108

7. No. 1, measures 40-42. Snake motive 109

8. No. 1, measures 54-58. Kelpie motive (K-2) . . 109

9. No. 1, measures 76-78. Kelpie theme (K-3) . . 110

10. Derivations of gallop motive 110

11. No. 2, measures 18-29. Kelpie theme (K-4) . . Ill

12. No. 3, measures 24-25. Villager motive .... 114

13. No. 3, measures 49-51 (V-2) 115

14. No. 3, measures 68-69 (V-3) 115

15. No. 3, measures 80-84. Villager motive (V-4) . 116

16. No. 3, measures 104-109. Villager motive (V-5) 116

17. No. 4, measures 16-19. Jessie's theme .... 117

18. No. 5, measures 9-11. JS motive 118

19. No. 5, measure 24. Love motive 119

20. No. 5, measures 120-122 120

21. No. 7, measures 22-30 122

22. No. 7, measures 36-38. JS motive 123

IV 23. No. 8, measures 9-19. Love motive 124

24. No. 8, measures 37-39 124 25. No. 9, measures 2-3, (V-3) 126 26. No 9, measures 5-6, (K-4) 126 27. No 9, measure 33. Depth motive 127 28. No. 9, measures 38-39 127

29. No. 10, measures 34-36 and 40-41 129 30. No. 11, measures 25-27 131 31. No 12, measures 56-57. Gallop motive 133 32. No. 12, measure 88 134 33. No. 12, measure 112 134 34. (a) No. 9, measure 30, (b) No. 13, measures 17-18 136 35. Depth motive 137 36. No. 14, measures 20-21 138 37. No. 15, measures 38-42 140 38. No. 4, measures 84-85 141 39. No. 15, measure 106 141 CHAPTER I MUSIC IN VICTORIAN ENGLAND

During the late nineteenth century and the early twentieth century there were many talented and well- trained British composers whose names and music were well known but were later forgotten. Not the least of these was the Scottish composer, Learmont Drysdale (1866-1909), the subject of this document. In order that Drysdale's musical environment may be more fully understood, the first chapter of this paper is devoted to music in Victorian England, and the second chapter deals with music in nineteenth-century Scotland. Music by English composers had not seriously rivaled that of the continental nations since the death of Henry Purcell in 1695. W. H. Hadow went so far as to refer to the eighteenth century as "the dark age" of English music.^ England, especially London, continued to have a very active musical life as far as performances were concerned, but the first-rank composers represented on those concerts and many of the performers were from other countries. The most notable of the imported composers of

^Sir W. H. Hadow, English Music (London: Longmans, Green and Co. 1931), 105. the eighteenth century was, of course, George Frederick Handel, a long-time resident of England, whose oratorios and instrumental works dominated musical London, especially after the Italian opera fell out of favor. The foreign domination of musical England continued even after Handel's death in 1759. The Italian, Muzio Clementi, resided in England as did J. S. Bach's youngest son, Johann Christian. In 1785, King George III named Cherubini as "composer to the King."^ Haydn received a hearty welcome when Salomon brought him to London in the last decade of the century. By the end of the century concerts had really become public institutions in London and in the provinces. Opera, on the other hand, always confined to the capital, did badly even there, both materially and artistically.^ The first thirteen years of the nineteenth century produced Berlioz, Mendelssohn, Chopin, Schumann, Liszt, Verdi and Wagner, and all of these composers were heard frequently in England. Unfortunately, no composer of the first-rank was born to England. It was during this time, however, that the groundwork for a revival of English music began to be laid. In 1813 the Philharmonic Society

^Eric Blom, Music in England (Harmondsworth, England: Penguin Books, 1978), 123.

^Ibid., 126 was established in London for the purpose of performing great orchestral music. Clementi was appointed as the conductor. Although Beethoven's music had been known in England before, it was through this orchestra that his work became established throughout the country.

One factor which had kept England from the forefront had been the lack of an adequate school of music. Serious composers had gone abroad, primarily to Germany, for their musical training. In 1822, the Royal Academy of Music was founded in London. Dr. William Crotch was the Principal. Among its earlier students was William Sterndale Bennett, later Sir William Sterndale Bennett, who was to exert an important influence over the standards of musical performance in England.^ "He was knighted in 1871, and died, the acknowledged head of English music, in 1875."^ As usual, however, foreign composers continued to dominate musical England: among them were Berlioz, Rossini, Spohr, Liszt, Weber, Wagner, and Mendelssohn, the most popular of the lot. Mendelssohn was instrumental in

"^Sir William Sterndale Bennett (1816-1875) , founded the Bach Society in 1849, later became the conductor of the Philharmonic Society, and subsequently principal of the Royal Academy of Music.

^Hadow, English Music, 134. raising the social standing of musicians in English society. It was largely due to his own social standing and to his ease of manner that it began to be possible for musicians to be asked to the homes of the great on terms of something like equality, though as late as the Victorian days it was no unheard-of thing for them to be admitted only at the servants' entrance and roped off from the guests. . . Mendelssohn showed that a gentleman has as much right to be a musician if he chooses, as anyone else....^ A most significant manifestation of this trend occurred when Queen Victoria, in 1842, for the first time, bestowed knighthood upon a musician.^ This first musical knight was Sir Henry Bishop (1786-1855). One of Mendelssohn's most lasting contributions to English musical life was his resurrection of the music of J. S. Bach. Mendelssohn's performance in 1829 in Berlin of the St. Matthew Passion is considered to have been a turning point in the revival of interest in the music of Bach. The first performance of this work in England was given by Sterndale Bennett in 1854, resulting in a Bach revival in England.® Bennett and his student, Charles

^Blom, Music in England, 142.

^Queen Victoria reigned from 1837 to 1901.

®Frank Howes, The English Musical Renaissance (New York: Stein and Day, 1966), 114-115. Steggal, subsequently founded the Bach society. Bennett also conducted the Bach Choir (1885-1902). It should be noted that Samuel Wesley had sparked some interest in Bach earlier in the century. The Bach revival, although not actually concerned with English music, was one of the movements among professional musicians which eventually led to the so- called English musical renaissance. Two other movements, the folk-song revival and the Tudor revival, were equally important. In 184 3 the Reverend John Broadwood (1798-18 64) produced a collection of sixteen songs as he had heard them sung at rural festivals in England. In 1893, Broadwood's niece, along with J. A. Fuller-Maitland, published English County Songs, a landmark in the folk song revival. Another pioneer was Sabine Baring-Gould (1834-1924), best known as author of "Now the Day is Over" and "Onward Christian Soldiers." In his collection of the folk songs of Devon and Cornwall, a distinctive Phrygian flavor was predominant.^ The modes most frequently found in English folk-song are the Ionian, the Aeolian, the Dorian, and the Mixolydian.-^^

^Ibid., 78

^°Blom, Music in England, 186-187 . . .in 1898 the Folk Song Society was founded in London with 'the collection and preservation of folk-songs, ballads and tunes, and the publication of such of these as may be deemed advisable' as its primary object. Official English music set the seal of approval upon the work from the beginning: Stainer, Stanford, Mackenzie and Parry became vice-presidents and took an active part in the society's early meetings . . .[as did] the composer Edward Elgar.^^ The name most associated with the English folk song revival is Cecil Sharp who collected over 3,000 tunes. Sharp, along with Ralph Vaughan Williams, joined the folk song society in 1904 and urged the committee to adopt a more active policy for collecting songs. The influence of folk-music can most readily be seen in the work of Vaughan Williams and, to a lesser extent, in that of Gustav Hoist. E. H. Fellowes (1870-1951) and William Chappell (1809-1888) provided the main leadership for making the music of Tudor composers available. Chappell was instrumental in founding the Musical Antiquarian Society and the Percy Society, both of which published music of sixteenth and seventeenth century English composers, including William Byrd, Thomas Morley, Orlando Gibbons and

^^Ibid., 79. Henry Purcell. Fellowes produced thirty-six volumes of madrigals in a work called The English Madrigal School.-^^ Others who should be mentioned in connection with the Tudor revival are J. A. Fuller-Maitland (1856-193 6) and Eugene Arnold Dolmetsch (1858-1940). Fuller-Maitland, who also was active in the folk-song revival, shared the editorship of The Fitzwilliam Virginal Book with his brother-in-law, W. Barclay Squire. Dolmetsch contributed not only performable editions of old music but also restored old instrTiments and constructed new ones built on old designs. ^-^ The strengthening of musical life in England can also be attributed to certain popular movements: the spread of the tonic sol-fa as a system of music reading for the amateur, the formation of brass bands and the establishment of competitive music festivals. The competitions were for the purpose of giving amateur performers a chance to engage in friendly contests and to gain small prizes. Initially they were for choral groups but eventually included instrumental performers as well.-^"^

^^ibid., 85-86.

^^Ibid., 101-102.

•^^Blom, Music in England, 174 8

Founded in 1724, the Three Choirs Festival of Gloucester, Worcester and Hereford is the oldest in England.^^ Eric Blom attributes particular importance to a performance at this festival in 1880. The beginning of the vast improvements in British composition which have led to its present rehabilitation is usually dated from the production of a choral work by Parry, the scenes from Shelley's 'Prometheus Unbound,' at the Gloucester Three Choirs Festival of 1880.-^^ Blom goes on to indicate that while Parry's music was an improvement over that of his English predecessors, he was not a composer of the first-rank.^^ Contemporaries who considered Parry's Prometheus Unbound a landmark for English music were Sir Charles Villiers Stanford (1852- 1924) and the critic, J. A. Fuller-Maitland.^® Sir Hubert Parry (1848-1918), along with Stanford, continued to play a major role in the revival of English music. He was of English birth and an important composer in his time, his best-known works being the oratorios Judith and Job. Ralph Vaughan Williams was among the many

^^Dennis Gray Stoll, Music Festivals of the World (Oxford: Pergamon Press, 1963), 27.

^^Blom,Music in England, 163.

^"^Ibid., 164-165.

^®Howes, The English Musical Renaissance, 20. who had a high regard for Parry. "Early in 1891 Vaughan Williams became Parry's pupil. Never in the next sixty- seven years did he cease to remember this experience with pride and gratitude."^^ The Irish-born Stanford was not only a composer of merit but also a conductor, a scholar and a first-rate teacher. Among his pupils were Vaughan Williams, as well as John Ireland, Herbert Howells and Gustav Hoist.2 0 Parry and Stanford, both German trained, consciously attempted to improve public taste and to establish a school of English music. Their main influence was exerted from the Royal College of Music, the younger and more progressive rival of the Royal Academy of Music of which Alexander Mackenzie was Principal. Alexander Campbell Mackenzie (1847-1935) was a Scotsman who studied both in Germany and Italy. Unlike Parry and Stanford, he was primarily a working musician rather than an academician. Although he was a very prolific composer, most of his energies were spent on teaching and administrative duties. Among his students were William Wallace, Learmont

^^Michael Kennedy, The Works of Ralph Vaughan Williams, 2nd ed., (London: Oxford University Press, 1980), 14.

^^Ibid., 151. 10

Drysdale, Hamish MacCunn and Granville Bantock.^-^ The contributions that Mackenzie, Parry, and Stanford made were more through rigorous teaching than through composing; however, had they not been good composers, their influence would not have been as great. In this last matter of higher standards of performance, an effort was required similar to that undertaken on behalf of composition by Mackenzie, Parry and Stanford, whose common motto was 'no compromise' (as compared with the more complacent standards of Sullivan, Cowen and Stainer). When this struggle was in fact begun . . .it was precisely the influence of their seniors [Parry, Stanford and Mackenzie] which inspired them. For Mackenzie and Stanford were themselves executants in the orchestral field and Stanford's exactions as teacher were terrifying to his pupils. . . Good work, artistic integrity, the highest standards, intellectual foundations and the determination to bring the same meaning to the word first-rate in music as it bore in other fields of culture, were no mean benefit for these pioneers of revival to bring to their art.^^ Frank Howes declares that Sir Arthur Sullivan (1842- 1901) did "less than nothing for a revival of English Music."2^ Bernard Shaw wrote that Sullivan's "turn for music does not include inventiveness, nor grace of

2^Kenneth Elliott and Frederick Rimmer, A Historv of Scottish Music (London: British Broadcasting Corporation, 1973), 63-64.

^^Howes, The English Musical Renaissance, 31.

23ibid., 56. 11 workmanship, nor humor."^^ However, in light of the fact that Sullivan was extremely popular in his time, especially after he began to work with Gilbert, and that his music is better known today than anyone discussed above, except for Vaughan Williams and Hoist, it is appropriate to mention his accomplishments. His musical training was first at the Chapel Royal and then the Royal Academy of Music where he studied with Sterndale Bennett. Later he studied in Leipzig. He gained some recognition as a writer of oratorios, cantatas and orchestral music, but his greatest success, of course, was with the Savoy operas. The Gondoliers, The Mikado, Trial bv Jurv. The Pirates of Penzance, H.M.S. Pinafore and others. Sullivan also played a part in the educational community as he was the Principal of the National Training School for Music, the predecessor of the Royal College of Music. He also conducted the Philharmonic Society and the Leeds Festival.2^

There were other notable English composers at the turn of the century who adhered to the European idiom. Most prominent among them were Roger Quilter (1877-1953),

24 The Great Composers. Reviews and Bombardments by Bernard Shaw, ed. Louis Crompton (Berkley: University of California Press, 1978), 326.

2^Howes, The English Musical Renaissance, 52-53. 12

Hamilton Harty (1879-1941), John Ireland (1879-1962), Arnold Bax (1883-1953), and Frederick Delius (1862-1934) who was more cosmopolitan than English. Also, there was Cyril Scott (1879-1970), a more revolutionary composer, who, for a time, gave up using key signatures and regular bar lines and used dissonances freely.^^ The composers who really asserted English independence were Sir Edward Elgar (1857-1934), Ralph Vaughan Williams (1872-1958) and Gustav Hoist (1874-1935), Without the genius of these three, all of the ground-work laid by Bennett, Parry, Stanford and Mackenzie would have meant little. Hoist and Vaughan Williams were both students at the Royal College of Music where they were trained in the German tradition. However, they soon began to break out of that tradition and explore new ways of musical expression. To some extent Vaughan Williams based his musical style upon his discovery of English folk-music. Hoist's style was influenced not only by folk-music but also by Hindu mysticism. The influence of Vaughan Williams was felt in the nineteenth century, but both he and Hoist basically belong to the twentieth century as their most mature works are from this era.

2^Ibid., 193-205. 13

Elgar was the first English composer since Purcell to be recognized by most critics as first-rank. He grew up outside the musical influence of the universities or London. His musical education was not systematic; therefore, he took longer to mature than most. The final product, however, was well-worth the wait as he did not have any particular mold from which to break as did Parry and others.2*7 Even though he had participated in the Folk Song Society, Elgar did not derive his style from folk song as did Vaughan Williams. It was in 1899, under Richter's direction, that the Enigma Variations signaled to the world that at last England had produced a composer whose natural medium was the orchestra. Even the success of The Dream of Gerontius lies primarily in the orchestration.2®

A few other aspects of the musical nineties in London are outlined below by Kennedy. [Of significance, were] Mahler's visits to conduct Tristan at Covent Garden [and] the emergence of a brilliant young English conductor, Henry J. Wood. . . Shaw was writing, for The World, devastating criticisms of Parry and Stanford, Brahms and Dvorak. The music of Tchaikovsky, Dvorak, and Rimsky-Korsakov was entering the repertoire. Besides Elgar a new generation of English composers was claiming a

2'7ibid., 165.

2®Kennedy, The Works of Ralph Vaughan Williams, 9

TEXAS TECH UBRAftY 14

hearing—Bantock, Delius, Ethel Smyth, Coleridge- Taylor. In the realm of light opera Edward German, Alfred Cellier, Sydney Jones, and Leslie Stuart enjoyed considerable success. Since 1892 Dan Godfrey had been championing new music at Bournemouth. Cowen was holding the fort at Manchester, after Holle's death in 1895, until Richter took over. Henschel since 1893 had been conductor of the Scottish Orchestra. . . Most important of all, a new London concert-hall, the Queen's Hall, was opened in 1893 and there, in 1895 Wood began his Promenade Concerts under Robert Newman's management."^^ The fervent and ever increasing musical activity of English life could hardly have escaped effecting a similar milieu in Scotland and Ireland. Festivals began to be held, music societies were formed and concert halls were built in Edinburgh, Dublin, Glasgow, Aberdeen and other cities, and gradually, a nationalistic spirit would invade the entire British Isles.

^^Ibid., 10. CHAPTER II MUSIC IN NINETEENTH-CENTURY SCOTLAND

Musical compositions in the larger forms, i.e., the symphony, sonata, concerto, opera, oratorio, etc., were almost completely neglected by Scottish composers during the first eighty years of the nineteenth century. One of the reasons for this may well have been the tremendous interest on the part of the Scottish people in developing a type of "national" music, drawing heavily on the rich folklore of the country, both in poetic and musical form. Even such well-known and revered literary figures as Robert Burns and Sir Walter Scott selected and arranged numerous folk songs, effecting a degree of sophistication for such endeavors which might not otherwise have existed.^ Numerous publications of arrangements and original compositions of a "folkish" nature appeared during this period. Among the more popular collections were the Scottish Minstrel (1821-24) by Robert A. Smith, the Vocal Melodies of Scotland (183 6) by Finlay Dun and John Thompson, the Garland of Scotia (1841) by John

^The New Grove Dictionary, 1980 ed., s.v. "Scotland," by Kenneth Elliot and Francis Collinson

15 16

Turnbull, and the Songs of Scotland (1842) by John Wilson.2

The attitude toward the use of music in the churches of Scotland had been quite restrictive ever since the Reformation. In the Presbyterian Church, Scotland's main denomination, neither organs nor choirs were used in worship services. During the first part of the nineteenth century, arguments were given in favor of the use of the organ and choirs in the services, but it was not until 1864 that official sanction for such use was finally given. Consequently, during the last quarter of the century, the condition of music in Scotland's churches improved greatly."^

There was very little opportunity for formal musical training for Scotsmen; therefore, most of the serious musicians went elsewhere, primarily to London. In an effort to improve the situation, the Reid Chair of Music was established at the University of Edinburgh in 1839, but it did not attain full academic standing until fifty years later. Finally, in 1890 the Athenaeum School of

^Henry George Farmer, A History of Music in Scotland. (London: Hinrichsen Edition Limited, 1947), 357.

^Ibid., 365-378. 17

Music was established in Glasgow.^ The first Principal of the School was Allan Macbeth (1856-1910), an organist and composer, who had been trained in Germany. Among the many fine teachers at the Athenaeum was John B. McEwen (18 68- 1948) who, later, was to succeed Alexander Mackenzie as Principal of the Royal Academy of Music in London. Even though little attention to serious music had been in evidence by the native composers, the country was gradually invaded by foreign professional musicians and series of concerts became established in the major cities during the first half of the nineteenth century. The Edinburgh Music Festival, first produced in 1815, proved to be a milestone for musical Edinburgh. This festival, the first of its kind in Scotland, consisted of eight concerts, which included performances of Beethoven's Symphony no. 1 in C Major, Mozart's Symphony in E-flat Major (K. 543) and Haydn's Symphony no. 8 in E-flat Major. Overtures from Handel's Esther, Saul and Samson and Mozart's Die Zauberflote, as well as the oratorios Messiah by Handel and The Creation by Haydn were performed.^ In 184 3 the fourth Edinburgh Music Festival was given in the

^In 1928 the Athenaeum School of Music became the Scottish National Academy of Music which, in 1944, became the Royal Scottish Academy of Music.

^Farmer, A Historv of Music in Scotland 466-67. 18 newly constructed Edinburgh Music Hall, which was to become the home of the Edinburgh Choral Union. The Professional Society of Musicians, formed in 1819, was another enterprise which was successful in improving the state of music in Edinburgh. This group, along with the Edinburgh Musical Association, founded in 1835, stimulated considerable professional musical activity in Edinburgh. The first annual Reid Concert of the University of Edinburgh was given in 1841. At this concert, John Thompson, Reid Professor of Music at the University of Edinburgh, conducted works by Handel, Haydn, Graun, Beethoven and Mendelssohn. During the fifties, while John Donaldson was Reid Professor of music, choral programs were dropped in favor of orchestral and solo vocal concerts. For the 1855 concert two of the performers listed on the program were August Manns, who was to become a well-known conductor, and Alexander Mackenzie, father of the composer-to-be, of the same name. Manns and Mackenzie were members of a quartet which performed a Quadruple Concerto for Four Violins by Ludwig Maurer. Mackenzie was also the leader of the orchestra that year and the following year. By 1865 the annual Reid Concert became a three-day festival, and the Halle orchestra from 19

Manchester was first engaged in 1869. From this time truly first-rate concerts were established in Edinburgh.^ Similar attempts at establishing professional concerts were made in Glasgow in the second decade of the century, but they met with little success. However, the construction of the Glasgow City Hall (1841) gave the city more ambitious opportunities for performances by choral and orchestral groups. It was in this hall that the first performance in Scotland of the complete Messiah is believed to have been given in 1844.^ The Glasgow Musical Association and The Glasgow Harmonic Society merged in 1855 to form the Glasgow Choral Union. The Choral Union had a series of fine conductors including August Manns (1880-1887) and Joseph Bradley (1887-1908). It consisted of around four hundred singers and an orchestra of forty to fifty which was referred to simply as the Instrumental Section of the Choral Union. Out of this adjunct orchestra, the Choral Union Orchestra was established in 1874. It was to give separate orchestral concerts in Glasgow, Edinburgh and other cities. At first, the conductor of the Choral Union, Henry Lambert, led the newly formed orchestra, but later a separate conductor was

^Ibid., 471-472

"^Ibid. 471. 20 hired. Scotland's first professional orchestra came to fame under the direction of Arthur Sullivan (1877-78), Hans von Biilow (1877-78) and August Manns (1879-95) . In 1891 the Scottish Orchestra Co. Ltd. was organized with George Henschel as conductor. Glasgow was not yet large enough to support two orchestras, and both groups lost money. The two orchestras then merged in 1894 to form the Choral and Orchestral Union with George Henschel as conductor. Another important concert series was the Paterson Concerts which were organized by Robert Roy Paterson, of Paterson and Sons, from 1887 to 1894. Whereas Edinburgh had been the leading center of music during the first half of the century, Glasgow was the leader during the second half.® During the first half of the nineteenth century, very few operatic productions were being staged in Scotland, although there were occasional performances by touring companies. The Theatre Royal in Edinburgh was the site of most of these performances until its demolition in 1859. Glasgow also showed little interest in opera until about mid-century, but by 1870 the demand for opera there was considerable. Some of the operas staged in Glasgow during this decade were: Donizetti's Don Pasguale, Mozart's Don

®Ibid., 473-481. 21

Giovanni, Bellini's Norma, Gounod's Faust, Weber's Der Freischiitz and Wagner's Lohengrin. Glasgow's enthusiasm for opera continued: during the last decade of the century Carl Rosa brought to that city Gounod's Romeo and Juliet, Bizet's Carmen, Leoncavallo's I Paliacci, Berlioz' Damnation of Faust, Wagner's Die Meistersinger and several other standard works. Carl Rosa aroused interest in Scotland's own composers by staging the first performances of Alexander Mackenzie's Columba (1883) and Hamish MacCunn's Jeannie Deans (1894).^ The only notable Scottish composer of the first half of the nineteenth century was John Thompson (1805-1841). He was encouraged by Mendelssohn, whom he met in Edinburgh, and later went to Germany for most of his musical training. As stated above he was the first holder of the Reid Chair of Music at the University of Edinburgh. He wrote three operas, chamber music, church music and songs.^^ "With the exception of John Thompson, and perhaps Robert A. Smith, Scotland's composers [of the

^Ibid., 414-418.

^^Elliott and Rimmer, A History of Scottish Music^ 61-62. 22

first half of the eighteenth century] can only be counted among the small fry."^^ According to most scholars, Alexander Campbell Mackenzie (1847-1935) was "the greatest of Scotland's composers since the Reformation. "-^2 Mackenzie first received musical training from his father and later went to Germany in 1857 for further instruction. From 1862 to 1865 he attended the Royal Academy of Music in London where he studied composition with Charles Lucas (1808- 1869), an English cellist, conductor, composer, and publisher. Lucas was the Principal of the Royal Academy of Music in London (1859-1866) and was later honored by having an annual composition contest named after him. As a student at the Royal Academy of Music, Lucas had studied violin with Prosper Sainton (1813-1890), a French violinist who had taught Mackenzie's father, and piano with Frederick Jewson, a Scottish pianist and composer. Mackenzie returned to Edinburgh in 1865 where he taught music and held several important positions. He was precentor of St. George's Church from 1870 to 1881, conductor of the Scottish Vocal Music Association from 1873 to 1880, and teacher at the Church of Scotland

^Farmer, A History of Music in Scotland, 502

^^ibid., 515. 23

Training College from 1873 to 1879. During this time he composed chamber music and orchestral works which were well received in Glasgow and Edinburgh. His reputation was established primarily by his oratorios and cantatas which were performed at the English festivals. The best- known of his oratorios is The Rose of Sharon (1884). His operas, Columba (1883) and The Troubadour (1886) were also composed during this period. More characteristically Scottish is his setting of Burns's The Cottar's Saturday Night (1888) for chorus and orchestra. Other works which are on Scottish themes are the Scottish Concerto (1897) for piano and orchestra and the Scottish Rhapsody Tam 0' Shanter (1911).^"^ ". . .at present only the Scottish Piano Concerto of 1897 (first performed by Paderewski at a Philharmonic Concert in London) and one or two other works are given occasional performances."^^ Mackenzie's part in the English revival has already been mentioned; however, his influence on Scottish composers in particular was of no small consequence.

... it was the distinctly Scottish characteristic in many of Mackenzie's contributions to the renascence of British music that was the torch that kindled the flame which burned so brightly in the Scottish National Group

^^Ibid., 514-516.

•^^Elliot and Rimmer, A Historv of Scottish Music, 63 24

of composers from Hamish MacCunn to [Sir] John B. McEwen in the last two decades of the 19th Century. . . After Mackenzie's Rhapsodie Ecossaise (1880) had appeared, the vision of a 'National School' in the creative sense took a firm hold on the imagination of the prescient few, and before many years had passed this reverie had become an accomplished fact in the compositions of Hamish MacCunn, Learmont Drysdale, Frederick J. Simpson, William Wallace, J. Mgir Clark, Charles Macpherson and John B. McEwen.-^^ Hamish MacCunn (1868-1916) was the first of the younger generation of composers to gain the attention of the musical world. As a youth of fifteen he attended the Royal College of Music where he studied with Parry and Stanford. His first compositional success was the overture, Cior Mhor (1885) which was performed by Manns at the Crystal Palace. In 1894 his opera, Jeanie Deans, was produced in Edinburgh, and again in London in 1896.^^ His best-known work is a concert overture. The Land of the Mountain and Flood (1887), which has since been recorded by the Scottish National Orchestra and is broadcast regularly by the BBC Scottish Symphony.^^ MacCunn's works are considered to be even more Scottish in character than those of Mackenzie. The following comments about MacCunn

^^Farmer, A History of Music in Scotland, 518.

^^Ibid., 519-520.

^"^Elliott and Rimmer, A Historv of Scottish Music. 68. 25 are found in a summary of a lecture given to the Dunedin Association on March seventeenth, 1915 by one H. Sandiford Turner. . . .he [MacCunn] had done more for the Scottish School of composition than had Mackenzie; for before MacCunn's time, the idea of treating Scottish subjects, and particularly romantic subjects, in a purely Scottish manner was not thought of. Had he been able to escape from Wagnerian influence MacCunn would pretty nearly have come up to the ideal. His themes are thoroughly national in character, and receive for the most part a quite national treatment. Still there is too much Wagnerism, interspersed with sequential matter, which could quite well have been done without, as it is very cheap and simply serves as packing, giving the hearer the impression of dearth of really good ideas. MacCunn, however, gets near the heart, especially in his earlier works, whose promise of something good to come had, in the speaker's opinion, hardly been realized.^®

Frederick James Simpson (1856-19 ? ) of Portobello was educated at Edinburgh Academy and later in England, Switzerland, and Germany. Upon returning from Germany he entered the National Training School which later became the Royal College of Music. His works were apparently not of great value, but he did contribute to the Scottish national movement. His Choronach (1891) for solo quartet,

^®H. Sandiford Turner, "The Music of Scotland," The Dunedin Magazine (July 1915) : 6-7. 26 chorus and orchestra is based on Scott's Ladv of the Lake. It was performed in Edinburgh that same year.^^ William Wallace (1860-1940) of Greenock attended Fettes College in Edinburgh and Glasgow University where he received degrees in medicine. After graduation he worked at eye hospitals in both Glasgow and London. He then gave up medicine and entered the Royal Academy of Music in London in 1889. There he was a colleague of Drysdale and Bantock.^^

Wallace's main accomplishment was in the writing of six Symphonic Poems—ranging from The Passing of Beatrice (no. 1), first performed at the Crystal Palace in 1892, to Francois Villon (no. 6), first given by the New Symphony Orchestra in 1909. He took account of Scottish subjects with such works as the overture In Praise of Scottish Poesie, the cantata The Massacre of the Macphersons and the fifth symphonic poem Sir William Wallace. This interest in symphonic poems was the first to be shown by a British composer since Liszt introduced the form in the mid- nineteenth century. 2 •'•

Charles Macpherson (1870-1927) of Edinburgh moved to London at the age of nine where he became a chorister at St. Paul's Cathedral. He entered the Royal Academy of Music in 1890 and was awarded the Charles Lucas prize in

Farmer, A History of Music in Scotland, 524.

^^Grove's Dictionary of Music and Musicians, Fifth ed., s.v. "Wallace, William,"

2^Elliot and Rimmer, A History of Scottish Music. 65 27

composition. He became the chief organist at St. Paul's in 1911. His contributions to the National Group are: Cridhe an Ghaidhil, performed at the Crystal Palace in 1895; Three Gaelic Melodies for strings and harp; and two orchestral suites, Hallowe'n and Highland Suite in A.^^

John Blackwood McEwen (1868-1948) was born in Hawick near the border of Scotland, but he was educated in Glasgow. In 1893 he entered the Royal Academy of Music and in 1895 returned to Scotland as the choirmaster of South Parish Church in Greenock. In 1896 he joined the faculty of the Glasgow Athenaeum School of Music. In 1899 he became a teacher of harmony and composition at the Royal Academy of Music and in 1924 succeeded Alexander Mackenzie as Principal of that institution, a position which he held until 1936.^2 McEwen was a strong advocate of British composers. He was one of the founders of the Society of British Composers (1905-1918) and served as its honorary secretary. Among his works of Scottish national interest are: Six Highland Dances (1889) for violin and piano. Three Border Ballads (1905-1908) for orchestra, Three Scottish Dances (1923) for strings, the Scottish

22ibid., 529-530.

2-^Grove's Dictionary of Music and Musicians, Fifth ed., s.v. "McEwen, (Sir) John (Blackwood)." 28

Rhapsody, Prince Charlie (1915). He also wrote several cantatas, chamber music, and five symphonies, only one of which was published.^^ One composer of the Scottish national school who did not leave home for his musical education was David Stephen (1869-1946). He received his musical education primarily from his family. Included in the several positions which he held in Scotland were: organist at several Dundee churches, organist at Westbourne Free Church in Glasgow, and conductor of several choral societies in Dundee. From 1903 to 1927 he was the director of the Carnegie Trust at Dunfermline. From this position "he became a weighty influence on music in Scotland."^^ Stephen's nationalistic works are: Sir Patrick Spens, a ballad for choir and orchestra, the cantatas The Abbey Bell and The Laird o' Cockpen, Hebridean Rhapsodv and Border Rhapsody for orchestra, and a symphonic poem Glenfinlas. The preceding paragraphs give a brief description of the rise of the so-called Scottish National Group. The only other important member was Learinont Drysdale (18 66- 1909) whose life and works will be discussed at length in

^^Farmer, A History of Music in Scotland. 534-535.

25lbid., 535. 29 the following chapter. Henry Farmer gives the following summary of the contribution of this group of composers. Whatever may be the judgment of posterity, their attempt to give new tones to their musical canvasses ought, at least, to stand to their credit. They not only made bold to throw off the fetters of foreign domination in utterance as earnestly as, if not more so, than the pioneers of the British renascence, but they dared to be themselves in so far as they gave expression to a distinct national idiom, which was more than the earlier British renascents,—Sullivan, Parry Stanford, or Thomas had done. It is true that certain influences of the 'schools' are patent enough in their work, Mendelssohn in Mackenzie and MacCunn, and Gounod in Drysdale—but their borrowed cadences are quite subsidiary to the melody and rhythm of their Doric [Scottish dialect]. Yet there was no stated creed or published manifesto with the new group, nor did they even work in concert....as Janey C. Drysdale says, [they looked] 'to their country's ballads and legends for their inspiration, and steeped in Highland, Lowland, or Border romance, have clothed their creations with their individual type of Scottish genius, not possessing, but possessed by, the national spirit.' . . Her [Scotland's] composers, at the close of the century—Mackenzie, MacCunn, Drysdale, Wallace, and McEwen, who were both heralds of, and combatants for a Scottish National School, had at least something new to say that was worth of the hearkening.^^

With the great outburst of British music during the last decades of the nineteenth century, one composer of obvious talent and original compositional gifts was Learmont Drysdale. With the exception of only a few works, most of his music lies forgotten in musty libraries today. It is the hope of the present author that this

2^Ibid., 637-538. 30 investigation will assist in renewing interest in his works and helping them find their rightful place on today's concert stage. CHAPTER III LEARMONT DRYSDALE

John George Learmont Drysdale was born on 3 October 1866 in Edinburgh, Scotland. His ancestors on both sides of the family were from the area near the border. Learmont's father, a builder and estate merchant, was descended from the Scots of Yarrow, a valley near Selkirk, and from the Douglases of Brushwood Haugh who, in 1503, left Dumfrieshire for the Haugh of Dollar because of a feud with friends of King James IV. Consequently they changed their name from Douglas to that of their native parish, Drysdale.^ There is no readily available record of the lineage of the Drysdale family, but there was one outstanding Scotsman who may well have been an ancestor of Learmont Drysdale. A Reverend Dr. John Drysdale, born in 1718 in Kirkaldy, Fifeshire, was the son of a Mr. John Drysdale, minister of the parish of Drysdale. The Reverend Dr. John Drysdale moved to Edinburgh in 1723 and attended the University of Edinburgh. He became well-known as a minister, and he

1 Janey C. Drysdale, "Learmont Drysdale," AMsS, [biography of Learmont Drysdale], Drysdale Collection, Library, Glasgow University, Glasgow, Scotland.

