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Chan 0581 CHACONNE

AULD SCOTTISH SANGS Scots songs collected by arranged by Haydn, Beethoven, Weber, Hummel & Kozeluch FIDDLE MUSIC BY NIEL GOW Scottish Early Music Consort

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Auld Scottish Sangs Songs for the Scots Musical Museum (1790–92) 1 Ay Waukin O (2:16) Bass by Stephen Clarke (c. 1735–1797) Lorna Anderson soprano, John Kitchen fortepiano 2 The deuks dang o’er my daddie (0:48) Bass by Stephen Clarke Christine Cairns mezzo-soprano, Alan Watt baritone, John Kitchen fortepiano 3 (3:31) Bass by Stephen Clarke Harry Nicoll tenor, John Kitchen fortepiano 4 Rory Dall’s port (2:32) James Oswald (1711–1769) Christopher Field violin, John Kitchen harpsichord 5 O Kenmure’s on and awa, Willie (1:55) Bass by Stephen Clarke Harry Nicoll tenor, John Kitchen fortepiano 6 There’ll never be peace till Jamie comes hame (3:40) Bass by Stephen Clarke Christine Cairns mezzo-soprano, John Kitchen fortepiano 7 The Deil’s awa wi’ th’ Exciseman (0:53) Bass by Stephen Clarke Alan Watt baritone, Lorna Anderson, Christine Cairns, Harry Nicoll chorus, John Kitchen fortepiano

Burns’s visit to Niel Gow (1787) 8 Loch Erroch Side (0:59) Niel Gow (1727–1807) & Margaret Gow Robert Burns (1759–96) Christopher Field violin, Marjorie Rycroft cello, John Kitchen harpsichord 9 Niel Gow’s Lamentation for Abercairney (1:09) Niel Gow Christopher Field violin, Marjorie Rycroft cello, John Kitchen harpsichord 10 Tulloch Gorum (1:09) Set by Niel Gow Christopher Field violin, Marjorie Rycroft cello, John Kitchen harpsichord

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11 Cumha Mhic a h Arasaig (McIntosh’s Lament) (6:45) 20 For the sake o’ Somebody (2:42) ‘Communicated by Mr Campbell of Ardchattan’ Accompaniment by Hummel Christopher Field violin Christine Cairns mezzo-soprano, Utako Ikeda flute, Christopher Field violin Marjorie Rycroft cello, John Kitchen fortepiano 21 Contented wi’ little and cantie wi’ mair (1:18) Accompaniment by Weber George Thomson and the ‘Inimitable Songs’ of Burns Alan Watt baritone, Utako Ikeda flute, Christopher Field violin Marjorie Rycroft cello, John Kitchen fortepiano 12 What can a young lassie do wi’ an auld man (2:36) Accompaniment by Joseph Haydn 22 (3:11) Lorna Anderson soprano, Christine Cairns mezzo-soprano, Christopher Field violin Accompaniment by Kozeluch Marjorie Rycroft cello, John Kitchen fortepiano Lorna Anderson soprano, Christine Cairns mezzo-soprano, Harry Nicoll tenor Alan Watt baritone, Christopher Field violin, Marjorie Rycroft cello, John Kitchen fortepiano 13 Auld Rob Morris (5:32) Accompaniment by Haydn Christine Cairns mezzo-soprano, Alan Watt baritone, Christopher Field violin Marjorie Rycroft cello, John Kitchen fortepiano TT 59:51 14 Robert Bruce’s March to Bannockburn (2:02) Accompaniment by Haydn Alan Watt baritone, Christopher Field violin, Marjorie Rycroft cello, John Kitchen fortepiano Scottish Early Music Consort 15 The bonny wee thing (3:34) Accompaniment by Haydn; adapted for 3 voices by Beethoven Warwick Edwards director Lorna Anderson soprano, Christine Cairns mezzo-soprano, Alan Watt baritone Christopher Field associate director Christopher Field violin, Marjorie Rycroft cello, John Kitchen fortepiano 16 Duncan Gray (3:10) Accompaniment by Beethoven Lorna Anderson soprano, Harry Nicoll tenor, Alan Watt baritone, Christopher Field violin Marjorie Rycroft cello, John Kitchen fortepiano 17 The lovely Lass o’ Inverness (3:34) Accompaniment by Beethoven Christine Cairns mezzo-soprano, Christopher Field violin, Marjorie Rycroft cello, John Kitchen fortepiano Musical Instruments 18 Air and Variations: O Kenmure’s on and awa, Willie (Beethoven) (4:05) Flute by Hill, late Monzani & Co, London, c.1830 Utako Ikeda flute, John Kitchen fortepiano Violins by Colin Irving, Guildford, 1985, and (11 only) John Barrett, London, 1722 19 John Anderson my Jo (2:06) Cello by an unknown German maker, c.1700 Accompaniment by Weber Christine Cairns mezzo-soprano, Utako Ikeda flute, Christopher Field violin Harpsichord by Elpidio Gregorio, Italy, 18th cent. (Collection John Barnes) Marjorie Rycroft cello, John Kitchen fortepiano Fortepiano by Friedrich Wolff, Vienna, c.1835 (Collection John Barnes)

