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WreWTRAL CHTLDRSN'S ROOM
dc;:::elm":a:^v center
20 v;e;:t S3 strzet
NEW YORK, N.Y. 10019
CHARACTERISTIC
SONGS AND DANCES
OF
ALL NATIONS.
EDITED, WITH HISTORICAL NOTES AND A niBLIOGRAPHY,
I.Y
JAMES DUFF BROWN, ^ ,
Aut/ior of " Biografhicat Dictiannrv of Muiicians," " /iriliih .\fuu,.i/ ningmf^/.i ' etc.
THE MUSIC ARRANGED FOR THE PIANOFORTE
BY
ALFRED MOFFAT.
Author of " Tht Minstrelsy of Scotland," "Minstrelsy of Ireland," -'Minstrelsy of England," ed.
\Br
BA.YLEY & FERGUSON,
London : ; GT. MARLBOROUGH ST. (W.). Glasgow : 54 QUEEN STREET.
Copyright 1901 for all Countries.
G257959
\ : A, ,Y
TILOEN FOONCitriONS
INTRODUCTION.
A BOOK of National Songs and Dances on popular linos has for long been a desideratum, and
the present work is an attempt to fill the void on a more comprehensive scale than has
hitherto been accomplished. It is, therefore, the first collection of a fairly representative
kind which deals with every important country in the world, and is not restricted simply to
pianoforte arrangements of national hymns.
The first purpose of the work is to give a large scries of the Royal or People's Songs of
all the principal nationalities, so that the question so constantly asked — What is the national song
of Poland, Greece, Austria, Holland, Japan, or the United States? as the case may be, can be
answered at once.
Another aim has been to collect some of the most characteristic specimens of the Folk
Sotfos, or Popular Music of each countr)-, whereby the general public as well as musicians can
obtain an idea of the differences which exist between, say, Irish, Arabian, Hindu, and Russian music.
A third object has been to preserve examples of the leading National Dancks in an easily
accessible form, to enable even the most elementary musical student to obtain a slight knowledge
of the differences in, and structure of, a reel, waltx, ma/urka, or scalfnlance of the Dakota Indian*.
A final, and by no means the least important object, has been to try and interest the general
public in National Songs and Dances, by presenting a typical selection in a manner not too
scientific to be repulsive.
In compiling such a work from a field which can only be described as enormous and
iiK.xhaustihle, the chief difficulty has been the selection of sufficiently characteristic or representative
examples. In some of the countries which possess thousands of folk songs — like Scotland, France,
Hungary, and Russia — the mere richness and extent of the field of choice has caused infinite
embarrassment. Nevertheless, it is hoped that the selection which has been m«ide will please a
majority of those who use the book. In a work which but skims the surface of a vast body of
national music, personal taste can be the only guide to a very great degree, though, in this case,
individual opinion has been sunk as .much as possible, in the hope of obtaining a more catholic
and unhackneyed selection.
This is not in any sense to be r^arded as a book for students, though suggestions of various
kinds may be had from it in several directions. Arrangements such as these are not intended
for the scientific student of national music or folk song, and our purpose in presenting to the
general public in simple form a selection of International Songs and Dances, in order to increase
their popularity and stimulate their cultivation, must not be regarded as a serious effort in quite
a different and much more ambitious direction.
IV INTRODUCTION.
No apology need be tendered for the form in which some of these songs have been presented.
A simple arrangement for the pianoforte, with the words, seemed the one most likely to meet the
needs of the general public and musical amateur, for whom the book is primarily intended. A«
arrangement of typical Oriental or Savage tunes which would pass the severe scrutiny of the
scientific student would hardly interest the average amateur or unseientific inhabitant of the
backwoods, the bush, or the veldt, who possesses a pianoforte or harmonium. For this reason
Mr. Moffat has made his arrangements interesting and playable without in any way sacrificing or
"editing" the tunes so as to impair their value as specimens of folk songs. Some collections of
national songs arranged for the pianoforte are so disfigured by editorial additions and ornamentations
that in many cases it is absolutely impossible to distinguish the embellishments from the original
melodies. The predominant note of all national folk music is simplicity, and this has been the
chief guiding principle adopted throughout this work.
It remains to acknowledge, with grateful thanks, the help with various sections of the work
afforded by the Ambassadors of Bolivia, Servia, Sweden and Norway ; the Colonial Office ; the
Agents' General of various Colonies ; and Messrs. E. Baker, M.A. (Derby), J. R. Boose (Royal
Colonial InstituteV John Glen (Edinburgh), L. S. Jast (Croydon Public Libraries), S. de Jastrzebski
(Croydon), Frank Kidson (Leeds), J. Y. W. MacAlister (London), and D. Nemes (London).
Other acknowledgments are made throughout the book..
J. D. B.
LIST OF CONTENTS.
INTRODUCTION
BRITISH ... -
England, Songs and Dances,
Scotland, do.,
Ireland, do.,
Wales, do.,
1-60
5-18
•9-3*
3344
4S-6o
J:UR0PE 61-184
Austria-Hungary, Songs and Dances, 62-74
France, do., - 75-86
(iermany, do., - 87-98
Switzerland, do., -99-102
B.^LKAN States, do., 103 116
Greece, 104-108
Turkey, 109 no
Hulgaria, i 1 1, 265
Roumania, iii 113, 267
Seriia. - ««4
Montenegro, n6
Italy, Songs and Dances, 117-130
Netheri-ands, do.,
Holland, •
Belgium,
Russia, etc.. Songs and Hances,
Poland, ....
131-140
i32-«36
"37-140
141-158
'53->S8
Scandinavia, Songs and Dances, 159-174
Denmark, ... 160-165
Norway, - 166-170
Sweden, - - - - 171-174
Spain, etc. Songs and Dances, 175- 184
Spnin, .... i;6-i8o
Portugal, ... - 181-184
AMKRICA 1S5216
United States, Songs and Dances, 186-195
Mexico, do., 196, 268
Canada, do., 197-204
South America, do., 205-216, 269-272
AFRICA
Egypt, Songs and Dances,
Algeria, do.,
Morocco, do.,
Tunis, do.,
West Africa, do.,
Madagascar, do..
South Africa, do.,
ASIA - . - .
Arabia, Songs and Dances,
Armenia,
Persia,
India,
Burma,
>Ialaysia,
China,
Japan.
Siam,
do.,
do.,
do.,
do.,
do.,
do.,
do.,
do..
OCEANIA
Australia, Songs and Dances,
New Zealand, do.,
Fiji Islands, etc., do..
-M 7-232
218 220
221
222-224
225
226
228
229 232, 265
-33 25"^
^34 235
- - 136
237-238, 273
239243
244
245-246
248-251
252-255
256. 274
257-260
257-258
- 259
260, 266
HEBREW SONGS - - - 261-264
APPENDIX .... 265.274
NOTES ON N.^TIONAL MUSIC 275-282
INDICES .... - 283-286
Songs of the British Empire.
'^ Still more majestic shall thou rise,
More driadful from eoih foreign stroke;
As the loud blast that tears the skies
Serves but to root thy native oat."
—" RfLE, Britannia:
Rule, Britannia ?
IVhen Britain first, at heaven's command."
asrltisb national ©Oc, 1740.
James Thomson (1700-1748).
Thos. Augustine Arne (1710-1778).
M
Molto maestoso, mf
^
jM-g— i-
s
1. When Bri
2. The na
3. Still more
tain
tiong,
ma
heaven's com
bless'd as
shalt thou
mand,
thee,
rise,
A -
Uust,
More
^^
-^nx
=!=P
-•ifl^
Yr'ji-
-*-■>-
4S
^V' Cr
1. rose from out the a
2. in their turns, to ty
3. dread - - - ful from each for
zure main, A - rose, arose, a -rose from out the
rants fall, Must in, must in, must in their turns to
eign stroke, More dreadful, dreadtul,dreadfulfrom each
P3E
^
! I i
r=*
:^=3t
m
^s^
^^E
f*
1. a - zure main,
2. ty - rants fall ;
3. for - eign stroke ;
-m-
This was the charter.
While thou shalt flou-rish.
As the loud blast.
1*^
the char-ter of her land. And
shalt flou-rish great and free, The
the blast that tears the skies, Serves
^■jr'ij.a.a.^Wi^
3^
3=3=?^
This fine national ode, which may fitly be described as a poetical prophecy, has been called by Southey "the political hymn of this
country ;" while Richard Wagner has expressed the opinion that the first eight notes form the most typical musical utterance of the British
race, in which are concentrated tho whole national character. It was written by James Thomson, a Scotsman, celebrated as the autlior of
"The Seasons" and other poetical works, and first appeared in tho masque of" Alfred," which was originally produced at Cliefden House,
Maidenhead, on August 1st, 1740. David Mallet, or Malloch, a Scots literary man, collaborated with Thomson in the writing of the
masque, but his claim to the authorship of '* Rule, Britannia," preferred after Thomson's death, has never been substantiated. Tlie ode
became popular whenever it was published, and has remained one of tho chief patriotic song^ of the British people.