31 32 was granted the honorary Doctor of Divinity by the University of Aberdeen.^ There is no conclusive evidence that these are Learmont Drysdale's ancestors, but the assumption would not be outside the realm of possibility.

Learmont's mother could trace her lineage back to the great Scottish poet and seer of the thirteenth century. Sir Thomas Learmont (ca. 1220-1297) of Ercildoune, better known as Thomas the Rhymer: Sir Thomas owned property on a tributary of the Tweed River which is still called Rhymers Land.-^ Learmont Drysdale's maternal grandfather, George Learmont, reared near the Traquair House where the Quair and Tweed Rivers join, was factor to the last Earls of Traquair for over forty- years. This area spawned many legends, ballads and songs which the young Learmont learned from his mother.

The ground for miles round is consecrated by history and legend, ballad and song—Malcolm Canmore [Malcolm III (1057-1093) who appeared as a character in Scott's Tales of a Grandfather! and Prince Charlie [Charles Edward Louis Philip Casimie Stuart (1720-1788)], the Fairy Queen [narrative poem by Edmund Spencer (ca. 1552- 1599)] and Bonnie Kilmeny [poem by James Hogg], the Wizard of the North [Sir Walter Scott (1771-

Biographical Dictionary of Eminent Scotsmen, vol 2, ed. Robert Chambers, (Glasgow: Blackie and Son, 1853), 157-58.

-^British Authors Before 1800. ed. Stanley J. Kunitz and Howard Haycraft, (New York: H. W. Wilson Co., 1952), 177. 33

1832)] and the Ettrick Shepherd [James Hogg (1772-1835)]. Mrs. Drysdale remembered well the rough, plain-covered, romantic figure of the Ettrick Shepherd, who used to visit her father's house when she was very young; also Christopher North [pen name for John Wilson (1785-1854), Scottish writer], Tibbie Shiels [proprietor of the Tibbie Shells Inn on St. Mary's Loch. This Inn is still operating], the hostess of St. Mary's Loch, and other figures of the notable period; and one of her composer-son's dearest possessions was a writing table on which Prince Charlie wrote dispatches in Traquair House and which was given to her father by the last Earl of Traquair.4 Learmont's mother was of great influence on the shaping of his literary taste. She told him many stories and fairy tales and sang old Scots songs to him. This immersion in folklore surely accounts for the unmistakably Scottish character of the music which he would later compose.^ Learmont was the youngest of three children. He had one sister, Janey, who exhibited an unusual devotion to him even after his death, and one brother, Andrew, who proved very useful to Learmont in matters of business. Learmont was a sickly child, having contracted pneumonia at ten months of age. When he was seven years old he enrolled at Oliphant's school on Charlotte Square, but due to poor health his attendance was irregular and much

Drysdale, "Learmont Drysdale."

^Ibid. 34 of his tutoring came from a private governess. He was not a child prodigy, but he showed a strong artistic bent from an early age. His first piano lessons were given by a Miss Turnbull who took pride in the fact that she was also the first teacher of the great Scottish composer, Alexander MacKenzie. During the years 1878-82 Learmont attended the Edinburgh Royal High School where he did well in his studies, although his attendance was still less than regular. During these high school years he did participate in the school games but was never particularly enthusiastic about them. He did, however, develop strong interests in tennis, golf and billiards. His favorite pastime was organizing and producing private theatricals for which he designed, built and painted the sets and also composed and performed the music. His aptitude for drawing and design eventually led him into architecture as a profession. During the years 1882-1887 he worked as an assistant to two different architectural firms, but he found the profession to be quite dull and abandoned it in favor of music.^

Although Drysdale's musical training had not been systematic to this point (1887), it had not been neglected altogether. After his piano lessons stopped at

^Ibid., 3-4. 35

age twelve, he had only a few singing lessons until 1882 when he began studying organ with a Mr. Scott Riddel1 who was the organist of Grey Friars Church in Edinburgh. The next year he left this teacher in order to study with Charles Brandley of St. George's Parish Church, a fine musician who was for many years organist for the Edinburgh Royal Choral Union. Also in 1883 he applied for admission to the Royal College of Music in Edinburgh and was complimented for his talent but was turned down because he had not studied orchestration. He is said to have remarked that if he had studied orchestration he would not have needed to go to college. During the year 1885 he also studied music theory with a Dr. J. M. Greive. In 1886 he was appointed organist of Greenside Parish Church where his motet. Hark! ^Tis the Breeze, was performed. He also presented organ recitals at the Edinburgh Exhibition of 1886 and appeared many times that year as a pianist.' "Before leaving Edinburgh he was well known as an amateur musician."® In July of 1887 Drysdale went to London to work as the assistant organist of All Saints Church, Kensington, which had full choral services on week days as well as

"^Ibid., 4-5.

®The Dunedin Magazine (July, 1915): 16 36

Sunday. Due to the poor health of the principal organist, Mr. Ernest Lake, Drysdale was often called upon to substitute for him. Consequently, he gained considerable experience as a chorus master and as a private teacher as well as an organist. Also, he organized concerts of both sacred and secular music with the All Saints Guild and read papers at their meetings on musical and literary subjects. These papers were subsequently published in The Kensington Churchman. Drysdale also composed church music for the All Saints choir, but these pieces are apparently lost to us.^ The author of this paper and Deidre Cranefield, current historian of All Saints Church, Netting Hill (Kensington), conducted a search of the church records and found no trace of Drysdale's music or The Kensington Churchman articles mentioned above. According to Ms. Cranefield the church was bombed in June of 1944 and was restored in 1951. Possibly, Drysdale's music was lost during this time, assuming it was there in the first place. The parish register does contain Ernest Lake's name but not Drysdale's.-^^

^Drysdale, "Learmont Drysdale."

10iDeidr e Cranefield, interview by author, London, 2 8 June 1986. 37

In September of 1888 Drysdale was accepted as a student at the Royal Academy of Music in London. His principal subjects at the Academy were piano, which he studied with Dr. Frederic Corder(1852-1932), and composition, which he studied with Wilhelm Kuhe(182 3- 1912). He developed a good relationship with these men who remained his mentors for years to come.-^-^ Drysdale also studied trombone with Charles Geard who, in addition to teaching at the Academy, played at the Crystal Palace concerts under August Manns (1825-1907). A critic for The Star, known as Corno Di Bassetto (actually George Bernard Shaw), had a good opinion of Geard's playing.-'•^ The Czech pianist, teacher, composer and administrator, Wilhelm Kuhe, mentioned above, was born in Prague and remained there until 1847 when he moved to London where he stayed until his death. In London he presented annual concerts and taught at the Royal Academy of Music from 1886 to 1904. Also he organized a music festival at Brighton (1871-82) where he commissioned and performed many new works including works by Cowen, Gounod

Drysdale, "Learmont Drysdale."

•^^George Bernard Shaw, London Music In 1888-89 As Heard Bv Corno Di Bassetto (Later Known As Bernard Shaw) With Some Further Autobiographical Particulars (New York: Dodd, Mead and Company, 1937), 343. 38 and Prout. He composed many pieces for the piano and wrote a book entitled My Musical Recollections (London, 1896) in which he recalls personal and professional contacts with such musicians as Jenny Lind, Liszt, Rossini, Bulow, Chopin, Berlioz and Rubinstein. Kuhe was a friend of both Liszt and Gounod, and he introduced their music to Drysdale who was greatly attracted to it."

Drysdale was also drawn to the music of Tchaikovsky. When Tchaikovsky was practically unknown to the London musical public, Drysdale made his music known by a rehearsal of the Fantasie de Concert in G for piano and orchestra. ^"^ The particular circumstances of this occasion are not made known to us. Frederick Corder, another of the professors at the Royal Academy of Music, an Englishman, was known as conductor, author, composer and teacher. He studied music at the Royal Academy of Music and in Italy. He and his wife translated into English Wagner's Ring of the Nibelungen. Several of his works were performed at the Crystal Palace and at the Royal Philharmonic concerts.

-^•^The New Grove Dictionary. 1980 ed. , s.v. "Kuhe, Wilhelm," by Bojan Bujic.

•^"^The Dunedin Magazine (July, 1915): 16. 39

He wrote his own libretto for his opera, Nordisa. which was composed for and performed by the Carl Rosa Opera Company in 1877. Corder began teaching composition at the Royal Academy of Music in 1888.-^^ Drysdale's working relationship with his professors and his enthusiasm for studying at the Royal Academy of Music are clearly indicated in the following quotes from his letters to his sister, Janey. London, England 9 November 1888 My dear Janey, Very pleased to receive yours this morning. I am busy with the score of my Ballade [The Spirit of the Glen, Ballade for orchestra] so haven't time for more than a few lines today. I have done Polonaise [in A-flat] of Chopin and am to have the Schumann concert with my master [Kuhe]. Mackenzie asked me this Monday if I was ready to conduct the orchestra and that I was to be sure to tell him whenever I was ready. Hamish Maccunn was at the Academy today and sat for a while at the orchestral rehearsal. I daresay you will know that he has been appointed a professor in the R.A.M. . . Learmont Drysdale-^^ Another letter relating to Drysdale's days at the Royal Academy of music reads as follows:

•^^Grove's Dictionary of Music and Musicians, Fifth ed., s.v. "Corder, Frederick."

•^^Learmont Drysdale, London, to Janey Drysdale, Edinburgh, ALS, 9 November 1888, Drysdale Collection, Library, Glasgow University. 40

London, England 17 November 1888 My Dear Janey, . . .On Tuesday I had my piano lesson in the morning from Kuhe. I played the Chopin A-flat Polonaise to him and he seemed very pleased with my rendering of it. He said I had done wonderfully well with it. I am just now practising Schumann's concerto and as yet am getting on fine with it. It is very stiff of course and wants a great deal of practise. I have of course plenty time however to do it justice, and I expect it will take up the remainder of the term now. . . In the evening [W.L.] Lamb and I went to the Novello rehearsal when Mr. Parry came to conduct his oratorio ^Judith,' so we had the opportunity of seeing him. We got the music too so that we could follow it which makes it twice as useful. It is a privilege to get the music but whenever I tell them who I am and mention Mackenzie's name it is alright, and I can get almost anything. His name is a pass word and it is so nice being able to call him a friend. It was awfully good of him the first night I was there to tell them I was coming. Very few people are as mindful of everything as he is. . . I am still at work scoring my ^Ballade' and I showed what I had done of it to Corder yesterday. He says just to go on with it, and he of course telling me about orchestration, what to do and what to avoid. He picks out certain points in it and enlarges on them, thus correcting everything that is wrong. He is very interesting. At first I had trombones in the score but he told me that I had much better leave them out as they haven't usually the 3 trombones in the Academy orchestra and that I should certainly make it so that it can be done there. It is a great point in scoring for a young composer not to introduce any instrument which mayn't easily be got as the like of that is always a slight obstacle in the production of the work. Now I must finish as I 41

want this posted in good time so with fondest love to Aunt, Andrew and yourself.

I remain Your loving brother Learmont Drysdale-*-' Further insight into Drysdale's relationship with his teachers and views of his working habits and his friendships may be gained through reading the following letter from Learmont to his father. 28 Abbey Gardens St. John's Wood N.W. 5 October 1888 My Dear Papa, I was pleased to receive your kind and welcome letter on Wednesday morning with your congratulations and good wishes for my birthday, for all of which I thank you heartily. Although I was absent from you all in body still I was present in mind and I knew that you were all the same with me. I am writing you a few lines tonight to tell you what I have been doing this week but I can't do more than just give you a general idea. Well on Monday, I was in the house till about 2 working studying. . . Went out then, had dinner and after a little more work, went in to the city and had a turn about. I had tea and returned early in the evening, practised and read for a bit before going to bed. On Tuesday morning I was up and at the Academy at 10, and had my piano lesson from Kuhe enjoying it very much. He told me I had done very well with the sonata . . .only of course I must go on practising it. I got a double lesson from him on Tuesday as I missed my lesson last

Learmont Drysdale, London, to Janey Drysdale, Edinburgh, ALS, 17 November 1888, Drysdale Collection, Library, Glasgow University. 42

Tuesday not having been told about it. I go to Kuhe for piano every Tuesday and Friday from 10- to 10:30. I like him very much and he is awfully particular. Attended the orchestral practise at the Academy in the afternoon enjoying it very much. Two of the young fellows played concertos for the piano with orchestra. On Wednesday my 22nd birthday, I got Mamas kind letter with her wishes and congratulations and also Janey's along with a vase of flowers which I appreciate very much. She sent her good wishes and also Aunt's and Andrew's. Practised for 2 hours in the morning, composed and studied for a while and at 3 o'clock was at the Academy for the sight-singing class. I daresay I told you that I had made the acquaintance of a very nice fellow here, a companion student under Corder. He [Granville Bantock] kindly asked me if I would accompany him back to his house and spend the evening with him, so I accepted his kind invitation going home with him straight from the Academy about 1/2 past 4. I had dinner with his father and mother . . .and spent a most pleasant and enjoyable evening. They are awfully nice people his parents, his father. Dr. Bantock is a Scotchman they were both so kind and hospitable to me. And were so pleased to make my acquaintance. They have a splendid house and it is fitted up with electric light. It is so pretty, the latter and when I saw it I thought that you would have at once taken a fancy to have it, but I suppose it is very expensive. They have a great large drawing room, a most beautiful apartment and the light there is very effective. . . I think I am very fortunate to have fallen in with such kindly people as it is nice to have a home which you can go now and then to spend a night when you can spare the time. They all gave me an open invitation to come whenever I liked. On Thursday (yesterday) practiced for 2 hours in the morning and was in the house till about 2 or 3, then went on to Baker St. by train, walking from there into the city proper. Had a walk about and turned into St. Paul's . . .hearing the anthem. Got home pretty early and did a good piece of work. This morning went to the Academy at 10 had my lesson from Kuhe, returned here, and finished the 43

song I was writing for Mr. Corder to examine. Next back to the Academy in the afternoon and after being present for a while at the choral and orchestral practices had my composition lesson from Mr. Corder at 4:30. Enjoyed it very much and am to write something instrumental for next lesson. Kuhe said to me today that even already I had improved since I was with him and that what could be done in a week, I had done. Very encouraging isn't this. I mean to go on practising my playing up as high as possible. Now I must really stop as it is getting very late so you will excuse my saying more at the present. I have just recollected that if I write tomorrow they will get it on Sunday from here so never mind I should have written Friday but I haven't time before 5. How are you getting on by yourself? You must surely feel rather lonely? Again with best love from Your loving son Learmont Drysdale-^° On 28 July 1889 Drysdale's orchestral work. The Spirit of the Glen, was performed at St. James' Hall by students and faculty of the Academy, conducted by Alexander Mackenzie. It was received very well by his teachers, his colleagues, and the critics of London newspapers. Following are quotations from reviews of that concert which give, not only comments on Drysdale's work, but also some perspective on the quality of performance at the Royal Academy of Music.

•^®Learmont Drysdale,London, to his father, Edinburgh, ALS, 5 October 1888, Drysdale Collection, Library, Glasgow University. 44

To a far larger assemblage than is customarily drawn to such entertainments the students of the well-known institution in Tenterden-street, Hanover square, yesterday afternoon gave an orchestral concert at St. James' Hall. It must be encouraging to the professors who have assisted to mould the talent displayed on these occasions, no less than to their pupils, to find so much interest taken in the proceedings. To several of those mentioned in yesterday's programme, appearance on the St. James' Hall platform before a friendly audience was doubtless the preliminary step to entrance upon professional life. . . The orchestra largely consisted of students. . . The choir of the institution numbered over 170, mostly ladies; and for the performance yesterday of Weber's hymn, ^In Constant Order Works the Lord,' this force was augmented by members of the Novello Choir. Dr. A.C. Mackenzie conducted, as has been his laudable custom since he received the appointment of Principal of the Academy. . . Among the works given was Beethoven's pianoforte Concerto in G, the expressive allegro of which (with Von Bulow's cadenza) was played with neatness and accuracy by Mr. W.L. Lamb [Drysdale's colleague]. . . There were three new pieces (still in MS.) by students, the most taking of which proved to be that of Mr. Corder's pupil, Mr. Learmont Drysdale, a countryman, we are informed, of Mr. Hamish Maccunn. Mr. Drysdale's work is a ballad, for orchestra, entitled *The Spirit of the Glen,' a theme admitting of picturesque and fanciful effects, of which the most is made. Whilst handling his resources (including two harps) with excellent judgment, the composer evinces the gift of poetic feeling. Mr. E. Cuthbert Nunn's *Romance for Orchestra' is more even and subdued in character, whilst ingenuity and dramatic spirit are discernible in Mr. Reginald Steggal's Andante from a Symphony in G. Both these students do credit to their instructors—Messrs. Davenport and Prout respectively.-*-^

•'•^"Royal Academy of Music," Daily Chronicle (London), 27 July 1889. 45

Another review of Drysdale's The Spirit of the Glen is included in the following excerpt from the Dailv News.

The first performance in London of Weber's ^Hymne' or anthem, ^In constant order,' imparted special interest to the concert given on Friday at St. James' Hall by the students of the Royal Academy of Music. . . The four students who took the principal parts should, of course, be exempt from criticism, but it is only just to allude to the great improvement which Dr. Mackenzie has recently effected in the choir, something like a proper balance having now been secured by enlisting the services of certain volunteers from Novello's Choir. Three novelties by students were likewise included in the programme-that is to say the slow movement from a symphony by Mr. Reginald Steggal; a ^Romance' for orchestra, by Mr. E.C. Nunn (somewhat diffuse, but showing considerable natural talent); and an orchestral ballade, ^The Spirit of the Glen,' by a young Scotsman, Mr. Learmont Drysdale. The last clearly has a programme, which, if the audience were expected to understand the music at all, ought certainly to have been disclosed. It needs only therefore now be said that the ^Ballade,' like the music of Mr. Drysdale's fellow countryman Mr. Hamish MacCunn, is essentially Scottish in style and spirit, and that under the guidance of his gifted instructor, Mr. Corder, the young musician's obvious dramatic instincts will assuredly be properly developed in due course....^

Excerpts of other newspaper reviews are quoted in the The

Dunedin Magazine. Mr. Joseph Bennett, the eminent critic of The Daily Telegraph, declared the ballade to be ^one of the most satisfactory works we have recently met with. It shows,' he continued, ^strong imaginativeness and equal command of picturesque expression. . . Mr. Drysdale has a happy knack

^^"Royal Academy Concert," Daily News (London), 29 July 1889. 46

of melody both in single phrases and in developed tunes, and all his music conveys a feeling of conscious strength which commands respect, while in this instance encouraging hope. The ballade is distinctly Scottish in character of theme.' Another leading critic, in praising the work, remarked that ^skillful handling of the orchestra seems to be an instinctive gift of Scottish composers.' [Enrico] Bevignani [1841-1903], the well-known Italian conductor, was present at this concert, and thought so highly of the ballade that in the following October he gave a performance of it, with an orchestra of one hundred, at one of the Promenade concerts at Her Majesty's Theatre, where it scored another success. ^-^

An incomplete letter from Janey Drysdale to her Aunt [name unknown] gives an account of the response of Learmont's teachers and colleagues.

30 Castle Street Edinburgh, Scotland [No heading] Corder, one of the greatest masters in orchestration, told John [Learmont] at the close, that there wasn't a weak point in the orchestration. Kuhe, whom I saw and spoke to was most enthusiastic, and seemed awfully proud of John [Learmont]. Mackenzie doesn't say much but he did exert himself to make it go well. Laughingly he asked me what I thought of the great man. At the prize giving on Sat., which was sparsely attended, the students gave him quite an ovation. When he went up for his harmony medal (he failed in piano and sight- singing) , one or two began to whistle one of the subjects of the Ballade and the others joined in just for a bar or two. It was amusing and interesting as showing how they liked the work.

21Th e Dunedin Magazine (July, 1915): 16-17 47

I'll tell you *all about it' when I see you as it would take too long to relate here.

With muchlove Yr. affc. niece Janey^^ The following, rather sketchy letter reveals that the poetic basis for The Spirit of the Glen was James Hogg's poem, Mav of the Moril Glen. Also, in this letter Drysdale revealed some of his musical preferences.

21 November 1888 My dear Janey

. . .One Friday night I went again to see the ^Yeomen of the Guard' Sullivan's new opera and I think more of it. A great deal can be learned from the work of such a man. His orchestration is perfectly lovely and he has some very original effects. The whole opera, plot, words, scenery, and more than anything-music is exceedingly fine and ought certainly to have a long run. It is [unlike] the other previous operas in that it is quite serious (for the most part at any rate) and certainly is a very near approach to grand opera. I do wish Sullivan would write a grand opera. Let us hope that the next one will be a still nearer approach to it. I saw Godfrey yesterday and he tells me he has the score at home (the original one as there is only one full score) as his brother is making some arrangements from it. I'm lucky to be able to get a look at it as it is not usually published at all. At the practise yesterday I heard Rubinstein's concerto played beautifully and also Hillers' and Beethoven's c minor one. Mackenzie's violin concerto was also given and [a selection] from "Columba"...etc. etc. I am

^ Janey Drysdale, Edinburgh, to her aunt [name and address unknown], ALS, July 1889, Drysdale Collection, Library, Glasgow University. 48 getting on with my ^Ballade' and also with the Schumann concerto. What a lovely thing the latter is. I certainly without doubt think it is by far the finest piano concerto ever written and a long way above Beethoven or Mendelssohn. Now I must conclude as I have a lot to do and have to be down at the Academy at 4 O'clock. I hope Aunt's cold will soon be better and that Andrew has got quite over his indisposition and that his cold will soon leave him. . . 21/11/88 [apparently, Drysdale continued the letter at a later time] I had a letter from Mamma yesterday with a box containing my clean collars and handkerchiefs, some fine cakes, apples, etc. which I appreciate very much. It is very kind of Mamma to be so thoughtful. I am awfully glad she has got a good servant, she says she thinks she has been lucky this time. Now with fondest love to Aunt, Andrew and yourself I remain Your loving brother Learmont Drysdale^-^ [letter continues as post script] I enclose a rough sketch of the poem ^May of the Moril Glen.' It will perhaps prove interesting to you all but I just put it down one day in a hurry. May of the Moril Glen poem by James Hogg May, a lovely maiden of unsurpassing beauty, lived in a glen and possessed such wonderful charms that no living man who saw her could withstand her wondrous face and form but at once became hopelessly in love. Some said she was formed in a fairy ring and it is said there was a rainbow behind the moon on the night she first was seen. Others declared that her mother was a witch but she was believed by all to be of

^•^Learmont Drysdale, London, to Janey Drysdale, Edinburgh, ALS, 28 November 1888, Drysdale Collection, Library, Glasgow University. 49 immortal origin. The effect her fascinations worked on men is described in the ballad thus: *And no man could look on her face' Ând her eyes that beamed so clear' ^But felt a stang gang through his heart' ^Far sharper than a spear' A rumour of her power and fascinations reaching the King, he gave orders for his ^milk white steed' to be saddled, chose fourscore knights to accompany him and sped away to the Moril Glen. Said he: Ând if I find her Elfin queen or thing of fairy kind' Î will burn her into ashes small' Ând sift them on the wind'. When he came to the Moril Glen, this lovely May [maiden], went out to hunt and hawk on horseback. ^Her palfrey was of snowy hue' Â pale unearthly thing' ^That reveled on hill and dale' ^Like bird upon the wing' When the king sees this ^weirdly spirit of the glen' and gazes himself upon her unearthly beauty, he is seized along with his fourscore knights in the same way, all succumbing to her wonderful charms. He gives orders that she should be brought before him and commanded her to become his love or he will burn her beneath a tree as a witch. She replies: ^No I can ne'er be love to thee' Ôr any lord thou hast' *For you are married men each' Ând I a maiden chaste' But vows that the first who shall be a widower will claim her as his own. The ballad goes on to tell how the King and his knights each and all went their way and that there never was such doom and pain in the land before for one eye only beheld the wicked deeds that were done, but—^this lovely Queen of Scotland ne'er saw the morning sun' Ând seventy seven wedded dames' Âs fair as e'er were born' ^The very pride of all the land' ^Were dead before the morn' Nought but mourning, sorrow and woe were in the land and it was a grievous sight to see the graves swallowing up the young and fair. 'Ând the bonnie May of the Moril Glen' Îs weeping in despair' ^For she knows the hills of fair Scotland' * Could be her home nae mair' She disappeared from the glen, how or when nobody ever found out but ^the fairest flower of mortal frame passed from the Moril Glen' whither as man could tell. It was supposed she had left Scotland by sea as there was a ship in the Firth of Forth the like of which had never been seen before. '^Her mast was made of beaten gold' ^Her sails of the silken twine' *And a thousand 50

pennons streamed behind' *And trembled o're the brine.' Whatever the storm was or no matter how the thunder rattled or the lightning flashed this ship always kept the same position for many a day and the rainbows always played around her, until one day in the gray of the morning the weird ship disappeared like a cloud, seeming to sail into the air, and not to touch the sea. The bonny May was never more heard of and as the ballad finishes: ^And away o away went this bonnie ship' *Which man never more did see' ^But whether she went to heaven or hell' *Was ne'er made known to me.'24

During the spring of 1890 Drysdale began work on a cantata, Thomas the Rhvmer. taking the text from Sir Walter Scott's poem on the ancient ballad of that name. He never finished the work as a cantata, but the prelude was performed at the July concert in St. James' Hall. The Dailv News said that the prelude was "an admirable piece of tone painting, strongly imbued with the characteristics of Scottish music."^^ The Magazine of Music stated that "the young Scottish composer has not only plenty of fancy, but has also become a thorough master of the art of picturesque orchestration."^^

^^Learmont Drysdale, London, to Janey Drysdale, Edinburgh, ALS, 21 November 1888, Drysdale Collection, Library, Glasgow University.

^^Drysdale, "Learmont Drysdale."

26lbid. 51

Included in the September, 1890 issue of the Magazine of

Music was a short review of the first performance.

Another young composer of great promise has arisen in Scotland in the person of Mr. L. Drysdale. His orchestral prelude illustrating the ballad of Thomas the Rhymer performed at the Royal Academy's concert in St. James' Hall, is described by one of the most severe critics of a leading professional journal as singularly rich and effective. It rose infinitely above the level of the usual student's exercise.^^

Drysdale's correspondence during the time that he was actually composing Thomas the Rhymer provides insight into his creative process and his working relationship with Corder. In the following letter to his parents, Drysdale revealed his original plans for the piece. 8 March 1890 [no heading] I intended to tell you how ^Thomas' was getting on. I am very satisfied with it so far. I wish you could hear what I have done. It is very interesting to see how a work like that grows under your eyes. When I was at home at Xmas the child was born now he is gradually growing into a full grown man. In the 2nd part I will have no soprano solo at all but there is a long baritone part and the chorus will have far more to do than in the first part. Also the orchestra again will have less except perhaps to manage the finish. In the first part I have freely altered some things—in that I have left out two or three lines of Scott, which I thought impractical and substituted some from the old poem by Thomas himself converting these same lines into modern language. I haven't quite decided yet what words I am going to alter

2'7ibid. 52

throughout the poem from the Old Scotch into modern English. A great many must be translated as although they are nearly all very beautifully poetical, still it wouldn't do to have a Scotch word nearly every line which would require an audience to refer to the glossary, to know the meaning of. There of course I must just use my discretion although I am resolved about one thing; and that is to keep as many of the old Scotch words as possible for the above mentioned reason, that they are poetical. I tell you what would be a very useful thing for me, that is a Scotch Dictionary. I shall have to enquire for one here but if Janey can assist me by getting hold of the name of a good and reliable one I should like very much to get it or borrow it. I think she will have no difficulty in doing this. Corder told me some time ago that the expense of getting it produced at the Academy would be a good deal. I got the parts done at my own expense but he said that if I make the work suitable and easy to sing that he thought perhaps there would be little difficulty in getting a publisher for it. That would be what I should like but of course as in that case I might make a lot of money out of it, not to speak of getting it produced for nothing practically. I know you will all be pleased to hear. Your son L.Drysdale^S

In another letter to his parents, Drysdale described his progress with Thomas the Rhvmer. Although this letter is undated, it was apparently written some time after the one above.

2®Learmont Drysdale, London, to his parents, Edinburgh, ALS, 8 March 1890, Drysdale Collection, Library, Glasgow University. 53

[no date] [no heading] I am getting on pretty well with *Thomas the Rhymer' and have done a good bit now. I have however a great deal to do yet. Corder likes what I have done very much with the exception of a few things of course. He seems to think that it promises to be a nice little cantata and he says the only danger is that I might make it scrappy and scattered. At first I told him I wanted to keep the most of it going on without stopping at any place as I don't like the idea of having it split into several numbers. I think it is best from a dramatic point of view and I said that the words didn't demand any active stoppage. He says however that it would last too long if it weren't to stop at all (except between parts I and II) and although from a dramatic point of view musically speaking it was all very well and would be alright if it were on the stage, but for a cantata he said it was advisable to have one or two things complete in themselves and that could easily be done without actually having many numbers and without stopping more than two or three times. I am doing that and I now see perfectly that such ought to be done. It is very dramatic as far as I have gone, and really I think promises well. One or two of the students for whom I have played bits liked it very much, and I really think there is no fear about my being able to do justice to this glorious theme. One of the last pieces I did of it, Corder remarked last lesson, ^that's very bold.' It seems that boldness is rather a characteristic of my music. One has much need to be so as one hears plenty wishy washy imitation music. . . Ethel Boyer's Cantata is to be done at the orchestral concert. Mackenzie was rehearsing the orchestral parts today and I think that it is simply downright rubbish and not music at all. [All] head and no heart. I would like to know what music was intended for if it wasn't; to speak to the heart of the people. It makes me quite ill to hear music of that sort, weak and milk and water imitation of sounds. Also, for instance Wagner, who was a genius himself which can scarcely be said of any of his followers. 54

Now I must conclude, so again with fondest love remain-your loving son. L. Drysdale^^ A postscript of an undated letter from Learmont to an unidentified member of his family reports further progress. [no date] [no heading] I have got my ^Prelude' almost finished now, but have yet to score it: that however will not take me long as I have it all of course in my head and it is already indicated as I went along. I think it will be a very effective piece and will be fine by itself as it is too long to go along with the Cantata. I will just have a very short abridged version of it opening the Cantata. I have in the Prelude briefly suggested the principal incidents in the 1st part to the poem thus— The rhymers Glen—Thomas lying on a bank by the Huntlie. . .The appearance of the ^Fairy Queen' with the Elfin music.—the love spell—The ride on horseback to fairyland—and finishing up with Thomas becoming one of the Elfin Band, and in the words of the poem, *a coat of the even cloth, and shoes of velvet green.' Don't you think this will make a very effective bit of dramatic and pastoral music. I have done my best to keep it short but notwithstanding my efforts it has grown into a larger piece than I anticipated. However for all that it is yet very short comparatively speaking. I am very pleased with it myself and so is Corder so far. I only wish you could hear it and give

^^Learmont Drysdale, London, to his parents, Edinburgh, ALS, [ no date], Drysdale Collection, Library, Glasgow University. 55

me your reaction as I do value your opinion although it is not a technical one.

Learmont Drysdale 30 Drysdale apparently tried to interest August Manns in performing Thomas the Rhymer at the Paterson concerts in Edinburgh, and he intended to try to get it performed at the Ipswich festival. In a letter to Drysdale, Alexander Mackenzie offered advice concerning this matter. Mackenzie also indicated that Manns had previously performed one of Drysdale's works on the Paterson concerts; there is, however, no other evidence that supports this claim. Royal Academy of Music Tenterden Street Hanover Square London 2 August 1890

Dear Mr. Drysdale, If I remember rightly you had a piece of yours performed last year in Edinburgh by Mr. Manns at the Paterson concerts, and I think that you might safely ask him [Paterson] to get Mr. Mann's approval of the new prelude [Thomas the Rhvmer1 with a view to its production. Before you give up the score however please mark the several molto accelerandi which it needs/ also the long ritard [sici at the end as the performance in London. In short do everything to give Mr. M. a clear conception of the work. As to Ipswich, that is quite a difficult affair and I think application would be useless.

^^Learmont Drysdale, London, to [an unidentified member of his family] [ no date], ALS, Drysdale Collection, Library, Glasgow University. 56

In Edinburgh you have not only an excuse but a good reason to show yourself even while you are still a student. But it is premature to ask for appearances at festivals and try to take your place among composers who are working on their own responsibility . . .but we hope that you will succeed eventually in taking a good place among composers. If you want to be sure of this you will have to change your tack a little however and give yourself a full years work at counterpoint and form. Both I mean to say are your weak points. Fancy, which you have, alone will not carry you through either as a composer or teacher. And you must equip yourself also for work as a teacher because no man need hope to earn a good living as a composer of serious music. This is unfortunately a known fact, but it is sometimes known too late. If you take my advice you will pay less attention to composition proper for a time and give yourself up to the study of of the ^means' to composition: a knowledge of which you decidedly lack just at the present. All this, because I have your own interest at heart and feel bound to give you every advice whether the ^dose' is palatable or not! I am taking a much needed rest, as my brain has for a long time been occupied with ^material' things and I require to give my imagination a chance of reviving itself. Just the reverse of your case, I fancy. By all means speak to Mr. Paterson and mention my name if necessary. Meanwhile wishing you a pleasant holiday. Believe me faithfully yours A. C. Mackenzie-^-^ Drysdale was very active, both as a student and as a performer during his years at the Royal Academy of Music.