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Songs for the Scots Musical Museum (1790–92) Robert Bruce’s March to Bannockburn (1793) and Contented wi’ little and cantie wi’ mair During the last nine years of his life, between 1787 and 1796, Burns poured much enthusiasm and (1794). energy into contributing to The Scots Musical Museum. No Scots song collection before this had A series of eminent composers was engaged to provide ‘symphonies and accompaniments’ to the achieved such comprehensiveness or such faithfulness to the folk spirit. Its initiator and general airs. The earliest of these were by Pleyel. In 1797 Kozeluch, the Imperial Court Composer in editor was the music engraver James Johnson; but Burns became its guiding genius, Vienna, took over. By 1799 Thomson was soliciting the participation of Haydn, who had already throwing himself into the tasks of gathering, revising, restoring and (where words were needed) set a hundred of these ‘wild but expressive melodies’ for William Napier; helped out by his pupil creating material for it. The musical policy was to present the traditional melodies simply and Sigismund Neukomm, Haydn undertook the whole of the third and fourth volumes, as well as plainly, with sensitive, unpretentious throughbass accompaniments by Stephen Clarke, the organist supplying replacements for the ‘less happily executed’ settings by Pleyel and Kozeluch in the of the Episcopal chapel in Edinburgh’s Cowgate. These seven contrasted songs from the third and earlier volumes. fourth volumes of the Museum are fine examples of Burns’s skill at marrying words to music, Beethoven, who had confessed to Thomson a ‘particular liking for Scottish airs’, provided whether by building on an old verse fragment (as in Ay Waukin O and The deuks dang o’er my arrangements of nearly fifty between about 1815 and 1818, including a number for three voices daddie) or by making a brand-new poem to fit an existing tune (As in Ae fond kiss, here juxtaposed which were described as ‘novelties equally original and beautiful’; Thomson also commissioned with the instrumental piece Rory Dall’s port which provided its melody). from him in 1818 a series of Twelve National Airs with Variations for piano and flute in a style ‘that is familiar and easy and a bit brilliant, so that the majority of our ladies may play and enjoy them’. Burn’s Visit to Niel Gow (1787) Next in the field was Weber, to whom Thomson wrote in 1825 expressing the hope ‘that you will In the summer of 1787 Burns undertook an extended tour of the Highlands of Scotland. Friday 31 have the goodness to contribute your talents also to enrich my work’ and enclosing ten airs for the August found him in the neighbourhood of Dunkeld, where he met Niel Gow, the most celebrated master’s treatment.’ These were to have a part for flute in addition to the piano, violin and cello of Scottish fiddler of his day, before going on to stay with Gow’s patron the Duke of Atholl at Blair earlier arrangements; Weber duly obliged, and the songs were published to coincide with his visit Castle. The poet left a thumb-nail sketch of the violinist, ‘a short, stout-built, honest highland to England to conduct Oberon. By this time the indefatigable editor was also corresponding with figure’, but for details of the music which he heard Gow perform we depend on a report said to Hummel, the only one of his overseas contributors who had actually been to Scotland; from him he derive from Gow’s cellist Patrick Murray. ‘The first tune played was Loch Erroch Side, which received a further twenty songs between 1826 and 1831. greatly delighted the poet… At Burns’s request, Niel next gave them his pathetic Lament for For all these composers, Scottish music could not fail to evoke images of the wildness and Abercairney, and afterwards one of the best-known compositions in the Highlands, McIntosh’s romance that lay beyond the elegance of Georgian Edinburgh. Their efforts to adorn rugged airs in Lament… Tulloch Gorum, and other well-known native airs, were also duly honoured.’ (Alexander concert dress were not always happy, however; moreover they had to reckon with Thomson’s fussy G Murdoch, The Fiddle in Scotland, 1888) over-editing and his reluctance to send them the words of poems. (For this recording we have gone back wherever possible to the earliest sources of both words and music.) Some reputable critics George Thomson and the ‘Inimitable Songs’ of Burns have dismissed the Select Collection as a misguided monstrosity, but the ineptitude of its failures In 1792 George Thomson of Edinburgh, a clerk to the Trustees for the Encouragement of Art and should not be allowed to obscure the merits of its successes. And when a composer’s imagination Manufactures in Scotland, embarked on an ambitious project of ‘collecting all our best melodies was truly fired, as for instance Beethoven’s was by The lovely Lass o’ Inverness, Thomson’s and songs, and of obtaining accompaniments to them worthy of their merit.’ A Select Collection quixotic enterprise was capable of coming up with something uncommonly like a masterpiece. of Original Scottish Airs was to occupy him for the next fifty years. Burns gave generous support from an early stage, contributing such new songs as Auld Rob Morris and Duncan Gray (1792), © Christopher Field