The music was composed by Dr. Thos. A. Arne, a well-known English musician, and was first printed as an appendix to the masque,
"The Judgment of Paris," also produced la 1740. If it could only be established that it was first sung by an Irish vocalist, it would be a
truly international ode !
RULE, DRiTA^XIA t
i
Jbt
1 ^TpxxLj=4=4
1. giuu-
2. dread
3. but
diao
and
to
gels
Bang
this
strain
»y
of
them
all.
tl.y
na -
live
oak.
" Rule, Bri - tan - nia, Bri • tan - oia, rule tho waTca,
^^r-r^^
*nn - niii, nilo th<> waves,
Bri - tons nev
cr shall bo slaves ! "
4. These haughty tyxants no'er shall tarao ;
All their attempts to bend thee down
Will but arouse thy generous flame ;
But work their woe and thy renown.
5. To thee belongs the rural reign ;
Thy cities shall with commerce shine;
All thine shall bo the subject-main :
And every shore it circles thine.
6. The Muses, still with freedom found,
Shall to thy happy coast repair :
Blest isle ! with matchless beauty crown'd,
And manly hearts to guard the fair :
"Rule, Britannia, rule the waves,
Britons never shall be slaves ! "
God save the King.
3BrJtl6b nattonal Sntbcm.
Anonymous.
English Traditional Tune.
Pomposo.
1. God save our
2. O Lord, our
3. Thy choi - cest
gra - eious King, Long
God, a - rise, Seat
gifts in store On
live
our
no
ble
K.ng,
ter
his
en
e -
mies.
him
be
pleased
to
pour.
^
■^
I > <
-* — » — ^—m
i=
Ei3
^=i=3^
^9-
1. God save the King.
2. And make them fall !
3. Long may he reign !
Send him vie - to - ri - ous, Hap - py and
Con - found their pel - i - ties Frus - trate their
May he de - fend our laws. And ev - er
poco ritard. ^^^
King!
all!
King!
1. glo .
2. knav
3. give
ri - ous. Long
ish tricks. On
us cause To
to
Thee
sing
reign o - ver us, God save the
our hopes we fix, God save us
with heart and voice, God save the
^
Uz:
T=r^
The origin of this great and imprcBsive national hymn, which is xised by the Germans, Danes, Swiss, and Americans, as well as the
British, is so obscured by theories and controversial matter, that it is now impossible to obtain a clear view of the subject. Tlie fact that
somewhat similar tunes and f nigments, or phrases, of the air were la existence long before its first adoption by England as ' ' God save the
King,'' is quite suflBcient to show that, whatever may be the claims advanced on behalf of composers like John Bull (1563-1628) or Henry
Carey (1692-1743) to the authorship of the tune, the music has really been evolved, or adapted, from some folk-song or sougs, and is not
the original composition of any one man. So far as its English history is concerned, it may be recorded that it first became popiUar in
1745, when it was generally adopted as a patriotic song in opposition to the Jacobite rising iu Scotland. It has been very considerably
modified, both in words and music, since its earlier appearances in print. An early English version is printed in " Calliope " (1739) and
another in " Harmonia Angtirana" (ni3). On the dpiith of Queen Victoria on January 22, 1901, the words were altered from " God save
the Queen "back to " God save the King." The German version, " Heil Dirim Sieger-kranz," was first publL'shed In 1790- for the birthday
of Christian VII. of Denmark, and the words were by Heinrich Harries (17*^2-1802), a clergyman. Afterwards It was altered to its present
form, in 1793, by Balthasar Gerhard Schumacher, and when sung in Berlin, in 179G, became speedily popular. The American version is
by Samuel F. Smith (lSOS-1895), and was written in 1832, and became very popular in the Nojthem States during the Civil War. We give
the flrat and last verses of this popular song below :—
America.
1.
My country ! 'tis of thee,
Sweet land of liberty.
Of thee I sing ;
Land wlierc my fathers died
Land of the pilgrims' pride,
From every mountain side
Let freedom ring.
Our fathers' God, to Thee,
Author of liberty,
To Thee we sing ;
Long may our land be bright
With freedom's holy light:
Protect us by Thy might,
Great God, our King 1
Songs and Dances of England.
" Ih the midst of the sea, like a tou^h man-of-war;
Pull away, pull a-i-ay, yo ho there !
Stands an island surpassing all islands by far ;
Ij you doubt it, yotive only to go there."
— DiBDIS.
God Rest You, Merry Gentlemen.
£nsli6b Carol-
Traditional.
2'jt»ie— Traditional.
Seventeenth Century.
i
p Moderaio.
^
i— i— i
i^^t^^^
W
-<»- -^- -^
1. God rest you, mer - ry gen ■
2. In Beth - le - hem, in Jew
3. From God our heav'nly Fa
4. Now to the Lord sing praig
tie - men, Let
ry. This
ther A
. es. All
noth - ing you dis
bless -ed Babo was
bless -ed an - gel
you with - in this
may;
bom,
carae;
place,
P^
^k
^^
Ee-
And
And
And
^^T
1. mem - ber Christ our Sa
2. laid with - in a man
3. un - to oer - tain shep
viour Was born on Christmas
ger Dp - on this bless -ed
herds Brought tid - ings of the
Day;
morn;
same;
To save us all from
The which his moth - er
How that in Beth - le -
4. with true love and bro - ther-hood Each oth - er now em • brace; This ho - ly tide of
\m
J^^=i
^
z:t
=fi
^^
^EESEtp
T^-
mf
^
^=3C
-^ ■* ^&
J * i
w
^
1. Sa ■ tan's power, When we were gone a - stray.
2. Ma • ry. Did noth -ing take in scorn. . _,
3. hem was born The Son of God by name. '
4. Christ - mas All oth - er doth de - face.
ings of com
^
i^zrqt
There are many old and interesting English Christmas carols, but the one selected is as characteristic as any. The time ie now
past when the waits performed these hymns with reverence and perhaps with some degree of taste on Christmas Eve or ChriBtnias
Morning. In modem times the blatant brass band has usurped the place of the string quartet, and crowds of rough street children
have ousted the village choirs.
We be Three poor Mariners.
EnflUflb Sea Soniv
TnditiotuU.
p Moderato.
rujve— TnulitioDal.
Early ScTCDtceoth Cuntury.
1. We be three poor mar ■ i ■ ncm, New • ly como from the seas,
2. We care not for those mar - tial men That do our states dis ■ doin.
We
But
1. spend our Uvea in joo par • dv, While oth ■ era liro in ease;
2. we core for the nicr - cluknt - men Who do our btatca main • tain :
1. Shall wo go dance the round, thorouod, the round* Shall wo go dance tho round, thoround,thoround?And
2. thom we dance this round, around, around, To them we dance thisround, around, around. And
1. ho
2. ha
that
that
bul ■ It boy, Come, pledge me on this ground, thiaground.thlaground.
bul ly boy, Come, pledge me on this gTOund.thiigTDand.thia ground.
This \,
" Brinirlll of Tolctrc."
patriotic aotigs oi Dibdin
old Bonc, dating from the early p«rt of tho PuTcntc«utli Century, and i« publiahed in the scarce work entitled
' 'id in IcOf. Tho tune is also preserrod ai a dance in the Hkent MS. (c. 1615-20) under the tlUe of
<^iuUnt and early specimen of an Engliah sea song U interesting when compared with tho later
English Maypole Song.
'Come, Lasses and Lads.'
Traditional.
Seventeenth Century,
Allegretto.
Tune —Traditional.
1. Come, laas - es and lads, get leave of 3'our dads. And a - way to the may - pole
2. " You're out," says Dick, " Not I," says Nick, " Twas the fid - dler played it
1. hie, .
2. wrong ;
For ev - 'ry he
" 'Tis true," says Hugh,
has got a 8he, And
and so says Sue, And
m:
^
^
1«=
r-
T^
dier's stand - ing by ;
says ev - 'ry one.
For
The
Wil • lie shall dance with
fid ■ dlcr then be -
^
The Bong dates from 1672, when it was printed in Westminster Drollery as " The Rural Dance about the Jlaypole : the tune,
the first figure^dance at Mr. Young's Ball, in May 71." It also appears in D'Urfey's Pills to purge Melancholy, v. i., 1719. The
present tune differs considerably from the early printed versions, but muat be of respectable age itself.
ENGUSn MAY VOLE SOSG.