•^-^Alexander Mackenzie, London, to Learmont Drysdale, Edinburgh, ALS, 2 August 1890, Drysdale Collection, Library, Glasgow University. 57

He was awarded the Bronze medal for harmony in 1889, the Bronze medal for piano in 1890, and the Charles Lucas medal for composition in that same year. The Lucas medal was for Overture to a Comedv. also known as Through the Sound of Raasav.-^^ The sound of Raasay lies between the Island of Raasay and the Island of Skye, off the northwest coast of Scotland. Due to an unfortunate incident, which will be related later in this paper, Drysdale later returned the medals to the Academy, and, subsequently, they were given to the National Library of Scotland in Edinburgh. The forty page score of Overture to a Comedy, which was written in less than four days, was not performed until years later; it was then performed by Sir Dan Godfrey. A writer in the Musical Standard described it as *a quite short, unpretentious composition. There is no doubt about its inspiration, strong individuality and national character. The themes are, of course, original; and the joy and the sorrow, the romance and the poetry of the Hebrides are all to be found in it.' It was broadcast by the Glasgow B.B.C. under Mr. Carruthers, but has not been heard since. -^ Unfortunately, neither the dates of Godfrey's performance nor those of the B.B.C. are available.

Ms. Hampton, Librarian for the Royal Academy of Music, London, to Kenny Sheppard, Georgetown, Texas, TLS, 16 February 1985.

^^ Drysdale, "Learmont Drysdale." 58

During the summer of 1890 Drysdale was engaged to accompany Mrs. Albert Barker and Mr. Robert Newman on a provincial tour. Newman was the manager of the Queen's Hall, London, and was quite active as a bass singer, and Mrs. Barker was the foremost lady reciter of her time. Drysdale was solo pianist on this tour; he accompanied Newman and provided incidental music of his own composition for some of Mrs. Barker's recitations. Upon his return to Edinburgh at the end of the tour, Drysdale was commissioned to write a choral work for a special occasion for his native city. He chose to set Robert Burns's poem. Ode to Edinburgh, in the form of a cantata, but the arrangements for the occasion did not work out and the work was not performed.^^ The Ode to Edinburgh, which is not to be found in the libraries in Edinburgh nor in Glasgow, is apparently lost.

Also in the summer of 1890 Drysdale heard of a contest, sponsored by the Glasgow Society of Musicians, offering a prize of 30 guineas for the best concert overture and decided to enter it. Although it is not clear just when he first began work on the piece, he apparently sought advice from Corder sometime prior to 3 0

^"^Ibid. 59

October 1890. The following letter from Corder indicates that Tam O'Shanter was well under way.

Telegraphic Address Counterpoint London Royal Academy of Music Tenterden street Hanover Square London 30 Oct. 1890 Dear Drysdale The plan you propose for your piece would do very well, but I wouldn't call it a Symphonic poem. This title has been applied by Liszt, St. Saens and others to a certain form of composition of the Variation's nature, involving what is known as metamorphasis of themes. I don't see why yours shouldn't be called an Overture, simply, or if you must have a vaguer title, a ^Concert Piece' or even a ^Tone Picture'. When you return here your hour will be 4:00 on Thursday: your old class is dispersed.

Very truly yours F. Corder ^^ Drysdale called Tam 0'Shanter an overture, entered it in the contest and won. For the poetic basis of this overture, Drysdale used Robert Burns's poem of the same title which, in turn, was based on an old Scottish legend. The first performance of Tam O'Shanter. 27 January 1891, was conducted by Mr. August Manns at the Glasgow Orchestral Concerts; the concert was given again

"^^F. Corder, London, to Learmont Drysdale, Edinburgh, ALS, 30 October 1890, Drysdale Collection, Library, Glasgow University. 60 on 29 January. The published plebiscite taken at those concerts revealed that Tam 0'Shanter received more votes than any other overture, with Wagner's overture from The Flying Dutchman taking second place. The Glasgow Evening News said: Mr. Drysdale's work bears ample evidence of imaginative power (that rare gift) and of the possession of the artistic means necessary to carry out musical conceptions. . . It exemplified anew the composer's command of flowing melody, skillful and effective workmanship and highly coloured orchestration.-^^ Janey Drysdale reported that The Dailv Chronicle described the work as having "almost as much picturesqueness as can be imagined derivable from the modern orchestra: he [Drysdale] musically depicts some of the more startling incidents of the midnight ride through the storm, as detailed in Burns's famous poem."-^^ It is doubtful that music can truly "depict" any particular scene or person. However, since Tam O'Shanter is familiar to most Scots, Drysdale's music may well prompt the listener to recall various parts of the story. For those who are unfamiliar with Tam O'Shanter. a summary of the poem, examples of Drysdale's music and its possible relationship to the poem are given below. The

•^^Drysdale, "Learmont Drysdale."

^'^Ibid. 61 complete poem, Tam O'Shanter. may be found in the anthology. Poems and Songs of Robert Burns, edited by

James Barke.^® Against his wife's wishes, the drunken Tam was in the tavern drinking with his friends. He is depicted, not only as a drunk, but as a faithless husband as well: "The landlady and Tam grew gracious / Wi' secret favours, sweet and precious. ^^ One of Tam's female drinking companions prophesied that he would die by drowning, or that he would be caught by warlocks by the church at Alloway"*^, which was believed to be haunted. A mighty storm was blowing, but, even in the face of this, Tam knew that he must mount his mare, Maggie, and go home. Drysdale included, on the title page of his overture, this line from Burns's poem: "The hour approaches that Tam must ride."^^ It is apparently on this line of text, that Drysdale based his work. The following solemn

•^®Robert Burns, "Tam O'Shanter," Poems and Songs of Robert Burns. ed. by James Barke (Beccles and London: William Collins Sons & Co. Ltd, 1960). 202-208.

^^Ibid. 202.

^^The birthplace of Robert Burns.

^-^Robert Burns, "Tam O'Shanter," Poems and Songs of Robert Burns. ed. by James Barke (Beccles and London: William Collins Sons & Co. Ltd, 1960). 203. 62 passage, (measures 1-4) for horns and trombones, forms a brief introduction, which may be suggestive of the hour of midnight:

±s _£!.

ppp f-rs T-T r T=^ * f •n

^ 3^r = O ^ f

The first theme of Drysdale's overture (shown below), played by the cellos, clarinets and bassoons, may be suggestive of Tam's ride through the storm. ) ^j. Y [) y3ft U- r")j.NiiTJi^r|j;u:3;i| Burns's poem continues with Tam's ride home, which necessitated his going very close to the church. As he approached the church, "Tam saw an unco [uncommon] sight! / Warlocks and witches in a dance."^^ Although Tam knew better than to involve himself with these supernatural beings, he became so fascinated by the dance of one "Nannie, winsome wench and walie [choice] , ""^^ an attractive witch in a scanty cutty sark (a short shirt),

"^^Ibid. 203

43 Ibid. 208 63 that he cried out, "^Weel done, Cutty-sark! '. "^"^ Having attracted the attention of the witches and warlocks, Tam, on his mare, Maggie, was obliged to flee for his life. The attractive wench is apparently alluded to in Drysdale's overture by the second subject, a plantive melody for solo oboe.

# - • ' - . .. ^• S •^—r n Mr' ' 'IMti ^

The relationships of characters events and music as suggested above are speculative. Drysdale provided no specific program other than the name Tam O'Shanter and the short quote from the poem as mentioned above.

Burns's poem continues with the witch chasing Tam,

who was urging his mare, Maggie, onward. The witch got

so close that she grabbed Maggies' tail and pulled it

off. Only through the loss of the mare's tail was Tam

able to reach the keystone of the bridge, a place of

safety. It should be noted that the three musical

examples quoted above were taken from a photocopy of

Drysdale's Tam O'Shanter. published by Stainer and Bell,

Limited.4^

'^'^Ibid. 208.

45 Learmont Drysdale, Tam O'Shanter, (London: Stainer and Bell, Limited, 1891). 64

In addition to composing Tam O'Shanter in the year 1890, Drysdale also composed one of his few chamber works. Trio for Piano, Clarinet and Bassoon, later arranged for piano, violin and cello. The trio met with considerable approval, and Drysdale was encouraged to write more chamber music. His real interest, however, was in orchestral and choral works. On 24 November 1891 August Manns introduced Tam O'Shanter to the London public at one of the Crystal Palace Saturday Concerts. The July, 1894 issue of The Scottish Musical Monthly included the following comments written by a London critic. On its (Tam O'Shanter's) production at the Palace it so happened that I (the writer of the article—a London critic [unidentified]), sat next to a well-known musician who had not previously heard any composition from the same pen and at the conclusion of the performance I sought his frank opinion as to the the merits of the work under notice. Coming from a man of rare experience and discrimination, the answer would have delighted the heart of the young aspirant for fame. ^It is difficult to believe,' he said, ^that it is the work of so young a hand. It is so fresh, so unforced and so symmetrical in construction. ^Yes,' he added, ^Drysdale has undoubtedly a future unless I am greatly mistaken.'^^ Janey Drysdale reported in her article on her brother that The Morning Post gave the following review:

4^The Dunedin Magazine (July, 1959): 18. 65

The Overture is full of character, fresh and untrammelled by conventionality. The themes are remarkably bold and striking, and the manner in which they are worked out shows not only a thorough knowledge of the resources of the orchestra, but also the possession of an amount of power which will in time win for Mr. Drysdale a place of distinction among British composers.^^ Drysdale was well thought of by his colleagues at the Royal Academy of Music and developed several friendships during his days there. One of those friends who often used Learmont as an accompanist was Philip Brozel who was later to become a well-known operatic singer in Russia.^® Another who befriended Drysdale was William Wallace who would later enjoy considerable popularity as a composer, especially of tone poems. Wallace assisted in correcting the parts for Tam O'Shanter just prior to its first performance in Glasgow, and he wrote the program notes for the first performance of that overture at the Crystal Palace in London.^^ One of Drysdale's most fruitful friendships was with Granville Bantock. Drysdale was a frequent visitor at the home of Granville's parents. Dr. and Mrs. Bantock,

4^Drysdale, "Learmont Drysdale"

4®lbid.

49ibid. 66

and he thought very highly of them. Bantock was the librettist for Drysdale's last work before leaving the Royal Academy of Music in 1892, The Lay of Thora. a dramatic scena for soprano and orchestra.^^ Drysdale had the reputation of being quite outspoken, even to those in positions of authority. He seems to have been very comfortable in demanding that his rights and dignity be respected. On one occasion while he was still a student, he was accompanying a student of the great voice teacher, Garcia. Garcia stopped the performance to point out an error which he believed to have been made by Drysdale. "No sir, I've made no mistake" was Drysdale's quick response and showed the score to Garcia, who apologized. The other students present were somewhat horrified that a mere student would stand up to such a renowned musician, and the story quickly spread throughout the Academy.^-^ The end of Drysdale's career at the Academy was related to his outspoken tendencies. In July of 1892, Alexander Mackenzie, Principal of the Royal Academy of Music, told Drysdale that he wanted to perform one of his (Drysdale's) pieces on an upcoming concert. Just which

^°Ibid.

^^Ibid. 67 piece he wanted to perform is not mentioned in the correspondence. Drysdale made an effort to have the parts copied in time for the first rehearsal, but the copyist was unable to accommodate him. Mackenzie was apparently determined to do the work, so he asked Drysdale to try to have the parts ready for the next rehearsal at which a decision would be made as to whether there would still be enough rehearsal time to do justice to the piece. The copyist finished the parts just in time for the rehearsal but not in time for Drysdale to check them for mistakes. Consequently, some mistakes were discovered at the rehearsal. Mackenzie spoke harshly to Drysdale over the matter, whereupon Drysdale let him know in no uncertain terms that he wouldn't be spoken to like that. Evidently it was this incident which prompted the Principal to successfully petition the Committee of Management to dismiss Drysdale from the Academy. Drysdale was furious over this action and even threatened legal action but did not follow through. He did, however, return the medals which he had won and stated in a letter that he was severing all association with the Academy. The incident is related in Drysdale's letters to his mother and also in a letter by Henry Farmer to the Scottish National Library. 68

14 July 1892 My Dear Mamma . . .On Tuesday morning I went down to the copyist but found much to my disgust that they couldn't possibly get it finished in time for the rehearsal at 2 o'clock. I had simply of course to explain matters to MacKenzie. He said that he had worked up his programme all except a place for my piece and that he had waited to try it and he seemed disappointed as he evidently had made up his mind for it. He said that it would be rather unwise both for myself and him to play it at the concert with so few remaining rehearsals but however he said it would wait till Friday and I was to be sure and have it ready by then when he would let me know if he thought it was possible to do in the time. He promised to put his best foot forward of course. I have therefore hopes of its being all right, and of course I have made sure of the parts for tomorrow. I am looking forward to its being done and shall be disappointed if it isn't after all the trouble I have taken. L. Drysdale^^ As indicated in the following letter, Drysdale's optimism was unfounded. [no heading] [no heading] On Friday at the practise Dr. MacKenzie got out of temper because the parts of my piece were wrong and the mistakes in them. Of course as I have told you I had had very little time to correct them and didn't get them from the copyist sooner. Well of course for a while I simply put up with him and his remarks but after a little he got too abrasive and lost his head completely so

^2Learmont Drysdale, London, to his mother, Edinburgh, ALS, 14 July 1892, Drysdale Collection, Library, Glasgow University. 69

I simply gave it to him straight before the whole orchestra and a roomful of students and professors. I hope you think I was quite right. I do not think I should be spoken to in that way by any man be it MacKenzie or anyone else. And I think he had no right to lose his temper. He is a man who should never have been in such a position unless he could behave like a gentleman. Well the beauty of it was that after he saw I was determined not to be treated like that and when I gave it back he never said another ill-mannered word. He had then to give in in a very humble sort of way and even kept the orchestra 10 minutes late in order to run through my piece again. He is really a coward at heart and he showed it. Nearly all the students were delighted with the way in which I spoke to him and they said that I was about the only one that he would have stood it from. I may tell you that just lately he has lost the faith of nearly all the well known students....A lot of the fellows can't bear him. I am perfectly independent of both him and the Academy and he has not the power to hurt me now. . . L. Drysdale^-^ The following letter is Drysdale's response to an unexpected notification that he would not be allowed to return to the Royal Academy of Music. London 16 July 1893 Norman Threlfall Esq. Chairman of the Committee of Management Royal Academy of Music Dear Sir, A letter was forwarded to me from London, which had been received from the Secretary of the

^•^Learmont Drysdale, London, to his mother, Edinburgh, sometime after 14 July 1892, Drysdale Collection, Library Glasgow University. 70

Royal Academy of Music, of date 13th Dec. last, intimating a resolution came to by your committee in regard to the incident between the Principal and myself which I had brought under their notice. From the excerpt of the minute fsici of the meeting, it would appear that the committee had come to their decision without hearing anything further on the subject than what was contained in the correspondence in which no reason is given by the Principal for his strange procedure. It therefore seems to me that one of the purposes for which the committee exists, in terms of the prospectus of the institution, is entirely negated by such a method of business. I have now had an opportunity of taking the highest legal advice on the matter, and have been advised that the conduct of your Principal towards me was utterly illegal, and that, should I choose to take legal proceedings against him, I should, without doubt, be successful. I may add that the Committee, by the minute [sic] which they passed, have also rendered themselves liable. I do not however propose, by proceedings of this nature, to bring your Principal to a more rational way of dealing with the public who may enter the institution. But in the meantime, I cannot do less than sever any association I have had with the Academy, by returning to the Committee, through you, the medals which I have gained at the institution. The Committee will have the satisfaction of knowing that there was at least one student of the Royal Academy of Music, who was able to assert his rights, and who was not disposed to knuckle to the caprices of the Principal. I cannot conclude without expressing my appreciation of the courtesy which I have always received from you personally, and of which I shall entertain a lively recollection. I am. Dear Sir Yours Faithfully Learmont Drysdale^"^

^^Learmont Drysdale, Edinburgh, to Norman Threlfall, London, TLS, 16 July 1893, Drysdale Collection, Library Glasgow University. 71

Dr. Henry Farmer, noted scholar of Scottish music, later wrote a letter to a Mr. Dobie of the Scottish National Library in an effort to clarify the presence of these medals in that library, as they had been given to the Scottish National Library after Drysdale's death. Edinburgh 12 August 1944 Mr. Dobie Scottish National Library Edinburgh Dear Mr. Dobie: Toward the end of L.D.'s career at RAM Mackenzie (the Principal) ^told him off at a rehearsal of his overture-(over mistakes in the parts). L.D. openly attacked MacKenzie saying that he could do without his patronage or even that of the academy. Drysdale was as good as his word and returned his three medals by registered post to the Academy. Some time later when Drysdale went to the RAM to visit some friends, he found that he was refused admission to the premises. There was a legal threat but nothing eventuated along this line. Years afterwards (1927) when Drysdale was in the grave. Sir John McEwen [who] succeeded MacKenzie as Principal of the RAM-found the medals in the safe, returned them to Janey not knowing why they were in the safe. . . Drysdale was brilliant but undisciplined and irregular in attendance at the academy. Still, I suppose it is preferable to have been undisciplined and have written ^Tam O'Shanter' Overture than to have been well-behaved and 72

punctual and have written *Blue Bells of Scotland.' Henry Farmer^^ The current librarian of the Royal Academy of Music was unable to shed any further light on the incident.^^ Given the information above it is curious that a recently published book on the history of Scottish music erroneously states that Drysdale "proceeded south to the Royal Academy of Music for his musical education. He remained there as a member of the teaching staff for most of his professional life. ^' There is no evidence in Drysdale's correspondance that he ever taught at the Royal Academy of Music. In the spring of 1891 Drysdale began working on a dramatic cantata for soli, chorus and orchestra. He adapted the text from Charles Makay's poem. The Kelpie of Corrievreckan. In July of that year the soprano solo from Drysdale's work, The Kelpie, was performed in St.

^^Henry Farmer to Mr. Dobie, Edinburgh, TLS 12 August 1944, Drysdale Collection, Scottish National Library, Edinburgh.

^^Ms. Hampton, librarian of the Royal Academy of Music, London, to Kenny Sheppard, Georgetown, Texas, TLS, 16 February 1985.

^^Elliott and Rimmer, A History of Scottish Music. 61. 73

James' Hall by one of Drysdale's colleagues at R.A.M.^® The entire work was not performed for some three years later. In December of 1894 The Kelpie was conducted by the composer in Edinburgh at a Paterson Concert by Kirkhope's choir and the Scottish Orchestra with Pauline Joran and Philip Brozel as soloists.^^ The People wrote: Mr. Drysdale who stands in the front rank of our younger composers has just brought another work from his pen to a most successful hearing. The Kelpie reveals much of that highly descriptive writing which seems to be Mr. Drysdale's forte. The weird, if beautiful poem lent itself well to orchestral colouring of varied tones and power, and the general opinion was that Drysdale had made masterly use of the situations presented.^^ The Glasgow Herald said: Mr. Drysdale has depended largely on the orchestration to express eerie feeling, and the orchestral effects are cleverly wrought throughout. In the simpler and more romantic side of the picture he has imparted much grace into the melodies, notable in the tenor solo, wherein the picture of the fickle maiden sitting with her village lover is presented. The most worthy choral writing perhaps lies in the finish, where the theme treats the maiden's wraith

^®Drysdale, "Learmont Drysdale".

This information is taken from a photocopy of a program, Drysdale Collection, Glasgow University Library

^^Drysdale, "Learmont Drysdale". 74

revisiting her village home and a considerable dramatic pitch is then reached. ^-^ The Kelpie was not heard again until 1939, when it was performed by the Dunfermline Choral Union. The Kelpie will be discussed in detail in Chapter IV. In 1893 Drysdale began writing his overture Herodean, which was performed for the first time on 24 April 1894, by the London Stock Exchange Orchestral Society, conducted by George Kitchin. Kitchin, a wealthy entrepreneur and founder of the Stock Exchange Orchestra, said that the work was one of the best that he had ever performed.^2 The Oueen described the overture as an exceedingly able work, the themes are thoroughly Scottish in character, being developed with considerable skill, the orchestration being glowing, highly colored, and richly varied, and the overture being worked up to an imposing climax. ^"^ The Observer said: "It serves to reveal this Mr. Drysdale not only as a writer of facile and graceful melody, but one who has mastered the art of orchestration to no small purpose."^^ The Dailv Chronicle wrote:

^^Ibid.

^^ibid.

^^Ibid.

^"^Ibid. 75

An absolute novelty on this occasion was a Concert Overture in D by Mr. Learmont Drysdale (a former student of the Royal Academy), which he has christened *Herodean' after a Lowland glen in the Moorfoot Hills, of one of Lord Rosebery's northern estates. In character it is Scotch from the first note to the last, the three subjects it contains being worked out with much ingenuity, and in the most varied manner, without for a moment departing from the national spirit of the composition. Midway there is a suggestion of the sports of elfs and dryads, which allows the composer to bring fresh instruments into use and the finale is marked by breadth, freedom and power. Altogether it is as vigorous, tuneful, and striking a production of its kind as has been submitted to the metropolitan and musical public for some time. All who heard it were inclined to place the name of Mr. Drysdale on the list of the younger composers from whom great things may be confidently anticipated. The overture was played with care and spirit by the band under Mr. George Kitchin, and the applause at the close was continued until Mr. Drysdale appeared upon the platform in response."^

It is curious that Herodean was not heard in the composer's native city until December, 1903. This performance was conducted by Dr. Cowen at McEwen Hall, Edinburgh. The Scotsman gave the following report of that performance: . . .midway in the programme there was given for the first time in Edinburgh Mr. Learmont Drysdale's *Herodean" overture'. This is a bit of ^programme music' in which the inspiration is drawn from the contemplation of the sights and sounds of a lonely Lowland glen. Without being

^^Dailv Chronicle (London), 26 April 1894 [page unidentified as this information is taken from a photocopy from the Drysdale Collection, Glasgow University Library]. 76

too directly imitative, the work is in spirit and style Scottish. The band, under the leadership of Dr. Cowen, gave a fine rendering to this, as to the other purely orchestral works in the programme. A spirited finale, worked up in true Wagnerian style, drew from the audience sustained applause, in response to which Mr. Learmont Drysdale, who was present in the body of the hall, ascended the platform and bowed his acknowledgments.^^

About the same time as the first performance of The Kelpie, Drysdale was invited to collaborate with Ian Robertson on a one-act mystic, musical play. The Plague, which was first performed on 16 October 1896 by Johnston Forbes-Robertson and his company at the Royal Lycerne Theatre, Edinburgh, with Drysdale conducting. The text of this play is spoken, and the orchestra provides a sort of incidental musical accompaniment. The setting of The Plague is in the middle ages, and the scene is a bed chamber in a feudal castle where the lord and his infant are lying sick of the plague. As the lord's wife and the apothecary care for them, the wife sees Azrael, the spirit of death, approaching and is commanded to choose whether her husband or her child shall die. After having agonized for a time, the wife discovers that the child has died and that her husband has begun to recover. Thus

^^The Scotsman (Edinburgh), 29 December 1903 [page mumber unidentified as this information is taken from a photocopy from the Drysdale Collection, Library, Glasgow University]. 77 she is spared having to decide but is grief stricken at having lost the child.^^ In her biography of her brother, Janey Drysdale quoted a review of this first performance, which appeared in The Scotsmen. Mr. Drysdale has written no better music than this. The overture, with the creepy chromatics depicting the storm outside, and the solemn musical figure suggesting the stalking of the Black Death, prepares the mind for what is to come, and from rise to fall of the curtain the music never fails to support the situation. Mr. Drysdale handles his orchestra with moderation and with excellent effects, and the few leading motives he employs are telling without being obtruded over much. It would be too soon to anticipate what degree of success will attend so bold an experiment in drama. It has at least enabled Mr. Drysdale to prove his judgment and ability in giving an effective setting to a subject that is by no means easy of treatment.^®

Janey Drysdale reported further critical acclaim as it appeared in The Stage. The musical merit of The Plague is high. From the beginning of the introduction, an overture, everything is appropriate. The character of the elaborate accompaniment is well in keeping with the dramatic situation, and the orchestration, rich and somber, is decidedly clever. Mr. Drysdale is to be congratulated on a complete success, and more work of the same kind from his pen will be awaited with a good deal of interest, and confident expectations of fresh

^^The Edinburgh Evening Dispatch. 17 October 1896 [page number unidentified as this information is taken from a photocopy from the Drysdale Collection, Library, Glasgow University].

^®Drysdale, "Learmont Drysdale." 78

success. The piece was received with enthusiasm by a crowded house, author and composer being called several times before the curtain at the close.^^ Even before The Plague was performed for the first time Drysdale was asked to collaborate on a new comic opera which was to be based on the Reverend Sabine Baring-Gould's novel. The Red Spider. The opera was given the same name. The action takes place in Devonshire at the end of the eighteenth century. The plot, taken from a photocopy of program notes of uncertain origin, is as follows: The interest of the story centres round Honor Luxmore (the eldest of a large family) who has been entrusted by her mother with the care of her young brothers and sisters, and performs her duty to them irrespective of everything else, even her own love affairs being sacrificed for the sake of this sacred charge. Larry Langford, her lover, is the son of a neighbouring farmer and heir to his uncle. Lawyer Langford, the wealthy proprietor of an adjoining farm. The latter, a grumbling and crusty old bachelor, is tyrannised over by his housekeeper, Mrs. Veale, a designing old woman who pracitses witchcraft and is feared by the villagers. The plot revolves mainly round the quarrels between uncle and nephew, the former wanting to oust the latter in the affections of Honor, whom Langford discovers to be heiress to an old and valuable estate. Honor's scapegoat brother Charles, who has been at one time in the army, is now a servant on Lawyer Langford's Farm,and is made the tool of the designing Mrs. Veale. The latter, wishing to marry her master, causes Charles to be suspected of the theft of money which she herself has stolen from Langford and

69ibid. 79

given him, thinking that when her master discovers the theft, he will refrain from marrying the sister of a disgraced man. Langford, falling into the trap, supposes Charles to be guilty, but upsets Mrs. Veale's designs by endeavoring to use his power over Honor in order to extract a promise from her to marry him, offering a pardon to the brother if she will consent. The true culprit is, however, discovered just when Honor is on the point of giving way, and sacrificing herself for the sake of her brother and family, whereupon everything comes to a satisfactory happy ending.'^ In August of 1898 The Red Spider was produced at the Theatre Royal, Plymouth with the composer conducting and Baring-Gould directing. The following excerpt of a review from the Independent Echo gives a favorable report of that performance. . . .Mr. Learmont Drysdale has set the Rev. S. Baring-Gould's idyllic scenes and quaint lyrics to music that is at once scholarly, attractive, and original. In fact, the charming orchestration to the ^Cukoo song,' given by Miss Carr-Shaw [George Bernard Shaw's sister], forms the chief feature of the first act, which is otherwise rather tame and devoid of distinction. The second act is much more lively and teems with good things. . . As the curtain rang down on the second act on Monday night calls of ^Author,' *Author,' resounded through the theatre....and at last the Rev. S. Baring-Gould left his seat in the auditorium, and Mr. Learmont Drysdale vacated the conductor's desk and together they bowed their acknowledgments from the other side of the footlights. Still the audience were not satisfied nor silent. Again and again author and composer had to come on, and when the third act

This infomnation is taken from a photocopy of unidentified program notes. Drysdale Collection, Library, Glasgow University. 80

was over there was another ovation in their honour.^^ The Red Spider was highly successful as it received more than 100 performances over the next few years. Not all critics thought as highly of it, however, as did the ones previously quoted. The Dundee Advertiser gave a somewhat mixed appraisal of the opera. . . .It is the lack of that art that mars the unity of ^The Red Spider' as a play; but, that admitted, the story is picturesque and romantic enough to please the young folks, and sufficiently opulent in humour to entertain the elders. . . . Although the opera is a little overloaded with lyrics, it is difficult to suggest what should be excused since all are so well written. One or two of the solos might be curtailed, but the duets—most of which are deliciously harmonised—should be spared. When the first act is over the music gets brighter as the interest of the libretto increases, and the appreciation of the audience grows in fervour. The finale to the second act is a remarkably fine dramatic composition, and is magnificently sung. Take the piece for all in all, and the verdict must be that it is one that can be seen and heard with pleasure.^2 In 1897 F.S. Pilleau and A.W. Gattie invited Drysdale to collaborate with them on a new comic opera to

^^The Independent Echo (Plymouth, England) 31 August 1898. [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University .]

^^The Dundee Advertiser (Dundee, Scotland) 15 November 1898. [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University.] 81

be called The Oracle, an ancient Egyptian satirical opera in two acts. Count Zborowski intended to produce the work at the Broadway Theatre in New York but was dissuaded by his manager who thought the humor too subtle for the audience. The Count was later killed in an automobile accident, and The Oracle lost an important ally. Shortly thereafter there was a prospect of its being produced in London, but the score was not to be found. The circumstances under which the score was misplaced are unclear. The Oracle has yet to be performed, and the score is apparently still lost.^-^

In January of 1901 Drysdale wrote The Proud Damozel. a choral setting of Charles Kingsley's poem. Earl Haldan's Daughter.'^ A second version of this work actually takes the name of Kingsley's poem.^^ Although no information is available about any performances of the work, manuscript copies of both versions are in the Glasgow University Library. Drysdale intended to include orchestral accompaniment, but only piano/vocal manuscripts are available in the library.

^"^Drysdale, "Learmont Drysdale."

^^Halden was Earl of Gleneagles near the city of Perth.

^^Drysdale, "Learmont Drysdale." 82

In 1901 Drysdale conducted a tour with a comic opera, and in 1902 he toured with an American musical comedy. He also began a romantic opera on the subject of Flora Macdonald^^, and two light operas. The Vikings and The Girl From London. None of these works was finished.^^ In 1904, at the request of Sir Henry Wood, Drysdale wrote his orchestral poem. Border Romance, also called Border Ballad. The composer disclaimed any specific program, but there is the suggestion of a scene in the Scottish Lowlands.^® Sir Henry Wood conducted the premier performance of Border Romance at a Promenade Concert at Queen's Hall on 8 October 1904. Following is an excerpt of a review of this performance. Time was when Mr. Learmont Drysdale was regarded as one of the most promising of the * rising school,' but of recent years his name has not come before the London public, possibly because his sphere of activity has been removed from London to Glasgow. Anyhow, if he has many more compositions in his portfolio as good as ^A Border Romance,' the orchestral poem played on Saturday, we sincerely hope we may soon hear

^^Flora MacDonald (1722-90) helped Charles Edward to avoid capture, after which, she was imprisoned. She imigrated to America in 1774 and returned to Scotland in 1779.

^^Drysdale, "Learmont Drysdale."

'7®Ibid. 83 them. The poem has its faults; it is prolix and contains some repetitions which seem unnecessary. But there is no denying the beauty of the thematic material (whether it is original or imitation of Scottish melody we are not told), while the workmanship is clean, sane, and interesting, especially in the capital use of the strings. Its beauty far outweighs its prolixity, and it is of few new works that that can be said.79

Border Ballad was performed for the first time in Scotland by the Scottish Orchestra in December 1905, conducted by Sir Frederic Cowen. One Glasgow critic found the absence of a written program somewhat frustrating. In the ^Border Ballad' composed by Mr. Learmont Drysdale, one of the most distinguished of our younger Scottish musicians, the reliance on the orchestra is exclusive, no written text, or programme, beyond the intimation that the work was suggested by the Scottish Lowlands, is furnished to the audience by the composer, who while confessing that he had a poetical scheme of his own, does not disclose it, but desires the work to be treated as abstract music, preferring to leave the hearers to form their own romance. The situation is tantalising in view of the suggestive title of the piece, which has an air of mystery, and might be interpreted as a half hearted invitation. Unless a musician estimates very highly the intrinsic value of his composition as such it is hazardous to introduce us to his muse as a near relation to programme music, while denying us the information that

^^The Times (London), 10 October 1904.[page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University.] 84

would put us on a favourable footing for the cultivation of our acquaintance.®^ The latest recorded performance of Border Romance occurred in the summer of 1911, when the work was selected by Sir Henry Wood to be performed on a series of all-British concerts, called Festival of Empire Music. This festival was held at London's Crystal Palace.®-^ In 1904 Drysdale was appointed as the Theoretical Master of the Glasgow Athenaeum School of Music. He received strong recommendations from Sir August Manns, Sir Henry Wood, Sir Frederic Cowen and Wilhelm Kuhe, and the directors of the school were unanimous in their choice. His duties at the Athenaeum, however, took too much time away from his work as a composer, and he resigned in 1905.®^ Drysdale had begun Tamlane, a ballad for chorus and orchestra, in 1901, and he finished in 1905. Tamlane's premier was given by the Clydebank Choral Society in

®^Glasgow Evening News. 6 December 1905. [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University]

®^Dailv Telegraph (London), 18 March 1911. [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University]

®^The Dunedin Magazine (July 1915): 22. 85

Glasgow in November, 1905.®-^ Unfortunately, no further information about this performance is available. The first performance of Tamlane in Edinburgh was given at a choral-orchestral concert of the Dunedin Association and the Edinburgh Royal Choral Union under the direction of Mr. T. H. Collinson, the conductor of the Edinburgh Royal Choral Union, 7 March 1913, four years after Drysdale's premature death.®^ Also performed on this concert were The Cotter's Saturdav Night by A. C. Mackenzie, and The Cameronian's Dream by Hamish MacCunn. The following review of that concert is from the Scotsman. . . .Mr. Learmont Drysdale's Tamlane was heard for the first time [in Edinburgh]. It is a finely-conceived descriptive musical setting of the old Border ballad, and is uniform throughout with a healthy melodiousness that befits the theme. Opening with an orchestral introduction, of which the programme character is obvious, it follows through the chorus the links of the legend by which the daring Janet won, from the toils of elfland spells, her young Tamlane. The work is characterised by much good harmonious choral writing; the orchestration, especially in the processional towards the close, is well balanced and well coloured to suit the imagined scene; and altogether Tamlane may be regarded as

®^Ibid. 22

®'^Ibid. 22 86

one of the maturest of the late Mr. Drysdale's works.®^ An article more descriptive of Tamlane is found in the May, 1913 issue of The Dunedin Magazine. The piece de resistance of the concert was undoubtedly the late Learmont Drysdale's Tamlane. It is a pity that Edinburgh has so long been denied a first hearing, for it is a great work. It is really a symphonic poem in three movements with a choral narration of the text, for the tone painting is done almost entirely by the orchestra. From beginning to end, the work is crammed full of melodic and harmonic beauties; and for the musician, it is indeed a feast of fat things. Even for the man in the street Tamlane has a potent message, and a special article would hardly suffice to point out even a tithe of its beauties. The work is thoroughly Scottish in character; but leit-motifs of which there are two principal ones, have also been employed. Interest is not only sustained throughout Tamlane but intensifies as it proceeds, and the best work in this fine composition is to be found near the close. If it be considered as an ordinary choral composition with orchestral accompaniment, the scoring is too thick; but, as we have indicated, Tamlane is rather an orchestral work with choral accompaniment. Though the choir takes second place, that second place is a very arduous and important one, and requires magnificent equipment, which was certainly forthcoming from the Choral Union, who performed the work as if they had known and loved it for years. Though the performance takes fifty minutes without solos to rest the voices, the choir was as fresh for the mighty closing climax as for the opening bars. We trust that Tamlane may form part of the Choral Union repertoire, and that we may have many opportunities of renewing acquaintance with this, one of the very finest choral compositions

®^The Scotsman (Edinburgh), 8 March 1913. [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University] 87

ever penned by a Scotsman, and one quite up to the level of the very best British choral works.®^ The last recorded performance of Tamlane was given by The Choir of New Kilpatrick Parish Church, Bearsden, on 27 February 1948.®7 In December of 1905 Euripides' Hippolytus was staged in the Glasgow Athenaeum Hall, using Professor Gilbert Murray's English translation. Drysdale was commissioned to compose music for the performances. The music is written for orchestra, chorus and vocal soloists and is not continuous but is used as an occasional commentary, somewhat in the manner of the Greek chorus. The music was felt to be in dramatic harmony with its subject—a fact which points to Mr. Drysdale's high achievement, for it is no slight feat on the part of the composer to have so sympathetically illustrated some of the important moments in so beautiful and so sublime a drama.®® Drysdale was hired to conduct the Glasgow Select Choir for the 1906-07 season, and for them he wrote the choral ballads, Barbara Allan and John Grumlie. There is

®^The Dunedin Magazine (May 1913) [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University]

®7From a photocopy of a program. Drysdale Collection, Library, Glasgow University.