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Lieder für das Scots Musical Museum (1790–92) Förderung von Kunst und Handwerk in Schottland”, ein ehrgeiziges Projekt in Angriff, “die In den letzten neun Jahren seines Lebens (1787–1796) schuf Burns zahlreiche Beiträge zum Scots Sammlung aller unserer besten Melodien und Lieder sowie die Erstellung von würdigen Musical Museum, eine bis dahin einzigartige Sammlung schottischer Lieder, deren außerordentlich Begleitungen”. Seine Select Collection of Original Scottish Airs sollte ihn während der nächsten umfangreiches Repertoire sich besonders eng am Geist der Volksmusik orientierte. Ihr Anreger und fünf Jahrzehnte beschäftigen. Burns unterstützte ihn von Anfang an nach Kräften und schrieb für Herausgeber war der aus Edinburgh stammende Musikgravierer James Johnson, aber Burns wurde ihn neue Lieder wie Auld Rob Morris und Duncan Gray (1792), Robert Bruce’s March to der eigentliche geistige Leiter dieses Projekts und erledigte mit äußerster Hingabe die Bannockburn (1793) und Contented wi’ little and cantie wi’ mair (1794). Zusammenstellung, Überarbeitung, Vervollständigung und – soweit nötig – Nachdichtung der Mehrere namhafte Komponisten wurden mit der Begleitung dieser Lieder beauftragt. Die Texte. Was die Musik anging, so begnügten sich die Herausgeber mit den einfachen traditionellen frühesten stammen von Pleyel, und 1797 übernahm der Wiener Hofkomponist Kozeluch dieses Melodien, für die Stephen Clarke, der Organist der Episkopalkirche in Clowgate, ebenso schlichte Amt. 1799 bemühte Thomson sich um Haydns Mitarbeit, der bereits einhundert dieser “wilden, Baßbegleitungen schrieb. Die hier eingespielten sechs kontrastierenden Lieder aus dem 3. und 4. aber ausdrucksvollen Weisen” für Napier gesetzt hatte; mit Hilfe seines Schülers Sigismund Heft der Sammlung sind vorzügliche Beispiele für Burns’ Geschick in der Verbindung von Text und Neukomm vertonte er das 3. und 4. Heft und schrieb Neufassungen für die “weniger geglückten” Musik, sowohl bei der Verwendung alter Strophenfragmente (wie in Ay Waukin O und The deuks Bearbeitungen von Pleyel und Kozeluch in den beiden ersten Bänden. dang o’er my daddie) als auch in der Erstellung neuer, eigener Gedichte für bereits vorliegende Beethoven, der Thomson gegenüber seine besondere Liebe zu den schottischen Liedern bekannt Melodien (wie in Ae fond kiss, hier mit dem Instrumentalstück Rory Dall’s port vorgestellt, dessen hatte, schuf zwischen 1815 und 1818 die Begleitung für annähernd 50 Stücke, darunter mehrere Weise es übernahm). dreistimmige Lieder, die als “ebenso originelle wie reizvolle Neuheiten” angekündigt wurden. 1818 bestellte Thomson bei ihm außerdem die Twelve National Airs with Variations für Klavier und Burns’ Besuch bei Niel Gow (1787) Flöte, in einem Stil, “der leicht und vertraut und vielleicht auch ein wenig brillant ist, so daß die Im Sommer 1787 unternahm Burns eine längere Reise durch das schottische Hochland. Am Freitag meisten unserer Damen sie spielen und sich an ihnen erfreuen können”. Der nächste Komponist den 31. August, befand er sich in der Nähe von Dunkeld, wo er Niel Gow besuchte, den war Weber, an den Thomson sich 1825 in einem Brief wandte, in dem er die Hoffnung aussprach, berühmtesten schottischen Fiedler dieser Zeit; mit ihm ging er nach Blair Castle, der Burg von “daß Sie die Güte haben werden, mit Ihrem Talent auch meine Arbeit zu bereichern”, und dem er Gows Mäzen, dem Duke of Atholl. Der Dichter hinterließ eine knappe Skizze des Fiedlers (“ein die für ihn gedachten Lieder beilegte. Vorgesehen war neben den drei Instrumenten der früheren kurzer, stämmig gebauter, ehrlicher Hochland-Typ”); die Musik, die er Burns vorspielte, wird von Bearbeitungern (Klavier, Violine und Cello) auch ein Flötenpart; Weber schrieb die Begleitungen einem Zeitgenossen beschrieben, wahrscheinlich Gows Cellist Patrick Murray: “Das zuerst und ließ sie rechtzeitig für seinen Besuch in England anläßlich der Uraufführung des Oberon gespielte Lied war Loch Erroch Side, welches den Dichter über alle Maßen entzückte. Auf Burns’ veröffentlichen. In der Zwischenzeit hatte der unermüdliche Redakteur Kontakt mit Hummel Wunsch gab Niel als nächstes sein ergreifendes Lament for Abercairney, und danach eine seiner aufgenommen, dem einzigen seiner auswärtigen Komponisten, der schon einmal in Schottland bekanntesten Kompositionen im Hochland, McIntosh’s Lament. Tulloch Gorum und andere gewesen war; dieser schrieb von 1826 bis 1831 zwanzig weitere Bearbeitungen. bekannte Volkslieder kamen ebenfalls zu Ehren.” (Alexander G. Murdoch, The Fiddle in Scotland, All diese Musiker assoziierten mit den schottischen Melodien Bilder einer wild-romantischen 1888). Landschaft, einen ausgesprochenen Kontrast zur Atmosphäre des gebildeten, kultivierten Edinburgh. Ihre Versuche, die ungekünstelten Melodien “salonfähig” zu machen, waren nicht George Thomson und Burns’ “Unnachahmliche Lieder” immer glücklich, und sie mußten sich oft mit den allzu weitreichenden textlichen Neufassungen Im Jahre 1792 nahm der Edinburgher George Thomson, ein Beauftragter der “Treuhänder für die Thomsons begnügen, der seinen Komponisten manchmal die zu den Melodien gehörenden

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Gedichte überhaupt nicht zusenden wollte (in der vorliegenden Einspielung haben wir, wann immer et honnête”; mais pour ce qui est des détails de la musique que le violoniste intrepréta devant lui, möglich, auf die ältesten Quellen der Texte und Melodien zurückgegriffen). Man hat die Select on devra se fier à un compte rendu sans doute réalisé par le violoncelliste de Gow, Patrick Murray. Collection heftig kritisiert, aber ihre nicht zu bezweifelnden Nachteile sollten dem Betrachter nicht “Le premier air interprété fut Loch Erroch Side, qui plut énormément au poète […] A la demande den Blick verstellen auf die zahlreichen Verdienste Thomsons. Gelegentlich regten die Gedichte die de Burns, Niel joua ensuite sa pathétique Lament for Abercairney, puis l’une des compositions les Komponisten zu beachtlichen Leistungen an, etwa Beethoven in seiner Begleitung zu The lovely plus connues des Highlands, McIntosh’s Lament […] Tulloch Gorum ainsi que d’autres airs locaux Lass o’ Inverness, und Thomsons Bemühungen führten zu einem echten Meisterwerk. très connus.” (Alexandre G. Murdoch, The Fiddle in Scotland, 1888)