1. trip it, trip it,
2. ey ■ 'ry giri did
trip
it, trip
it,
tnp
it Dp
and
down
trip
it, trip
•t.
trip
it to
the
men
3. Then after ui hour they went to » bow'r.
And plky'd for ale and cakes.
And kissea too, till they were due,
The lasaea hold the stakes.
The girls did then begio
To quarrel with the men.
And bade tliem tako their kisscii back, and gire them their own again,
And bade tliem tako their kisses back, and give them their own again.
4. And there they gat until it was late.
And tired the fiddler quite
fVith singing and playing, without any paying
Prom morning until nighL
They told the fiddler then
They'd pay him for his play,
And each gave twopence, twopence, twopence, twopence and went away,
And each gave twopence, twopence, twopence, twopence and went away.
5. " Good night," says Harry, " Good night," says Mary,
" Good night," says Dolly to John,
" Good night," says Sue, " Good night," says Hugh,
"Good night," says cv'ry one.
Some walked and some did run,
Some loiter'd on tho way,
And bound themselves by kisses twelve to meet next holiday.
And bound themselves by kisses twelve to meet next holiday.
19
Down among the Dead Men.
Here's a health to the king."
£n0lisb BrtiiKlng Song.
Robert Dyer,
mf Moderaio.
Txi nc — Traditional.
End of ScTenteenth Centurj.
:^" I ! - *
Here's a health to tlie lung and a last -ing peace, To fae - tion an end, to wealth in - crease !
Let charm -ing beau-ty's health go round, In whom
In smil - ing Bac-chus' joys I'll roll, De - ny
May love and wine their rites main-tain, And their
ce - les - tial joys arc found ; And
no pleas - ure to my soul ; Let
u - ni - ted pleasures reign ; While
1. Come, let's drink it while Ave have breath, For there's no drinking
2. may con - fu - sion still pur - sue The sense - less wo - man - hat
3. Bac - chus' health round brisk - ly move. For Bac - chus is a friend
4. Bac - chus' trea - sures crown the board, We'll sing the joys that both
ter death ; And
ing crew ; And
to Love ; And
af - ford ; And
1. he
2. they
3. he
4. they
that will this health de - ny, Down among the dead men, Down among the dead men,
that wo - man's health de - ny, Down among the dead men, Down among the dead men,
that will this health de - ny, Down among the dead men, Down among the dead men,
that wont with us com - ply, Down among the dead men, Down among the dead men,
'^i J-
1. Dovra,
2. Down,
3. Down,
4. Down,
down,
down,
down,
down.
down, down, down,
down, down, down,
down, down, down,
down, down, down.
Down among the dead men let him
Down among the dead men let them
Down among the dead men let him
Down among the dead men let them
Tha whole of this song is seldom published now, but the curious will find versions of it in siicb collections a
Songtter;' etc. The tune, a remarkably fine one of its kind, dates from before 17-JS, when it was first published
'Iht Dancing Master, printed by Pearson & Young, and has been ascribed, among others, to Henry Purcoll. '*■ '
older than the perioa of The Dancing MosUt al>ove noted, *"' ''" ^ ' ' *'" "" " """^ ■
Profeasor Villiers Stanford as a theme for a
the ' ' Universal
n volume iii. of
doubtless much
a" march, and has been taken by
11
Sally in our Alley.
'Of all the girls that are %o smart.
£ngU0b SSallad
IlBN-RY Cakev (1692-1743).
Aniianle.
HBXRT CiREY
1. Of all the girU thai aro so smart,
2. When hho is by, I leave my work,
3. 0( all tho days that'.s in tho week,
4. My mas - tcr ami tlio neighbours all
There's none Uko pretty Sal - ly ;
I love her so sin - cere - ly ;
I dear - ly lovo but one day,
Make game of mo and Sal • ly ;
She
My
And
And,
1. IS tho dar - ling of my
2. mas -ter comes like an - y
3. tli.U'g tho day Uiat comes bo
4. but for her, I'd bet - ter
heart
Turk,
t\vixt
bo .
F
And lives in our . . al - Icy.
And bangs me most so - vcro - ly.
A Sat - ur - day and Mon-day;
slave, and row a
gal - ley ;
There
But
For
But
1. 18 no 1.1 - (ly
2. let him bang bis
3. then I 'm dress'd all
4. when my seven long
tlio land
bel - ly - ful.
in my best
yoors aro out.
That's
I'll
To
O
hair
boar
walk
Uico
so Bweot as
it all for
a-broad with
ni mar-ry
Sal - ly ;
Sal ■ ly ;
Sal ■ ly ;
Sal-ly;
Sho is tlie
Sbo is tho
Sbo is tho
O then we 11
1. dur
2. dar
3. dar
4. weil.
*
ling
ling
ling
anj
my
my
my
heart
heart
heart.
then we'll bed,
And
lives
And
lives
And
lives
15 ut
not
in
our
in
our
in
our
in
our
al - ley.
al - ley.
al - ley.
al - ley.
ThU celebrated ballad was fimt published as a broadsheet in London about 1715. Afterwards it was printed m Walsh s DaTiang
tiatltr, 1719, and Caroya Poniu o,i Sntrai Occatiom, KSS, with a note, or "arfiment," explaining the circumstaucea under which
K was written, and n-forrinK to it as aiuvcnilo production. Tho broad-sheet tune differs somewhat from tho modern Tersion_n»uaIly sung.
Oartiy has been credited wiSi tho comroslti.m of both words and music of "Ood save tho Queen' and the wcUknown i-astcr Hymn.
thms seems no certain foundation for either ascription. But, in any case, the popularity and undoubted mcnt of faaUy is a very
Taluable compensation.
B
12
What shall I do to show how much I love her ?
Engllsb ©ramatlc Som.
From " Dioclesian," 1690,
Aiuianie inoUo cspressio>ie.
Henkt Pukcell (1658-1695).
5^
^=*=S=
I I I
:flt
^=*=^=r^
T
1. What shall I
2. Thus am I
r
do
rack'd
to show
by my
how much I
love's cruel re
love
puis
her?
es,
^52-r-^r--=f^Tc:^^^J— i^ I r J f F
i
^
^
E
=P2I
^
:i=ff=
1. Or to make
2. Which, while re
known
pel - ling,
the
still
eon - stan-cy I feel ?
at - tract me more ;
m^-^
^
^
f—r
m
^
.
^ P5^
^
n a J '^ i 1
1 ^ 1
! 1 1 1
1 0 5 S
tf* • ?
fill
1
^ •' • ^ ^ m
i*~ ^
rj
•TJ «
1. That which wins
2. So that the
I
oth - er hearts
ten - our of
1
can
my
1
f
nev - er
leart's im
move
puis
her,
es
tf4
\^%>. \ J -.w==^
1 rT r ^=^=1
H —
— ^
— • —
1 ^ 1
-^f-
con Ped.-~_
H — -' — !-^J [^ —
b^
-f-r±P
1 ' J
LT i
This sonfj, by Henry Purcell, England's greatest and most representative composer, appears in a play called " Dioclesian," with words
which are quite unsuited to present-day taste. These have been greatly modified and partly rewritten, and this song is now presented hs
a very beautiful specimen of early English dramatic music.
WHAT SB ALL I DO TO SHOW HOW MUCH I LOVE BER:
13
i
=g^5^
n J w r
B^
=ja=
1. Nor will straogo
2. U eUU to
modes of love her heart re - veal,
love her, though she vex diu sore.
i
-f'l ill
1. I, «!.„ lovo
Z. Binco godg can
iiinro llinii man e'er lov'd bo
not he al - ways vain - ly
foro
lov
me,
ing,
S
^
i
sempre lon I'ed.
"T
1. (iazo on hor
2. And men must
all tlio (Iny and dream all night :
rhc-risb, lest they loek now joy:
W
I i ' I'a j-ri^^
1. Till, for her own
2. Then my Au - ro
sake, she at last im - plorcs
lia's love, which needs im - prov
me,
^2e^
1. To im - port - unc
2. Must strength en ere
her not, and leave her sight.
my own grows cold or coy.
14
Cornish May Song.
"Ye Maids of Helston, gather dew."
Sir Alexander Boswell, 1775-1822.
mf Allegretto.
Tune— "The Helston Furry Dance."
i
^BE
^
S^
Sat
E^Ei
r
=i»t=i
1. Ye maids of Hel - ston, gath - er dew While yet the mom-ing breez-es blow;
2. Ye youths, who own love's ar - dent power, To yon - der shel - ter'd bank re - pair,
3. Or from the thick - et in the glade, Go, pluck with speed the hawthorn bough,
4. Tho' a - ges close and manners fade, And ancient rev - els pass a - way;
^
^^^
1
1
1 n
r
1
r^
\ 1
t .
r 1
' J al •
J J
J '
1 1 1 1
^ ^-- Ig:
*^-:«
1
T
1
^^
1. The fai
- ry ring
s are
tresl
and
new. Then
eau
tious
mark
them
as
ye go.