88Th e Dunedin Magazine (July, 1915): 23. 88

no record of any performance of the latter work, but Barbara Allan was performed in a concert of the Glasgow Select Choir at St. Andrew's Hall, Glasgow, on 3 November 1906.°8^9 The Glasgow Evening News published the following review: The appearance of the Glasgow Select Choir in the St. Andrew's hall on Saturday attracted, as they never fail to do, a large audience. The programme, framed on familiar lines, was rendered in that excellent fashion which had always been a characteristic of the choir's work, and which redounds not only to the credit of individual members, but to that of the popular conductor, Mr. Learmont Drysdale. While several new items were introduced in the programme, old favourites were not forgotten, and were given the successful rendition which, from previous hearing, the audience was justified in expecting. A feature was the singing of a ballad Barbara Allan, the choral setting of which is by Mr. Drysdale, who has dedicated it to the choir. The composition is most creditable to the writer, and gives musical enhancement to the sentiment of the ballad.9° The most recent known performance of Barbara Allan was given on 23 April 1984, in Georgetown, Texas, by the Southwestern University Chorale, conducted by Kenny Sheppard.

®9From a photocopy of a program. Drysdale Collection, Library, Glasgow University.

^^Glasgow Evening News 5 November 1906.[page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University] 89

In 1907 the Duke of Argyle, having written an ode called The Scottish Tribute to France, asked Drysdale to compose music for it. Drysdale did this, and the work is available in manuscript at the Glasgow University Library, but it has never been performed. One Mr. William Short, the King's Trumpeter, arranged the ode for military band, and it was played by a number of Britain's fine ensembles of that genre.^^ In 1908 Drysdale again collaborated with the Duke of Argyll, this time on a two-act grand opera entitled Fionn and Tera.9^ Drysdale had almost finished the piano score when he died. Janey Drysdale enlisted David Stephens, director of the Carnegie Dunfermline Trust Music Department, to finish and orchestrate the work, which he did. Miss Drysdale then sent the score to Charles Manners, managing director of the Moody-Manners Opera Company, Middlesex, and also, to Oscar Hammerstein of the London Opera House. The score was eventually lost and is not available to us now. An article in the The Morning Post gives a fair account of the fate of the opera and of its plot.

9^The Dunedin Magazine (July, 1915): 23.

^^Fionn, also known as Fingal, was a hero of Gaelic mythology, who is supposed to have ruled a kingdom in Movern, a region in Northwestern Scotland. 90

For some time past it has been known that the Duke of Argyll had completed the libretto of another grand opera. The death of the composer of the music brought matters to a standstill for a time but it is now announced that there is every prospect of its early production. It is understood that Mr. Oscar Hammerstein is considering the possibility of giving the work in the spring at the London Opera House. The opera, the music of which is by the late Mr. Learmont Drysdale, was at one time in the hands of Mr. Charles Manners, of the Moody-Manners Opera companies, whose sympathies with native operatic efforts are well known. The subject of the music-drama is a Celtic legend, the choice of which as a theme for opera may be ascribed to the author's ancestry. The Duke of Argyll is no stranger to the task of preparing opera libretti, for he has already written one entitled Diarmid, which founded also on Celtic material, was set to music by Mr. Hamish MacCunn, and produced by the Royal Carl Rosa Company at Covent Garden on October 23, 1897. The present work deals with the story of a Celtic chief, Fionn, who is betrothed to one woman, while his affections are in reality given to another. The two women are Grania, to whom he is to be wedded for reasons of state, and Tera, a Greek maiden. Fionn is the Chief of the Fienne, and Grania is the daughter of King Cormack of Ireland. These are the three principal characters; the fourth is that of a Fienne soldier. The period of the story is the Second Century. The first act takes place in a Celtic Market Place, where Grania is bartering the people's gold for the precious jewels offered by the Greeks. Here Fionn meets with the beautiful Greek maiden, Tera, with whom, in spite of his obligation to marry Grania, he falls in love. Further dramatic force is imparted to the situation by the discovery by the Fienne that precious stones sold by the Greeks are nothing but worthless imitation, and that, moreover, these [Greeks] are secretly abetting the nation's enemies in Albion. Headed by Grania, the Greeks are attacked, and the ill-gotten gold is buried in a secret place. The Greeks are defended by Fionn, who will not allow the laws of hospitality 91

to be broken. Grania finds also that her lover's affections have been stolen from her by Tera. She retaliates by putting a curse upon the Greek girl, and the first of the two acts closes with a tragic scene of the utterance of the curse before the terrified people in prayer for safety, while the song of the ^little people' whose mission it is to carry out the curse, or ^gesa,' describing the fate that awaits its recipient, is heard. The second act takes place in Carthage and opens with a scene illustrative of the recreations of the people. Fionn has come to seek Tera, and to persuade her to return with him to Ireland. She consents, and the scene is changed once more to Ireland and the Rowan Hold, where the Fairies are guarding the gold secreted by Grania. Grania appears, and once more denounces Tera. Fionn, seeking to help her, destroys the stronghold of the Fairies, and in the struggle that follows Tera is mortally wounded and falls lifeless in her lover's arms. Crania's triumph is shown in the form of her translation to a golden shore, and the vision concludes the striking story. The whole of the music was completed by Mr. Learmont Drysdale before his premature death at the age of forty-three in 1909. The scoring for the orchestra had not been begun. This task has now been carried out by Mr. David Stephen, a Scottish musician. Mr. Drysdale brought considerable experience to his work, for he is favourably known as the composer of a number of works of varied character....His music to Fionn and Tera represents maturity of thought, and, with its strong Celtic character, melodic charm and soundness of musicianship, wedded to a theme of so thoroughly national a character as that to which the Duke of Argyll has applied his literary and poetic powers, should constitute a valuable example of truly national opera whose presentation to the public will be a matter of considerable gratification and significance. ^-^

9-^The Morning Post 29 December 1911. [city of publication and page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Glasgow University Library] 92

In April of 1909 Drysdale returned to live in his native city, Edinburgh. He was forming plans to further the cause of Scottish music, especially the old Scots tunes, which were very dear to him. He sponsored a meeting of prominent musicians of the area to discuss the formation of a society for Scottish music, and after his death some of these people formed the Dunedin Association. He was also the editor, in 1908, of The Dunedin Collection of Scots Songs, in which some of his own arrangements appear. 9* Drysdale, who never married, was greatly devoted to his mother. In May of 1909 Mrs. Drysdale suddenly became ill of pneumonia and, within ten days, died. Learmont, quite grief stricken, caught a chill which subsequently led to pneumonia and within a week succumbed on 18 June 1909. Drysdale's untimely death was duly lamented by the musical community and the newspapers. The following article from the Edinburgh Evening News is representative of the notices of Drysdale's death. The death of the Scottish composer, Mr. Learmont Drysdale, while yet on the threshold of his work, came as a shock to the musical world here (writes a London correspondent), where he was probably better known than in his native city of Edinburgh. It was as an apostle of the song

9^The Dunedin Magazine (July, 1915): 23-24. 93

music of Scotland that Drysdale held up his banner. He was the Burns of the music of Scottish song. Not a few of his arrangements and adaptations have found their way into the hands of world-famous singers as art ballads; and his experience of operatic work enabled him to give that dramatic touch to his re-setting of forgotten Scottish melodies without destroying their colour, which is inherent in the stories of the ballads themselves.^^ Another notice from Drysdale's native city appeared in the Edinburgh Evening Dispatch. Native musical talent is so rare these days that we can ill spare a brilliant composer like Mr. Learmont Drysdale, whose death is announced this morning. Only forty-three years of age, he had made a name for himself in the musical world and greater things were expected of him. He possessed the spark of genius, vouchsafed to few of his contemporaries in the art of musical composition, and his published works were characterized by great originality of thought and fine inspirational quality.^^

9^The Edinburgh Evening News 21 June 1909. [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University]

9^The Edinburgh Evening Dispatch 19 June 1909. [page number unidentified as this information is taken from a photocopy in the Drysdale Collection, Library, Glasgow University] CHAPTER IV STYLISTIC FEATURES AS REVEALED IN SELECTED VOCAL WORKS

Learmont Drysdale's choral music consists of cantatas, part songs, and motets. A complete listing of Drysdale's choral works, as well as his other works, may be found in Appendix A of this document. In order that Drysdale's choral music may be better understood, the present author has chosen two of his (Drysdale's) choral compositions for analysis: the motet. Hark! 'Tis the Breeze of Twilight Calling, Drysdale's only choral composition written prior to his training at the Royal Academy of Music, and the cantata. The Kelpie, a large, choral/orchestral work, representing Drysdale's mature style. Other mature works of Drysdale's might have been chosen for analysis had they been available in full score. Except for The Kelpie, however, the large choral/orchestral works of Drysdale are available only in piano/vocal scores. The Glasgow University Library has copies of the orchestral parts of The Kelpie, as well as the piano/vocal score. The library also has a full score, but, having been written in pencil and on inferior paper, it is virtually illegible and cannot be photocopied. By means of

94 95 comparing the piano/vocal score with the orchestral parts, the present author has made a performance edition of the full score of selected movements of The Kelpie. This edition may be found in Appendix B of this document. Appendix C consists of the piano/vocal score of The Kelpie, published by Paterson and Sons of London in 1895. Before proceeding with the analyses of Hark! 'Tis the Breeze and The Kelpie, a brief discussion of Drysdale's general compositional style seems appropriate. Drysdale's musical style is basically that which is common to late nineteenth-century composers such as Franz Liszt (1811-86), Richard Wagner (1813-83) and Antonin Dvorak (1841-1904). A discussion of the styles of these composers is unnecessary as they are already well-known. However, Drysdale's music differs from the music of these composers in that it incorporates elements that are distinctively Scottish in character. As was every Scotsman, Drysdale was thoroughly immersed in the folk music and folklore of his homeland. It was quite natural that elements of this traditional music would manifest themselves in Drysdale's compositional style and that the subjects of his music would be taken from Scottish folklore. Since some readers may not be familiar with Scottish folk music, a brief discussion of its characteristics follows. 96 Most of the melodies of Scottish folk music are constructed on pentatonic or hexatonic scales, although all heptatonic modes are to be found: the mixolydian and the aeolian modes, with their flat seventh tones, are the most common. In whatever mode, the melodies often begin and/or end on notes other than the tonic. One of the more distinctive characteristics of Scottish folk music is traditionally called the double tonic. This term refers to short melodic passages based on triads a major second apart.^ In its most straightforward form, the double tonic appears something like the following example (see Fig. 1).

m-\m ; [ IIJ m=^ Fig. 1. Double tonic.

Melodic ornamentation is another feature of the Scottish folk song. Ornamentation manifests itself as roulades, or as grace notes, which may be approached from an adjacent scale note or from several notes away. Melodic lines often exhibit large leaps and wide ranges. Large leaps and melodic ornamentation are found to an even greater degree in the "fiddle" music. Bagpipe music

^The New Grove Dictionary of Music and Musicians^ 1980 ed., s.v. "Scotland," by Kenneth Elliott and Francis Collison. 97 also is characterized by melodic ornamentation as well as single, sustained bass notes called drones. Triple and duple, compound and simple meters are more-or-less equally represented in Scottish folk music. The most recognizable rhythmic feature is the so-called scotch snap, a short note, on the beat, followed by a longer note. J J.

The ways in which Drysdale's music is similar to that of the late nineteenth-century composers will be fairly obvious to the informed musician. The Scottish influence, however, may be more subtle; it is to this relationship that many of the following comments will be addressed. In order to assure continuity of this text, each composition and each movement will be discussed in terms of the elements form, harmony, motives and themes, and rhythm. Hark! 'Tis the Breeze of Twilight Calling, a motet for tenor and bass soli, chorus and organ, was written in 1887 and it was dedicated to the Greenside Choral Society. Drysdale served as organist for the Greenside Parish Church 1886-87. The text is by the Irish poet, Thomas Moore (1799-1852). The name, George J. L. Drysdale appears on the title page of this motet. Apparently, he had not yet settled on Learmont Drysdale as his professional name. Since this motet is Drysdale's only choral composition written prior to his 98 training at the Royal Academy of Music, an examination of its style, in comparison to the more mature style of The Kelpie, seems appropriate. For the readers convenience, a photocopy of Hark! 'Tis the Breeze, in autograph manuscript, may be found in Appendix D. Hark! 'Tis the Breeze consists of a single, two-part movement of some 253 measures. Part one begins adagio and becomes faster with each successive section until the tempo, allegro vivace, is achieved at measure 133. After a ten-measure introduction for organ, there is a recitative-like bass solo, which is the second part of the introductory material. The main body of the piece begins with the "A" section (measures 23-54), a bass solo. Section "A^" (measures 55-70), for chorus, is a repetition of "A", both musically and textually. The "B" section (measures 71-100) is for tenor soloist and the "A^" section (measures 100-132) is for chorus and tenor soloist. Part two of the Hark! 'Tis the Breeze is through composed and in three sections; the "C" section, for chorus (measures 133-156), the "D" section, for tenor solo (measures 157-189) and the "E" section, for chorus (measures 190-253). That the harmonic vocabulary is that of the late nineteenth century is immediately evident in the ten- measure introduction for organ. Over a six-measure, D^ 99 flat pedal tone^, a series of chromatic, parallel sixths departs from, then returns to D-flat. the tonic. In measure 7, a dominant-seventh chord is followed by a diminished-seventh chord on B-natural. which is followed by another dominant-seventh chord in measure 8. Essentially, this diminished-seventh chord functions melodically as triple, chromatic, lower neighboring tones over an A-flat pedal. The introduction is completed with a dominant triad with a raised fifth, resolving to tonic, a typical nineteenth-century device. See Fig. 2 below for further reference.

^T\ ^ i:f=4= 1. i=CR Lz: P —iff" ^m -.—•ir* '^^ £< ^ ^^ E '^^ xd V ^ ^ :r

^ ^^Mm l^ ± t^—^^ •f- 5 ^ tj^ 1i / ^ b'^

Fig. 2. Hark! 'Tis the Breeze (measures 1-10).

By way of contrast to what one may expect of most late nineteenth-century composers, Drysdale modulates

^Drysdale's choral compositions frequently begin with long pedal tones. Perhaps this was influenced by Bagpipe music. 100 infrequently in this piece. Part one of Hark! 'Tis the Breeze never strays from the key of D-flat major. Part two, beginning at measure 13 3, after suggesting the keys of F major and f minor for several measures, modulates to the dominant, A-flat major (measure 148), but only for a short time. By measure 172, D-flat major is firmly reestablished. The relative minor, b-flat minor, is employed in the following measures, and an interesting, eleven-measure passage provides harmonic balance as it employs E major/c-sharp minor by changing the key signature to four sharps. As the relative minor (b-flat minor) lies a minor third below the tonic (D-flat), E major is enharmonically equidistant above. At measure 214 the original key of D-flat major returns and is maintained to the end of the piece. The phrase construction of Hark! 'Tis the Breeze is quite regular. The vast majority of its phrases are four measures in length (two plus two). The meter is four- four throughout, and the straightforward rhythms offer no distinctive features. The texture is homophonic with the accompaniment ranging from sustained harmonies in half notes to repeated chords in eighth notes or in arpeggios. Both the range and the tessitura of the vocal parts are moderate and may easily be sung by an amateur choir. Thomas Moore's poem. Hark! 'Tis the Breeze, on which Drysdale based his motet, is quoted below. 101

Hark! 'tis the breeze of twilight calling I will both lay me down in peace and sleep. For Thou O Lord only can make me dwell in safety, [lines two and three are not by Moore] Hark! 'tis the breeze of twilight calling Earth's weary children to repose; While, round the couch of nature falling. Gently the nights soft curtains close. Soon o'er a world, in sleep reclining. Numberless stars, thro' yonder dark. Shall look, like eyes of cherub's shining From out the veils that hid the Ark. Guard us, O Thou who never sleepest. Thou who in silence throned above. Throughout all time, unwearied, keepest Thy watch of Glory, Power, and Love. Grant that, beneath Thine eye securely. Our souls awhile from life withdrawn May in their darkness stilly, purely. Like sealed fountains, rest till dawn.^ Thomas Moore, Hark! 'Tis the Breeze The Kelpie is a cantata in fifteen movements for chorus, orchestra and tenor and soprano soloists. The text is Drysdale's own adaptation of Charles Mckay's poem. The Kelpie of Corrievreckan. The cantata was begun in 1891 and first performed in 1894 in Edinburgh at a Paterson Concert with the composer conducting. The Kir3chope's Choir and the Scottish Orchestra joined forces for this performance: Pauline Joran was the soprano soloist and Philip Brozel was the tenor soloist. Reviews

•^Thomas Moore's Complete Poetical Works, Thomas Moore,(Boston: Thomas Y. Crowell and Co., 1895), 250. 102 of the concert may be found in Chapter III of this document. A Kelpie is a water demon which is said to haunt rivers and fords and to lure the unwary to their deaths. This particular Kelpie dwells in a strait between the Isle of Scarba and the Isle of Jura, and he rides in the form of a handsome knight on the eve of Beltan.^ The overall external form of the music of The Kelpie emerges from the plot of the poem. Part I deals with the Kelpie's ride across the sea (Nos. 1, 2, and the first part of No. 3), his encountering the villagers (No. 3), the revelation of Jessie's fickle character (No. 4), and the Kelpie's luring Jessie to the trysting place (Nos. 5, 6, and 7). Part II continues with the courtship (Nos. 8 and 9) , the couples riding to the sea and their plunge into the sea (Nos. 10-13), the discovery of Jessie's body (No. 14) and her burial (No. 15). Drysdale, obviously under the influence of Wagner, adopted the leitmotive technique to identify and recall characters and actions, the motion of the sea, the Kelpie, the maiden, Jessie, the sound of the galloping horse, and the villagers.

^A fire festival celebrated on May 1. 103 The "Introduction," played by the orchestra, is in three-four meter and in the key of f-sharp minor.^ Although the key signature is only two sharps, most Gs are sharped, as are ascending Ds and E^. The "Introduction" is suggestive of an increasingly tempestuous sea. Drysdale accomplished this atmosphere, first, by means of a slightly unsettling metric structure: in the first two measures, only the bass drum gives some indication of the written time signature of three-four, while the strings and horns give the definite impression of of six-eight. The second and third measures display greater conflict as the horns and first trombone remain in six-eight as other instruments establish three-four as the meter. From measure five the triple meter is manifest in all parts.^ Another device which serves to increase tension derives from the first motive which becomes more and more rhythmically dense. The original motive (see Fig. 3) consists only of the notes, F-sharp and C-sharp. This motive will be referred to as the sea motive (S-1).

^The entire introduction is actually a dominant preparation for Part I in b-minor. However, f-sharp minor is so firmly established it seems appropriate to analyze in that key.

^The measure numbers referred to in the text are those of each individual movement. Each movement begins with measure 1. 104

/ *• 1 BE P4^3=P^ ^

Fig. 3. No. 1, measures 1-2.

Subsequent derivations are "filled-in" in various ways, the principal outline of F-sharp to C-sharp (shifting to C-sharp—G-sharp and B—F-sharp) being kept intact (see Fig. 4).

^-^—- ^ ^

-ju. ^ (a) motive S-2 (b) motive S-3 measure 1. measure 3.

^ ^ TTTj^-r^

(d) S-5 (e) S-6 measure 17. measure 20.

v-»p^ -p- ^ .'• i.i.i'iiu

(f) S-7 (g) S-8 measure 35. measure 71 Fig. 4. No. 1. Derivations of sea motive. 105

In the space of fifteen measures, the rhythmic density of the motive increases from five notes per measure to eighteen. The derivations of the original sea motive are presented in Fig. 4 in the order in which they appear in the score and are labeled as S-2, S-3, etc., for reference later in this Chapter. Another factor which contributes to the feeling of growing tension in the "Introduction" is the harmonic rhythm. In the first ten measures only the tonic triad is represented with the exception of passing tones. In measure 11, two changes occur: first, the harmony alternates between the tonic and the augmented sixth of the subdominant; then it alternates between the tonic and a diminished-seventh chord on the leading tone, or between tonic and the dominant seventh. The chords in this passage descend in such a way that they seem to represent a sinking to the depths of the sea (see Fig.

5).

^ :E& •^ ^—- E-T*-- ^

Fig. 5. No. 1, measure 11. Depth motive.

The sea motive,S-5 (see Fig. 4), appears in measures 17-19 in the dominant fC-sharp). This fanfare-like 106 motive is played three times and seems to announce what is to become the main theme for the figure of the Kelpie. The first nineteen measures, then, which create the atmosphere of being near the sea, consist of two main motives, the sea motive, which appears in eight different forms, and the depth motive. It should be noted that several rhythmic errors exist in the notation of both the printed vocal score and in the handwritten parts. It is not known whether these are Drysdale's or the copyist's errors. Measure 3, for instance, is written as J^ J]J J I P in the vocal score, giving the first beat of the measure extra value equal to that of one sixteenth note. This discrepancy also exists in the viola and cello parts. In the parts of the first and second violins, however, is found the rhythm J J ] J J on the first beat of that same measure. Unfortunately, the violins have this rhythm for only two measures, so the evidence in favor of assigning their rhythm to the other parts is not conclusive. Another solution would be to retain the dotted eighth and to change the thirty- second notes to sixty-fourths. This discrepancy persists for many measures in the parts of the violas and cellos. Confusion is compounded by an additional error beginning in measure 5, beats 1-2. In the vocal score, it is 107 written as J. JJJ J. J J J , the viola part has it as J "7 J Jj and the cello part J. JJJ , none of 3 which is possible. These incorrect figures continue in a consistent way in each respective part. The most likely answer to this question seems to be that all the parts for measure 4 should read either ^ ^^F- or

Perhaps it is worth noting the resemblance of some passages of the introduction of The Kelpie to Wagner's Der fliegende Hollander and Die Walkiire. The first motive of The Kelpie is quite similar to music from "The Ride of the Valkyrie," and similarities are to be found between the depth motive (measures 11-14) and the sea motive, S-4 (measures 13-15), of The Kelpie, and passages of the overture of Der fliegende Hollander. Whether this is intentional imitation or simply intuitive is unknown. However, it may be significant that Drysdale had probably become acquainted with Der Ring des Nibelungen while he was a student at the Royal Academy of Music, as his teacher, Frederick Corder, was well acquainted with the work. As mentioned in Chapter III of this document, Corder translated into English Wagner's Der Ring des Nibelungen. Drysdale was certainly familiar with the overture of Der fliegende Hollander because it was performed at the same concert during which Tam O'Shanter received its first performance. 108

As mentioned above, the eighth form of the sea motive, referred to as S-8 (see Fig. 4.), first appears in the last few measures of the "Introduction." During the first twenty measures of No. 1, "He mounted his steed of the water clear," the motive S-8 continues as an ostinato, over which the chorus sings the first Kelpie theme (see Fig. 6.), first in b-minor. then in f-sharp minor. Motive S-8 is representative of the rolling of the sea, on which the Kelpie is riding. The meter continues to be triple as a fragment of the depth motive is recalled at measure 7. The influence of Scottish national music is heard in the use of the lowered seventh scale degree in the first Kelpie theme (see Fig. 6). ii \\"\ ii^^r^'i

Fig. 6. No. 1, measures 1-5. Kelpie theme (K-1).

Beginning at measure 11, the chorus presents new thematic material in A-major. This music is more expansive and less foreboding than that of previous passages and seems to suggest the beauty of the Kelpie's masquerade, which charmed the fair maiden, Jessie. As the chorus sings a dissonant and chromatic descending passage (measures 23-28) to the words, "the depths where the sea snakes crawl," the sea motive (S-8) is played 109 high above the chorus by the flutes. At the conclusion of the choral passage about sea snakes, the orchestra introduces the snake motive (measures 40-42), which ends with an A augmented chord over a dominant pedal (see Fig. 7).

H. 31 ^ ^T^^^T^TI

Fig. 7. No. 1, measures 40-42. Snake motive.

A transition dominated by the tritone (measures 42-50) gives way to two measures of scales, which lead to three presentations of the K-2 theme (see Fig. 8), measures 54 75, in f-sharp minor, in c-sharo minor and in f-sharp minor.

•~#-v ih=± i ^^ -rt*^ t± ^ Fig. 8. No. 1, measures 54-58. Kelpie motive (K-2).

Beginning in measure 76, a motive in G major associated with the Kelpie's mantle (K-3—see in Fig. 9) is introduced and developed after which the sea motive (S-5) is presented in a sequential manner to modulate back to b minor and another statement of the Kelpie theme (K-2) at measure 94. After some thirty-three measures of 110 development of the K-2 theme, this movement ends in a minor, the key of No. 2.

\l*?^ -'^ r^\ •! n JTil i

Fig. 9. No. 1, measures 76-78. Kelpie theme (K-3).

No. 2, "And away he gallop'd," for tenor solo and chorus, opens with an F-sharp pedal tone played by the timpani. The gallop motive is introduced in measure 2 and continues through measure 6. This motive and its derivatives (see Fig. 10) are used extensively in this movement and others in which the text indicates the galloping of the Kelpie's steed. 5 /^^^-f^—J J ;5f- ^—r~i i—if-=»i—7 2JUTJ' m' ^^ m ^s=± (a) motive G-1 (b) motive G-2 measure 2 (No. 2). measure 15 (No. 2) .

1 f ] i 1 ^^ VLU-i I \±^ 1 ' ^ J (c) motive G-3 (d) motive G-4 measure 29 (No. 2). measure 2 (No. 3).

-4t- -rt-^ ^ i ) 4- ^ --*—-—^ m (e) motive G-5 measure 5 (No. 6). Fig. 10. Derivations of gallop motive.

In the third measure of No. 2, the brasses play an a-minor chord, which is to become the tonic, but the Ill continued F-sharp pedal somewhat obscures this fact until measure 7. A fragment of the fourth and most extensively used Kelpie theme (K-4) is introduced in measures 10-14. This theme (K-4) is presented in its entirety in measures 18-29 (see Fig. 11) and is characterized by a lowered second degree of the scale (B-flat) as the melody descends. The tone serves as the root of a Neapolitan- sixth chord which produces a haunting effect. The K-4 theme, which comprises the primary material for No. 2, is a modulating melody: it begins in a minor and ends on the dominant at measure 29. After a three measure interlude, featuring the gallop motive (G-3), the chorus repeats the K-4 theme, beginning in a minor and ending in E major at measure 43. The gallop motive (G-3) appears again in a short transition to the "B" section.

tsr^ f^S m 3:E n m^^ ^

fw ^ r r f t\\ f r }LT?'^r f vf K t ^ g*~i

¥ fP^=ffif^f!^t^ -^^ { It f Fig. 11. No. 2, measures 18-29 Kelpie theme (K-4).

The structure of the "B" section of No. 2 is as follows: at measure 4 6 the tenor soloist and chorus introduce a new melody in e minor which resembles K-4 in 112 that the lowered second scale degree (F-natural) is present, and the Neapolitan sixth is employed. At measure 55 the chorus sings a short imitative passage, a device rarely used by Drysdale. Another new melody in A major is introduced by the tenor soloist at measure 84. At measure 111 the chorus returns with a brief imitative passage in E major of the same material found in measure 55. The text of No. 2 concerns the Kelpie's ride across the sea, from the strait of Corrievreckan, past Scarba's Rock, Lunga's shore and Garveloch Isles, to Loch Buy. All of these places lie in the western part of Scotland. Corrievreckan is a strait between the Island of Scarba and the larger Island of Jura. Scarba, Garveloch and Lunga are islands to the northwest of Glasgow. Loch Buy (sometimes spelled Buie) is a loch on the south end of the Island of Mull. The tenor soloist is given the K-4 theme in A major for the return of "A" at measure 121: this time the lowered second scale degree and the Neapolitan sixth are absent. Following this passage the chorus repeats the "A" section and at measure 154 the chorus, in A major, recapitulates and develops the gallop motive (G-3) and the imitative material of the "B" section. Essentially, the form of Number 2 is A-B-A. The harmony is fairly static. 113

No. 3. "On to Loch Buy," for chorus, like the first three movements, begins with a pedal tone (G), and the tonality of C major is obscured until measure 12. The continued galloping of the Kelpie's horse is suggested by the motive, G-4^ (see Fig. 10). It is in measures 9 and 10 that the Kelpie first reaches the shore. Dramatically, this is the end of the first scene, which is comprised of the Kelpie's rising out of the ocean, riding to the shore of Loch Buy and hearing the villagers' Mayday festivities echoing from the glens and hills of Moy, near Loch Buy. Neither the sea motive nor the gallop motive is used from this point until Nos.5 and 6. After a fragment of K-4 is heard in measures 12-13, the chorus and orchestra present a halting, recitative like passage to underscore the words "and stopped." The unison C, played by the orchestra, is lowered one-half step to a unison B, which becomes the dominant of the new tonality, E.

To this point in the cantata there has been no music which is clearly Scottish in character. The curious pedal point openings of each movement may have been influenced by bagpipe music, but this is merely conjecture. From measure 24 of No. 3, however, Drysdale

^The vocal score is misleading in its notation of G- 4. The orchestral parts correctly indicate repeated G's. 114 wrote music which is clearly Scottish. The first villager motive (V-1), measures 24-25 (see Fig. 12), exhibits two characteristics which may be found in much of the so-called Scottish national music: the rhythm is syncopated and the leading tone is absent (subsequent versions of this motive have a flat seventh scale degree).

r^^f'-Or Fig. 12. No. 3, measures 24-25. Villager motive (V-1).

This two-measure motive (V-1) in E mixolydian® is presented again in C mixolvdian and once more in E mixolydian. The second villager motive (V-2—see Fig. 13) in E major begins with the same qualities as the first (V-1), but, after the first measure, it turns to a modulation which is not Scottish in character. However, the rhythm of the V-2 motive is decidedly Scottish.

®Since the seventh scale tone is absent, this claim can only be substantiated by referring to subsequent presentations of the same motive, which include a flat seventh scale tone. 115

^^ :^ 3^ y f -^f ^ •j—k-

Fig. 13. No. 3, measures 49-51 (V-2).

After an additional statement of V-2 (in b minora the V-1 motive returns in the tonic (E). After a short transition, a third village motive (V-3) is presented in an imitative passage, measures 68-72 (see Fig. 14).

ir*^ r ^ ^

Fig. 14. No. 3, measures 68-69 (V-3).

This section is centered on F-sharp major; however, the seventh scale tone is absent, so the mode is not clearly defined. The motive, V-1, is heard again at measures 74- 82. There is a two measure overlap, as V-3 appears in measures 76-77. The motive, V-1, proves to be compatible with both V-3 and V-4: in measures 76-77, V-3 and V-1 sound simultaneously, and in measures 81-82, V-1 and V-4 are heard together. The fourth villager motive (V-4—see Fig. 15), beginning at measure 81, centers on E and is based on the double tonic principle: the melody only suggests triads with roots a major second apart, but the harmonies (E major to D major) clarify the intention. 116

^ ^"iTJjTM'i I' e

Fig. 15. No. 3, measures 80-84, villager motive (V-4).

Measures 87-92 consist of a frequently encountered, late romantic progression involving a series of suspensions. This passage provides an interesting contrast to the following section, which is the most undeniably Scottish moment in the cantata, measures 99-112. Now in six-eight meter, the lower strings play repeated open fifths on A and E, which resembles a bagpipe drone. Over this bagpipe-like accompaniment, the violins play an ornamented version of the V-5 motive (see Fig. 16), which is primarily constructed on the double tonic principle. It is unknown whether any of the villager motives are taken from actual Scottish tunes or if Drysdale simply composed them in that style.

-,t~J^ £. t ••—f fc« ^ •V^^ i2=! t nn •' *\^ p Fig. 16. No. 3, measures 104-109, villager motive (V-5).