© Christopher Field George Thomson et les “chants inimitables” de Burns En 1792, George Thomson, qui travaillait à Edimbourg pour les “Trustees for the Encouragement of Art and Manufacture in Scotland”, devint responsable d’un projet ambitieux qui consistait à “réunir nos meilleurs chants et mélodies et à obtenir pour eux des accompagnements qui soient Chants pour le Musée Musical Ecossais (1790–92) dignes de leur valeur”. A Select Collection of Original Scottish Airs allait l’occuper pendant les Durant les neuf dernières années de sa vie, entre 1787 et 1796, Robert Burns contribua avec un cinquante années suivantes. Burns lui apporta très tôt une aide généreuse en écrivant de nouveaux grand enthousiasme et une belle énergie à la constitution du Musée musical écossais. Aucun recueil chants tels que Auld Rob Morris et Duncan Gray (1792). Robert Bruce’s March to Bannockburn de chants écossais n’avait reflété jusque-là de manière aussi fidèle et aussi détaillée l’esprit du (1793) et Contented wi’ little and cantie wi’ mair (1794). peuple. Son initiateur et rédacteur général fut le graveur de musique d’Edimbourg James Johnson, Une série de compositeurs éminents furent chargés de fournir des “symphonies et dont Burns devint le bon génie puisqu’il se chargea de la réunion, de la révision, de la restauration accompagnements” pour ces airs, et les premiers furent écrits par Pleyel. En 1797 Kozeluch, des chants, et parfois même de la création des textes. Johnson s’était fixé pour but de présenter les compositeur de la cour impériale de Vienne, lui succéda. En 1799 Thomson fit appel à Haydn, qui mélodies traditionnelles simplement et uniment sur les accompagnements de basse continue avait déjà mis en musique cent de ces “mélodies sauvages mais expressives” pour William Napier; sensibles et sans prétensions de Stephen Clarke, organiste de la chapelle épiscopale au Cowgate aidé de son élève Sigismund Neukomm, Haydn écrivit la totalité des troisième et quatrième d’Edimbourg. Ces six chants contrastés tirés des troisième et quatrième volumes du Museum volumes et fournit des pièces de remplacement pour les mises en musique “les moins heureuses” illustrent de quelle façon Burns savait marier les paroles et la musique, soit en s’inspirant d’un de Pleyel et de Kozeluch dans les volumes précédents. fragment de poème ancien (comme dans Ay Waukin O et The deuks dang o’er my daddie) ou en Beethoven, qui avait confié à Thomson son “goût particulier pour les airs écossais”, fournit quant créant un nouveau texte pour accompagner un air préexistant (comme dans Ae fond kiss, associé ici à lui les arrangements de près de cinquante chants entre 1815 et 1818 environ, dont un certain à la pièce instrumentale Rory Dall’s port). nombre pour trois voix décrits comme étant “des pièces nouvelles aussi originales que belles”. Thomson lui commanda également, en 1818, une série de “Douze airs nationaux avec variations” Visite de Burns à Niel Gow (1787) pour piano et flûte dans un style “familier, facile et légèrement brillant, de sorte que la majorité de Durant l’été 1787, Burns entreprit une longue découverte des Highlands d’Ecosse. Le 31 août, il se nos dames puissent les apprécier et les interpréter”. Thomson se tourna ensuite vers Weber, auquel trouva dans les environs de Dunkeld, où il rencontra Niel Gow, le plus célèbre violoniste écossais il écrivit en 1825 une lettre dans laquelle il espérait “que vous aurez la bonté de contribuer à de son époque, avant de séjourner chez le protecteur de ce dernier, le duc d’Atholl, à Blair Castle. enrichir mon œuvre grâce à vos talents” et où il joignait dix airs. Ceux-ci devaient posséder une Le poète laissa un croquis sur le vif du musicien, “un personnage des hautes terres courtaud, râblé partie de flûte en plus de celles de piano, de violon et de violoncelle des arrangements précédents;

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Weber se soumit à la volonté de l’Ecossais, et les chants furent publiés au moment où le SOURCES compositeur se rendit en Angleterre pour y diriger Oberon. Entre-temps, l’infatigable rédacteur était entré en relations avec Hummel, le seul de ses correspondants d’outre-mer qui se soit jamais Most of the contents of this record have been edited direct from the original sources, the chief of rendu en Ecosse; celui-ci lui fit parvenir vingt chants entre 1826 et 1831. which are as follows: Pour tous ces compositeurs, la musique écossaise évoquait nécessairement les paysages sauvages Manuscript: et romantiques qui s’étendaient loin derrière la ville géorgienne élégante d’Edimbourg. Pourtant, London, British Library, Additional MSS 32189 and 35270 (No. 20); 35271 (Nos. 19, 21); 35272- leurs efforts pour parer des airs rustiques de somptueux atours ne furent pas toujours couronnés de 3 (Nos. 12-15); 35277-8 (No. 22). succès. En outre ils devaient compter avec les corrections tatillonnes de Thomson et sa répugnance Berlin, Deutsche Staatsbibliothek, MSS Aut.29 II (No. 17); Aut.29 V (Nos. 15-16). à leur envoyer les textes. (Pour le présent enregistrement, nous nous sommes appuyés, dans la Printed: mesure du possible, sur les sources les plus anciennes des paroles comme de la musique.) Certains The Scots Musical Museum, ed. James Johnson, III (Edinburgh, 1790) (No. 1); IV (Edinburgh, critiques de renom n’ont vu dans la Select Collection qu’un erreur gigantesque. Toutefois, ses 1792) (Nos. 2-3, 5-7). échecs ne sauraient faire oublier ses réussites. Et lorsque le chant parlait véritablement à James Oswald, A Collection of Scot’s Tunes with Variations (London, c.1756) (No. 4). l’imagination du compositeur, comme ce fut le cas pour The lovely Lass o’ Inverness, le projet de Niel Gow, A Collection of Strathspey Reels (Edinburgh, 1784; 2nd edn ‘with Considerable Thomson était capable de susciter l’apparition de pièces auxquelles il ne serait pas déplacé Additions and Valuable Alterations’, Edinburgh, 1801) (Nos. 9-10). d’appliquer le qualificatif de chef-d’œuvre. Niel Gow, A Second Collection of Strathspey Reels &c (Edinburgh, 1788; 2nd edn. ‘Carefully corrected & improved’, Edinburgh, 1803) (No. 8). © Christopher Field A Collection of Highland Vocal Airs, ed. Patrick McDonald (Edinburgh, 1784) (No. 11). A Select Collection of Original Scottish Airs, ed. George Thomson, I (2nd edn, London, 1803) (No. 13); I (6th edn, London, 1826) (No. 16); II (London, 1799) (No. 22); II (6th edn, London, 1826), (Nos. 19, 21); III (London, 1802) (Nos. 12, 14); V (London, 1818) (No. 17); V (2nd edn, London, 1826) (Nos. 15, 20); Appendix (London, 1826) (Nos. 19, 21). Thomson’s Collection of the Songs of Burns, VI (London, 1825) (Nos. 15-16). Ludwig van Beethoven, Dix Thèmes Russes, Ecossais et Tyroliens Variés, Op. 107 (Bonn, 1820) (No. 18). Ludwig van Beethoven, Schottische Lieder, Op. 108 (Berlin, 1822) (No. 17). Carl Maria von Weber, Zehn Schottische National-Gesänge (Leipzig, 1826) (Nos. 19, 21). Poems: All the song texts have been collated with The Poems and Songs of Robert Burns, ed. James Kinsley (Oxford, 1968). Advisor on pronunciation: A. J. Aitken