2. There seek
the eai
- ly
op-
ning
aow'r To
deck
the
bo -
soms
of
the fair.
3. And twine
a wrea
th to
deck
the
maid Who
has
thy
troth
and
pUght
-ed vow.
4. In Hel
• ston, let
it
— • — S— 1
not
be
said. For -
got -
1
ten
is
1
sweet
Flo -
ra - day.
— ^T — 1 — 1
^^^1 *—
-*-
-• j *
1 r r
1
"^P^
-^ f
^ _'1 , „_,_
=^_^, L
V^ b •
1
1 «
r 1
1
^ Ifl
; .J
1
f i
1 ~ * "1 1
* •
LJ
f •
Chorus.
1
1
iS , 1 1 1
— *— dH al -^—
rH
I'^i r, Ti
A - rise.
a -
rise.
the dawn of day.
1
The
bzc2 e Hf—W ^_i
sky - larl: hails the dawn of day ;
1 1 ^
H "^ \r r\-±A
^!*=^-b d-
-f-
r li ^}?JL
^ 1
'^^==^ — Ir ;J-^
^^
^s
C'-^
:*=*
zj^zgz^
f
E^Bt
f=
r^
Care, get thee hence, from Hel - ston fly ! For mirth rules hero this mom of May.
^
a^
g
This song, which refera to an old festival held in Helston in Cornwall, was imhlished in Thomson's WtWh Airl, vol. ii., ISU.
There are old lucal words in which Rubin Hood and Little John are mentioned, hut they are scarcely worth preservation unless as
a curiosity. TliO tune, which takes various forms, is known as "The Helston Furry Dance."
15
The Rose.
The rose had been wdsli'J.
William Cowpf.r (1731-1800).
Moderato.
-9~
Tune—" Hylecharaine.'
/
M
^'=^=4^
^i=
t=i
\-^J—
1 ii .
"^
f^
-1-
fF=r
«| J 1
*j
r 3 «-
1. Ma - ry
to
An - na con
rJ
Tcy'd ;
The
picn - U -
hii
moist-uro
en -
2. som'd, to
a
fan - ci - fill
view,
To
weep for
Uic
buds it
had
3. Dose - gay,
80
drip-ping and
drown'd ;
And
BWing-ing
it
rude - ly
too
(^:.h r r
-•
-^ — <=^
ir.
f—
1 J i"
1
\
^
«4» 1 '—
A —
=r ^
t r T"
=yb=
■■* -
1 * i
1
1. eiini - Ixr'd
2. left with
3. rude - ly,
flower,
grot
las!^
f
And
On the
I
wcigh'd down its
flou - rish-ing
snapped it, it
beau - ti - f ul bead,
bush where it grew,
fell to the ground.
" And such,' I exclaimed, " is the pitiless pait
Some act by the delicate mind,
RegardlesH of wringing and breaking a heart
Already to sorrow resigned."
5. This elegant rose, had I shaken it less.
Might have bloom'd with its owner awhile ;
And the tear, that is wiped with a little address.
May bo foUow'd, perhaps by a smile.
The music ami poetry of the Isle of Man are bo much influenced by the productions of Great Britain and Ireland, especially the latter,
that Tcry little of an original nature oxlats. The tune wo haTC given here ia believed to be genuine, but very little la known about it«
age or origin. There is a minor version, which ia believed to be older than thia one, but it ia not so well known. The original
ballad of " Mylecharaine " ia an uninteresting and poor production, which even the genius of George Borrow could not improve when he
translatea it. We have adapted it to Cowper's familiar verses " To the Rose."
16
English Country Dance.
'Sir Roger Je Cover ley.
A/Uefo.
Traditional.
-N ! r » - I ! ^~~i~^ I r— 5, I I K"^
-K- I ^ m ^ ^
f •'/
g^n— J -h=N^
i
f _ g
^E
^^
-?^g r «-^ r f r p r '
■ir ^^r
] — i — r^ 1 -^ — * ^ m ^ J J ^ -ITn
(g):fl 1 ^p ^-P
^ S — ij — i — =Hs — T— r — =r"
Vi.^: J 1_| 1-1
— ^i 1 —
=^p — ^^i^ — r ' — -
A very -well-known coxmtry dance which originated in the north, probably in Lancashire or Cheshire. It was published
in 1685 in Playford's Division Violin, and in nearly every subsequent eollection of English dance music. Angther early version
appears in the Dancing Master, 1695, Ninth Edition, This dance was known as "Roger of Coverley" until Addison used the
name for his celebrated character— Sir Roger de Coverley— in the "Spectator" ; since then it has borne this title.
17
English Hornpipe.
"Miss Baker's Hornpipe."
Trndilional.
Spiriloso.
(r-
^s
•_
r.^'frr , f •' : J •' J ' ^ ,
1 J ^ J n 1
i
^
^
4=
r r ' ' ' ijL— r r f =
' ' - 1 ' ' ' =
^ J J r — 1
The hornpipe Is a characteristic English dance, of which many •pecimeoa exist Two very well-known ones are "The Sail&re
Hornpipe" and "The College Hornpipe." The exaiuplo given above appeared in The ifimcoi Uagaant, ITC", and was printed in
coUeetionA prcTioiia to that date under other names.
18
Kidlinton Green.
:enfill6b Countrg Bancc.
From Playford's Dancing Master, vol. ii., 1728.
Con grazia.
^^^^.^^^^^H^Ejirtg
=»i?
^m
=F=f
^^^i*. I r- ^^
^^^^^ /3 * I f- U^^^^^y^^m
^
^.^
:»*
W===^T^»^
^^
\^
3Ci:=t:
^
3^
^0C(7 C>if.f.
m
Songs and Dances of Scotland.
" O Calkdoxia .' stem and wild.
Meet nurse for a poetic cliild !
iMiid of 6ro7rn fu-alk and sha^^ woody
Land of the mountain and the flood!"
— Scott.
20
Bruce to his Men at Bannockburn.
"Scots, wlia hae wi' Wallace bled."
Scottlsb flattonal Song.
Robert Bttrns (1759-1796).
mf Molio viaestoso.
Tune — " Hey, tutti taiti.
Traditional.
SE=^
i
\. Scots, wha hae wi'
2. Wha will be a
3. By op - pression's
Wal - lace bled, Scots, wham Bruce has
trai - tor-knave ? Wha can fill a
woes and pains! By your sons in
af - ten led,
cow - ard's grave ?
ser - vile chains !
1. Wei - come to your
2. Wha gae base as
3. We will dr.iin our
go - ry bed, Or to vie - to - rie !
be a slave ? Let him turn and flee !
dear - est veins, But they shall be free !
l^
in^
r:^.
^_g_
:?3;
^.
^
9. :3
?^
=a=K
*=r^=l=f
i^
— t: ^-r
1. Now's the day, and now'a the hour ; See the front of bat - tie lour,
2. Wha for Scot - land's king and law Free - dom's sword will strong - ly draw,
3. Lay the proud u - sur - pers low! Ty -rants fall in ev . 'ry foe!
1. See ap - proaeh proud Ed - ward's power — Chains and sla
2. Free -man stand, or free - man fa', Let him fol
3. Lib - er - ty's in ev - 'ry blow! Let us do
r^
^^m
^
=3F
=i=5
Previous to the appearance of this "ode" Scotland did not possess a national song which united all sections of the people. The
existinj;^ songs -which by any stretch of indulgence could be regarded as national, were chiefly those which marked, while they emphasized,
the political differences of Whigs and Tories. Burns wrote " Scots, wha hae " in 1793, and it embodies his own enthusiastic feeling of
patriotism whUe it also gives form and expression to his aspirations after political liberty, excited by the French Bevolution, then at its
most acute crisis. The song was first published in The Morning C/ironicie (London), in Way, 17Si4, and was afterwards included by George
Thomson in vol. ii. of his Original Scottish ain, 1799, from which time it has been adopted as the national song of the Scottish people.
Burns, writing to Thomson in Beptember, 1793, about the tune and the song, thus records its origin—" There is a tradition which I have
met with m many places in Scotland, that it [the tune " Hey, tutti taiti "] was Robert Bruce's march at the battle of Bannockburn. This
thought, in my yesternight's evening.walk warmed me to a pitch of enthusiasm on the theme of liberty and independence, which I
threw into a kind of Scots Ode, fitted to the air, that one might suppose to be the gallant royal Scot's address to his heroic followers on
that eventful morning.''