Structurally, No. 3 is through composed, a section being devoted to each villager motive. The orchestral closing, in D major, prepares the beginning of No. 4, which begins in that key, but soon modulates to F major. 117 No. 4, "And Jessie, fickle and fair was she," is a relatively short (fifty-five measures) solo for tenor. It is in six-eight meter and begins in D major, the key of No. 3, but quickly modulates to F major. This solo is through composed with an orchestral introduction and closing. The music is straightforward and quite charming. A somewhat aimless quality is achieved through the use of primarily nonfunctional harmonic progressions. Fragments of this melody (see Fig. 17) are used in later movements to recall Jessie to the listener's mind. |v^^=F^^

Fig. 17. No. 4, measures 16-19. Jessie's theme.

No. 5, "The Kelpie gallop'd," soprano solo, consists of an introduction and eight sections, unified only by a sprinkling of various leitmotives. The meter is four- four. The introduction opens with a menacing pedal point consisting of B, D and F, a diminished triad. The vocal score indicates only the notes B and Z in the first two measures, but the orchestral parts reveal that the violas play the repeated D. In measures 3-4, G-sharp is added to the previous three notes, creating a diminished- seventh chord with G-sharp as its root. The gallop motive (G-4), beginning in measure 3, indicates the presence of the Kelpie. The tonality is ambiguous until 118 the German-sixth chord (measures 5-8) resolves to a second-inversion F major triad in measure 5. Although the expected dominant-seventh chord never occurs, this progression is sufficient to suggest that the tonal center continues to be F as it was in No. 4. Although the accompanying chords include B-flats (no Es), the melody is purely pentatonic.^ It should be noted that F major (or F pentatonic) is most often the key when Jessie is singing or is being referred to. As the introduction proper for Jessie's aria begins at measure 9, a new motive appears (see Fig. 18); it continues through measure 21. This motive contains parts of the sea motive (S-8) and part of Jessie's theme and is used several times in this movement and in later movements (Nos. 6,7 and 15) to bring Jessie to the listener's mind. This motive will be referred to as the JS motive. 9T^^ n [ I f im^ 1^ n Fig. 18. No. 5, measures 9-11. JS motive.

The "B" section, beginning at measure 22, is in two- two meter, and the tonality is ambiguous. As Jessie sings of the "Knight of noble mien," she introduces a

^Much of the Scottish national music is constructed on pentatonic scales. 119 melodic figure which is hereafter to be associated with the mutual love of Jessie and the Kelpie: it will be referred to as the love motive (see Fig. 19).

3: i)^M''[ I r Fig. 19. No. 5, measure 24. Love motive.

At measures 35, a French-sixth chord resolves to the subdominant of D pentatonic. the key in which the "C" section begins. Drysdale exhibited a tendency to use augmented-sixth chords as subdominant preparations as well as for dominant preparations. The "C" section is similar to the "A" section in that the JS motive is used in the accompaniment and the pentatonic scale is employed. A modulation to F major at measure 55 leads to the "D" section. The melody of this section, which is accompanied by harp, is really a synthesis of the first four measures of "C" and the last three measures of "A". A modulation to B-flat major and a shift to nine-eight meter signal the beginning of the passionate sounding "E" section. Except for a sequential passage (measures 83-88), this section remains in B-flat major.

From the "E" section forward the music is not very different from what one expects to hear in most late romantic, Germanic music. There are several suspensions 120 and retardations with ornamented resolutions to suggest the yearning aspect of love. Measures 120-124 are apt to remind one of Wagner's Tristan (see Fig. 20).

^—tn,-^^ Iu=! *-.H m ;JTJT? •*-f^ 4J^3 J i^z ^ a (• T- ^S ^ m Fig. 20. No. 5, measures 120-122.

The key of F major, in which No. 5 ends, is quickly dispelled as the lower strings sound a unison C-sharp in the first measure of No. 6, "And Jessie's fickle heart beat high," a tenor solo. In the second measure, the C- sharp becomes the lower leading tone of a German-sixth chord, which subsequently resolves to a second-inversion tonic triad in G major. Just as in the introduction of No. 5, the resolution of this German-sixth chord never arrives at the expected dominant. The JS motive is presented in measures 3-5, after which a reminder of the presence of the Kelpie (motive G-4) appears in the orchestra as the tenor soloist sings of "Jessie's fickle heart." The tonality wavers between G major and E minor as a fragment of Jessie's theme ( measures 12-18) provides an additional musical reminder of the presence of the maiden. At measure 19 the tonality shifts to a tentative E major. The tonality in this passage is made 121 ambiguous by devices such as minor subdominants, half- diminished seventh chords, added chord tones, and secondary chords. At measures 33-34, a dominant-ninth chord is followed by a dominant seventh, which completes a convincing modulation to E major. However, prolonged confiirmations of tonality are fairly unusual in Drysdale's music, thus effecting a sense of harmonic ambiguity. In measure 35, a fragment of the Kelpie theme (K-4) is stated modally. The tonality is then obscure until, in measures 44-45, one of Drysdale's irregularly resolved augmented-sixth chords leads to the key of A major. From this point until measure 70, the music is similar to the passionate love music of No. 5. The passage in measures 71-78, all of which is based on a half-diminished submediant-seventh chord in A major, presents both the Kelpie theme and the JS motive in grotesque transformation. This could be interpreted as a final warning to Jessie of the danger of becoming involved with the Kelpie. It is at this point in the drama that Jessie agrees to meet the Kelpie for a tryst. A dominant triad in measures 79-80 prepares the shift to the announcement of Jessie's's response which is presented in A aeolian. Her response, "meet me tonight," is set to music which is tonal but nonfunctional, first on C, then on F, as Jessie sings her own theme. Jessie's response ends with a simple, plagal cadence. Perhaps 122 these rare glimpses of common harmonic practices (the above mentioned authentic and plagal cadences) are meant to recall the simplicity of Jessie's life as a villager. No. 7, "When the moon her yellow horn displayed," is for chorus with bass and soprano sectional solos. The introduction begins with a pedal tone on F, possibly an influence of bagpipe music. The tonality is veiled as has been the case most of the previous movements. The "A" section begins with the bass sectional solo at measure ten, during which B-flat is established as the tonality. The chorus then sings "A^" (measures 15-21), a modified repeat of "A". To this point the music reflects the imminent danger of the tryst. The minor tonality/modality is vague and unsettling. Through a series of secondary dominants, the last four measures of "A-*-" (measures 19-22) become more expansive, thereby preparing the lighter mood of the "B" section (measures 22-32), which is solidly in B-flat major. Accompanied by the lower three voices, the sopranos sing a fragment of Jessie's theme, which seems to suggest her anticipation of the meeting to come (see Fig. 21). ^[tTf^fll h^VJ^\\\' it'^L^ Fig. 21. No. 7, measures 22-30. 123

At measure thirty, the chorus sings "A^" (measures 30-36), a modified version of "A", as if to give Jessie a further warning of the foolishness of her meeting with the Kelpie. However, the orchestral closing, by featuring the JS motive in B-flat major, indicates that Jessie naively intends to consummate her love for the Kelpie (see Fig. 22).

W[UU^^'^&^^^ -r Fig. 22. No. 7, measures 36-38. JS motive.

Part II of The Kelpie begins with No. 8, "I have loved Thee long," a tenor and soprano duet. It is with this movement that the actual tryst begins. To this point in the cantata, the persons and events have been sung about in third person. In No. 8 the characters of the Kelpie and Jessie sing in first person, expressing their own thoughts and feelings. In the introductory measures of No. 8, the harp immediately establishes the key of D major, the first time in the cantata that the key has not been vague in the opening measures.-^^ The "A" section, which continues

^^In No. 1, the key of b minor is immediately established, but this chorus is really an extension of the introduction in that there is no break between the movements. 124 in d minor, includes measures 4-26. The tenor soloist, representing the Kelpie, sings a passionate love song to Jessie. The Kelpie's song features the love motive (see Fig. 23), which first appeared in No. 5. The following example is taken from measures 9-10 of No. 8.

^ \^^

Fig. 23. No. 8, measures 9-19. Love motive.

A shift to B-flat major heralds Jessie's solo, the upB I"I section (measures 26-39). The melodic material in Jessie's solo is quite similar to that of No. 4, which is the main song about her. A transposed quote from measures 37-39, No. 4, appears in measures 37-39 of No. 8. The latter example is quoted below (see Fig. 24). iV' i •. ^ i I ri 11 r 1^

Fig. 24. No. 8, measures 37-39. Whether Drysdale intended for this quote to occur on precisely the same measure numbers of the two movements is unknown. Continuing in D major, the first ten measures of "A-^", the duet beginning at measure 41 is virtually a repetition of measures 7-21. Measures 55-82 represent a development of the material found in section "A", 125 especially the love motive. This section modulates to A major (measures 77-78). A curious shift to a B-flat major chord (measure 83) announces the "B" section, measures 83-114. This section gives the aural impression of being harmonically nonfunctional. Nonharmonic tones and inverted chords weaken the sense of harmonic direction. However, upon analysis, it may be seen that a definite harmonic progression is at work. In addition to a vocal line which gradually rises from B-flat^ to A^, the harmonic progression loosely follows the circle of fifths in departing from a B-flat major chord in measure 83, and returning to a B-flat major chord in measure 114. By way of a German-sixth chord at measure 106, the key of D major is established in preparation for the "C" section, measure 114 to the end. The love motive is further developed in the "C" section. The meter of No. 8 is nine-eight throughout; except in measures 83-106 the orchestra is in three-four while the chorus remains in nine-eight. The resultant rhythmic complexities, two against three and three against four, serve to intensify this passionate section. No. 9, "He took her by the hand so white," is pivotal in the plot of the cantata: it is in this movement that the Kelpie makes his portentous claim on Jessie. Now in the key of A major, a modified form of 126 the villager motive (V-3—see Fig 25) which has not been heard since No. 3, appears once more in the orchestra, as if to offer one final plea for Jessie to remain with the villagers.

i^'^ f i^^^.rT

Fig. 25. No. 9, measures 2-3, (V-3).

At measure five, the first part of the fourth form of the Kelpie theme (K-4) is played, as if in conflict with the villagers (see Fig. 26). ["'•fii^'V^^^^

Fig. 26. No. 9, measures 5-6, (K-4).

After an additional, abbreviated statement, in measures 8-9, the villager motive is completely abandoned. The chorus, in measure 10, narrates the Kelpie's giving the ring to Jessie: the music is that of theme K-4, as seen in Fig. 24 above. The "A" section, all of which is in the key of A major, includes measures 1-18. The "B" section, measures 18-37, is in the key of F- sharp major. The chorus supports and answers the tenor soloist as he, the Kelpie, sings of Jessie's beauty and of the new bond between them. Toward the end of this 127 section, the depth motive (see Fig. 27) manifests itself as a prophecy of Jessie's fate.

'-M - t f *f- ^>^ t^r ^ ^, ^. i ^ ^ Fig. 27. No. 9, measure 33. Depth motive.

Although still in the key of F-sharp major, the orchestral closing has as its thematic material the latter part of the K-2 theme. Even though this is not the same Kelpie theme heard in the first part of this movement, the listener will have heard these themes so many times by this point in the cantata that he may perceive the form to be ternary. Accompanying the Kelpie theme is a broken-chord figure which sounds somewhat like the sea motive (S-6), but the rhythm is altered. The following example shows the fragment of the K-2 theme in the treble clef accompanied by the altered S-6 figure in the bass clef (see Fig. 28). This passage and the one in measures 33-34 herald the couple's return to the sea.

;^//d^,. V I ^=^ g£ ^ :^^i: f^^^^fP^ ^ S r f r r Fig. 28. No. 9, measures 38-39. 128

The primary rhythmic interest of No. 9 derives from the syncopation of the villagers' motive in measures 2, 3, 8 and 9, from the brief imitative passage in measures 2 0-21 and from the thirty-second note passage in the harp part in measures 25, 27, 36 and 37. Beginning with No. 10, the plot of The Kelpie turns to the couple's ride to the sea, followed by their plunge into the sea, the discovery of Jessie's body and her burial. Drysdale chose to unite the last six movements by means of placing connecting chords at the ends of movements, and by the indication "attacca", at the end of No. 10.^^ No. 10, "He lifted her on his steed of gray," is for chorus, with no soloists. The form is in four parts; an orchestral introduction (measures 1-4), an "A" section (measures 4-19), a five-measure transition, a "B" section (measures 24-30) and an orchestral closing (measures 30- 44). The tonic note, D, from the previous movement, persists in the first two measures of No. 10, effecting a poignant dissonance against the F-sharp major triad. The gallop motive appears in measures 2-3, and the sea motive manifests itself from the latter part of measure 3.

^•^In the orchestral parts, either the indication "attacca" or "segue" is written at the ends of Nos. 11, 12, 13 and 14. 129

The F-sharp major triad, which dominates the first four measures, acts as the dominant of b minor, which is established in measure 5 and continues as the key of the "A" section. A five measure transition (measures 19-23) consists exclusively of a D-sharp diminished-seventh chord, which resolves to f-sharp minor in measure 24. The recitative-like "B" section is sung in unison by the chorus, with the orchestra providing chords of punctuation: the key is ambiguous. At measure 29, a French-sixth chord, which resolves irregularly to f-sharp minor, functions to reestablish f-sharp minor as the key. Over an ostinato in the celli, the orchestral closing presents the depth motive in measures 34 and 3 6 and the gallop motive in measures 40-41 (see Fig. 29) .

i- -. ^ n ;f/ i ^ ih =;=z ^j ; i / t

/)•< -i^ { ^ i

(a) measures 34-36. Depth motive over ostinato.

=3^=3= XU ••^ = ^ I t • J *•»—r-*-*—r-t i—rrv rt (b) measures 40-41. Gallop motive. Fig. 29. No. 10, measures 34-36 and 40-41. 130

In three-four meter, this relatively short movement (No. 10) presents a good measure of rhythmic interest. The eighth note accompaniment in section "A" provides an effective foundation for the more sustained Kelpie motive above. In contrast, the recitative-like "B" section is rather halting. The orchestral closing simultaneously presents an ostinato in the bass with the syncopated depth motive above. Finally, the F-sharp pedal tone, which was present in the beginning of this movement, returns at measure 39. Still functioning as a pedal tone, the gallop motive, which resumes at measure 40, is interrupted by rests, at measures 42-43, in a manner that constitutes a written ritardando. The last measure of No. 10 functions to establish the tempo for No. 11, "We have ridden East, we have ridden West," for soprano solo. Both the form and the key scheme of No. 11 is similar to that of No. 10. The orchestral introduction (measures 1-6) is in four-four meter and consists of an F-sharp pedal tone (continued from No. 10) under F-sharp major harmonies, which function as the dominant of b-minor^^, the key/mode of the "A" section. The thematic material for the "A" section (measures 7-14) is the Kelpie theme (K-4) in the

l^The second degree of the scale is sometimes Qz. sharp and sometimes C-natural, giving a mixed mode (minor/phrygian) quality. 131 soprano solo part, and the sea motive (S-8) in the cello part.

The "B" section (measures 15-27), in the key of e minor, presents new melodic material of a sustained nature. The harmony works its way back to B Phrygian by way of a pivotal, submediant chord (measures 2 5-2 6) in e minor, which may be seen as as a Neapolitan-sixth chord in the key of b minor, or as a normal two chord in B Phrygian, as it resolves to a b-minor chord in measure 27 (see Fig. 30). The Neapolitan-sixth chord has, throughout the cantata, accompanied the lowered second scale degree of the Kelpie theme (K-4). ii 3 JEZI i 4 3 ^Mil - inj -fo ^ ^ ^ HB ^ f ± •I f ^ K a ^).^ M ^ ^ i :i=lf^ w 5 Fig. 30. No. 11, measures 25-27.

The orchestral closing (measures 27-32) begins in B Phrygian and ends on an F-sharp pedal tone as did the orchestral closing of No. 10. Both No. 10 and No. 11 seem to begin and end on the dominant rather than the tonic. The rhythmic interest of No. 11 derives from much the same elements as those of No. 10, except that there is no recitative-like section in No. 11. 132

The F-sharp pedal tone from the last two measures of No. 11 continues during the first four measures of No. 12, "I have no dwelling," tenor solo. The indication "attacca" appears in the vocal score at the end of No. 11. The orchestral introduction of No. 12, in the key of F-sharp major, functions as a transition to the "A" section (measures 11-13) which is in b minor/phrygian. The introduction is filled with scale passages which serve to create the tension appropriate to the text. This abbreviated statement of the Kelpie theme (K-4) is referred to as a section only because the melodic material, in the key of b minor/phrvgian, is the primary thematic material for not only this movement but the three previous movements as well. If this analysis can be accepted, then the whole movement can be seen as a sort of rondo form (ABACA). The "B" section (measures 13-30) is a recitative accompanied by diminished-seventh chords and other harmonies which contribute to tonal ambiguity. An orchestral transition (measures 31-44) continues this ambiguity by means of diminished-seventh chords, augmented chords and dominant-seventh chords which resolve in an irregular way. Both the recitative section ("B") and the transition create a rather weird atmosphere which is supportive of Jessie's learning of her horrible 133 predicament as the Kelpie reveals his true intentions to her, namely, that she is to dwell beneath the sea. The transition shifts to b minor immediately prior to the beginning of the "A^" section (measures 44-56). In this section the first phrase of the Kelpie theme (K- 4), sung by the tenor soloist, is stated twice, after which the section is extended for seven measures, the love motive being the thematic material. An orchestral transition, measures 56-59, in F-sharp major, is based on the gallop motive (G-3—see Fig. 31).

±:± ^ Fig. 31. No. 12, measure 56-57. Gallop motive.

Section "A^" (measures 60-87) now in B major, is extended with music akin to that of the duet in No. 8. That the K-4 theme is presented in B major and that the love duet music is recalled support the text in which the Kelpie is striving to persuade Jessie that, even in light of his sinister intentions, she will experience happiness. In section "C" (measures 87-106), the Kelpie, in a beautiful passage with harp accompaniment, continues to try to convince Jessie that his plans are in her best interest. Tonally, the "C" section is ambiguous. 134 although isolated dominant to tonic relationships are present. Section "B" closes in the key of B major, the key from which it originally departed.

The rhythmic interest of No. 12 lies in the contrast of the fast-moving thirty-second note accompaniment of the harp and the sustained line of the tenor. Further rhythmic complexity derives from the occasional manifestation of eight against three (see Fig. 32).

Fig. 32. No. 12, measure 88.

The chromatic orchestral transition (measures 106-116) features an inversion of the depth motive (see Fig. 33): the key continues to be B , the mode being ambiguous. Perhaps this inverted depth motive foretells the rising of the waters over the couple, which is to occur in the following movement.

-*—^ ^-^^^ i >/^ Fig. 33. No. 12, measure 112. 135

The "A-^" section (measures 116-126) , again in B major, presents the Kelpie theme (K-4) once more over an increasingly agitated orchestral accompaniment. The last measure of No. 12 consists of a G-sharp diminished- seventh chord.-^-^ The connection of No. 12 to No. 13 is achieved by means of a common chord. The G-sharp diminished-seventh chord of the last measure of No. 12 is repeated in the first measure of No. 13. No. 13, "The gray steed plunged in the billows clear," for chorus, is atmospheric throughout depicting the doom of the maiden Jessie. This movement is dominated by chromaticism, diminished-seventh chords, augmented chords and melodic tritones, all of which underscore Jessie's terrible fate. Structurally, No. 13 is in four sections: an orchestral/choral introduction (measures 1-17), an "A" section (measures 17-35), a transition, a "B" section (measures 43-73) and an orchestral closing (measures 73- 111). The cohesive element of the movement is the appearance of some form of the depth motive in each section.

•'•-^In the vocal score, it appears that it may be the note, B, for which the sharp is intended. An examination of the orchestral parts, however, reveals that G-sharp is intended. 136

Harmonically, the introduction of No. 13 consists exclusively of diminished-seventh and augmented chords with the exception of a B-flat major chord in measure 6. Consequently, there is no semblance of a tonal center. The "A" section of No. 13 begins in e minor and works its way to B major by measure 32. The thematic material for "A" is quoted from No. 9 (measures 30-33). The words in both passages are "maiden, O maiden" (see Fig. 34). As if in deference to the fair maiden, the "A" section is rhythmically less agitated and more tonally oriented than the previous section.

on ii ^^ ,.i-€« O mmJ f

(a) No. 9, measure 30. s j-rii^ «>u>i- <" — >««.i- In (b) No. 13, measures 17-18. Fig. 34. (a) No. 9, measure 30, (b) No. 13, measures 17-18.

The mood changes at measure 35, as the chorus finishes the "maiden music": the chromatic depth motive and its inversion dominates the first two measures of 137 this orchestral interlude (measures 35-4 6). A fragment of the Kelpie theme manifests itself in measures 38-39, after which the depth motive returns. The harmonies are based on diminished triads. The "B" section of No. 13 (measures 47-73) is cast in four smaller parts, all of which are in b minor. Each of these smaller parts of "B" is underscored by a different variation of the depth motive. Below are quotations from the first measure of the first three subsections and the second measure of the last subsection (see Fig. 35).

3 ^ J .)\ ^ ^ —^-—( f r , • =?: 2=^ • I—^ «( c~,'4 1 3L-

(a) No. 13, (b) No. 13, measure 47. measure 54.

,.:=V ^ d ^ 30 t ^ IT/ ii/—f •*—HV

The orchestral closing continues with the development of the depth motive as well as the Kelpie motive. The first part of the closing (measures 75-90) is in b minor and the second part (measures 90-107 is in

a minor. 138 No. 13 is a very interesting movement in a rhythmic ense. Several combinations of cross rhythms contribute o the frenzied atmosphere. The last five measures of he closing, still in a minor, feature an E pedal tone, he dominant of No. 14. The last chord (E major) of No. .3 is continued in the first measure of No. 14. No. 14, "At morn a fisherman, sailing by," for :horus, consists of a four-measure orchestral Introduction and two main sections. The introduction, in the key of a minor, presents part of the Kelpie theme, K- 2. The "A" section (measures 4-28) proceeds in the key of a minor with the altos of the chorus presenting the K- 2 theme as a sectional solo. The accompaniment is an inversion of the sea motive (S-6). As the key changes to E major the altos, in measures 10-13, sing a quotation from No. 7, measures 27-30. The text of both passages is about the maid, Jessie; the first, as she was on her way to the tryst and the second, as her body was discovered. The maiden is referred to again in the form of a quotation from the song about Jessie, No. 4 (see Fig. 36) .

Fig. 36. No. 14, measures 20-21. 139

The "B" section, in e minor, is based on the K-2 theme. This section may be considered to be an introduction to No. 15 as this latter movement utilizes the K-2 theme as its primary thematic material. No. 14 begins in four-four meter and the rhythmic density decreases as the movement proceeds: the first sixteen measures are accompanied by sextuplets, resulting in twenty-four notes per measure, and at measure seventeen, the accompaniment is reduced to triplets. The "B" section is in three-two meter and a slower tempo is indicated. This rhythmic scheme effects a gradual decrease in rhythmic intensity. Perhaps this is meant to reflect the process of Jessie's dying. No. 15, "They dug her a grave," for chorus, begins in E major. Formally, this movement consists of an "A" section (measures 1-13), a "B" section (measures 64-71) , a long orchestral transition (measures 71-95), a "C" section (measures 95-106) and an orchestral closing (measures 106-130). The "A" section, in three-four meter, begins in e minor and modulates to B major. The thematic material is the Kelpie theme, K-2. The "B" section could be thought of as "A^" as it employs fragments of the K-2 theme as material for development. This section begins in e minor, modulates to G major and, finally, to E major. Since imitation rarely appears in Drysdale's music, it 140 seem appropriate to call attention to a short, five- measure canon between the sopranos and tenors at measures 38-42 (see Fig. 37). The words, "They dug her a grave," are enhanced by this chromatically descending canon. urnHJJi,. J 1^ •>T-e- ^ a s ci

-^-^ t TP P P -t> II ra—g—g lllUt><., IW.J (JM4 ^f «k aru 1^3 ia^ Kir «, 1- ^ «-

jCi m «J—(J—*>• TV,« j iw* h«' 4. ^f*^/ f i3'»

Fig. 37. No. 15, measures 38-42.

An abbreviated statement in E major of the K-2 theme comprises the "A^" section after which a two-part orchestral transition occurs. Continuing in E major, the first part of the orchestral transition (measures 71-83) recalls the sea motive (S-5). A change to three-four meter at measure 73, which increases the rhythmic density, coincides with the development of the S-5 motive. A modulation to f-sharp minor is complete by measure 84 in which the second part of the transition commences. Now in F-sharp major, this second part of the transition recalls the JS motive (see Fig. 38), which first appeared in No. 5, measures 9-10. This is the last 141 musical reference to Jessie. The JS motive gives way to the sea motive (S-8) at measure 90, in which the key shifts to b minor. u^ •^ r-A Bte x: ZIZZ I tti ^ 5

Fig. 38. No. 15, measures 84-85.

The "C" section takes the note,B , as a dominant and proceeds, for a short time, in e minor. This new melodic material, presented sequentially, leads to a modified statement of K-4. The "C" section ends in F-sharp major. as the orchestral closing begins simultaneously. The orchestral closing of No. 15 also functions as a closing for the entire cantata. In measures 106-107, the original version of the sea motive(S-1), first heard in the first measure of the cantata, appears in the cello part: the S-5 motive appears above the S-1 motive (see Fig. 39). The written meter is three-four, but the rhythms of measures 106-107 temporarily result in six- eight meter.

^. i fr 5=^ s: ^ S -H—r 1 zr-—tr—z:

Fig. 39. No. 15, measure 106. 142

The thematic material for the remainder of of the closing is drawn from the love motive. The F-sharp pedal tone begins at measure 121 and continues to the end. This last passage is comparable to the first measures of the cantata. The ending is in F-sharp major, the tonic major of the key of the introduction. Drysdale clearly understood the performing forces for which he composed. His writing for orchestra and for vocal soloist presents technical demands which can be effectively executed only by first-rate musicians. His writing for chorus, however, may be performed satisfactorily by amateur groups. The ranges and tessituras of the vocal parts are not particularly demanding, and the rhythms and intervals are quite accessible. In the case of The Kelpie, a rather large chorus is required in order to balance the large, sometimes thickly scored orchestral forces. Although much of the following has already been stated, a general summary of Drysdale's stylistic features might be appropriate in helping to place his music in the main stream of compositional evolution: Structure. The basic factor in establishing the overall form of Drysdale's music is quite obviously the programmatic material he chose as the basis for each particular work; this effects a series of individual numbers which, for the most part, could function 143 independently as complete works in their own right. Within these numbers Drysdale again utilized the chosen program as the determinant of formal design. Specific musical motives are chosen to represent characters, scenes and actions. This technique results in a loosely constructed type of rondo with the recurrent motives determining the inner structural arrangement. Harmonic Vocabulary. Generally speaking, Drysdale utilized the various chordal structures common to the more traditional late nineteenth-century composers: Gounod, Dvorak, Hoist, Elgar; and to a lesser degree, Liszt, Wagner and Tchaikovsky. There is a complete absence of experimental techniques as those pursued by the avant-garde of the period: Satie, Prokofiev, Bartok, Scriabin, Strauss, early Schoenberg, etc. Tonality. As a rule tonal areas in Drysdale's music are clearly defined and closely related keys are utilized. However, there are often abrupt tonal shifts up a second, down a third, etc., and tonal obscurity effected by prolonged dominant preparations, extended pedal points over which nonfunctional chordal clusters are utilized, sudden shifts to the subdominant, chords altered by the frequently lowered seventh degree, and chromatic passages which suspend for several measures any sense of a tonal center. There is also frequent mixing of parallel major and minor. 144

Modulating techniques. Along with common chord modulations one often finds shifts to new key centers by means of a single sustained tone common to both tonalities, enharmonic spellings of augmented-sixth chords as well as the diminished-seventh and many deceptive resolutions of established dominants. Specific Scottish characteristics. The elements Scottish folk music found most often in Drysdale's music are the use of modal scales, thus, frequent lowered second and seventh scale degrees, long drone pedal points and rhythmic structures peculiar to Scottish folk songs. It can be seen that Drysdale's total output constitutes a significant contribution to the musical world. Not only was he quite prolific, considering his short life, but, as has been shown, his music is uniquely Scottish in character. It is unfortunate that general interest in Drysdale's choral music has all but disappeared and especially curious that his music has fallen into obscurity in Scotland. However, it is not unusual for Scotland to neglect its own composers. It seems that if anyone is to foster a particular composer it should be his own homeland. Yet, as this present author travelled recently in Scotland, he found that the only Scots who have even heard of Learmont Drysdale are 145 librarians and musicologists.^^ Further, of the several concerts he attended, this author heard no music by Scottish composers. It is the hope of this author that the music of Learmont Drysdale and other Scottish composers will begin to find its proper place in the concert halls of Scotland and around the world. Perhaps this document will be of service to those who wish to locate and perform the works found in this veritable treasure house of music.

^^ During a conversation with a well-known Scottish musicologist, the present author was dismayed to discover that the gentleman was unaware of the Drysdale Collection in the Library of Glasgow University. This was especially curious in that the conversation occurred less than ten feet from the Drysdale Collection. LIST OF REFERENCES

Blom, Eric. Music in England. Harmondsworth, England: Penguin Books, 1978. Burns, Robert. Poems and Songs of Robert Burns. Edited by James Barke. Beccles and London: William Collins Sons and Co., 1960. Chambers, Robert, ed. Biographical Dictionary of Eminent Scotsmen, vol 2. Glasgow, Scotland: Blackie and Son, 1853. Crompton, Louis, ed. The Great Composers, Reviews and Bombardments bv Bernard Shaw. Berkley, CA: University of California Press, 1978. Drysdale, Learmont. "Hark! Tis the Breeze of Twilight Calling." Score. 1887. Drysdale Collection, Library, Glasgow University, Glasgow, Scotland. Drysdale, Learmont. The Kelpie. London: Paterson and Sons, 1891. Drysdale, Learmont. Tam O'Shanter. London: Stainer and Bell, Limited, 1891. Elliot, Kenneth and Rimmer, Frederick. A Historv of Scottish Music. London. British Broadcasting Corporation, 1973. Farmer, Henry George. A Historv of Music in Scotland. London: Hinrichsen Edition Limited, 1947. Grove's Dictionary of Music and Musicians. 1959 ed. S.v, "Frederick Corder." Grove's Dictionary of Music and Musicians. 1959 ed. S.v. "McEwen, (Sir) John (Blackwood)." Grove's Dictionary of Music and Musicians. 1959 ed. S.v. "Wallace, William."

146 147

Hadow, Sir W.H.. English Music. London: Longmans, Green and Co., 1931. Hampton, [blank], London, to Kenny Sheppard, Georgetown, TX, 16 February 1985. Howes, Frank. The English Musical Renaissance. New York: Stein and Day, 1966. Kennedy, Michael. The Works of Ralph Vaughan Williams. 2nd ed. London: Oxford University Press, 1980. Kunitz, Stanley J. and Haycraft, Howard, eds. British Authors Before 1800. New York: H. W. Wilson Co., 1952. Library, Glasgow University (Glasgow, Scotland). "Drysdale Collection." Moore, Thomas. Thomas Moore's Complete Poetical Works. Boston: Thomas Y. Crowell and Co., 1895. Saidie, Stanley, ed. The New Grove Dictionarv of Music and Musicians, London: Macmillan Publishers Limited, 1980. S.v. "Scotland," by Kenneth Elliott and Francis Collinson. Saidie, Stanley, ed. The New Grove Dictionarv of Music and Musicians, London: Macmillan Publishers Limited, 1980. S.v. "Kuhe, Wilhelm," by Bojan Bujic. Shaw, George Bernard. London Music in 1888-89 As Heard Bv Corno Di Bassetto (Later Known As Bernard Shaw) With Some Further Autobiographical Particulars. New York: Dodd, Mead and Company, 1937. Stoll, Dennis Gray. Music Festivals of the World. Oxford: Pergamon Press, 19 63. Turner, H. Sandiford. "The Music of Scotland," Dunedin Magazine (July 1915): 5-20. APPENDIX A LIST OF WORKS BY LEARMONT DRYSDALE

148 149

APPENDIX A: LIST OF WORKS BY LEARMONT DRYSDALE Orchestral works: The Spirit of the Glen. Ballade for Orchestra (1889). Unpublished. Thomas the Rhvmer. Orchestral Prelude (1890). Unpublished. Overture to a Comedy or Through the Sound of Raasay (1890). Unpublished. Tam O'Shanter. Concert Overture (1891). Published by Stainer and Bell, Limited, London. Herodean also known as Concert Overture in D (1893). Unpublished. Border Romance, also known as Border Ballad (1904). Unpublished. Old Dances for Orchestra (also for Pianoforte solo). 1. Morris Dance 2. Maypole Dacne. 3. Allemande (19 04) Unpublished. Graceful Dance in D for Orchestra (also for Pianoforte solo), (Date unknown). Unpublished. Franco-Scottish March, arranged for military band by William Short (Date unknown). Unpublished.

Recitation with Orchestra The Kelpie of Corrievreckan (date unknown). Text by Charles Mackay. Unpublished.

Chamber Music Trio in F, for Clarinet, Bassoon, and Piano (also for Violin, Cello and Piano), (1890). Unpublished. 150

Violin and Piano

Ballade, Reverie, Romance (dates unknown). Unpublished.

Oboe and Piano Arrangement of Old Melody (date unknown). Unpublished.

Pianoforte Solo Graceful Dance in C, Sarabande in G. Sarabande in E (date unknown). Unpublished. In the Strath. Sketch, Valsette. Sonatina (date unknown). Unpublished. Liebeslied. Sketch (date unknown). Published by Charles Woolhouse, London (date unknown). Quick March, New Country, Gavotte in B-flat (date unknown). Unpublished. Rigaudon, Rustic Dance, Dance of the Ploughmen (date unknown). Unpublished. Tavside Waltz (date unknown). Published by Paterson and Sons, London, (date unknown). White Heather (date unknown). Published by Paterson and Sons (1895).