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Songs for the Scots Musical O had 7 your tongue, my feirrie auld wife, Fare-thee-weel, thou first and fairest! Success to Kenmure’s band, Willie! Museum O had your tongue, now Nansie, O: Fare-thee-weel, thou best and dearest! Success to Kenmure’s band, I’ve seen the day, and sae hae ye, Thine be ilka 2 joy and treasure, There’s no a heart that fears a Whig 1 Ay Waukin O Ye wad na been sae donsie,8 O. – Peace, Enjoyment, Love and Pleasure! – That rides by Kenmure’s hand. I’ve seen the day ye butter’d my brose,9 Ae fond kiss, and then we sever! Simmer’s a pleasant time, Here’s Kenmure’s health in wine, Willie, And cuddled me late and early, O; Ae fareweel, Alas, for ever! Flowers of every colour; Here’s Kenmure’s health in wine, But downa do’s10 come o’er me now, Deep in heart-wrung tears I’ll pledge thee, The water rins o’er the heugh, There ne’er was a coward o’ Kenmure’s And, Oh, I find it sairly, O! Warring sighs and groans I’ll wage thee. – And I long for my true lover! blude,1 1 1 2 3 1 2 Ay waukin, Oh, strange; the ducks knocked over; who cares?; one; every Nor yet o’ Gordon’s Line. 4 sturdy; 5 dabbling, fumbling; 6 spineless fellow; Waukin still and weary: O Kenmure’s lads are men, Willie, Sleep I can get nane, 7 hold; 8 ill-tempered; 9 satisfied my appetites; 10 4 Rory Dall’s port O Kenmure’s lads are men, For thinking on my Dearie. – impotence This piece provided the melody for Burns’s Ae Their hearts and swords are metal true, When I sleep I dream, fond kiss. ‘Rory Dall’ is probably a reference to And that their faes shall ken.2 2 When I wauk I’m irie; Ruaidhri Dall Ó Catháin, an Irish harper who They’ll live, or die wi’ fame, Willie, 3 Ae fond kiss Sleep I can get nane, came to Scotland at the beginning of the They’ll live, or die wi’ fame, Burns wrote this song in December 1791 for his For thinking on my Dearie. – seventeenth century and who was famed for the But soon wi’ sounding victorie beloved ‘Clarinda’, shortly before she set sail for Ay waukin … composition of ‘ports’ (‘port’ is Gaelic for an May Kenmure’s Lord come hame. Jamaica. instrumental melody); but whether the tune which 3 Lanely night comes on, Here’s Him that’s far awa, Willie, 1 Oswald used as a basis for variations has any A’ the lave 3 are sleepin: Ae fond kiss, and then we sever; Here’s Him that’s far awa, authentic connection with this historic ‘blind I think on my bonie lad, Ae fareweel, and then for ever! And here’s the flower that I lo’e best, Rory’is open to doubt. Oswald was a Scot who in 4 And I bleer my een wi’ greetin. – Deep in heart-wrung tears I’ll pledge thee, The rose that’s like the snaw. 1741 moved to London, where he became an Ay waukin … Warring sighs and groans I’ll wage thee. – 1 blood; 2 foes shall learn; 3 James Stuart, the Old Who shall say that Fortune grieves him, influential disseminator of Scottish national Pretender; 4 the white rose, the Jacobite emblem 1 awake; 2 melancholy; 3 rest While the star of hope she leaves him: music through his popular Caledonian Pocket Me, nae chearful twinkle lights me; Companion and in 1761 was appointed chamber Dark despair around benights me. – composer to George III. 2 The deuks dang o’er my daddie The bairns gat out wi’ an unco1 shout, I’ll ne’er blame my partial fancy, 6 There’ll never be peace till Jamie comes hame 5 O Kenmure’s on and awa, Willie The deuks dang o’er 2 my daddie, O, Naething could resist my Nancy: Burns wrote his verses for what he called this William Gordon, Viscount Kenmure, was one of The fien-ma-care,3 quo’ the feirrie 4 auld wife, But to see her, was to love her; ‘beautiful Jacobite Air’ in 1791, and sent them to the leaders of the Jacobite rising of 1715. He was but a paidlin 5 body, O. – Love but her, and love for ever. – his lawyer friend Alexander Cunningham with the He paidles out, an’ he paidles in, Had we never lov’d sae kindly, O Kenmure’s on and awa, Willie, comment: ‘When Political combustion ceases to An’ he paidles late and early, O; Had we never lov’d sae blindly! O Kenmure’s on and awa; be the object of Princes and Patriots, it then, you This seven lang year I hae lien by his side, Never met – or never parted, An Kenmure’s Lord’s the bravest Lord know, becomes the lawful prey of Historians and An he is but a fusionless carlie,6 O. – We had ne’er been broken-hearted. – That ever Galloway saw. Poets.’