The tune originally used for the song was "Lewie Gordon," which was suggested by Thomson, as also were various alterations in the
fourth Ime of each verse required by the rhythm. Bimis preferred " Hey, tutti taiti," althovigh he assented to Thomson's proposal, as
may be seen in the published version of 1799, but, fortunately, public feeling afterivards endorsed the poet's taste and preference by
requiring the restoration of the originally-selected tune and m'etre. This appeared in vol. iii. of Thomson's work in 1802. The Battle of
Bannockburn was fought in 1314. and the English army of invasion was decisively defeated by the Scots under Bruce. It is impossible
to accept the tradition concerning the tune referred to by Burns as being even reasonably accurate. " Hev, tutti taiti " is a prenulne old
Scots au-, how old cannot bo determined, and has appeared in various collections, set to Jacobite and other verses, from the time of
Oswald (1747) till more recently. The words, " Hey, tutti taiti " or " tatti," are supposed to be a verbal imitation of the rub^l-dub of a drum.
Lady Naime used an adaptation of this tuna in slow time for her plaintive song "The Land o' the Leal," to which it is now invariably simg.
21
Auld Lang Syne.
" SbouLi auLt acquaintance be forgot i"
BoBKBT Burns (1759-1796).
m/ Moderato.
1. Should aulil acqunintADL'u bo furnut, And nev - or brought to niin"? ShouKl auld ac(|uaintani'o
Z. Wo twa hoo run a - bout thrhnioH, And pud tho gow - ana tine ;' But wc'ro wander ilniony a
3. Wo twa haapuidl'd' iu thu burn Krao uiorn-ing (iin till dine; But iieaii between ns
^
^
f^
/ CnoRus.
1. ho for -goi, And
2. wea - ry foot. Sin'
3. braid bao roar'd, Sin'
(luTH o' auld lang Kvne ? 'I
auld lang lyno. r For
auld lang lyno. )
lang
■yno, my dear, For
4. And Uiorc's a hand my trusty Acre ! '
And gio'H a hand o' thino I
And we'll tak' a right-gtide-willie waught *
Tor auld lang sync. C'honis.
■ PullcJ tho (UUiov > Pwldlcd. > Friend.
5. And Burely yell be your pint gtonp ! '
And Kun-ly I'll l>o mine!
And »'c1l tak' a cup o' kindness yet
For auld lang syne. — Chorus,
* Drftu^ht of gnod will. ■ Measure or tankard.
" .V'lll I.au« Sjmo ■• U the noclal •ong of all the EnKliahjrpeaking r»c«i. It iipcod« the ]iartliig grucjt, and it tho iMt utrain which tho
■nldler luatn whan lie leave* tliu old enuiitry for the wui. For mors tluui * bimdrod ycsra it haa been mt once tho eong of farewell, the
remombmni^r of old frlondohipe, and tho plolgc of now cnciu it wm written by Buma in I7S8. in<t la partly liaaed on earlier aonga,
which liikl tho rafriln of " Auld Ung syne." Tho earllcat known version was Issued In 171C, in toL UL of Watson's SnU Focmt, and Is
probably but a variation of au oven earlier edition. It bctriiif thua—
Hhoiild auld ae^iu'^intanco Iw for^t,
And never Ui'Mi^ht upon.
Tho flainea of love extinffuuhod.
And freely i^aat and f^onc ? etc.
Tho refrain is *' Old Inntf srno," which would now sound quaint, even to an Englishman. Allan Ramsay published a Terslon in his Tm
T,Mt MixtUattf (I'M), which goes as follows—
Should auld acquaintance be forgt>t.
Though they return with scars?
Those are tho noblo hcr^>'8 lot.
Obtained in pliTious wars, etc
And hia rr'fniln i.i, " As I was lanffsyne," ".\s they did lanj ayno." etc. Burns' song wia first published tn Thomfon'a OrirnnnI ScoUiih
Atra, vol. i. (liWX sot to ft siimewhat tamo air, and in tlio third book (179i*>of the kiuio collection it appeared sot to tho present tune.
The tune univenally uao.1 now Is an old Scottish melody, probably a reel, which has been published in Tarlous coUoctions aince 1767,
under the titles ol •Tho Miller's WeddUiff." "I feed a lad at Michaelmas," "The Miller's Daughter," and "Sir Alexander Don's
Btrathspuv ' It l» noco««ary to make this q\iit« clear in order to show that the claims advanced on behalf of William Shield (174S-1829) by
v»rio<is Kums' editors. Dr. Bnico, W. U. Curaminifs. s. .1. Adair Htsgcrald, etc., are quite groundlem. It has been assumed tliat, because
the air w:l5 iutrwluc.-l l>y Shield at the end of the printed cliti.^n of his overture to Honna (1783X and marked, by the way, " to imitate
the b«^ii»>« ■ it nuisl have boon eompoaci by him. lir the same reasoning, Shield must have compoeed some hundreds of old Irish,
Scotch, and Kngliah aira which are »catter«!d throughout hl.i niimeroua musical pUya I As a matter of fact. Shield never claimed this
tune aa tiis own though ho lived for fortrsix years after Ro.nna was printed, and it was not untU after his death that it was attributed to
him. Shield w'a... a friend of WlUiam Napier, a .Scottish music pvihlisher in London, for whom he often worked, and it is possible
that Napier, tho tr'l publisher of tho score of «o.ino(not Pale, as Mr. Oummings and others erroneously suppose), su^r?e"ted the air
Dale purchiiaod the plnte.^ of Kotina from Napier, .ibout 17,sr, m and substituted his own name on the title page. The first two bars of the
tune used with Allan liamsay's song closely resemble the popular setting of " Auld Lang Syne" —
auld ac - quain-tance.
22
The Flowers of the Forest.
"I've seen the smiling of fortune beguiling."
Alison Rutherford,
Mrs. CooKBURN (1712-1794)
Lento con violto esfiresniotu.
Tune — Traditional.
1. I've seen the smil-ing of for- tune beguiling, I've felt all its favours, and found its decay;
2. I've seen the morning with gold the hills adorning. The dread tempest roar-ing be - fore parting day ;
^^^P^^^^^P
^m^
kj - - I ^ — ' I I I I ^f"
1. Sweet was its bless - ing, Kind its ca-ress-ing, But now 'tis fled, 'tis fled far a -way.
2. I'fe seen Tweed's lil - yer strfams, Glitfring in IhoiunDj hums, Grow drum - lie anl dart as thej roH'd on their waj.
I i •-> -U P-m-^~~
1. I've seen the forest a - dorn . edtlieforemost.With flowers of the fairest most plea - santandgay,
2. O fickle for -tune! why this cru-el sporting';' O why thus perplex us, poor sons of a day? Thy
1. lion-nic was tlieirlikom- ing, Their scent tie air per -fain - inj, But B0» tley are »i
2. froviTu an ■ not fear ire. Thy smiles can-not cheer ne,Forthe Flow'rs cf the For
weJe a - way !
wede a - way !
,^M^
This song was first published in The Larlc, Edinburgh (1765), and appeai-ed also in Herd's Scottish Songs (1769.76). According to
Sir Walter Scott, the song was " written at an early period of her life, and without peculiar relation to any event unless it were the
depopulation of Ettrick forest." Other.s a.s6ert that it refers to a commercial disaster, while the majority of the Scottish people hke to
think that it is a lament for the disastrous issue of the Battle of Flodden (1513), in which many nobles and soldiers from Selkirkshiro (the
Forest of Ettrick) and the Borders generally perished. Another song with the s.anie title, and referring to the Battle of _Flodde-
writtenby MLss Jane Elliott (1727-1 805), .and first published in 17o5. It is sung to i
(1615-20), and it begins—
ry old i
vhich
'■ taken from the Skene WS.
" I've heard the lilting at our yowe-milking."
The tune of the song given above appears in Oswald's Cafcdoniait Pocket Companion (176S), and is probably of a much earlier period.
23
The Emigrant's Complaint.
"Oh! whv lett I niv hante?"
Robert Gii.killax (1793-1850).
Tiinr adapted by
Pbtks Macleop (1797-1859).
1. Oht why loft 1 my
2. Tho palm - treo w av - ot i
3. Uh ! here no Sab ■ bath
4. There's a hope for eT - 'ry
hanie ?
WhT
hiRh,
And
boll
A
woe,
And •
did I cross tho deep?
fair tho myr - tlo Kprings,
waltes tho Bab • Inth mom ;
balm for ev - 'ry pain,
fine long, which c^nrcys m faithfully the yearning of the cJiilcd Ecut for hia homeland, was first printed in Peter
l-od's Orttrinat Sationnl Mftoiltf* of Sfolland 0*3^). and ha« also appeared in tho collected editionn of Gilfiliana poetical works.
The time is baaed on an older one known oa "The Lowlands of HoUaud," and was written by Peter Maclcod, an Edinburgh amateur
24
The Hundred Pipers.