Cantatas Thomas the Rhvmer, Dramatic Cantata for Soli, Chorus, and Orchestra (unfinished), (1890). Text by Sir Walter Scott, adapted by Drysdale. Unpublished. Ode to Edinburgh, for Baritone, Chorus and Orchestra (189 0). Text by Robert Burns. The score was lost and never perforined. The Kelpie, Dramatic Cantata for Soli, Chorus and Orchestra (1891). Text by Charles Mackay, adapted by Drysdale. Published by Paterson and Sons, London, 1891. The Lav of Thora, Dramatic Scena for Soprano and Orchestra (1892). Text by Granville Bantock. Unpublished. 151

The Proud Damozel also known as Earl Haldan's Daughter. Choral Ballad (1901). Text by Charles Kingsley. Unpublished. Tamlane, Ballad for Chorus and Orchestra, (1901-1905). Text by Sir Walter Scott. Published by Bayley and Ferguson, London, 1905. The Scottish Tribute to France. Choral Ode, (1907). Text by the Duke of Argyll. Unpublished.

Part Songs John Grumlie (S.A.T.B.), (1900). Traditional text. Unpublished. Allister MacAllister (S.A.T.B., (Date unknown). Text by James Hogg. Unpublished. Barbara Allan for mixed chorus and piano, (1906). Traditional text. Published by Curwen and Sons, London, 1906. Chorus of the Night Watchers for mixed chorus and piano, (Date unknown). Text by Granville Bantock. Unfinished. Flowers of the Valley (S.A.T.B.), (Date unknown). Traditional text. Unpublished.

Wha daur meddle wi' me? (S.A.), (1908). Published by J Curwen and Sons, Limited, London, 1908. Ye Banks and Braes (S.A.T.B.), (Date unknown). Unpublished.

Church Music Hark ! 'Tis the Breeze, Motet for Soli, Chorus and Organ (1887). Text by Thomas Moore. Unpublished. 152

Operas The Plaque, Mystic Musical Play in one Act (1896) Ian Robertson, librettist. Unpublished. The Oracle, Comic Opera in two Acts (1897). F. S. Pilleau and A. W. Gattie, librettists. Unpublished. Red Spider, Romantic Light Opera in three Acts (1898). S. Baring-Gould, librettist. Published by J. Tamblyn, London, 1898. Flora Macdonald. Romantic Opera in three Acts (1902). L. Drysdale, librettist. Unfinished and unpublished. The Girl from London, Light Opera in two Acts (1902). Reginald Rutter, librettist. Unfinished and unpublished. In Office Hours. Operetta in one Act (1902). Ernest Kuhe, librettist. Unpublished. The Vikings. Light Opera in two Acts (1902). Claude Burton and Louis Tracy, librettists. Unfinished and unpublished. Long and Short. Musical Sketch in one Act (date unknown). George Thome, librettist. Unpublished. Hippolytus. Greek Play in two Acts (1905). Euripides text translated by Gilbert Murray. Unpublished. Fionn and Tera. Grand Opera in two Acts (1908-1909). The Duke of Argyll, librettist. Score completed by David Stevens after Drysdale's death. Unpublished.

Songs with Pianoforte Afar on the Rollin Sea (date unknown). Words by Mathias Barr. Unpublished. Ask not if Still I Love (date unknown). Words by Thomas Moore. Unpublished. The Bhoys (date unknown). Words by Claude Burton. Unpublished. Bonnie George Campbell (date unknown). Old Scots ballad. Unpublished. 153

Bonnie White Heather (date unknown). Words by Sinclair Dunn. Unpub1i shed. Ca' the Yowes (date unknown). Words by Robert Burns. Unpublished. Chansonette (date unknown). Words by Ercil Doune. Unpublished. The Chord of Love (date unknown). Words by Ercil Doune. Come let me take Thee (date unknown). Words by Robert Burns. Coronation Song (date unknown). Words by Claude Burton. Unpublished. Cradle Song (1888). Words by Caris Brooke. Unpublished. Cradle Song (date unknown). Words by Ercil Doune. Unpublished. Cradle Song (date unknown). Words by Kate Gerard. Unpublished. Curatis Song (date unknown). Words by B. G. R. [identity unknown]. Unpublished. The Curling Song (date unknown). Words by Thomas S. Aitchison. Unpublished. Cycle of Three Songs, "The Girls that I Love," "Scotland" and "Ireland" (1903). Words by Claude Burton. Unpublished. Dark Clouds are Floating (1889). Words by Dingelstedt. Unpublished. The Darkle's Farewell, Plantation song (date unknown). Words by Ercil Doune. Unfinished and unpublished. Far Away (date unknown). Words by Mrs. Liemans. Unpublished. Farewell Theresa (date unknown). Words by Thomas Moore. Unpublished. Firelight Dreams (date unknown). Words by W. H. Sams. Unpublished. 154

A Floweret Grew in the Garden Fair (date unknown). Words by Ercil Doune. Unpublished. From the Mountain to the Sea (1884). Words by O. P. Murthly. Unpublished. A Golden Dream (date unknown). Words by Janey C. Drysdale. Unpublished. A Golden Dream (date unknown). Words by Claude Burton. Unpublished. If Love Were What the Rose is (date unknown). Words by Swinburne. Unpublished. I hae Lost mv Jeannie O' (date unknown). Words by James Hogg. Unpublished. In the Days of Long Ago (date unknown). Words by W. H. Sams. Unpublished. I put my Little Bonnet on—So (date unknown). Words by the composer. Unpublished. I put mv Little Bonnet on—So (date unknown). Words by Arthur Carney. Unpublished. I Wonder Why? (date unknown). Words by F. S. Pilleau. Unpublished. Jane (date unknown). Words by W. H. Sams. Unpublished. Jenny MacPhee (date unknown). Words by Alexander Grant. Unpublished. Julia's Motor (1901). Words by W. H. Sams. Unpublished. Legend of the Crossbill (date unknown). Words by Longfellow. Unpublished. Lock the Door, Lariston (date unknown). Words by James Hogg. Unpublished. Love and Charity (date unknown). Author unknown. Unpublished. Love's Floweret (date unknown). Words by Ercil Doune. Unpublished. Mallv Lee (date unknown). Words by Robert Chambers. Unpublished. 155 Mary Darling (date unknown). words by Ercil Doune. Unpublished. Maudie's Motor (date unknown). Words by W. H. Sams. Unpublished. Memory's Fairest Floweret (1888). Words by Ercil Doune. Published by E. Ascherberg and Co., 1888. The Memory of the Dead (date unknown). Words by Claude Burton. Unpublished. My Dearest Love (date unknown). Words by Ercil Doune. Unpublished. Mv Dearie 0 (date unknown). Words by James Hogg. Unpublished. My Lady Sleeps. Words by Longfellow. Published by London Music Publishing co., 1884. My Little Philippine (date unknown). Author unknown. Unpublished. My Queen of Mav (date unknown). Words by Donald A. Mackenzie. Unpublished. My Sailor Lad (1884). Words by Cecil Lorraine. Unpublished. My True Love has nae Gowd nor Gear (date unknown). Words by Claude Burton. Unpublished. Or wi' the Tatrtan (date unknown). Words by Hew Ainslie. Unpublished. 0 I hae seen when Fields were Green (date unknown). Words by James Hogg. Unpublished. 0 Stay, Sweet Warbling Woodlark (date unknown). Words by Robert Burns. Unpublished. The Pipes (date unknown). Words by W. Cuthbertson. Unpublished. The Reaper and the Flowers (date unknown). Words by Longfellow. Unpublished. The Sardine and the Sprat (date unknown). Words by W. S. Sams. Unpublished. 156 The Sea Song of Gafram (date unknown). Words by Mrs. Hemans. Unpublished. Sing Heigh-ho (1889). Words by Charles Kingsley. Unpublished. Smiles (date unknown). Words by W. H. Sams. Unpublished. Snowdrops. Words by Ercil Doune. Published by Paterson and Sons, London (date unknown). The Song of the Bow (1892). Words by A. Conan Doyle. Unpublished. Song of Heroes (date unknown). Words by Donald A. Mackenzie. Unpublished. A Song of the Ships (date unknown). Words by Lauchlan McLean Watt. Unpublished. Song of the Sword (date unknown). Words by Claude Burton. Unpublished. The Stars of Night (date unknown). Words by J. L. Mackenzie. Unfinislied and unpublished. Spring Song. Words by Ercil Doune. Published by Paterson and Sons, London (date unknown). Sunshine on the Sea. Words by G. L. Banks. Published by Paterson and Sons, London (date unknown). Tam Glen. Date and author unknown. Unpublished. Territorial's Song (date unknown). Words by the Duke of Argyll. Unpublished. There was a Fox, from the Red Spider. Words by S. Baring Gould. Published by E. Ascherberg and Co., London, 1898. The Troubadour (date unknown). Words by Walter Scott. Unpublished. Twilight Dreams (date unknown). Words by W. H. Sams. Unpublished. The Valley of Silence. Date and author unknown. Unpublished. 157

The Warrior Bold (date unknown). Words by F. S. Pilleau. Unpublished. Wee Mousie Pousie. from the Red Spider. Words by S. Baring Gould. Published by E. Ascherberg and Co., London, 1898. The wee wee Man. Date and author unknown. Unpublished. Were na' mv Heart Licht (date unknown). Words by Lady Grizel Baillie. Unpublished. We Stand About (date unknown). Words by Smedley Norton. Unfinished and unpublished. What do I do with Thee. Date and author unknown. Unfinished and unpublished. When all the World is Young (1889). Words by Charles Kingsley. Unpublished. Where shall the Lover Rest? (date unknown). Words by Walter Scott. Unpublished. Will he Come? (date unknown). Words by Ercil Doune. Unpublished. You'll be mv Girlie (1902). Words by W. H. Sams. Unpublished.

Song Arrangements with Pianoforte Accompaniments Barrochan Jean (date unlcnown) . Words by Tannahill. Air by Forest Dryden. Unpublished. Bonnie George Campbell (date unknown). Old Scots ballad. Unpublished. 0 Bonnie Nelly Brown (date unknown). Words and melody by Alexander Hume. Unpublished. Bundle and go (date unknown). Words by Donald A. Mackenzie. Traditional melody. Unpublished. Burd Ailie (date unknown). Words by James Smith. Melody by John Gray. Unpublished. The Coortin' at E'en (date unknown). Words by Robert Nicoll. Melody by J. P. Clarke. Unpublished. 158

Craigellachie! [The slogan of the Clan Grant—meaning unknown] (date unknown). Words by Abe Grant. Melody by A. Marie Grant. Unpublished. The Drowned Lover (date unknown). Words by Donald A. Mackenzie. Harmonized and arranged by Harold E. Scott. Unpublished. Dumbarton's Drums (date unknown). Old Scots air. Unfinished and unpublished. Fair are the Flowers in the Valley (date unknown). Old Devonshire folk-song. Unpublished. The Farav (date unknown). Words by Walter Scott. Melody adapted from Scots air. Unpublished. Gin ve'll come Dawlie (date unknown). Words by James Honeyman. Traditional melody. Unpublished. Hey! Johnnie Cope (date unlcnown) . Words by Adam Skirving. Traditional melody. Unpublished. I Gaed a Waefu* Gate Yestreen (date unknown). Words by Robert Burns. Traditional melody. Unpublished. I hae Naebodv noo (date unknown). Words by Robert Burns. Traditional melody. Unpublished. Ilka Blade O' Grass (date unlcnown) . Words by James Ballantine. Traditional melody adapted by John Wilson. Unpublished. It Fell on a Morning (date unknown). Words by Joanna Baillie. Traditional melody. Unpublished. The Highland Widow's Lament (Date unknown). Words by Robert Burns. Melody from a Gaelic air. Unpublished. Haro, Mary Dhu (date unknown). Words by Christopher North. Old Highland melody. Unpublished. Jess MacFarlane (date unknown). Old Scotch air. Unpublished. The Laird O' Longanlea (date unknown). Words by Allan Ramsay. Air by Forest Dryden. Unpublished. Lassie wi' the Yellow Coate (date unknown). Words and melody by John Hamilton. Unpublished. 159

The Lass with the Delicate Air (date unknown). By Arne. Unpublished. Listen to the Voice of Love (date unknown). By Hook. Unpublished. Lock the Door Lariston (date unknown). Words by James Hogg. Traditional melody. Unpublished. Low Down i' th' Brume (date unknown). Words by James Carnegie. Traditional melody. Unpublished. Mally Lee (date unknown). Words from Robert Chambers' Traditions of Edinburgh. Air by Forrest Dryden. Unpublished. Mary Macneil (date unknown). Words by Erskin Conolly. Air by John Ross. Unpublished. M'hairi Dhu (date unknown). Words by Donald A. Mackenzie. Tradiional melody. Unpublished. Mv Bonnie Bell (date unknown). Words by Robert Burns. Melody by John Glen. Unpublished. The Miller O' Dee (date unknown). Words by Alexander Grant. Traditional melody. Unpublished. Mv Fiddle and Me (date unknown). Words by James Ballantine. Air by Peter Macleod. Unpublished. My Hawk is tired of Perch and Hood (date unknown). Words by Walter Scott. Air by George Farguhar. Unpublished. The Nameless Lassie (date unknown). Words by James Ballantine. Melody liy Alexander Mackenzie. Unpublished. 0 Mv Luve's Bonnie (date unknown). Words by Donald A. Mackenzie. Traditional melody. Unpublished. 0, my Love is Like a Red, Red Rose (date unknown). Words by Robert Burns. Traditional melody. Unpublished. The Plaid Among the Heather (date unknown). Words by Hector Macneil. Traditional melody. Unpublished. Reaping the Bracken (date unknown). Words by James L. Mackenzie. Old Gaielic air. Unpublished. 160

Row weel mv Boatie (date unknown). Words by Walter Weir. Melody by R. A. Smith. Unpublished. Sandy owre the Lea (date unknown). Old Scots song. Published by Boosey and Co., London, 1908. Saw ve my wee Thing? (date unknown). Words by Hector Macneil. Traditional melody. Unpublished. The Spinning Wheel (date unknown). Old Scots song. Unpublished. The Stars are all Burning (date unknown). Words from Albyn's Anthology. Traditional Gaelic melody. Unpublished. Tam Glen (date unknown). Words by Robert Burns. Traditional melody. Unpublished. Then on wi' the Tartan (date unknown). Words by Hew Ainslie. Traditional melody. Unpublished. There Growes a Bonnie Briar Bush (date unknown). Words by Donald A. Mackenzie. Traditional melody. Unpublished. Widdicomte Fair (date unknown). Devonshire folk-song. Unpublished. Willie's Gave to Melville Castle (date unknown). Old Scots song. Unpublished. Ye Banks and Braes (1888). Old Scots song. Unpublished. APPENDIX B CONDUCTORS SCORE OF THE KET.PTF NOS. 2, 4, 7, AND 15, BY LEARMONT DRYSDALE, EDITED BY KENNY SHEPPARD

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The Argument,

^HIS weird but beautiful Scotch ballad tells of a demon iover, rrho by means cf fair looks and sweet words, lures a simple village maiden to her doom. On Beitan E'en the Kelpie, or water demon, in the form of a handsome knight mounts his steed, and galloping from his whirlpool home over the billows reaches the shore, and at length halts on the scene of a village merr)'-making, where old and young are holding high revel. In the midst of the festivities the attenncn of all is suddenly arrested by the appearance pf the handsome and mysterious stranger, who, amid curious and admiring glances gallops across the green, and, dismounting, approaches the fair Jessie. The maiden, overpowered by his noble bearing and flattering address,>, recognises in him the ideal of her .girlish dreams, and willizigly agrees to a tryst by moonlight. A scene of rapturous love making takes place, and their union is sealed with a ring of gold. Together on his steed they ride away over mountain and moor till at length they come to the sea- Here the Kelpie reveals himself, and in spite of her wild shrieks he plunges with her into the wa-/es and drags her do\m into the depths of the whirlpool. In the moming her lifeless floating form is found by a fisherman, and laid in a .grave by Ihe sea siiore.

** And every year at Beitan E'en The Kelpie gallops o'er the green, On a steed as fleet as the winery v/ind, • With Jessie's mournful ghosc behind."

The Libretto.

He-ouuiDted his steed of the water dear. On to Loch Buy all day he rode, And sat on his saddle of sea-weed sere; And rsach'd the shore as stmjet giCTc'd, He held his bridle of strings of pearl, Ajod stopp'd to hcnr the socnds cf ;OT Dug out of the depths where the sea-snakes curl. That ross from the hills and giezs of Moy.

II. VI. He pat on his vest of the whirlpool hroth. The morrow was May. and on the grosa Soft and dainty as velvet cloth. They'd lit the fire of Beitan E'en, And donn'd his mantle of sand EO white. And danced around, and piled it high And grasp'd his sword of the coral bright. With peat p"^^ heather and pice-tops irj. in. And away he gailop'd, a horseman free. A piper played a lightsome reei, Sparring his steed thrisajjh the stormy sea. Andtitned the dance with toe and heel; Clearing the billows with bound and leap— While wives look'd on. as lad and lass A.way, away, o'er the foaming deep I Trod it merrily o'er the grass. VIII. IV. By Scarba's rock, by Lunga's shore, And Jessie (fickle and £ur was she) Qy Garveloch isles where the breakers roar, Sat with Evan beneath a tree. With his horse's hoofs he dash'd the spray, And smiled with mingled love and pride. And on to Loch Buy, away, away I And half agreed to bo his bride. 251 IZ. xzi. The Keipac gailop'd o'er the green— He took her by the hand so white. He vt—rtr- a knight of noble mien. And gave her a ring of the gold so bripht ; And old znd young stood up to see, " Maiden, whose eyes like diamonds shine— And wocQgr d who the knight could be. Maiden, maiden, now thou'rt mice I "

XXJI. His fla»i=^ lock-s were anbura bright. He lifted her on his steed of gray. His cjiti^A'- -were ruddy, his eyes flash'd light: And they rode till morning, away, away- And as OS sprang from his good gray steed, Over the mountain and over the moor. He look c a gallant youth indeed. And over the rocks, to the dark sea-shore.

XI. ZXIII. His nobae brow was fair to see. " We have ridden east, we have ridden west— And 5"tti that smile as smile conld be; I'm weary, fair knight, and I fain would rest, His gU-yrnc eye shone like a star Say, is thy dwelling beyond the sea ? In daiics: 2iight from heav'n alar. Hast thou a good ship waiting for me ? " zti. xziv. His cocae^T form drew many a sigh " I have no dwelling beyond the sea, From tcaioens' hearts as he rode by; I have no good ship waiting for thee ; His tetsttsr looks they seemed to say: Thou shall sleep with me on a couch of foam. " Mairim. come with me away." And the depths of the ocean shall be thy home."

xni. XXV. And Jessed fickle heart beat high. " Thou bast scorned a lover of low degree. As slke casrfat the stranger's glancing eye: And vow'd a knight should marry thee; And wb=n ae smiled, " Ah well," thought she, Thon bast chosen well for me and mine, " I wish this knight came courting me 1" Maiden, whose eyes like diamonds shine."

xrv. xzvi. He took two steps towards her seat— " Thy veil shall be of the coral bright, " Wilt thcK be mine, O maiden sweet ? " I'll give thee a ring of pearl so white ; He took ber iily>white hand, and sigh'd, Thy bridal maidens fair mermaids three, " Maides. aaiden, be my bride I " And merry the wedding feast shall be.**

XV. XXVII. And Jeaae blosb'd, and whisper'd soft— " Beneath the rocks I shall bear thee down. " Meet me to-night when the moon's aloft; The slimy seaweed thy wedding gown ; I'vedzcxia'd, fair knight, long time of the»— By Scarba's breakers shall we be wed. I tboaght than earnest courting me." The whirlpool froth thy bridal bed."

XVT. XXVIII. When tbe moon her yellow horn dtsplay'd, The gray steed plnnged in the billows clear. Alooe to ttic trysting went the maid: And the maiden's shrieks were sad to hear. When aH tbe stars were shining bright, " Maiden, whose eyes like diamonds shine— Alooe to tbe trysting went the knight. Maiden, maiden, now thou'rt mine." xvn. zxiz. "I have kyvod thee long, I have loved thee well, Load the cold sea-blast did blow. Maiden, ob more than words can tell! As they sank 'mid the angry waves below— Maiden, tzine eyes like diamonds shina ; Down to the rocks where the serpents creep, Maiden, r.^\Amn be thou mine I " Twice five hondred fathoms deep.

XVIII. XXX. •• Fair abr. thy suit I'll ne'er deny— At mom a fisherman, sailing by, Though poor my lot, my hopes are high ; Saw her pale corse floating high ; I scorn a kjvex of low degree — He knew the maid by her yellow hair None baia imigbt shall marry me." And her lily skin so soft and fair. xiz. xxzi. " By thy hand so lily white Under a rock on Scarba's shore. And fiowisg tresses golden bright; Where the wild winds sigh and the breakers roar. By thy lirw and cheeks so red, . They dug her a grave by the water clear, I swear I love thee and will thee wed." Among the sea-weed salt and sere.

zz. zxxii. "Thoa art a knight of noble mien, And every year at Beitan E'en. So fair a k=ight 1 ne'er have seen ; The Kelpie gallops o'er the green. I'll follow tbee whate'er betide. On a steed as fleet as the wintry wind, Fair sir. Til be thy loving bride," With Jessie's mournful gho:t behind. 252 THE KELPIE.

INTRODUCTION.

L£.\K:.10XT DRYiSDAL: Allegro .T.oderato.*rT2.

22..^* " *" -iJ-*'

rr»- • •» • ''-•- —r--—'rr^ =;=^?= lY bitito ttmvfe. "*• "^^i mareai/t.

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^ 65e; =

mareaio. 254

^. *<5£b. *

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^.^ * •Sai. 255

•«• •

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It" ^. 256

> ii^ i "m ' w ' r xr preeipttato.

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dim in uendo. 257

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^ ^. 60 it b;^ •a-» *»• * i:;^-.'jr *• i t i I S i ! ^ 3c«: > X I—

X m 3n e> uendo. P PP.__ sotienuto

-j'^^—.i" ^e <; ——- -TJ- '^. i/ basto marcato,

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* J -•-k^ ^-y f• ^u. ^~= * J . • ^.

:^ *>» ^ F

•^—r ^ m- I^X -tj^ IZ »~ 258 N9 1. CHORUS.

IL He mounted his .steed of the water clear'' Allegro Moderate. J.=72.

m ^ -#—#- ?^-r-r- «; He mount _ed his steed of the wa . ter clear. And -If -#—•- -*—#- •^ y. ZL ^^ 3cr «> r 7 y- He mount.ed his Fteed of the wa. ter clear. And i f

-I—«- # SE ^^^^ TiJ^

" J # -*Tn •v^—-^ :x=r ^ I * -I / »•/ ^ezss0 marcc^io. *

1. > i :?: e/ -r" r 1 "^ ^— :^=?: sat on his sad. die of sea.weed sere;.

+^»r 3: tJ -r- Y r T*" . sat on his sad. die -y \ of sea.weed sere;. "if 4—5=

s -I—c_ He 259

tj i ^ tj

-k k^ \ K A -^ kr- * M- m m t/ 'i M a M mount _ ed iis steed of the -^a _ ter clear. And sat on his s-d.dJe of jT-i——:: ;: :: *—: « • i «^ •^ ~m •- -# •- ' V ' r >•'

mount . ed his steed of the wa. ter clear, And sat on his sad-die of

'Pill aniniato.#=S4. y 1 _—• m • ..Ml -^^ 9J Ho held. his bri _ dJe of

I I -=^ '• g -3 ; 5- He held his bri . die of

; CCi ey sea weed sere;

sea weed sere;

I=2t^ i I e^ "i -a- ^-zr ^ V ,, • ;i -i^;:*' :C r»*^

«sS> ^ 4^ "Sui. *

•mmm 260

"if =??= •4-^ Z2Z. gm

btring^s of pearl, of strings of pear!

\ I tJ strings of pearl, of strines of pe^rl,- J L -t—i ^ -•—#-

He held his bri. die of strings of •5- i .> ^ -^ -e c_ He held hi? bri _ die of strings of

2,. U : :^ -——7^- zfe: 3 22: ^

1^ ^ . -=5 # ^* » • ir ^ I •^ #- -y-*- -*-r -m-»- -»—\ H

string-s of pearl. J.OCO ttritigeTuio. ^ Jl.n -n^

I *• y rr i- i -#—1 -*—(

'I V -T -g .

out of the deoths where the sea snakes P i;; 5>- ^s s out of the depths where the sea snakes P :-«=*' h 2^ •+- ^t=^ -r— out. of the depths where the bca snakes .?^ -^ -0- r^ ^' • • ^ 0 m^M* M •w- * •# V -z:^ ^=^ f

) /la 77^-= 30. K. V, ^ ^ -*—^ crawl. where the sea snakes cra"»-I.

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- arf ..I 1-^

crawL. where the sea snakes crawL.

'^ e; :^?= I ^r- 262

Dug out of the depthi where the sea

of the depths where the siukes

Dug out of the -if L. ^=^

Dug out of the.

J I l^r ^i c t; "^—'~9' ^ '=-i^ •S-- V

•>3= :^MZ y^^ -f r- -r

—• ^: ^::—- -* *- ?£trrfE: : ^ snakes crawL.

^ ^ -C C 1

crawu. ^Ta -*—*- ^ " f- rf ' » depths where the sea snakes crawl.

} > ^^ =F= deoths where the sea snakes crawl.. '^.J =^?=^r-f7:^ tr*zi^ •^•-c # i TI ;/uf/ s/riit^eTtdo.

•> / M rr^—E" ^. ^ ZZ -*• ^. •* 263

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.ciiJegro moderate (come prLnia ^cM y 3 r=»

He put on his vest of the

^ t^

i J ir -«-#- t^^^ He put on his vest of the

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•^r^ =*¥^ ^ w 2a,. L^ * 264

whirl - pool froth,

e-.—

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^i 2 ^^^ (^^

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•f

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J fl 8 I I t?: nz^ CO ral bright. .? 2Z- •^^ iS :?xzzs;zz3zz± -S-»- i-sr „z: «- He put (in his vest of the ^Tur^. pool froth', As

^ -^>--«-#^ - t; zr2 CO. ral bright.

-y- X •^ •• lis: 2?=::^ -^^^fA- =re * • w ~ar -*-#- ^ -i-#- He put on his vest of the whirl -pool froth. As

_^2 M , " gfe C 0 fe ^^=?* tJ ^ ^rt: ^it ;5: ^ •r=J . kf<• ' r ^ —*• ^:g:2z -0 9- -z* :,M ;» z ./ '^: , I m ^— iT rf—• 266

i 10H I y -tZ- ^7!?=: ! fJ sc^: And donnd his mantle of sand so white. And

t-J ifj 267

tj = ff. # :;*

graspd his sword of the co ral bright, S r ,^'^ ^ :^

.grasp d his rword of the CO ral bright.

Flu auimato JsS4 )-tUL.

-k k._ yL H I -0—#- t; And donnd his man - tie of sand so white,* of sand so k ..? y • * Vt »• '* i ^^ -» •- «> And donn'd his man - tie of sand so white, of sand so

CL - M. ^ ''" C ii_± V j i

i ' I tj ^? ^^ ^=- -*• f :: >^ Sb. * 5a. '2cb."' 268 A: J ^0

t^ And donnd his man tic of sand so while, so fii

• • i 0 M 0 tj white. his man tic of sand so

white.

t T <^ f t i==- tJ

3 JL fa- r**-^* -T =r: ^:^^ ^? ^. * '^: •

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And grasp'd his sword of the ? i

> JL -0 0 *

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0 0

CO _ _ ral bright, of the CO # # ^

CO _ _ ral bright, of the CO

oen /narcato. 9o J.JU ^X:X. -0 r c;- ZtE Z3C

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i. ,>• SE ^^"T^ CO _ rai bright.

" „# -rr • " > ^^ XT ral bright.

1 g >• > ^ -i c-

3 3 J I -, I *:#-«? # *-^—^J- » 0 -" -r^- A 5= molio cret. t* - ^r-f ^

* 270 X

t; He y ZPC He y ^>-

* ^,

4^ ?^ e* =F=?: put on his vest of the whirl pool froth, A.s

—9- put on his vest of the -wiiirl - pool froth,. As ff> # I *J -t— put on his vest of the whirl s— 1 I !

..fn • * 271 M 0 0-

9J •P- soft aid dain - - ty as vel . vet cloth. And donnd his J. "^ = ::^ ^ ^=^ -* 0- * * ^sg- X soft and dain - - ty as vel - vet cloth, .\.nd donnd. bib- Ajk.

-^ 'J pool froth. And donn'd his man-tie of

-r?- -J—*- 3:3c » * -r^ ^ 1 - pool froth, .^nd donn'd his man. tie of

tz V ^ :;=ac :# f

-r—'—I i mnn tie of sand so white, his

—^—. ••—

a I c' 3CZC ^CT man - tie of sand so w'nite, so ^s y i •m C* ^ sand so white. and graspd his sword of the co ral

.V y * >* -5-#- # : * p—' and grasp'd his sword of the co ral

^^^ tr ^ . y ' *Vr. * • -g: izac 272 N / ^ " 0 -0 0-

man-tle of sand so white, of sand so white, of sand so

m M 0 :» * u -r-n- 0 ! i ' LP 0» ^ I fJ T~^ tr white, of sand so white, . of ' sand so white, of sand so

ji~0- • *

tJ bright, the co . ral bright. And donnd his manJie of sand so I _ i2 „ ,^ ^ ^ X

brig"ht, the co _ ral • bright. And donn'd his manjtle of sand so

I J. • * 0 -0 1 0 ' • ^0 :#• -*-- * 0 -»^- 0. '> -irtS-ic ' » ,g -w-^-r r ff^ ^:? ^ ti

-* 1- s- •#• r 10 j^Vij. X •^—y- , m r' ——==5-n 1 r- white. And graspd his sword of the co ral

'V i jr •» i^^'- '- -^.^ I * -y*- "^ "CT"^ ^^fTi:• • * ^5 white, And grasp'd his sword of the co . ral. J" '. ar?*- » *• s * I \ ^ ^--^ white. And graspd his sword of the co . ral. I I -0 m ~^ ^

' if ral. white, And graspd his sword of the co I 3 ^

0 I -• * ^^ ^s^ ^^^ •^ ?^^ '•-y -c— I* •> 4 ^rr u-J J^. I I I I M 0 \ 1' ±M=^ ^ ^ - . ^ ,» ^ T 273

; j;r f^ '* xi ^ tj bright. j^jid grasp'd his sword. of CO _ ral XT ^ • g- » ^ bright. And grasp'd his sword. of CO raJ g I Xf< ^ •• .^^i •m » 0 * t - I- '-

bright- And grasp'd his sword. of co ral ' —/ '^*

bright. And grasp'd. his sword of CO . ral i S''. ".^ m 9J : ^r ir ^ T r ff' ir-^^ ^ — -ar

molfo ran . «w /

m 3 m 9J bright, his sword.. his sword of C»

Co ^^ 3: l bright, his sword. - his sword of CO -V—w- I » ^ X •^ rr

bright, his yword,. . his sword of CO .11, r-1 V J i ^ ^ ^rv^r^-^ r molto ra^ _ en _ tan do.

-—#- -••-• * J ^ If If «Sas» . 274

a tempo

'^^ ^ i^^ = ^ ^A ^ s-—. •^t:^ ucmx. ^F^^ 3^ •J* . r -Z: i^ UJ r h i 5: J^ .^ ^ -*—-: 3 ^ XZS- 2T: T* ""^ C ^ -y-T- 33C

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^ -J—#- ^ • *^*

^ * * :J rt. :S:^^ ^/ P / :^:^

•;»"

«:i. 276

Tenor SoU r,

•">r- ^M:.0 •4m "f -#—ii- -?—^, =: And a - j>ay he gal . lopd, a horse.rpali free,

11 daxso mareaio e xiacc:

*/-• a- J> i * *7»Z;ZZ -#—0- -0=1. ?V=S 5^ :» ^ M-^ *—rr ^ tj =?^=^ Spur-ring his steed throughth^- Zstor. . im- sea, Clear-ing the billows with

eres . cen - do

m 0 JI I ^ f bound and le.ip A . way, a - way, ocrthe ^ foam.ing deep.

-50

^ ^^- ^ hit; s ^ .i-«-^ .way, a-wav, ,o'er the foam . . ing deep.

MX—JL^ M.^ t. AJL-JL± £..0. 277 y

.«•- r:^ i ^=PS And ^•ay he gal . lopd, a .y_ i Lg>* > '• ^ r '^ And -fc-ay he g^I . Iop'd,/a y i 3=1 ^=TPS And way he gal /- lop'd. y^ S =^5=:3 zx~s.j w r- And »-ay he gal . lopd, a

I * 70 m -4-*- ty horsr _ man free,. Spur, ring his steed through tbf

A O-^^ •J # t" horiae . man free, Spur- ring his steed through the

t ?* * t; horse . man free Spur - ring his steed through the M. .^\y ^^ ?=^ horse - man free,. Spur . ring hib steed through the 278 cret. M .0 * ^_ :^=X p f' r Clear - ing the bil - I ows with

•i-*- ^#^ Ji ',1 ^ stor - mv sea, . Clear, ing the bil . lows with

* 0 -I s :» * ^F=^ stor _ mv sea, Clear, ing the bil . lows with

^- ?'

stor - mv Clear. ing the bil . ICTWS

' 0 ' ^—. J ^ j» » a J * m ^ ^ • "» .J * , ' .ip,• r y>. * w ;• f 1 '—r — bound and les-Tj A _ way. a . way, o'er the

f\ • . cret. w V • J/ a m ^ , ( _ M V rn • •- ' tj • / 1 bound and lean A - way. a - way, o'er the cret. • * : > • ^-^ K^ p— —f-

bound and lean A - way, a - way, o'er the ^ cret. • • « 0 —y- f. JI - * tl 1 1 —^ 1 *<: ^i— 0 er 279

dcrp.. Tenor Solo -f i ZE «^ dcpp.-

W- "T" i '^ deep..