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By yon castle wa’ at the close of the day, We’ll mak our maut 4 and we’ll brew our drink, 10 Tulloch Gorum What can a young lassie, what shall a young I heard a man sing tho’ his head it was grey; We’ll laugh, sing, and rejoice, man; An obituary notice of Gow in the Scots Magazine lassie, And as he was singing the tears down came, And mony braw thanks to the meikle 5 black deil, of 1809 referred to the ‘extraordinary power of What can a young lassie do wi’ an auld man? There’ll never be peace till Jamie comes hame. – That danc’d awa wi’ th’ Exciseman. the bow, in the hand of great original genius’, to Bad luck on the pennie, that tempted my Minnie The Church is in ruins, the State is in jars,1 The deil’s awa . . . which ‘must be ascribed the singular felicity of To sell her poor Jenny for siller and lan’! Delusions, oppressions, and murderous wars: expression which he gave to all his music and the There’s threesome reels, there’s foursome reels, He’s always compleenin frae mornin to e’enin, We dare na weel 2 say’t, but we ken wha’s 3 to native Highland goût of certain tunes, such as There’s hornpipes and strathspeys, man, He hosts and he hirpls1 the weary day lang: blame, ‘Tulloch Gorum’, in which his taste and style of But the ae best dance e’er cam to the land He’s doyl’t and he’s dozin,2 his blude it is frozen, There’ll never be peace till Jamie comes hame. – bowing could never be exactly reached by Was, the deil’s awa wi’ th’ Exciseman. O, dreary’s the night wi’ a crazy auld man! another performer’. This famous strathspey My seven braw sons for Jamie drew sword, The deil’s awa . . . whose title means ‘the blue hill’, was already in He hums and he hankers,3 he frets and he And now I greet4 round their green beds in 1 Devil; 2 every; 3 a name for the Devil; 4 liquor; 5 big circulation when Niel Gow was a boy; Burns cankers,4 the yerd;5 called it a ‘beautiful reel’. I never can please him, do a’ that I can; It brak the sweet heart of my faithfu’ auld Dame, He’s peevish, and jealous of a’ the young There’ll never be peace till Jamie comes hame. – fallows, Now life is a burden that bows me down, Burns’s Visit to Niel Gow 11 Cumha Mhic a h Arasaig (McIntosh’s Lament) O, dool on 5 the day I met wi’ an auld man! Sin I tint6 my bairns, and he tint his crown; 8 Loch Erroch Side Patrick McDonald’s Collection of Highland But till my last moments my words are the same, My auld auntie Katie upon me taks pity, This piece, which was first published without Vocal Airs appeared in 1784, three years before There’ll never be peace till Jamie comes hame. – I’ll do my endeavour to follow her plan; attribution to Gow in Alexander McGlashan’s A Burns’s visit to Gow. One of the largest pieces in 1 2 3 4 I’ll cross him, and wrack him until I discord; dare not truly; know who’s; weep; Collection of Reels (1786) under the title ‘Loch the book is the pibroch McIntosh’s Lament,as 5 churchyard; 6 lost heartbreak him, Eireachd Side’, is stated in the 1803 edition of played on the great Highland bagpipe; this is And then his auld brass will buy me a new Gow’s Second Collection of Strathspey Reels to followed by the present version of the same pan. – have been composed by Niel Gow and his second pibroch, ‘contracted and set with variations’for a 1 he coughs and he limps; 2 he’s muddled and he’s 7 The Deil’s awa wi’ th’ Exciseman wife Margaret. Loch Ericht is a long remote loch fiddle with the scordatura a e' a' c sharp." impotent; 3 he mumbles and havers; 4 is irritable; 5 alas! in Perthshire. Burns was employed as an exciseman from 1789, for and owned in a letter of 1792 to having sung this song himself at an Excise dinner in Dumfries. 9 Niel Gow’s Lamentation for Abercairney The deil1 cam fiddlin thro’ the town, This is Gow’s memorial to his friend and patron George Thomson and the ‘Inimitable And danc’d awa wi’ th’ Exciseman; James Moray, whose family seat was at Songs’ of Burns And ilka 2 wife cries, auld Mahoun,3 Abercairney, near Crieff, and whose widow and 13 Auld Rob Morris I wish you luck o’ the prize, man. son were subscribers to Gow’s A Collection of 12 What can a young lassie do wi’ an auld man Thomson received this song from Burns in The deil’s awa, the deil’s awa, Strathspey Reels (1784) in which it was first Burns wrote this song for the Scots Musical December 1792 and six months later was able to The deil’s awa wi’ th’ Exciseman, published. Burns wrote the song ‘Where braving Museum in 1792; Haydn arranged it for Napier publish it with accompaniments by Pleyel. He’s danc’d awa, he’s danc’d awa, angry Winter’s storms’ for this melody shortly in 1795, and made this more elaborate setting for Haydn’s duet version was written in 1801 as a He’s danc’d awa wi’ th’ Exciseman. after his visit to Gow. Thomson in 1801. replacement for Pleyel’s setting.