" IVi' a hundred pipers an' a', an' a'."
Jacobite Soiiq.
Caroline Oliphant,
Baroness Nairnb (1766-1845)
mf Poco energia.
TMne— Probably Modern.
1. 'Wi' a hun - dred pi - pars an' a', an' a', Wi' a hun - dred pi - pers an'
2. Oh! our sod - ger lada looked bra w, looked braw, 'SVi' their tar - tans, kilts, an'
^^S
^
rfcft
^^
^:
^
1. a',
2. a',
j^M^
We'll up
Wi' their bonnets
gi'e them a
feath - ers an'
blaw,
glit .
a blaw, Wi' i
t'ring gear. An'
S^
=t
fcfi
mf
q^=t:^
^
^
X~^^^^
^
r 5^ * * *
1. hun - dred pi • pers an' a', an' a'! O, it's ower
2. pi - brochs sound - ing sweet and clear. Will they a'
^
»=^^
the Bor - der, a -
re - turn to their
^
This song commemorates the surrender of the town of Carlisle to Prince Charles Edward Stuart, on November 18th, 1745, when he
invaded England, at the head of a mixed army of Highlanders and Lowlanders, after his victory at Prestonpans. He '* entered Carlisle
on a whit© horse, with a hundred pipers pLayiug before him, whose shrill music was not calculated to inspire the citizens with confideiK-e
in their grotesque conquerore " {Burtons Exsiory of Scotland). The episode, recorded in the fourth stanza, of two thoijsaud Highlanders
swimming the River Esk, when in flood, on the occasion of the capture of CarHsle, is not quite correct. It refers to a later period, when
Prince Charlie made his disastrous retreat from Derby, and Carlisle had been retaken. It was Scots, and not "fell English ground" which
they reached on that occasion. But Lady Kairne, by combining the two events, has produced a very spirited and successful ballad, which
takes a liigh place amony modem Jacobite songs. It does not seem to have been printed till about 185'2, when it was issued at Edinburgh
in sheet form, -with the music. It also appears in the second edition of Lays from Strathmrn. Miss Elizabeth Rainforth (1814-1877), the
soprano singer, first introduced it to public notice. The tune has not been satisfactorily traced, and though it is indexed in the " Lays'
as " Hundred Pipers," no such air is known to exist previous to the date of Lady Nairne's song.
Tilt: /ir.\/>/i/:n i-rpEiis.
23
1. wa', a - wa', It's owcr the Bor - dor, a - wu", a - wa', Well
2. ain dear glcii ? WiU they a" re - turn, our Hio . land men? Second-
1. on and wl-11 march to Car - liiila Ha', Wi' its yotU, iU cas - tlo an"
2. sight - ed Band - y look'd fu" wao, And mo - thers grat when they
1. a', an" a'. ) ^
2. march'd a - wav. f ^'' ' bun - dred pi . pen.
Wi'a
3. Oh, wha is forcmaist o' a', o' a'?
Oh, wha docs follow the blaw, tho blaw ?
Bonnie Charlie, tho king o' us a', hurra !
Wi' his hundred pipers an' a', an' a' !
His bonnet an' feather he's wavin' high !
His prancin' steed maist seems to fly !
Tho nor' wind plays wi' his curly hair !
While the pipers blaw in an unco flare! — Chorus.
Tho Esk was swollen, sao red and sao deep,
But shouther to shouther tho brave lads keep.
Twa thousand swam ower to fell English ground.
An' danced themselves dry to the pibroch's sound.
Dumfounder'd the Englii-h saw, they saw —
DuQifounder'd they heard tho blaw, the blaw!
Dumfounder'd they a' ran awa', awa' !
Frae the hundred pipers an' a', an' a'. — Chorus.
26
The Border Widow's Lament.
"My love he built me a bonnie bower.'
Scott's " Minstrelsy of the Scottish Border."
Andante.
tt ^
Tune — Traditional.
con. Ped.
i
Sinai:
l^^^gCT^^gg
£
atziP
=^
1. ne'er did
2. ve - ry
see, Than
night, Who
my true
brake my
love
bow'r
he
and
built for
slew my
w
me.
knight.
^1=
=P •"
-Ps**.-
?3E
^
-^ d _J_-
-m^
3. He slew my knight, to me sae dear,
He slew my knight, and poind his gear ;
My servants all for life did flee,
And left me in extremitie.
4. I took his body on my back,
And whiles I gaed, and whiles I sate ;
I digg'd a grave, and laid him in,
And happ'd him with the sod sae green.
5. But think na ye my heart was sair,
When I laid the raool on his yellow hair,
O think na ye my heart was wae,
When I turn'd about, away to gae ?
6. Nae living man I'll love again,
Since that my lovely knight is slain,
Wi' ae lock o' his yellow hair,
I'll chain my heart for evermair.
According to Scott, this Border ballad "was obtained from recitation in the Forest of Ettrlck, and is said to relate to the
execution of Cockburn of Henderland, a Border freebooter, hanged over the gate of his own tower by James V. , . . in 1529." Other
authorities, like Motherwell and Professor Aytoun are of opinion that it is an imitation, based on several originals like "Helen of
Kirkconnel" and a ballad in Percy's Jieliques. The tune is preserved in Chambers* Songs of Scotland prior to Burns, but
particulars of its origin are wanting. It has a slight resemblance to the tune of "The Bonnie Briar Bush" which Bums
communicated to Johnson's MuHwn.
J7
Glenlogie.
"Three score o' nobles rade up the king's ha."
BberOceneblrc Xallnb.
Tunf — Tr»dilioDal.
p Afoderato.
m
1.
Thre.>
1
score o' do -
blox
rade
1 — *—
r
up
the
king's
— \
-^
ha',
But
2.
" H»ud
your tonguo, dooh
ter,
there'*
bcl
ter
than
hc,"
"O
3.
"Thcro
ii, Olen - log
ie,
a
lot
tor
for
theo,
O
m \i
-p—
P r-
•
■
p«=
=H
■—
-•-
-1"^
=^=\
\^-i—
fc=
^ m-
/
'
^?!i —
— 1
— e=^-^
4. Then to Glenfeldy's— but sma' mirth was there.
And bonnie Jean's mither was tearin' her hair;
" Ye'ro welcome, Glenlogie, ye're welcome," quo' she,
" Ye're welcome, Glenlogie, your Jcanie to see."
6. Palo and wan was she when Glenlogie gaed ben,
But rosy red grew she whene'er he sat doun ;
She turned 3wa, wi' a smile in her e'e,
" O dinna fear, mither, I'll maybe no dee ! "
There Aro MTcral Tcreionn of thU qu&int ballad iu existence, but wo have choecn tbe ooe best suited to the tunc, Tt is supposed to
r»fer to tJio pcrio<i of 1562, when a young Aberdeonstiire lady fell in love, at first sight, with a gentleman in the retinue of Queen Mary,
then in the north to quell a small rising. It is assumed that the " Gay Gordon "— for it was a member of the Glenlogie branch of that
family with whom Jennie Meldnim or Melville was in love — rode away in ignorance of the passion he had excited ; but when sent for,
he gallantly returned in time to avert a tragedy ! The tune is preserved in Smith's ScotUh Minttrtli 1822*24, and is a very fine
specimen of an old-fashioned Scots melody.
The Boatman.
"/ climb the mountains.
t)ebrl6ean Song.
Gaelic original anonymous
mf Molto andante.
Tttn^— "Pear a BWkta."
1. I climb the moun - tains and scan the o - cean For thee, my boat - man, with fond de -
2. Bro • ken heart - ed I droop and Ian ■ guish. And fre - quent tears show my bo - som'i
3. From passing boat - man I'd fain dis ■ cov - er It they have heard of or seen my
1. vo • tion. When shall I see thee ? today? to - mor - row? O do not
2. an - guisli ; Shall I ex - peet thee to-night to cheer me ? Or close the
3. loT - er; They nev - er tell me— I'm only chid - ed, And told my
leave me in lone - ly
door, sighing, sad, and
heart has been sore mis -
1. Bor - row.
2. wea - ry ? - Fear a bhii - ta, na ho - ro ei - la, Fear a bhi - ta, na ho - ro
3. guid - ed. )
ei - la. Fear a bhi - ta, na ho ro ei - la, Happy be thou, where'er thou sail ■ est.
4. I may not hide it — my heart's devotion
Is not a season's brief emotion ;
Thy love in childhood began to seize me,
And ne'er shall fade until death release me. — Chorus.
5. My heart is weary with ceaseless wailing,
Like wounded swan when her strength is failing
Her notes of anguish the lake awaken,
By all her comrades at last forsaken. — Chorus.