M.S.';! Ji "^ M^ M. M.M.Z1 M t: M. .p. M. XM ~ 0 ."7^7": » # #- -0 ' 9

dim. r. ::a d-g rrl: :zx:

^. % r 280

33 <^^ PofO piu Allegro J := 102. ^0 y * '

/V.-.. * » ^ fCo^ >» • * ^ ^ xxr * ^ . way bv Scarb.is rock. bv Lun - - ga's shore,

=?: \i'^ y M -#• ^i: ' 00 — * I • m •^—r

:?5= ^^ <•' i Z •* # • TA >" '^

. wav bv Scarbas' rock. and Lun - _ gas' shore, Jl \iw Bv

M f; ^ 1 'i r^^ t -0-^ i d r / .wav bv Scari:."i>' rock. and Lun - . gas' shore. 1^

-^-^ » ^ S ^ « w- X -9

I •0-0--m. -^^-^-^^ .«. r -*•* •? -*-^-*- -0- •0 0 i9 # # #- 0 # •—0- E^3E ?^ 5: r-,r :^. ir 281 D #z:

—0~~ t> Garve - loch isles where the break crs roar. By y- —^^ i- i -*—. ^ By Garve _ loch isles where the m

Garve - loch isles wnere the break ers -V i -*-3r V> Garve - loch isles where the break ers

^ t/ break ers roar. -f- -X 1. i^ nrz

Bv Garv< loch isles W2ere '..•.e i */ if ^ 1^ i^ 282 60 eres ^04H . -sjf^—l^ -• 0- -I—0- fJ roar. •where the break ers roac. cret !_ .jsen . '^ V -# #- tJ roar. where the break ers roar,.

u cret. •Jim * —I— brealc ers roar,. • f^-r. t , 283 ^ ^ -# 0- ^ ^^ :?: -f r^ ty / "With his hor' sc5 hoofs he dash'd. th- K) With his/ hor ses hoofs he / dash'd the -y— / ^ I J '* M. ^ r^ -Y f ^-Y '—r^ '^Ith/ his hor ses hoofs / he da.«;h"d thr / —#— * *- * 0- ^ :?= 1 r ^^ /"'R'ith his hor - ses hoofs ho dash'd

10 F ^ w "' >>. 3 * -» P -r- r- On to Loch Buy. spr^.v.. a 3 . ^ ZZ ^ m ' y •* • a' g=tJ g spray,. On to Loch Buv. '-/r=^ ^ i 2Z=s: ^ » * iT—r —7— 1^ spray. And on to Loch Buy a - w.i\- a . „/^ 3 -*—#- ?=xz: :^ ^^ :?: spray. And on to Loch Bu' wav. 284

xx^ y±_

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1 . . •r- ^ 1 c r k^ . 1 0 ^^ 285 \*S(^y l^.*''^ ^ ^1 JPiu mosso j^08 JO Q /

^.r 286

"tlarve locli i&les he dash'd the JUL I I -i 0- 0 0 •^•V- cret. j^^ ^^ ,^ ^ t -«- ^ ^•-•^ ^ i •: i •y.i,-- 0 -#—#- 3=x: C^' t^ 2^ r r . c£n . -

I-.. ^^ « zz^a^z.^i=^ S ty

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iL!^f<3_ 0 1

*j On to Loch Buy, a -way, way, V 3 UL -;^ # *j On to Loch Buy, a - way,

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war. way

xxx H 9- ty war a - wav. .P- =?^=^=5E ;> I H ' ^ «y wax- - war,* wav,

.' *•—

i iL'X r^^ f f— A. ^k r V r 288 tmorxando. J. r-o

tJ - w.tv. ^ tmortando. y/p •* I

. way. a - way, wav. ji smorzando. pjj -r .< 1. —^ ?=^ ty - wav, way, wav.

^ ,'J-i XX.: ~i—". J It •^s- 2: 0» ^ ty T smorsatido. T -f XJL 'm•r rj T" K /

^. (Tempo FP9 Tenor Solar y

il batso tempre mareaio e ttace. •y ^

:i5: ^ I •» . -- ^ :^ ty hor5e-m.tn free. Spurring his steed throughthe stor. my sea,. 289 eret een '•' i^ '^^ "^ ^ * * -J» • =;z: t^ dear.ing the bil.lows with botind and leap. way, a-way, oer the zit z • m g- T=;^ i 3^ :^ XZCS; %J cret PfT ceu c-^ -0 k- -^•^ " —*- l^ ^ t:? x^ y

t> •XT' And

^ rt Anncd

JjJ* Jtitrz A 5: Jt^ ^JLXIZ M.^ JL.S. JL XJLH^ -—> ' • i 1 ^ 1 • J •—i _ ^ • 1 ^rSr :^Xi -• 0 0 ' i TT-r*- -+—r t; do. ^ if' y d^ i _3_ ' <• 'J f ^^, * '^i * •^ib.r

iLl 2=: -*Z^ ^ zzac "T- ty - way he gal -•lop'd. a horse-man free, a 3" -SI :X: :^ iN I a -a- 0- ty -ar a war he gal - lopd, a horae-man free.

^ •* * -r- ty way he gal - lopd, a horse-man free,

i7 batto ben tnarcaro 290

ic SXJ + r-V-m ^0 0 * »-* # ' *• -I—^ ty -^^ ^ Spurring his steed through the stor, my sea. Clear-ing the bil-Iows with

X -1-X ' -+- '* a a- a ty Spurring his steed through the stor.my sea, Qear.ing the bil.lows wi th Vf

Spurring his steed through the stor.my sea, Gear-ing the bil.lows with

^~~ 0 « ^3S •Ziit -0 #- ^m^ S iL 2 z^12= Spurring his steed through the stor. my sea. Clear-ing the bU - lows with

-Q"..^

•^ -1 ^ ^^ a a -J—r =2RF ty •^ -0- -0- ^

P:^ JZl ill. • r • —t —•*- :S=t=: 1 4 ^ ^"?T

I'iO. y, -V = X s ;^ ty r 7 botmd and lean. .K . wav, a -war, o'er the foam mg deep..

S ^ I -H S- ±Z y. ^ S S ^^ 0 ' a j> • » zr T?ty^ bound and leap -\ - way, a-way, o'er the foam mg de«rp. A —= y h*-^ ^3 X 3: ty —r—r bottnd and lean war, a -war, o er the foam deep.

i" ^"fel-^ -^fei^ 291

cy A .£ «. P=^=^

A "Ly - t:i^ s

cret. y ; ^ » I -L. ty wa^ a . way, o er the foam ing deep, wav. eres. .^ y ^ -^ ^ i*: wav; a - way, o'er the foam ing deep, cret. c y, y nr way. a - way, o'er ,the foam ing deep, wav. cret. /• y o ^- ^ 5^ ' war. a - wav, o'er the foam ing deep. wav. 292 *V, Piu aniraalo J = 102.

( >-f-' — *—^—* ^'~u-

±: M *< * ' t/ I Hy Scar_ba's rock. bv Lun - ga's

I lO -i

ty i • i^^

fr. f/v. .^ zrzc ^ • ^ ^—• a * i^;— * ^

z/ V ir,>,» .'V / : "^ fos^ :;^ ^ ; ^—^^-g :rf^/ ' 'n-g r^ / • --11- ' * ' --;.»- •" • -'.*•'- '•' M ^

* Sb. .:U Sfb. ^. 5a. /60 rn^ T—7" ty P^

irfez -1^ ty shore. ^ijL y ~rr -#-=—•- :^ ::t 3czac ty Hv Garve loch isles where the break ers roar.

i tv dOC JM- ZTV. * ' a -* 0- -»•— 0- » # "£—S U^

-r»—I

^, ^. ^. <^So) . "Sib. •Sb. 293

^: *

0 '

break ers

isles where the break

roar. where the 294

^ roar t.

era roar. where the break

xzz^ tT break ers roar the

.—<'^^: . !. — [ ' "^ a 0 ~

break ers roar. the break

3 1 , 1 , f , [-/ '^•-—nil— 1 —« 0 i j-,*•• • 1^. s *** 1 1 V i t^ r !i^^?^= 1 > ll:2_- , 1 M ' •• -1 «—^-5 m a a • ' ' J

/•70

:rri "

fn T «y

ers

rczx ty break ers roar.

ers roar,.

2^. 4i^ 295

JO 1 y: :f=^ ^ -r-^ ^ ^ B^ ^ V- With hi; hor.se'a hoofs he

^ With his hor.sc's hoofs he

TT*

^ :?!: .•>^^ ^^

ty / ..*• •0.0- •0--0- '0- •0-~0 ==.//• f P ^ > -i ** — -i — M — -- \. J .'. JL^'**'»tp J* **» "*« • "0* "**"- 0 0m 0 >4.-{j •• ^ Ji .• * * ~m a m a a' y'' • rj .

<^. f «..Jr • *

; X3c: ^ ty dash'd the sprav,_

^ "' a ty Wlih his hor . se's hoofs he dash'd the spray, .^nd ;>>..—,., Pf.. m a a ty d.-ibh'd the 5pra\;.

:^ i^: Wiih hi: hor - s«-r> hoofa he dash'd the spray, Ajid

A /%-•^ ,j»- ^J^SE ty 'jf „ ••••••••• -*•"*• -^ •f i^^.0^ ^ .0- -0- ..J ^ ' -00000 •0- '*>'g ' JiTf-y 0 0 9 m .#. JL ^ Jt ._ JL _ JL^r —^ * 296 297

On to Loch Buy,. wav. On to Loch Bu\; a

4* ^ ^ -r^ m I .M. ^ I 'fP poco poco cresceiuio. ? >)';!y V

•G- ^.

ace ell era ndo. .'^0 j ^Ai"f * W S r- . i^ ^ a a ^ ty On to Loch Buy a way. •"••av. a . 4-i. I ^ ^ I .^ ty way. way, wav. i ^ ty - -way. •vi-av,. way,

-T.^—t^ -

way. wav,

^^ * * ty aceeilerando. :i i -9- V5S ^^^ * ^. ^^ •ir 298 Allegro Ti>-ace. J = 112

U ^. ^* ^f

y . -^

t/ wav.. Jl^ ^ _|_ IT _ . ::;?== :^3== .0 ._,.V. ^ ty war. -O-ii: 3xpc ^vZ-=

K) war.. —f. J :t ^ TT zc

zl*. ^ •*•• -#• if^ ^*^ Ln^: -^^ -I—H?- 0 0~ ^^^ ^F=^ =^= , d .ra -rr zz a > t>= "^.r zz: * "Soi':i, . ^'Sb.'! r ^^^.

rv 299 N9 3.CH0RU.S. '*0n to Loch Buv f\ Allegro.giusto. * = i20 Tenor.

Bass.

Piano.

Z^ C X II ^_*' «'.^ ** .^ / •» / ar temprer r p • f \2j^ ilH •e mareaio. < I ' < J /^^^y -^•g- ^ c; On to Loch Bu all s-i-^A ^ - JLit_ On to Loch Bu all i f

"<. :^ ^ » .. -*—=- -•—«- -#—57- •7 X ar ! ?r '?r *• ! '^1 ^ 1

ho rode.

3E ^^

— ' --T -X"ar \ •< —*^ "^ ^ -Z^ ~ r ^ '^ • >•! 7xi 300 A "f IS: -yrr •> 0 Z3n -•0 1

And rcach'd the shore as sun - set m '•^- * * . * ^. ^^ '•«- IT.

-And reach'd the shore as sun set

r T X J J

in o g-low'd..

ZJJL.

seiiipre since. par Ian te 10 \^ I - > -»—' 3KI5 And

And /TN 5fcs «y 3^ _ in _ ueiuio PP r:\ ^ =- f m 0 _ 0 * * • * -tf—i a f- DEXE •• f 0 ' 0 3EX^—'—: 0—0—0 0 —0 0- 301 i •> _• ty I stopp'd, and stopp'd,

• • •

> * •» ^

stopp'd, and stopp'd. a tempo. r^ ran. -i^M..0.^- ^ A, X. ^Z-f^SL^y^ .^ ^0- i -;—f- f •g- ^2^ tcherzando.

rs r^X. 3r «.»^? -*^ )••'..- ZZZZI r> ^ "^-.^ I2Z! ^ -y^. =^^. * 'Scb. * "Scb. *

a u ^ rn ^ ^ ty to

SSI

to hear.

±: ^x f^.g 1.^ .«.- • ^i'^ • t ^ tj r

h W I Ji. T >..'.^ T- —TTr- y ^ 0 zz: 5SE -F- ^ •^T" ^-Sib. * 'Sfb. * molio rail: i 50 C J * -* 1 i / p' r. kj .A.nd stopp'd to hear «y> > :^ 1^

And stopp'd to hear, th(

-rr -?-i»- "-rr-z molio rail: ^ '"y m ^ y '•J '! '•' '-^ •> a ty f : ^— D—^ bi- =^ "5 JJ iempo. slargando- -r-. T 1 S S » 0 '• 0 0 ^-^ m — ' » »— M- •:--•- 9 0 • *—•• r^— V— « ' 1 . ? r: -^ r- i r-^ ' ^ ^i^ * ^. *^. ^^. * 'Si).

^ \vr0 * \ ^ -0—0- •¥- KI f ' rose from the hills. the hills and glens of .Mov. f k^

"^M. Simile m ii. ty

X2: ^

/; «- -X—0- m ' ''XH- q:

t: ! -V-4H Z;.^ •A: 12= 2Z^ 303 D X JL zz "fO. i txzz ^"^^ ty JGT w/y; - UL xSxzi ^ T KT -r<^—*- -h-s-

*££b. *'^. •*f^r ; ^-Si: Mos.^0 poco nieno *= 104 .

J /^ ;t u Soprano. '«/' 50

ill Ziizzzz: a * i -X-ZZZJC: irXJr: ty lit the fire if Belt - " - an E'en, of Belt an JLiL TT? :<«^ * a a y SSc =?^ ^r^ the fire of Belt - _ an E'en, of 304

mor-row was Mav, and

•y^

The morrow ^ was May, and ..3

M i ar- ty "^ mfK'0- tfiHpre since. ' »^:: '.> ^

ar ii tT ^ :? =

:i^ -V-J- » 3CZC t; on the green they'd lit the fire of Belt - . an IPN * * JL*_ ^tr?^ -0—0- § z± LJ on. the green they'd lit the fire of Bell - - an

xxst it "W

z:x. 0»» ii^^ :ZZX2ri zac • ' • ar^i: v?* ^

* 'Sb. 305

! ty

2xz:

a rr- ^^ I 'v r I ' r

J /s ^ J a iempo. r-f U ~0-e- 3= And danc'd.and danc'd. "y :^ M "J ty And dar.c d, and danc'd a - round, 306 70 -y —r- —w—

U round. And danc'd "y, ?^=T X ty F ' ' And danc'd. a _ rotmd, -^ ^ ..^ m -r -y >* 0 KI rOURQ, And danc'd.and danc'd

-yZ C -^^ ^ :;z=

And danc'd.and danc'd. a . rotmd.

^ ^ :£ V KI *»' *^

-• 1^ ^ ii

. f. W ^ ^ ^ m 0 ^ f— - round, and piled it high ilM y. m a- * —~>^ KI and piled it high .f -»-y ty round. and piled hisrh f •3^^3;=?: = -o 0- '" ^ -7^ and piled 307

; AJL m ! 0 M r' a K) T 1 er and pine tops dry..

'HC'^'"4 ^00 \\<^ty ' a' a . -^ - er and piae tons dry.

i --c- Kl er and prae tops dry.

- er and piae tops dry.

- XM. x^ 308 A J ^^?.-.—^ -a-0-

Th« pi - per played a light-some reel, .And

pi - per played a light-some reel, .Knd

^ X:x5.^.iL*: M.ML -Zzt -0JL ^ I ... r •y—r •y- vv y V jtXXZiC fs ,—e-

^. ^'Sii. ^- ^. ^-Sib. *

z^.*^ — ,«•« 1 _/ '- * ^ 1 >.—» • ,_ » /^ - J- * ^ JT • ^ a f m • •^ ffs f .. n 1 » * t timed the dance with toe and heel;^Vhilc T\-ives lookd on. as lad and lass f • A '1 " - J ' ' ' ' -^ J 9 T/^ a « 1 m • a JI

timed the dance with toe and heel; ^Miile wives lookd on, as lad and lass , r r- _/ ' - ^ . ^ ^ ^ _ jr • m m » . r - • ^ r" r-^ " * f . ,_ • • 1 f 1 1 ' 1 • timed the dance with toe and hccl,-\^TiiIc wives lookd on, as lad and lass

—0 ' —* r—# — —^—-" » « — m ^ -r •/ 1 -^—*— —0— m f 1 timed the dance with toe and hcel•,^Vhile wivcb look'd on, a.s Lid and lass

A XL \ \ \ ^ \ , ^ I I I I '

i^^^ 309 h^v' ' C: ' ~ ^ "f ty • i ' n^ Trod it merrily o'er the grass, o'er the! grass. Trod it ^ =^55X= KI

3rzV -y m ^-^^.-^ ty r- ^ ' \ •—f^-jp Trod it— merrily e'er the grass, o'er the grass. Trod it

1^-^

r* -^y T

I 0 — 0 t *-y^ " '— -0 0- -0 «^- Ê * ^ •*-*- '^'•> 'jars-'.'# i : * ; gg** • * ,— rru u L tempre marcato êr I •_ r^, ;* y 2z: nr-v^ ttr 90 .^^^ 4 ~ "T- ^ -.-—0- -i 0- -Z- Sty mer - ri - Ir o'er the grass. Trod It mer- ri _ Iy o'er the ^â^ y, i-h^ ^ f ar Trod it mer. ri _ Iv o'er the _JZ. y Û:2Z: ^ i» w # mty -7 x: mer - ri . Iy o'er the grass. Tr^d it mer - ri _ Iy o'er the V_ y_ ±: ^ Trod it mer.ri-lv e'er the 310

0 — t. Meno mosso #. =96. CL.£- :ir zzac , K/ -9- • grass. oer- the grass ^m±-—^^ KI grass. ocr. the S^^s^. yi

->i !-

grass. ocr. the grnss, ' -W Xy - W=^ J '~ »- fT i

.grass. ocr. the grass,

• • ii x.-"^ :^, ^ ^ ^^ =55 ty f energico.

I t i-U k^*- : 1 1'^i ^ -e #-

^J * ^^TX^, 5^.'

jVa K \QO mf ^

The /Iii

^ :-*—I ty The

53 ?==:::

5::' /s - -i f^- j£ a. .^i- . ^ ^, ;#-.»•-*• -0^., . > ^ I 3XX^iZ' r * •»!- rr^^- -j*^ -i'* *-i •u:^ s

i^ 1—s- -KT- ±zz: xzz *^. *'sb. ^'Scb. *"^. 311

^JL •• 0

t/ -t^ a. pi _ per played a lig'nt _ some reel. And limed the dance with ^^ ^ > ^ >. k ^ >

f pi - per pl.tyed a light _ some reel. .•Vnd timed the dance with

mKJ

-^*-^ ^

^i ^- > S.,^ ki. r» r/- l^ .f :ZZ^ 3^ * i' i1—J .^ * I* ' * * - —' r^ t: / ty

')-^'- > x=^ XX2Z

mty toe and heel;,

^ ty toe and. heel; ;//y 7n'' ty -r- The pi _ per pLtycd a light _ some reel, And m "y X X , ^^ 312 IIO

_V i jifU -0—t I^ KI I timed the dance with toe and heel; toe

{J^^= ; •ii^-^ i 1 ! ty

./rTy__ ty

^# r y r~i #—: -zz g i—^ • * M O * "J • 1—i '^ .1 — • ,^ • and * • • • 1 9-^ 1 ' r~ i • j^ * i 1 j ^^^ = : heel; 313 >I ^^ y.

KJ "While wives looked on. as lad ar.j y

acd

» * -*—y- ^ lac ^OG ^-u» ^* 5: * a^ ^ -*—tJ r r ^ -f f ^

-«- I ^ Jt L- 0 0' *#.., y ' ^^ ^± B= i ty y giojoso . i^ f^: -V ZDC ^^ ' 0 5S E 314 N •7-T

K) f:

K) Trod ^

1 ty f~. V^ -fj—

\ Trod

^ -t—1—' I -3x5* : -->r- FT^^ r 'Pr 4 f ^ -• 0- i * * ty =F 315

.1 >—

the grass.

%J the grass. .K yr:z mty the' grass. I

,' f-

oer the grass.

^ .^. *

immta^^^^*^^'^ 316 N9 4. TENOR SOLO. (( And Jessie,fickle and fair was she!'

Tenor. .\ndaiite pnuioso J =60. tempre legnio

^ ^^ Piano.

A '0

-5>-' :*• Ji 1 P ? T 317 B ^ a tempo . esjtretsiuo

fic-kle and fair was she,.

-0 ir-

' —1-' ^- 10 ^ »

ZTz: -J> '• »c -r'—^-1 Sal with E -van be-neath a tree,. X zzz ;^^ 0 I f ^-51^ czc -* 5»- H- T*-

V^ ^' ^ -L ^ -UU-J- ^ ~i—a- r>-^ KJ —ra : V- Sat. with E - van be - neath tree, I

i -0-=- p 7 ^ 0. :^^ E^

-V z^ ^ KJ .^d smiled with ming led

"?-'- 'M -* m -TT I CL- '^^^ -S--

ZE: ± -0 ty love and pride. And half a . grecQ •-0 be 4- S -g0- KJ "5 ^ A '• zczac 318

etjrretstvo

. I.-— —- X- X-- A' a iempo. 319 N? 5. S0]'H.ANO SOLO. Tlie Kelpie g-allop'' d1 •'

Allegro mistierioso. J^ios Sourano. ^^ ^3 ^"n— KI Piano. PP TT •i^- ^^ :^ -x : * 0 0 0 -* rf- * _* q2L •* •» V b"» "ar "Jr -ar ^-ar - ^ 7 '1 i 7 ': t'/ ba.^so tempre rnnrrnio 1 '

.1 ^

SH:: ^ 3ZCZ ty 11 >- X— marcnio. -0 *- » 0 •? • 0 -z—J — 0 -zr~9—zz~-r~zz~~»—_ ^ -,? » 7 y !;•» ^ i»^ -^ ^. ^ 320

I „, 1—-0- —9— The Kel . pie gailop'd 0 er, th..

-0—0- zr K) •sr =.— p -0—^ T^ *;»- -0—0- '•-t- I a "^—1 0- X m <3^ ^. * ^.

ty —y~ green The Kel - - pie gal . lop'd

~0—*- A*l ^ -+—r3 i«y ^

^v * \^0 •- -0—0 0 000 -*—0- yz^ 0' 0 -a " a —sr- <^. y- V

^ I c

knight of no - ble mien, seemed I I I r I J 0 rr Z7Z21 '^ JSZZZUSI •jTr K) 5^ > r —9- m O 0

-y ^'o

^ ty And old and young stood up to see, i "i 322

y> 0 ^^ '.^ 9 5 "' ««> K 4 won .. der'd u'ho the krJo'hl could be. A=d old and 1 1 1 1 y^ -^ • r -^—jS " [ ^ 9 ,_ ' ^_

-o 0

young stood UD to see. And won _ der'd who the knight could

molto rail: ^ 1 ^ Moderato grazioso. #=ss 323 poco vi" m/jS.'u nceell.

•f^ -> . ' ^ -0 \ a 0 , 0 '' w -'.^- 0 • a- 0 • J • s ' ^^^ — -^== r^ — 7 ^ now - ing locks were au burn brigr.t. His cheeks were rud . dv, Hi^ ]Cn^ „ ^= -?-&- -?-^ -?«- TJ- 'fP ifP V!P *fP aceell.

.JTZ m r?-»- •nt- zz:

/" a tempo. rail.

-?—v^ -0 0- K) r ^ eves,. his <^VfcS flash'd light; His

I r*i - \\l ZMZZXZ m^ ^^^ r ^CL^zzrzzzxzzsif^J^"^^ •>^* ^fp a tempo.

vr-my

* ^. E Mosro poco meno #=72

70 -D *- g& ^ KI .^d as he sprang from •I'.S j—-^ - ^ g ? ^ 7 V • ^- JL

2 -«• : :=^^ 2 0f^ 0- ^ 2^

^. •^. * 324

rail.

X3C good gray steed. He lookd gal - lant

^ * f 4^ -A.ndante Jr50. mil.

•a 0 • a ^rt -T-0- K) youth in deed. And a.«« he bprang from his a Iciiipo. J -N -0—0- -~0- 0 0 0 % a M I -:-•. ^; ^ * -?^- eaiitatuin. ; ' I r^//. ^ -ar -y

•ar. t — : ^ -»f t-x. •> '^-— ^"^^.^> —y "Sib. ^

=^ us^ -0 r T-#- -, ^^tZZT ^ good gray steed,. He lookd .T. gal lant

^ i ty 325

^ ty

0 _ 0 -* 0 J .4 U 4^ ^^ z;z=i ty ^ -r JL ^ JL •f2-' ^-^~ ^ ^^ij^^: I —^.^"—?^ ? •> !>:? ^.

/r^/

±—?^ vr-. no - ble brow. l>^'= •>0 _ 0 ^—0 0 r 0- •t=2l I _ < i J \ L • -» ft ty y y-0- •0- .*.•-*• :p -^; zzzz XZK m -?!-*- -?*- ^, ^ * ^.^ ^

i I V ty fair to sec,. And s>veet that smile. as

-0—-—»- -* 0- 9 ^ -•—•- i 0 '.0—-.#—#- n ^. ;> -y^ X3 ^Tjf :-ar 7X. X • ~ * .- • — * — 0 • ' V — -y — ^- .^^ ^

.' ^ ^ 70 efb.^^ * ^.^^

i -?—n smile could bc; His gianc . inc eye !.? JZZZ-K- \ ^f^ "> •• n a ~ a ty .^ t/5^5 \Ai

* 5cb: * 326

molio mil. meno mosso. 9o

KI shone like a star In dark - est night from heav'n a . U'

Andante *.= 60

•Scb.! r «s^> r

•^ X.

. .''y^ " .—

ra// - 5 n. -: # #

-9- sajf 6P2^. r • 327

H 1 105; Allegro, risolulo J=loo.

/5 . tempre | \ Q cret, . cen do. ^ s- •~s- ^ K) cheeks were rud. dv, his eves fl.lihd

<• « J rjzE: -r-s^ " f 2^ i» " «—^ ^ 4»- ~"vll» a w 0^_ a • a _ a a tempre eres ceil

^ 328 ff. rnetio mo.':.'so.

KI light;. He look d _ I , I) ri • ., I 0^ X. :^ Z>- 0 .. 0 t u 0— » u » ; • * i» 0 0 r-i 0 5^ s - ' 0 * - ' 0 i = * 0, : £ : } i s

molio rail. -rr =r zrac zii ?il lant vouth. He lookd gal - lant

-rf^ i _i-? ^ K) T • I' ? ^ molio rail. I rS- -^ iz:;^ J- >. J y

f-»h—I f) » . 0- • *-^

re//. .\iidunlf #=60, g looks they seem d to sav: 8- -0^0-^0- "^^ '^ '^ ^^ •• -* 0- a *• wK) ^=r. •J : 0 .^ un poco sirttigendo. rail.

22=

^. •zr- 329

-#• 9- -f- f '^•'.t^. ':^ 330

N9 G. TENOR SOLO.

(I .A.nd Jes.= ie's fickle hearl beat hisrh.

f, . Allegretto espreasivo. •-S4. Trnor

I'iano

hr^ f t; •*—* t 0 «—0-»—» * M ^ .*-n « #-• * f * f- i--n 0 J * * 0—^ ^ —^—*-^—0—^—0 0 -* ^ ^ 0 ^ ^ Kl 0 rf 0-^—* * * i- X t0. ^ ^±L rr

C- io.

-^ .; If.", ^

caugni the Strang . ers gianc \r.^ eye:

1 2L 5^-= e—. ^- J I".'- 1 <<; • 1^4= 9 « 9 « S 0 =:fe 331

ty And whrn he smiled, .A.h well, thought she,

JL .0. X. •:t •i-r- '^ KI espressivo - PP r p , ,,\,_a. \ix.\ [-SL- I .*. -5-

/* Ji '±_ PP ^ -t -3 *- 0 ! -^^ KJ well. I wish this knight came court ir^. a ii ^., ^^ S ' 5- PP r—r

-i—S- _« I *t. :^' sz / ^

a iiiiipo. ^^0 -P- ZZ

Kc took two steps to poco aceel. mil. o iej/tpo. .r M-

I PP ' ''• f rr ••r t V- T

.tx -I 0-

rail.

^ zz: JZ^ 0- '

wards her seat Wilt thou be mine, 0 mai.den sweet?

^Q amoroso ad" lib

^ w > ^ -^ i K) "Wilt thou be mine H mai . den s»'eet: ^^-r ^ *_: 3#-i . .. ——• r ' 'coila voce. J^

<^i^ '^. _ /*, ^ " ^ / ^ He took her Ii . !y white hand, and sig'r

•Sib.! *>^: *^.r ^^: * •^. 333

1171 poco sirxjtgendo.

~0 0. 0 a ~»—I KJ ~rr ^ ~ I ^ r • Mai - den, mai .den, be mv brideL mv. bride Mii-der. ^ ores. _. ^ ^.^

-0 0^

y •" _* 0-0 . ^ a 0 w'' 334 D rail. 1 0. Allecrro vivace. J = ioo. .;! ' : ' L

be.. mv bride!. y .?

-i A- -i$H- ^1=^ V ^ i/> eolla voce ill. \n 'y I r sa.-'

ti^ «Sib» . t?r marcato. E <}^ Soprano Solo.

.\nd Andante con motI":-.-.:

-0 a- rr ^ Wall. -A^ f^ ^===^=^^ ~r-r ^r^rrt <»*ai . ^^ ^ P ^BE t)—r- •=r- Jes sic blush d and whisnered soft and whis pered soft

0 0 "^^ *j ^ Z. ? 5 ? ^ PP —r- 335 ^a' //(*.

^ H 0- ty Meet me tn _ night wh«"n th? -0-^ y f=—^ ^ JL:^ tz t: *^' jy tranquillu aa' /«<>. ^^j i ..^ 4^ .^_ ^—>- s r- . r

rf7// 90 i —-S !- T ^ ty moonj) . loft;. Meet me to _ night when the

> r t^'. * ^ — m H S- r P eolla voce. •g- • a 1 iS- ^ ^^

100 , -#—r- •*- . *rr,,,. zr ty dreamed, fair knight, long time of thee of thee. I V( tranquillo.

_*ib. 336

teiieroso.

cam est court _ ing me! I thought, I thought.

0 : y^

^:' i. -0 r ^:^ ^ y I'

molio rail.

a tempo. ilo

mei M. X. ^ rt tempo. m ^ ^^mg^-F^T^^^i i /' ^^ /' -^ ^ PP /: / -«- ^^1-^" :^ ^ —27T:?5 ^ * ;^

•F-f^MB^v 337 N9 7. CHORUS.

(( ''SMien the moon her yello-w horn displayed n

,, ^ndActe misterinyo e sostenuto. J =72

Piano.

1 '• -r 33: -• _ I ty zai

J—L. • ?* •^—»- J r xzoc —r 1 ' I . "^—y * trT^-=—^»• t5 \'L /O Bass. mf '^=^ f ^-^ zgz

"WTien the moon her yel lOW

--H- -zsz za: 2i: H • •P •• <»- •9- nt"f . zac n J

horn dis-played, A - lone to the tryst , ing went the

^ =5? 9J 2^ : tr 1 I T !

H S- v^-F^ -6- ^r 338 B

"^ '<, -i-0- • ^, « » -9^0- XC > ;• 0 xc "^Tien the moon her yel-low horn dis . plaved, A . lone to thetrvsi-ing P ^ jp ^^

Zi ' C>-^ ' l^

*'2^: 339

;> x: ty -=r=^ all the star s were shin ing bright, A - lone to the tryst. ;-^

^^ ty

i^ ty

i -i. >5 1 • ^TT C .:.

eret • do. » " y 1 1... .. —''•-a— 0 i^ —5^-^— \ i^ * *-.- •4y^L I ; a , I went the kiu'ght. When aU the stars wert mf _ /I 1 - _> "7 1 ^ , ^ ^ '.r nJ ^ 'J a M « a ty "V^Tien aU the stars were -y, - i 0 0— • a 1 j ty When all the stars were

0 ^ T a— xz£=z ) *- 1 1 y ^ =^ •^"hen all the stars were

•)w™»#*WPi"">«, 340

3o JfJ} misterioto.

^^ -9-0- 1 0 --?~0- snm ing bright, A - lone to the tryst _ ing went the

It J I r\ ty shin ing bright,. A - lone to the tryst - ing went the PP ——====zz=:=l=IZZ .- y <_r » I ^ I

r shin ing bright,. A - lone to the tryst - ing went the PP- ;— J Pjt , " ' 1 ry I '•• —rrr p • xac -7 I r^ ^

shin in^ bright,. lone to the tryst - ing went the

MS 3X K) zaz zz: ^5T PP i ^LZ_ zx

. y^ i^i>^ molto rail

^ ^ ; t; kLight.. A lone to the tryst . , y PP i^ nz S ' molio ran knight A lone to the tryst ing went the PP- -? !?- ^g -?-^ , ty molio rail knight. A lone to the tryst - mg went the y JO 0 PP- -^' 7S-^ -0 1- ±: moito rail knight. lone to the tryst . ing went the

KI t^ p 341 •^ R)co piu mosso J=84 t PPt'mpo.

=t6=^ KJ tr i

.y- .^rr^i-^v?-^^ ^ 342

N9 8. DUET-SOPRANO &.• TENOR.

u I have loved thee long."

And;inte con espressione. J. =60 Soprano, ly '^ jnd Tenor. ^^^^^^ ty

C-L ^-9 -0T- 7^-0^ 3C gn I -I Z:JC- :7=^ ty xrxc ^ 3^ Piano ^/^ .? g^ /^

-•4- -0r--»*- ,>''." .." #• I - M «T =2S: 5S* "^ * .««^0. * 62a).