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There’s auld Rob Morris that wons1 in yon glen, form the song was set by Kozeluch. He later adaptation of a solo setting by Haydn which Duncan fleech’d,6 and Duncan pray’d; He’s the king o’ gude fellows, and wale2 of auld recanted, and in 1801 was delighted to receive Beethoven made at Thomson’s request. Ha, ha, the wooing o’t. men; Haydn’s martial arrangement of the tune Burns Meg was deaf as Ailsa craig, 1 He has gowd in his coffers, he has owsen and originally intended for it – Hey tutti taitie. Bonie wee thing, canie wee thing, Ha, ha, the wooing o’t. Lovely wee thing, was thou mine; kine,3 Duncan sigh’d baith out and in, Scots, wha hae1 wi’ Wallace bled, I wad wear thee in my bosom, And ae bonie lassie, his dawtie4 and mine. Grat7 his een baith bleer’t8 an’ blin’, Scots, wham Bruce has aften led, 2 Least my Jewel I should tine. – Spak o’ lowpin o’er a linn;9 She’s fresh as the morning, the fairest in May; Welcome to your gory bed, – Wishfully I look and languish Ha, ha, the wooing o’t. She’s sweet as the e’enin amang the new hay; Or to victorie. – In that bonie face o’ thine; As blythe and as artless as the lambs on the lea, Now’s the day, and now’s the hour; And my heart it stounds 3 wi’ anguish, Time and Chance are but a tide, And dear to my heart as the light to my e’e. See the front o’ battle lour;2 Least my wee thing be na mine. – Ha, ha, the wooing o’t. See approach proud Edward’s 3 power, Slighted love is sair to bide, But oh, she’s an Heiress, auld Robin’s a laird; Chains and Slaverie. – Bonie wee… Ha, ha, the wooing o’t. And my daddie has nocht but a cot-house and Wit, and Grace, and Love, and Beauty, Shall I, like a fool, quoth he, yard: Wha will be a traitor-knave? In ae constellation shine; For a haughty hizzie10 die? A wooer like me maunna hope to come speed;5 Wha can fill a coward’s grave? To adore thee is my duty, She may gae to – France for me! The wounds I must hide that will soon be my Wha sae base as be a Slave? Goddess o’ this soul o’ mine! 6 Ha, ha, the wooing o’t. dead. – Let him turn and flie: – 1 gentle; 2 lose; 3 thrills Wha for Scotland’s king and law, How it comes let Doctors tell, The day comes to me, but delight brings me nane; Freedom’s sword will strongly draw, Ha, ha, the wooing o’t. The night comes to me, but my rest it is gane: Free-man stand, or Free-man fa’, 16 Duncan Gray Meg grew sick as he grew heal,11 I wander my lane7 like a night-troubled ghaist, Let him follow me. – Ha, ha, the wooing o’t. And I sigh as my heart it wad burst in my breast. Burns sent this song to Thomson in December Something in her bosom wrings, By Oppression’s woes and pains! 1792 with the note: ‘Duncan Gray is that kind of O had she but been of a laigher 8 degree, For relief a sigh she brings; By your Sons in servile chains! light-horse galllop of an air, which precludes I then might hae hop’d she wad smil’d upon me! And O her een, they spak sic things! We will drain our dearest veins, sentiment. The ludicrous is its ruling feature.’ O, how past describing had then been my bliss, Ha, ha, the wooing o’t. But they shall be free! Thomson published a setting by Kozeluch in As now my distraction no words can express! Lay the proud Usurpers low! 1798; he received this new setting for three voices Duncan was a lad o’ grace, 1 2 3 4 5 dwells; pick; oxen and cows; darling; be Tyrants fall in every foe! from Beethoven in 1818. Ha, ha, the wooing o’t successful; 6 death; 7 by myself; 8 lower Liberty’s in every blow! Duncan Gray cam here to woo, Maggie’s was a piteous case, Let us Do – or Die!!! Ha, ha, the wooing o’t, Ha, ha, the wooing o’t 14 Robert Bruce’s March to Bannockburn 1 who have; 2 threaten; 3 Edward II, who was On blythe Yule night when we were fu’,1 Duncan could na be her death, 12 Burns sent out this ‘Scots Ode’ to Thomson in defeated by the Scots on 24 June 1314 Ha, ha, the wooing o’t. Swelling Pity smoor’d his Wrath; 13 1793. Thomson thought it ‘the noblest Maggie coost2 her head fu’ high, Now they’re crouse and canty baith, composition of the kind in the Scottish language’, 15 The bonny wee thing Look’d asklent and unco skiegh,3 Ha, ha, the wooing o’t. but nevertheless insisted on substituting another This trio version of one of the songs Burns wrote Gart4 poor Duncan stand abiegh;5 1 drunk; 2 tossed; 3 askance and very disdainful; 4 made; tune for the one Burns had in mind, and in this for his ‘little idol’ Deborah Davies is an Ha, ha, the wooing o’t. 5 aside; 6 coaxed; 7 cried; 8 bleared; 9 jumping over a