Tho words of this very popular West Highland song are anonymous, and probably date from last century. The tranBlation of the part
of tho song selected is by Mr. Lacblan MacBean, by whose permission we have taken it from Songs of the Gatl, a new edition of
which is being issued by a firm in Stirling, N.B. There are many versions of tht"? beautiful tune, which is one of the beat known and
most sung in the Highlands. It is tmdoubtedly a very old tune, but no doubt it has been considerably modernised, as the older \
are quite different.
29
The Rrown-Hair'd Maiden.
" Horo, mv hrou^n-hjiiJ Maidfn."
'CQcdt DioblaiiO Sona-
ongiii:>l anui^ymouR.
Moderaio.
Tunf— *'Mo nigbe«n doDO, Dboldkeaoh. '
1 — O.tt u rtr -.
1
1 1
li
1
^^ <*> J =
T — ^- —
d—
=i-
1
ri
1 —
=^1
^ •
-^
1
1
T
1. IIo
ro.
my
bruwo
• hkir'd
maid
ea,
Heo .
}
2. O
maid,
wboiH)
face
i«
fair
eat,
Tbe
3. Tho'
f»r
-\ TT-
from
tbcc
Im
rang
1 «*— 1
ing,
My
F
- .1
* 1
1 fr |T i.
>V-
-4—
— 1— ,
1
i —
^ 1
^ —
, / J.
s^.
{t/^
.M ■
d
-M-
=^
=S=
8~
— ri
5 — 1
«/
f^
1
1
1.
ree,
my
bon
oio
maid
en,
My
•wectMt,
neatest.
2.
beau
ty
that
Uiou
bear
e>it,
Thy
witching
imilo the
3.
loTe
-|»
i»
not
— f-
ea
1
trang
My
heart i«
■till un
r. 1
\^t>V
i^
=-
7^-
1
\
r
I
— ^
r '
4. Oh, blest wan I whi'ii ncur thee.
To tee tbcc and to bear thee,
Those memories still endear thee
For ever to mo.
6. Where Highland hills arc swelling.
My darling has her dwelling.
A fair wild rose excelling
In sweetness is she.
Another Tory populiu- Wtut Highland song which hM been nude funlliar to muilc loTen by \U IntroJiictlon mt concerts by
MTwsl weU.ktiowa •Inftora. We are ■gain inrtobted to Mr. L. MacBcan for permlarion to lue hia tranalation of the ori^nal Oncllc
Teraea. Like the " BuaUuao,' this »>U({ i« of unknown authorahip, btit Is jirobably of more recent dale. The veraions of tbe trjio
dlfier alao to a Tery coiuldotablc degree. It la tbe custom with some slngera to repeat the first veise an a chorus.
30
Joy of my Heart.
"Red, red is the path to glarv."
ftortb fjtgbland Song.
Dr. KoBEET Cooper (1750-1818)
Adagio.
P
I'une — " 'Stu mo run."
1. Red, red is .
2. Turn and see .
3. But thou bleeds-
ry! Thick yon ban ners
thy tar - tan plaid - ie Ris • ing o'er my
O bleeds, thou beau - ty ! Swims thine eye in
the path to
Yes, my darling, on thy pillow
Soon thy head shall easy lie;
Soon upon the sounding billow
Shall thy warworn standard fly !
Joy o£ my heart, etc.
5. Then, again, thy tartan plaidie.
Then my bosom, free from pain,
Shall receive my Highland laddie —
Never shall we part again !
Joy of my heart, etc.
r^^^hin-r^lF P^ ?r,''"'' ^yJill^ *''5 'i'"'"'' ">= Marquis of Huutlj, was lying wovmded in HoUand, In 17!». First publialied in
onf^^f. Ifhil^t^r^ d"/^^"/! 'n '*} *"■'' l'°'',T'"S'' '"i ^"'"''° *'"'"'' ■»«'"<"'■ Tbe air, which is a very fine and characteristic HighUud
one, was oStained by Lady G, Gordon in the Highlands, and, at hor request. Dr. Couper wrote the words.
31
Scots Reel.
" / u/.sA you uvuLl many me tiow."
A/U-'ro molto.
^=^ f f-T7-f.=f^=^=t=r
y f— T-
f f r r .^ J -4.-'rrtf=p^^^^-=^^^
Nf r T ^ T^'^^^^^^f -"^ ■ ^^^
:£=!t-
^
4— «— t^
t I I -
^^
^
^
P
^^f-^- J r^J :' J ^ ^ r -IF n- r.^^^
Thf Reel i« n q\ilck (Unc«, u.«ul]v performed bjr t wo couple*, an.l i> common to the whole of the Britl»h laics, though it 1j also to be fmind
w licnmark. In S.-otl.in.l It hu found • pormiuicnt home, »jid It In hero that it in in'«t uJcd, »nd where the (freit bulk of it-i niuiric hii»
• riifinatol. Tbo dance Itoolf Is probably very ascteut, but It did not become faahlonable till about the middle o( l»«t ocntiiry when
l>liert Hnjmner published the fimt cnlleotlon of the«o dancoa, entitled A rollKtutn of SnX^ RttU or Cotinlry Dancu trUk a hajt far th'.
r.oomd.o o- A.irjjiifAonl, Edinburgh (1T'"|. Since then, colkvtion after collection hao appeared, and many Scottish mu/iitiana like
Mar«liull. tli» Oows, and others, owe their fame t.> their skill In composing and playing reels. \a the filtit Oi>lUrl<art of Stoltuh Datuit
H<ir<r. KdiiilMirirh. t Tola., Mr. John Glen h.ia collected an Immense amount of Information about these sprightly dance tunes. Reels are
»ory quick In tempo( ej = IM ), and are generally pla.ved mo<it efleotiTely on the Tlolln, for which Instrument most o( them arc compiwed.
Heels plarc^l on the Dagplpes an by no means ao satUfactory, and it Is a mistake to assume, as is very often done, that Scottish dance
music IS intended for the oanlpea.
32
Moderato.
Strathspey.
" Marchmiess of Huntly."
Wm. MAESHAtL (1748-1833).
^^
Li iU f
s
^^
^^r?f^t^5?Ptri:c.^rT^^
w. ;^JJ1 H
&,^j f f- f -tf-J^jczP-t] r ?-£=iF F ^ -
i±
P^gfU^[j-^^i^jrj:j^j 1.^^-^
B
^
i i i
^m
j jn ^ j
s=
The Strathspey is a distinctively Scottish dance, and appears to have originated in the locality from which it derives its n&ine,
about the middle of last century. It is a slower dance than the Reel, and though closely akin to it in character, 1b jfenen^y
more jerky owing to the profuse \ise of snap notes. The earliest collections with the word "Strathspey" on the title-page
appear to be the following :—rAi»7y-st'rc7t neic Redls and Strathspeys, by Daniel Dow (1775); A Collection of Strathjipey Rests, by
Alex. M*Glashan (1780); A Collection of Strathspey or old Highland JUels, by Angus Gumming (1780). Other collectione by Ross
and Marshall follow closely on, and aftei-wards the word became quite general. According to Mr. John Glen this dance is usually
taken too quick in dancing, and should be played c'=84 "istead of ^ = 94 as usually indicated.
Songs and Dances of Ireland.
' Ekin/ li.e Utir ami iht smile in thint eyes,
blend lit* the rmnlnnv that hangs in thy skits."
—atCOHB.
34
The Wearing of the Green.
" Oh, Paddy dear, ami did you hear ? '
Jrlfib mational Soiifl.
Anonymous Street Ballad.
Andante cspressivo.
1. Oh, Pad - dy deal', and did you hear the news that's go - ing
2. Then since the eo - lour we must wear is Eng - land's eru - el
3. But if at last our co • lour should be torn from Ire - land's
^St
round ?
red,
heart,
S
_CX_
^-
^E
1. The
2. Sure
3. Her
sham • rock is for
Ire - land's sons will
sons, with shame and
bid by law to
ne'er for - get the
sor - row, from the
grow on Ir - ish ground ;
blood that they have shed;
dear old isle will part;
l|e;r C^-XX-^
&
^£:
i\ Q.n
r*-"^ — i
1 — 1 — i — i — iTn
1
-fif^
L±
~S""= S~~S m~
-i — J ! J
•-^ H
VJ ^ m
o • • •
^ 0
9^ . m m S
^
O
1. Saint
2. You may
3. I've
1
Pat - rick's Day no
take the sham - rock
heard a whis - per
1 1 1
more we'll keep, his co -
from your hat, and east
of a country that lies
lours can't be
it on the
be - yond the
w
seen,
sod,
sea.
iw. . r>
1 — ^^
_,..., ^ m
1
^-^ by, ■■
r^ i-
_J __
^* J 1
1 — 1 1
' — **»-
'
This Rong arose out of the troubles which preceded and accompanied the Irish Rebellion of 1798. It appears to have been originally
a street ballad, and it exists in many different versions. As an epitome of the Irisli striving after political liberty, protest against oppres-
8ion, and deep-seated national feeling, it is unrivalled in its own unpolished way. In an earlier version the name of Napoleon Buonaparte
appears instead of that of Nappur Tandy, who was a prominent rebel, who took a somewhat inglorious part in the rising. The " wearing
of the green" refers to the custom of wearing a green ribbon or a sprig of shamrock on March 17th, St. Patrick's Day. Previous to Marck
17th, 1900, there had been a good deal of friction between the military authorities and the Irish regiments as to celebrating the saint's day
in this manner, but on that date the whole difficulty was most happily solved by a giaceful and just order from Queen Victoria, that all
the Irish soldiers and sailors should wear the green in honour of St. Patrick and the national aspirations symbolised by his day. On
March 17th, 1900, there was witnessed svich a " wearing of the green " as never "yet was seen," and the whole of the Engli8h-spe;iking
)>cople wore the green, not only out of compliment to Queen Victoria, but also in honour of the bravery of the Iri^li ti-oops in the South
African War.