Te-nor. _'- > —n / \ 1 .in r- I' ' 0 •— ty I have \ ^'. —0—«- ^ • % -^-xx —#— t ' * — J . 7 .^-^ • .arz 9—

^. ! * ^.

ra//.

-f' F- xzn ty loved thee long, 1 have loved thc^ well, I have A^ ikzz^z -• 5-

/ P t eolla V<3C£. I N ^ >• >• 1^ '^fb. * 343

a tempi I

:R^ * a- a a

loved thee long, I have loved thee well. -Muid-en, 0 temvre delicato : .-TT^'r ^

I. 1 ^ -^ Maid - en, thine eyes like dia . monds shine,-.

•f^ • a 0 0

K) Maid - en. maid - en, be thou mine! be thuu rrine!.

y -«•• •0-

* » »••

* ^«:ib. ^

•nwv»».^ 344

3q a iempo. coila voce. TI, ±- -0 0- .r'' T —^ a ^' :Se. * •S^b. ^.^ * ^.'

^3 t/

A -0- 1 i^'

9 0 * m r-' i -0—•- KI y-r nt^^ (^ :::f^j

I ^^ -r * =^

^. Soprano. a c -^ -D—*-

ty Fair ri -0- • I. ••• * 1—a-

ty I 0 0 0 0 0 I ' I I \ I I I 1^ ,N i ^ PP 0< .^ li .. -r- 'J >- ^. ^' p> 7* 345 pin mnsso. Bo ZZJC xcx # •

Sir, thy suit III Though poor mv lot,. ne er de - ny mv f^'i J I I I (

0 m (^ • ^* -?-•- -9-0- KJ H r^::^-^— '— Jiopes are high: I scorn a lov er of low de-gree. 1 fci 0 •- ZJC fe^ -f^- -t-j»- -f 0- -rr- ZX- izizJLJLtJLtJtJi m ^^^im ^^ -^ ^fU-\

None but a Knight sha'd mar . rr

i IT-- u-tr — 4 -'-•'» ty

~a J 4^4-I^j^ XXZJC 1 I • ''l :4i ^.

ad lid. ^--^-^ ZZ ^ ty None but a Knight shall mar rv me.

,§ 1"^ I ; a ty ^ co//a voce. «*—; **—: ! ^zx2: ^ ^ 3CX <*lb. 346

^'/. rail 347

0 KI be thou mine! be thou mine! ~r~ -- XL- rn .*.. t^. t zx * ^ - m ty i^ ^ :?=^ ^. "iii). • z: • *.

; 0 jf„ y 0 0 •^5^^ i^ ^ -f^ KJ . Sir thv suit 111 ne'er de »- nv Fair y^ 348

tinttgendo. ruL

ty ffrf am thine..

Sb ^ * 5i..£*=^ ^. ^•Soi.

/"/ :i ^

thine. Fair Sir thv

^ ty —r— thine eves. thine

A A XX ^* - * IS, -—* i ^ »• » Y

* ' • ^ ^. .:^ Si)<^ . -y. _^s,^ is * * suit 111 neer.. J'll noer. de -

-TTT- Z: / .. »-

\\ KI like dia monds shine; eyes ti. -0-0- LA ' J* ^' 0\ m ^^ TTT S S5^ =^ ty 7 JJ y p p aun m J r. :.«. -I—#^ •• t 0 ^ ^

<2£biX'. *^ r 349

poco poco acceil.

^ y—r'—^ nv. thv suit lU ne'er de _ n\ Fair

' f^ '' '' ' 'M ' 0 0

\V' '^^'^"'^' ^ ) ^ St - nunei. maid en,. Be thou

"•^ 0 "a ' * hSi - i,'-» -a- m ^^ KJ .cen .do

Sib. * 350

^ ' —' • 7 7 be thou mine! thine eves _ like dia monds shine • bt'2 i * %± h

i fety thine! am thine!

\^ :teP=

/ t0 ft. M.

^zas:

JL±±0^JL

# . * .*'•'*'

'££b.r- Ttr *« ^ db * 351

Piu mosso. J 96.

•^i- fe -?-# r- ty By thy brow, so.

JL *-^ ^ tiz LJE 0,0 in ^ A -0—0 KJ -Xi

U^ Li. •'»• m T±^ if J n 4 ZXZZ

^ * ^.

^.'T' * ^. 352

/-^=zx m / . , Knig-ht. of no ble nuen. So

^= —#-: ^ l<^ lips and cheeks so red. I

m I IT ^, r * ^.r * ^.' )-U -?^- •^ • =>> '.0 ' ^ zac KI fair. Knight. neer have

7 !& -W-^ L •:2Z I ••» » I -0- » * i

!. ^ -^ii'.lt ./ChCitit XX--> 353 354

eres.

U ZUUJ.

^ "1—^ Jb n- KI T^

-*-: •- r J 4-0 ^f-—- ? # •* -^ —

CZ/ tL^ -tlf Ll.i'tl.i^LZJ^.^.' r * 355 356

fe£±z 25X3= H—^

I ty

f^ty

1 g g » » :S=5: g 0 0 0 0 0 0 r 0 M ' ' m T PP PP h ~r^4' •^ 0 O- «-«- ^ r ^.r f *- 357 NO 9. TENOR SOLO AND CHORUS.

' He look her bv the hand so while."

-Ajidante tranquillo J=so.-0- a X. fz -^ ^ ^ P-- r- 1— T-

Pia no espressivo. \tfr-=r-a- J " -r,r r •~l * .. .a. ir\ ) ^ " -^ -7-- - o- PP C7^ ^. * ^. * ^.

i—L.

J . ! * /;

I I • o =g=^ 7*- I ^ rz= S£b.

He took her by the hand so white, And ^JL ms ty He tooJi her by the hand so white. yLnd iJi- ^

He took her aby the ' hand so white, And P I I

! •• •i r-

He took her by the hand so w'niie. And

Tir -t*- -#—I '-mty -zp^

zx I I I r. "Seb. 358

0 m ty gave her a ring of the gold so bright; of the .. a

f —0— gave her a r:r.r of the gold so bright; the

-rr KI gave her a ring of the gold. 60 bright;. the

\—v •A—^J —r— ^ r- -- gave her ring of the gold so bright; of the M *^ ~ •>•

i—J—-

Tenor Solo ZZ. X— '^^

y ^ -^ u * ^

• KI gold so bright: x^ •-/,-,—-— X3SI

gold so bright:.

2^- ! ^ 2ty5 gold so bright, so bright; m^ =^ brichf. 359

eon passione.

^. J-

^ ty f: allargando.

m zzzz^I -5*-

ty xxxn Maid . en, 0 maid en, thine e\-es like dia - monds v,,y ^ r >» • < » thine eyes like dia - monds 360 Ttrnor Solo.

..* "r jr . . >_* - * /* » / m I .'i.^* t/ ^ wr^

-^^—^

^ ^ ^ j^ ^. 7^ -^ "^ KI U^^ smne. aceell •)Oco - (T - voeo. >• S -i-*- -^y 3KZDC • ty maid - en, 0 maiden, now thou'rt mine!

./*. j^ ^ 3 si- :s=;: ^ \. ! r KI maid - en,0 maiden, now thou rt mine! ^:T~r xxzzi: aceell poco - a - ^oco. • / 0 'm -..^s- ^3^ T^ ^/^ agitato. -•r- # • -T«- :^^ ^^ ^. ^ * ff'" 1^ 361

mine! thou ri a^,^ X t tz SE * g S > m ': m '.— E 5 /- 1

Mty y^. /eroce. if f ± ± dSz .£-. « '• , i ; =i=?- a ." . f" zz: :5z:

.^. 362

/Ii a ^ Sz ii: Il " ff,rTA?T!\rh^\, F^vTT;£^i??^ \ >z *2£b. * "^^^ i^* 363 N? 10. CHORUS. u."H e lifted her on his steed of ^ray."

"Moderato risoluto J = loo. Treble ^^ ty

'^to ^^

ti-^ Tenor KJ Bass. ^m Moderato risoluto.

f^ "' •7^ KJ ii a: Piano. T^ 'sotienuto. fli pjp tempre marcato eres een do. -^ »- •JE 2 3c X r^~» r:

^^l^ y ^0^0 ^*^^ ; ty He lift - ed her on his steed of gray, .Ajid thev JL :iz ±xzxx ty "~* jr" He lifi - ed her on his steed of gray, And ther y -" r- -N- xD 7—^H—^>A- Z0 *x "tT He lift . ed her on his steed of gray. And thev

T—>- J^ g -r-r-/- lift - ed on his steed of gray, .A.nd thev

il bastn tempre ttace e mareaio. 364 ;Jt^ i0 0 V —r— rode till mo rn ing, -—hr -r- -t.^—I-

L » rodc till mo wav. •^•av _t ii x?=z^i ^' • * 0 * ; *

rode till mom mg:, wa\-, a - wav

-XXZZ^ZZ^Z r ' /•

rode till morn a - wav,

== 10 365 ir< f . cen A_^ [^"' • ^ ' ' = ty O'er th e moun.tam

Oer the moun-tain and o'er the moor. And o'er. the

I a 0: ^ I '' y KJ O'er the moun-tain and o'er the moor. And o'er thc

. 0 - ^ •* a -0 0- f r —0- :st Oer the moun-tain and o'er the moor. And o'er the

4~^ -0- ,ii

cr«j Ctfn rfo.

I - a • * ^ xac ZZ.§ —^ T' ^-Trr^-^f _ 0

^ Ji-S- i ——* *- ty dark. sea . .shore.. the dark,. the

•"-i— -X- V ! 1- j-fO X ty —rs— —9- rocks. to the dark. sea shore. thc -X- 0 I i z± :55zxE rocks,. to the dark. sea snore. the -2 3i: ^

rocks. to the dark sea shore. and

:i _i Co

zz—9—=—w—rz—9- 366 B LJr^ -"—r KJ dark sea. shore. ! ^^

Ii: sea - shore.

C0 i dark sea. shore..

E^m' r y otT the rocks to the dark. sea - shore.

i0 "er*. >^ ty A: >

S X3C tz—•—n—ar * ZO

•-f--) '' rr

^^^

^^^ s

^^ :?^=^ 5 -y^

j^. i ^^^ f ;:?2=^ " .(^ . strrng-endo •fP b;^

,« ?" 1 •^»-^ ^^. *t2U 367 -X ^szx ^ ty

ver the rocks. to the -y. ^^ _»^ ty 0 • i acd vcr the rocks. to the

•^ ^ i ^ ty ver the rocks,. to the -f- —r—: Z 1 1 ^ -1 >>- -r*^—'—•^-r^r 0 - ver the rocks. to the »^ --—r- # KJ f y bJUg. t:^^

<££&. * Si). ' *

X mW o -ar -r i dark sea shore,. to the dark sea KJ =1^ dark sea shore. to the dlirk sea.

3X4: 17 T 1^ •>• dark sea snore,. to the dark. sea. X -^^=^ z: ^

dark sea shore. to the dark. sea.

KJ ;*•! n PP X3q T -^ Sb. J * 368 B .ALllfirro £:iu>to. J=ub

t/ -.^ shore

mKI — shore,

-C 1- KJ shore.

shore. Allegrro giusto. J=U6. I

P dim. f* 9^=^ ZJJt- -Z**- — X.s-^0 — r= r 7I r H:: r "s^^—

r-^U^ ^^-1 ! iy-n 1 1 m . —, — •* ' ' / '^"- rvr^ T-z •s^ —7 ..r f smorzando. ^—^———^^^^-.—.

-^—-—•—'.—I—i—\—1 • • - i \ . •, : r— ^ i 1 JT-Zl-JL -^JL-^ ' JL — JL -~ ML — JL -LJL^JL -L- _* _^ Ji _

^0 ~1—

mty PPP

7-' <•- -1 JL—H—Z—^ 0 •- 0 - m

—r- 31 ±33: TC JT ^^••. WJl =*;?==^ i^ V ^ Attacca 369 N9 11. SOPRANO SOLO. We have riddeu Ea^l,we have ridden AVesl.'

L istesso Tempo. Jciie. oprano. fr, ' 1-

^==3F # W=^

Piano, PP eres J r 2XI3E: m • 4 I X. JC JL 2C it-_L_^^ ~__#—- • •- _L _!•

A -^ >, > I

mty \Vc have

•^ m I '? ^ 'y^

•^-0- 0 ' —# •—•- JL -^ JL -^ JL -^ — ' — Kjj' ^ M ' ! J> y "T • <•/ basso tempre ttneento. 370

fO ^ I '0a-. 9 r2 S KJ Z^=± rid - den east,. — we have rid . den west,. am 371

me?. Hast thou a good ship wait «i^.g.

Attai-ca 372 N? 12. TENOR SOLO. I have no dwelling." J\.llegro con fuoco. J.126.

! Tenor

# s •^—1 ?^ ^1r > S£ p ^ 2:J SJ ^. r * ^ parlante /*:t ^ Sty ferocemente

» 0 ^ M ^^ "- string-endo. flii *

:-e— 373 f ^^ Jcroremrjitc ~fr) ' 0 0 0 a » 0 ^ 'Z — r p r— z^c:: have no dwell _ ir.g be - vond the sea

fr^ • • * • 0 \ 0 0 -0

-r r r r Thou shall sleep with me. on a couch of foam, Thou

-# 0- -•-^—*- .-1 i "7 f \ ty sleep with me. on a couch of foa m. .A.nd ::-.e

^- :;r- u r —r- ^ —. s ?- ty

*—= r- xdE ^ -• 0 374

-M-—G- 0 ! : Kl X, -p - depths of the 0 cean shall be thy home.

-C-r t,» • > I . J 51- ^ ^x: jy 7 • .* _ ^^

e£b.'-^^4S * 52). ^ "T

44- ^ ty

i^i ^^ • . 1 1 1 '—^ t 'v^^ -; ... . M-- • : -f^ " 0 0 * 0 " • 1 •sr -y = ^-^ , ^ ifP ^ a^ eres. TTc -^ —=_ 1 375

i^ il basso tempre tiacc.

' * a # r0 .0 KJ ^ low de - gree. And vowd a Knight shouJri 376

cendo -i — •izzzz. Maid -cn •v^hose e\'es like dia-monds shine, like

r* ^. i ITT^^ ty

JL i( ^ ~ -^ ,S 19—9- KJ poeo. dim. Ji^L JJL &. 2:^ ^^zs^ ^

2'/ basso tempre siaceato. 377

-•—0- 0 0- x XXIEZZZZXZ ^ KJ > mer. maids three,. And mer-ry the wed ding feast shall

X-* fl,^-

-J20 ^ )X i*» fy E 25 be. Thy bri . dal J2. jLi- .5 ^ 3?: ^' J^^ JL- 2=?: :^ ^ y eantattdo. .^i ^^ -wU^ •'i- J.J * T_J= jin ' Z£^- racxzza:t ^ .* "^ Scb. * ^

':r:z. ^^=^=^

K) maid ens fair mer maio^ three,. And

/I u ^ ii j -• X—*_: 0^ J 0 f X

BSS 11 J 2 - €S!^^ .h A.J A^ ^ J^l J) a JI a ./ '.^-^ «^, r * 'Sb.J' " ^, r * 378

z^==Z f I ty • mer • rv the wed ding feast shall t:2iA= ^ -"^ ^r* F?';" SE -« 0 0 ty ^J JLS ..rj nn ZJt. ' ' * * a H 5^-#- ~* a i . *

^. * molio ii. '^ • !• r^ :s.a. ^ZZXZ ^ • f I ty l)e. And mer the wed ding U -5-

-r*- ty T 3 moUo ere J. N I K [-0-' 0- -#.) »» ** -•—*- u^ -5-#- • rr.'a-

^.t5- * ^.F * Sfb.r' * rai7. F U^^^. e 9- ^ n • '^ zac I ty ± feast shall bc. Tifeno mosso. A± 0 i j, zzzz m -^—7*. ' . , failar'ando. ^ rail.

\^^^

* 2^. 379 een poco - 380 strmsendo.

break - ers

J' -*

- / ^ / ^ / ^*^ '^ /•• ^-r^^ / , sinngendo e eres. /

!...?» •y >9- ?*_,^: ^ ^ l^ ^^ :?:Sib .

molto eres: yto V*- 2?==

shall we be wed. The

XI ^ i^ ty ,/ . * I xx: ^ ^ ^nolto eres. y/ 1 • '•;• :.P*

-55=^ "^*^

, /OO i -^ ty whirl pool froth thy

y _ a r -»' i -»-f- ^ />• /."n •4 /" •^'*- ^^ :^5= ^=^ ^ * •Jxb a

y •, .» I :i«—>—»- -y.»- =^^ co//(7 vocr. '^^^

'^,0 t t \^r0—*-*- ^^ ^. f^ XXEIt -zz ^ r*—•" I- ^£b. 381

AJJC L :. r^ •* rxy ts ,:,;; s s^ 3P - cendo. y eres _

*^.*ii

t: "Sibr^ * -s^ 382

/; c ^/

m ~r* < h "f. lecp with me on a couch of foam, and the

£L In ' "r zz acticato 'fP ,,0 ^^ ; «- —r; Szc 1/ bat to tempre tiacc ^nrr xo ^.

'0a ty ' ^ depths of the o ccan shall bc thy home, -r- the 01 - zr J2. .*. JL zzczzZzzzzz:^ 3tf: (n '-r

eres een do.

^ 0- mKJ ^ ^ depths of the 0 ccan shall be thv home,. shall

fnn '- ^ • ^^ ¥ eres cen do. p .0- •0- -0- -0-

^. * -Sb. Sai. I * ^777 Allegro furioso 0=122. /7 ^

ty be.. shaU be. thy home

ms r <^„ i im x: r/T/;, J h 'U,.^ j^ ^ ^^^ r r r ffX * ^. * -Sb. * -Sb. 383 N9 13. CHORUS.

The ^ray steed plunged in the billows clear.

Soprano

Alto.

Tenor.

Bass.

Piano

* ty fl # ty zr. 1— ^ziz The gray steed plunged in the bil lows

-f\ y^ ^- ^ ^^ m / :i \ The- gray steed plunged in the bil lo^v-B 384

to hear. diminuendo. =?x:3 4^^= = I I I -r i ty to hear. dtminuendo. I • * -^ *- m ^ ^ KJ to hear. dimttiuendo.

•+—n ' 'J' -i i— § -I—i- to hear.. 2 l'£ ^t ?;

Si. 385 A

E^ XT m KJ

^=^. zzzit

2: !>- i: t 1?^=;?: :£> :^*:t ^ ^ ^ J2_ icxzxsjfzbt: stzzjKXZzs: :;z=2: ^ ^Xf ttriugendo impeiuoso. • '^•& a -^ -^ -^ > ^ . ^^^ ViX ^

^. *

/»oco poeo UL aceell. '^ KJ ± y. ty Maid - en, maid. en^ thine eyes. like dia.monds sliine i ty y. ^ :?=

Maid - en. maid _ en, thine eyes. like dia-monds shine (?-

^ -yr -0 -;

JjJ if poeo poeo S ~ * X *•• z: •y -ar "sr >• y ^ * ^. *^. 386

rr - . an/io. B y: eres.

KJ 3 Maid en. maid - en, now thou rt y^ I ./ i m KJ en. maid . en, now thou'rt Maid

^3E ^ T—f—r r ando. eret.

^ -^-r

^^=^^^^ ^ ty mine. Maid . cn, maid - en. y: ^ ty Now thou'rt mine. cx Now thourt mine.

. 0 -f- ^t A ' ^ KJ f m fr 387 C f.-- M olio a cn It. er ii - ^ .1^ r ! TT

.M.-ud . en, maid - en, now thou'rt mine. m y> ty Maid - en. maid _ en, now thou rt mine. y: ^

Now thou'rt f. m jt Now thouVt it ^ 3^3E i—-y- KJ molto aeeell. _ rr

ando - tf eret. i -0 ffi iL=: i -*^ ty Now thourt Uii ff J^ ff. ZZ.-JCL ^ KJ Now thourt 'A^- y^ -e-^ ^ KJ mine. Now thou'rt •>-.— a.-

mine. Now thou'rt

=:>^ ZSZjii'^i:^^ -c»- ^ J zi^ty "TT' ando cret. m "*—X—»^ •»—3E—*—3C—ar "PF Ti •y "ar -Scb. * 388 D Allegro molto. Jri26. Jka r> ir)Af¥^ mine

mine

ff CL. -Q_

*•

mine ..

jy^preeipttato. x/"

•2Z ^^:=^ T==?z zz

ii^ ^•^0' -0^- -^Z tm 'M0 ' V -r- ff-^ mareaio molto jeroce. — ii^ » -0-' JL m ±1 zi flf ^' "' -XL JL ^_ C^s*='- ^. •*- ^.#- .!i -?•*- i£ £ -K—t ty ^ffz •l^ lit- T=??^ iz: i^ ,^.» § I T « ^. * Molto sostenuto. molto rail. 389

' = 96. -y

ty ' 0 ~ Loud the m -y 9-- 9-^ Loud the ii 4/1 I. ^z^

Loud the mf ST-:* -

Loud the

^ > a if it tempre Legato. *v. s * * ».> ; » ' * ^ ^A. _•'£. •:^ff-x—x^^T£- Kar. 1 ym r,i cold sea blast did blow,. ^_iL

^ o cold sea did blow.

-fc»- ^ -I—«-

cold sea — blast did blow,

»—*- § zzz:

cold sea - blast did blow.

• » . ^g M ' i ^ ^ 390

Quasi Jlecii. f XI f^ M • a- As they zzHzzzzz=-=- y

ty As thev y .'

•9 • a t/ As thev y ' "Y^t- As they

tif stringendo e feroce. 60 iMJij^ :—:

ty - '^ x'^t I sank .'mid the an gry ^^-cs be low. i /^ :* - 1 - »' i ^^ TT" V " ? ^ :?z^ sank 'mid the an gry waves low.

.. ^ » i zna: KI ~7— Y sank •mid the an gry waves ^ bc low

ZXZI± -a-..^•^ I r" ir-

sank "mid. the an gry u-aves bc low.

' 0 »"».»• ^ r*?#— I .^'^ iinvetuoso. m ZZZ

^b. * 391 392

' /•; J H "'•>^ -70 ^ rf>~ Twice five hun dred fath - >"y zcs•TS-t : — ! ,

Twice five hun dred fath I 0 ^ mf i (n "' ! ' • Twice five hun dred fath - ^f ^

Twice five hun dred fath JL -^ i^ j IXK C0 r* V i I F

> _•

^.fl* -y :? :=: :ii

TT ^ f ^fl." oms deep. P — b!ax: v>^ oms deep. P -th

orns

oms deep. 393

Z2Z. 0 0 -0 0- -I r. ? M f-

y— •ixr

•"" * »m 'a— I 0 :> . r e - ^^r.^r^ .^ t^ ^ ^-5^J ^ b^ >pr b-jr- •?[>- b^ jrr b-ri? ^, *5a.

^ ty T T r

^o*^-. xrrr ^ Tt£- ^ 77 rr: tx: ^= li-Jt. u i^-T •ari*: '-^7) *^^. ^ '^ ^ *p "^*^ . -^'^ ^

I 1 -0-^—0- -^ 0 K—vat*. <—*- 3zx: ty * c^ •5- TT- •»•

sff .f marcato.

Jy-.^ i je^ 1J.±. \Z-t—'^—JL. ' u'—— — — — —'-^ ^ ^— "'——r*^ 394

i~r 2ZXX •^-30.0 0-0 :0'.00 ±Jl^.M^^m0t0 0 i .0i»M*'m.^ 0"' m M ' ' «ZE ty

eret een do .

y,; 3cxxacxjrxxac b^ =

^. *^ * ^. *^. /OO

00-0' KJ 'nf-fS^yiSr^r^'i'

J>OCO poco _ ^/'w

srs1^;i ^ 'C0':0 0 ^..,,., ^r;^ '^^ '.^^1 *^jl

^. *^. *'Sb: *2£b. i HX •^ ^riy-^th^^Z^-^thri ?s?s;^f??5^3p?5v«* rail. tmorendo.

* -Scb. * -Sib. * IIO iSL ]^

ty "^^-^ ^_^ •*• -^ • •••• TS^ "^ ~V. S- •0Z

-*—=- I . r 1^ •' • 395 N9 14. CHORUS.

n At morn a fisherraau, sailing- by."

Alto

Piano

eon tristezza. i xxxzszzxx: ty morn. a fish - er - man,' sail

PP m -Sb. ^.

^ .9 *' KJ by,. Saw her pale corse

-s>-

«»..•> * ^. 396 .-0 tp=

float mg high;. He f) x^-^ X. ZLX _ e-:Si0^ x.^£x._ -^0~^0 J^0-fL, A.-** ^

-y J_JL ;zx:5 tr^xx x -I—s>- ^——^ soft and fair. He

rrO ^ n *"

r^uJTti ±^ m n ~ a—' ;:J ~ a -o- » "C"" S -Mtr TT ,Sb. ^'Sb•'-'/ . 397 B tristr e dolcr.

knew the maid by her yel low hair And her

ii i_ ^p' , •) KJ fair. 3 •? I I

—^ r V C_ -I O 0 0~ -0 *-: i 4 —-—

7f^'i ; • ^i zzzzsz p—^ r f 398

a ^ P ZXtZ, X" i -^-—#- TT \jf -9 IT Un . der jock on Scar - has shore, Where the y S.

* * ^.1 ^. 0 g ^

fe * * — r-- „ a ^ the wild winds sigh and the break ers roar. ^^ ^ ^^^^ r; JUE:^ . ' -6-

S: S zzz: ~c—11—zr Sb. •zr zr *

z^ i .. r f wfld winds sigrh and the break ers roar.

>% ^SX i S :» » * S » * zac-3E : ty ' 3 r—r •g- g^.^^ .jr "" ^

^. '^. *

2-- ^ ty

.. -:, ; ^ *•, - ^ » ^ ..2^ ty y

:H- n ^j ^ ^ "T

•s- 399 N9 15. CHORUS. They dug her a grave "

Soprano KI

•^^^ Alto -' H - - # # -#-: *- -tr •sr - -9 -9- They dug her a grave by the wa _ ter clear, A Tenor. -~ I ty

Bass. *i)'?^- :! .Q

H. J2. lA. I '•^' z::z±zSn=^z=z^ I '_; t •7^ i- tSy Piano.

•«^ -;^-I ^- 'ZT- -£_ ^^ < g

^^b.^* *£i" * 400 A

-0—0- X -#—^

Un -der a rock on Scar . ba's shore. 'Where the wild winds QP jP P ZZ -N—e- i \ a Scar - has shore, "Where the wild winds P \ >;• " ^ 0 0 0 » -0-^—©- ty Un - der a rock on Scar - has shore. "WTiere the wild winds g P »>.s" mTzrr H 0-

Un _ der a rock on" Scar - ba's shore, "Where the wild winds

^ i ?zrT

eZZZ^ S >• 0

10 'mTV I '/V ' sigh and the break ers roar. iJL ^^ I o • 5% ^zzzzzf: • *^ ty sigh and the break ers roar. -JU3, I' o -^ ^ s- KJ sigh and the break ers roar.

:2zzzzZZZD C ) o • Sign and the break ers roar,

3 JL :2. ' V -XX: ,^ 'y .-^ ^ ^

^. 401 402 403 404 fhiolto rail jf JJJ) a tempo. iUL L^^*" ~ "—-^J . : 1 < ^ ^ 'm ^^ ^ S- iw -.•^—f ^ 3tZX sigh and the break, ers roar They dug her a grave, They PP

break ers roar, They dug her a grave. They

-(- \ - r /C. ^ 31. ty B,o ^8 g-. -(S ^ ^ molto ra//. ^ J!^p (2 iempo. —MJ ** ZZZ. o • o •

-2-S- fl dug her a grave, They- dug her a grave. by the

J23 2?—ri^- grave, gra\T: by the

I I ^ yn I •", grave, They dug her a grave by the They dug her a grave . by the J .j ^ J J. J *r.gL*, rf-^< &- ! 0< -5^

dug her a grave, grav* by the

•^ fcg: ty J« ^?

•r'„ >;• -o • o • XT TT . TT ^. 405 crescendo k oer- poeo

"< »»> IS' Op- ^ Tzr 1 o-* -^'^

.wa ter clear, ong the sea weed salt and

-I u -t^ Z-r~-. m xxx g '^ i xc wa ter clear, A _ mong the sea weed salt. and wa ter clear. A . mong the sea weed salt and P-ITJ ^v;: :. .^^ J^ bJ J:3i ^j t a : ^ J -e- i—Q- f ^ i o f wa - ter clear. A — mong the sea weed salt. and n it f i !•> * ty

JL ^ a .^—^^ o • • o • I 7=

molto cret. ^csf h/5 . g... g eg -J ^- -r'-T r» f^--c rr rr- ts: . ^ * # u« > '' ' i Q—^ ty Bere."Where the wild winds Mygh and the break . ers roar. The. /lAi. ff fi. 1 i =^^^=^^ 5^ :;;^ -#—# I :o- ty sere.Where the wild winds sigh and the break . ers roar, The AS r.i.-. < ^IliEt X?:e= -o ^ zzzs^z i T aere.'^'here the wild winds sigh and the break _ ers roar, The SCfC. <•> a» «- <; .-• g -»-*—*- S•^ ^ sere."Where the wild winds sigh and the break - ers roar. The

•-€>- I t. rt^ 3JU m ^S: : o t?:^ ^j g 1 KJ ^ -o- ^ IJCE

* 406

•Sb. *5£b. 407 1 «'»• r . % -• 0- s 3 They dug her a grave

^ ' - KJ V -9- 3 They dug her a grave by the AJL P i + s- -# 0 . ty Thev dug her P'

'^. Sb. ^- '^. ^ lu^ •g '•• y: .^ I -I—©- ty -#—•- .•a _ ter clear, A - mong. the sea - weed f) ii,: ZZXC ty -#-: #- ^^ '^" wa _ ter clear, A - mong. the sea weed

wa _ ter clear, A - mong weed

-TT" JJL y-^,v '• ' x: wa - ter clear, A - mong. the sea weed tiijL 408 409 Allegretto misteyioso. J=ios. -^_ ^1 . ^ .««-- r-,—r ~ w ^ aczJC •*• ». •?]^;s ^. <^ atz ^44 t t '>; f St . V ^: ?^•,^ • ^T"Z * ^ * X3C ± "••"W • *'-jr_ T -ar- 7"-ar-r ^S 2^. •P7 5a.

-^ ^ •*• -••

''.'t = # #—m . 0 ' ' . ' I— •• ' '^ x::z -I—0- f

v-H ^ ^ ^ X a a )--r^ Ng 2JC ^ T • *X' i ^ ^. T^»- r-ar r 90 * #•: -®- "^ '^ •i ^fjC J" r^.h^^teSl, r- f'.ir < -;- -#—t- z^ •^^53: _; # T IT" ^. Andai^r maestoso. J=7R. .; Qp^ ns -<:.>- ty ^ i And cv rv year at

^, • ^r"- 4-*- -c-#- 11 And ev r) year at -2_ i ' ;» ty And ev 'ry year at J*' - :zjc: -/- And ev ry year at fr\

tmorzando.' £ sr,:fenuto. 0 I / »

'Si). ^. * 410 ; 0 !> ^ J .c— •T-0- ^ ^ ±Z rr-r ' ^^ • \ ^-T ^ \0' 0 Belt _ an E'en, The Kelp- ie gal -lops o'er the green. On a

-^-0 0- zx ty zaz !-• *- Belt _ an E'en, The Kelp _ ie gal - lops o'er the green, -.On a 4JL^

•^r0- IZZ. ^ m 0 * 10-0 Belt - an Een, The Kelp - ie gal - lops oer the green, On a

kJL 1-^ • '^i^^ •r'J r. -^ 0- ,9 9. ZZX ZPC •r^m '^*- 'J ^. Belt _ an E'en, The Kelp', ie gal . lops o'er the green, On a

^=^ X ^ r.^ I' :o ^-^-s KJ ""^W ~9 r

ij xr •Sb. * ^. r^ ^jh-.'; y f^rZ. -=-»- -B-#- '^^P^ac h*—-" teed as fleet -r- the win try rind. Vith as y -T# r -J-#- ?-^^ \0 :* # ! tny - ' m :?= steed as fleet as the win try wind, With y P «r». ;•- '- •:.« :» I :g • m r », • •!.' ^ # i :# :* :^z=± steed as fleet ' as the win tr>- wind, With

tf- ^»—«- ^^^^ b. m0 * i\'jir'. . :<,» ; o r.

Steed as fleet as the win trv wind, With

•^ ^1,'^. '-r ^r ¥ ^ii g-^-j, - .. 411 PP *L^ •^^ i:!^ ^ *=v- '; ilff ;zz Jes - sie's mourn, ful ghost bc hind..

!| H i •Mj:

- H Jes _ sies mourn-ful hind.

1 ,j ,i 11^;:,^ !l ^ f .Jes _ sie's mourn, ful Ifhost be - hind. PP. • ?..'f> : * 1^ :?^ zx ?=^ Jes _ sie's mournful gtost be hind.. ^-3-^tZ 0 0—*— =;=2=: -fm i •rt—m uX- ^ ty •ol r TtZST e ^TOTJ P '•S.C'^v "—^—- -M- ^ TT T; s y XJ. ;=1 ^^zzx ^?^ Jt]"2r -sr

nte raafestosp J=52. J i ''^ C-*—^ ty PP /T\ ^Z*" largnmeiitc. ff A AA i 0 0

6&ib.f i K i* i ^ ^ ty gantattdo. r^ I ..pa—^—t. zz: •^•^r i - ^:^-

-V'- -d- 412 {.'i ^>- ^ t^^:£ £ XX

Wfi^ 7'rl#^ -.r^-i £ ^ ^_i

eecb.|s-' ^. 5^.r" £^/^<^ ^ APPENDIX D HARK! 'TIS THE BREEZE OF TWILIGHT CALLING LEARMONT DRYSDALE

413 414

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