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cataract; 10 hussy; 11 healthy; 12 smothered; 13 both merry publishing it because of the poor sales of Oh-hon! for Somebody! A towmond7 o’ trouble, should that be my fa’,8 and cheerful previous sets; it was left to the Bonn firm of Oh-hey! for Somebody! A night o’ gude fellowship sowthers it a’;9 Simrock to bring out the first edition of it in 1820. I could range the warld round, When at the blythe end of our journey at last, 17 The lovely Lass o’ Inverness For the sake o’ Somebody. – Wha the deil ever thinks o’ the road he has past. Although the tune Thomson found for Beethoven, 10 19 John Anderson my Jo Ye Powers that smile on virtuous love, Blind Chance, let her snapper and stoyte on her Fingal’s lament, is not the one for which Burns John Anderson my jo,1 John, O, sweetly smile on Somebody! – way; intended the words, it suits admirably this 11 When we were first acquent;2 Frae ilka danger keep him free, Be ’t to me, be ’t frae me, e’en let the jade gae: poignant dirge for Culloden. Your locks were like the raven, And send me safe my Somebody.– Come Ease, or come Travail; come Pleasure; or The luvely Lass o’ Inverness Your bony brow was brent;3 Ohon! for Somebody! Pain; Nae joy nor pleasure can she see; But now your brow is beld,4 John, Ohey! for Somebody! My warst word is – ‘Welcome and welcome For e’en and morn she cries, Alas! Your locks are like the snaw;5 I wad do – what wad I not – again!’ And ay the saut tear blins her e’e: But blessings on your frosty pow,6 For the sake o’ Somebody! 1 cheerful with more; 2 give them a smack; 3 with a cask 4 5 6 Drumossie moor,1 Drumossie day, John Anderson my Jo. 1 aching; 2 a covert allusion to the Young Pretender, of good new small ale; sometimes; soldier; fight; 7 8 9 10 A waefu’ day it was to me; Prince Charles Edward twelve month; fortune; mends it all; stumble and John Anderson my jo, John, stagger; 11 be it to my gain or loss, just let the fickle For there I lost my father dear, We clamb the hill the gither; 7 woman go; My father dear and brethren three! 8 And mony a canty day, John, 21 Contented wi’ little and cantie wi’ mair Their winding-sheet the bludy clay, We’ve had wi’ ane anither: Burns wrote these verses for the air Lumps o’ 22 Auld lang syne Their graves are growing green to see; Now we maun totter down, John, puddings in 1794 and sent them to Thomson, who In September 1793 Burns sent Thomson one of And by them lies the dearest lad And hand in hand we’ll go; published Kozeluch’s setting in 1799. When in several variant versions he made of the words of That ever blest a woman’s e’e! And sleep the gither at the foot, 1826 he published Weber’s new setting of the ‘Auld lang syne’, describing it as an ‘old song’ 2 Now wae to thee, thou cruel lord, John Anderson my Jo. tune, Burns’s words merely appeared as an that he had taken down ‘from an old man’s 3 A bludy man I trow thou be; 1 sweetheart; 2 acquainted; 3 unwrinkled; 4 bald; 5 snow; alternative to verses by William Smyth beginning singing’. Thomson, who consulted the poet the 4 6 7 8 For mony a heart thou has made sair head; together; pleasant ‘A soldier am I’. following year about its melody, eventually That ne’er did wrang to thine or thee! published the song in 1799 not with the tune to 1 1 the site of the Battle of Culloden on 16 April 1746; Contented wi’ little, and cantie wi’ mair, 20 which it is set in the fifth volume of The Scots 2 3 4 For the sake o’ Somebody Whene’er I forgather wi’ Sorrow and Care, William, Duke of Cumberland; believe; sorrowful Musical Museum (1796), but with a different, Hummel made this setting for Thomson in 1826. I gie them a skelp,2 as they’re creeping alang, though related, tune which had been used in the It uses a tune which had been first fitted to Wi’ a cog o’ gude swats3 and an auld Scottish 18 Air and Variations: O Kenmure’s on and fourth volume of the Museum (1792) for Burns’s Burns’s words by Peter Urbani in his A Selection sang. awa, Willie O can ye labor lea. For this recording we have of Scots Songs (1800). This is one of the sets of variations for piano and I whyles4 claw the elbow o’ troublesome thought; preferred Kozeluch’s original arrangement of flute on national airs which Thomson My heart is sair,1 I dare na tell, But Man is a soger,5 and Life is a faught:6 this, which he sent to Thomson in 1798, to the commissioned from Beethoven in 1818. Thomson My heart is sair for Somebody;2 My mirth and gude humour are coin in my pouch, ‘simplified’ version which took its place in all got as far as having the piece engraved and a I could wake a winter-night And my Freedom’s my Lairdship nae monarch editions of the Select Collection from 1801 hundred copies printed, but decided against For the sake o’ Somebody. – dare touch. onwards. This is thus the earliest setting of ‘Auld

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lang syne’ that associates these words with the We twa hae paidlet4 i’ the burn, tune to which they are now universally sung. Frae morning sun till dine:5 But seas between us braid6 hae roar’d, Should auld acquaintance be forgot, Sin auld lang syne. And never brought to mind? For auld lang syne … Should auld aquaintance be forgot, And days o’ lang syne?1 And there’s a hand, my trusty fiere!7 For auld lang syne,2 my Dear, And gie’s a hand o’ thine! For auld lang syne, And we’ll tak a right gude-willie waught,8 We’ll tak a cup o’ kindness yet, For auld lang syne. For auld lang syne. For auld lang syne … 1 of long ago; 2 for old times’ sake; 3 plucked the daises; We twa hae run about the braes, 4 5 6 7 8 3 waded; dinner-time; broad; companion; hearty And pou’t the gowans fine; swig of drink. But we’ve wander’d mony a weary foot, Sin auld lang syne. Chandos CDs can be purchased through Chandos Direct. For auld lang syne … For further details ring the sales hotline on 01206 794005.

If you wish to receive a copy of Chandos’ quarterly review please write to the Marketing Department, Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ.

Producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Philip Couzens Editor Tim Oldham Recording The Henry Wood Hall, Glasgow; 9 August 1987 Front cover Detail from Highland Dance by David Allan (National Gallery of Scotland) Back cover Photo of Robert Burns (Mary Evans Picture Library) Design Emma Roach Booklet typeset by Dave Partridge

PP 1988 Chandos Records Ltd PC 1995 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in Germany

22 23 CHAN 0581 Inlay.qxd 19/3/08 1:42 pm Page 1 AULD SCOTTISH SANGS - Scottish Early Music Consort AULD SCOTTISH SANGS - Scottish Early Music Consort CHACONNE DIGITAL CHAN 0581

AULD SCOTTISH SANGS

1 - 7 Songs for the Scots Musical Museum (1790-92) Lieder für das Scots Musical Museum Chants pour le Musée Musical Ecossais Scots songs collected and fashioned by Burns

8 - 11 Burns’s Visit to Niel Gow (1787) Burns’ Besuch bei Niel Gow Visite de Burns à Niel Gow Music for fiddle, cello & harpsichord

12 - 22 George Thomson and the ‘Inimitable Songs’ of Burns George Thomson und Burns’ “Unnachahmliche Lieder” George Thomson et les “chants inimitables” de Burns Scots songs in arrangements by Haydn, Beethoven, Weber, Hummel and Kozeluch TT 59:51 Scottish Early Music Consort

DDD CHANDOS HN0581 CHAN CHANDOS HN0581 CHAN

CHANDOS RECORDS LTD. p 1988 Chandos Records Ltd. c 1995 Chandos Records Ltd. Colchester . Essex . England Printed in Germany