The origin of the tune is very doubtful. It has been pointed out that a considerable resemblance exists between this air and a tuao
called "The Tulip," which appears in a book issued about 1750, entitled Airs for the Spring, by James Oswald, a Scottish composer.
THK WEARING OF TllF. GliEES.
35
^^^^mm
1. And ho
2. And . .
■aid," llow'a poor old
when the leaTct io
Ire Und, and
Nuni - mrr - time their
hovr . . does ahe
dure dmre act
3. Mutt wu a»k a mo • Uior'H bloM-iog from » (tnuigauid dia - tmot laod?
1^
*»=
-j\r-i J— -Ulj
;<£
'-^m
1. She's the
2. Then .
3. Where the
DiOHt dis ■ trcaa - f ul
1 will change the
cm ■ el cross of
coun try tliat ct ■ cr ]rct Ha!> m-cd.
CO - lour that I near in my cau - been,
Eng - land sliall ncv - cr - more be seen,
1. They
a But
arc hang - mg men and >vo - men for the
till that day, f lease God, 111 stick to
wear - ing of tlio
wear - ing of the
where, please God, we'll
3C
Irish War-Song.
'Bright sun, before whose glorious ray.
Edward Walsh (18051850),
Mollo maestoso,
mf '
Tune — " The Merchant's Daughter.'
1. Bright sun ! be - fore whose glo-riousray Our Pa - gan fa - thers bent the knee; Whose
2. The Cldir-seach wild, whose trembling strings Had long the " song of sor ■ row " spoke, Shall
3. Bend the loud war - cry o'er the main ; Your sun - burst to the breez - es spread ; That
\^
*SE
^»-<i
i
ir/f r ^4
-f- ^r- 1*-
=t=t
i
^
^
S^E*
fEEf^ESE^mEf
r^
1. pil - lar al - tars yet can say, When time was young our sires were
2. bid the wild Bosg - Ca - ta sing, The curse and crime of Sax
free ; Who
yoke, And
3. slo - gan rends the lieav'n in twain, The earth reels back be - neath your tread. Ye
J-
^ -i ^
I* flj»-
i
> ^ i - I k^i I
ift=p=
mf ~
^
1. see'st how f ali'n their off • springs be. Our na ■ lion's tears, our pa - triots' gore ; We
2. by each heart his bon - dage broke. Each ex - ile's sigh on dis - tant shore, Each
3. Sax - on des - pots, hear, and dread! Your march o'er pa - triot hearts is o'er; Tliat
w=\
^^
s
^^
t^
«?=
ritard.
i
^
^^m
m
i *
-f r r
fl^ J
1. swear, be - fore high heav'n anJ thee, The Sax - on holds us slaves no more !
2. mar - tyr 'neath the headsman's stroke, The Sax • on holds us slaves no more!
3. shout hath told, tliot tramp hath said. Our coun - try's sons are slaves no more!
c/if f h
\i^^^^^-^
:«!«:
3tfip
Lj r
Walsh contributed this song to the Spirit of the Notion in 1S46. It was directed to be sung to a very inferior tune, and the
above fine and martial air, from Bunting's Ancient Iriak Music, IS-iO, was first subatituteJ by Mr. Alfred Moffat in his Minstrelsy of Ireland,
1897. It has been arranged for singing as a four-part song if thought desirable, but it can also be performed as a solo. Both words and
TOTieic of this bold war-song are infinitely aupcrior to some of the commonplace patriotic Bongs which find favour among Irishmen at the
present time.
37
The Falr-halred Maiden.
■■ 7 ho' t/if List glimpse of Erin."
Thomas Mookb (1779 1852).
Andantt esprtsswo.
runr— "The Cooluo."
1. Tho' tho Uat glimpse of
2. To tho gloom of somo dea - art,
3. And 111 gazo on thy gold hmir
Bor - row
cold rock
grscc - ful
Hhorp.
wrcaUios,
1. Yet whcr-cv
2. Wborolhe eye
3. And luuig
er thou art shall Hccm K
of tho itran - grr cao h«unt
o'er thy loft har)<, ma wild
TTie »ong \i ono of Vooro'ii IriA Mtlodiet, though by no mcuia one of the b«t koom of that celebrated aeriM. It flnt«ppe«n>d in
Xo. 1 of the Mrtodia OMTX Tho lun« wm pHntod in Walker's Ritiirrieal Mautirt of IKt /rii* Bardt 0786), »nd to Mreral BuhMquent
«>ll«:»ioiM. Pmm thlii ■oiirw Mooro took the tune without »ltCT«tion. Tet ProfeMor Stanford. In hU edition of Moore's Uel'dim,
alleges that " This boantiful air has been merciloealy altered and spoilt by Moore." With all his faiilU, Moore tampered Terr Uttle with
the old melodies of Ireland, and It is an unjust aspersion to make any such unfounded charge as that quoted abore.
38
The Last Rose of Summer.
' Tis the last rose of Summer. ' '
Thomas Moore (1779-1852).
Andante con inolio esprcssione.
P
!/'»;ir -Traditional.
1. 'Tis the last rose of
2. ni not leave thee, thou
3. So Eoon may I
sum - iner Left bloom
lone one, To pine .
fol ■ low, When friend
ing a - lone;
on the stem ;
ships de-cay;
"^^
i
:U^
con Ped.
1. To ro - fleet back
2. Where thy mates .
3. Oh! . . who would
blush - es,
gar - den
hab - it
To
Lie
This
give sigh for
scent - less and
bleak world a
sigh,
dead,
lone?
conndcrablc differences in the versions. The earliest printed version of the tnne aiiiw-ii-s to be "The Youne Man's Dream
Buntings Amnt Irish Mxmc (1796). After this it w-as published as "The Grove-s of Blarney" in Holdcn's /W,<4 r>ints <1
nd other editions.
I by JI.
that given above, and it has bee;
39
Go where Glory waits Thee.
TnoMAS MooKB (1779 1852).
Molto andante e matsloso
ru>M'-"Tho M*id of the V»Iloy."
poco rit.
Tfr-
1. Go where glo-ry waits thw, nut.whilofnnx'olatostlieo.Oli ! still ro • member mc
2.\V)u'n,at evp.thouroamofct Hy the star tliou loviht, Oh! then ro - member mc
3. WhcD, around theo dying, Autumn leaves arc lying, OhI then re - menilicr me
^
W I ^_
j::5a.
rf-p-.^
^^^^
i
^
I ^«J
r'
w/ ,1/,
1. When the praise tliou mi'oteitt TothinecarU »we<>lo»t, Dli! tJicn ro - member
2. Think,tvht'n homere - tum-ing, Bright we've aeen it burning, Oh! Uiua ro - member mi
3. And, at night when gaz-ing On the gay hearth blazing, Ob ! still ro - mcmlx-r roi
n1 ilUnifv
\^At^^Ui rTr.
1. other aruiH may presHthoo,l)earorfnend8eari'»H thee, All the ioyaUiat bless thee Sweeter far may be;
2. Oft as summer clo-se«, When thineeyo re - jh>-m'« On its ling'ring ro - sos, Once so lov'd bv thee,
3. Then. should music Btcaliii(,', All thesoulof feeling, To thy heart ap-peal-ing,Draw one tear from tiico;
1. nut when friends are nearest. And when jovs are dearest, OhI then ro
2. Think of her who wove them. Herwhomsdetheelovothem, Oh! then ro
3. Then let mom-'ry bring thee Strains I used to sing thee, Oh! then ro
member me,
member me.
member me.
r:&
l^gi
3i
ttrn:
"^
r P ^ ■!
ThU popiilsr and twautiful toot sppeare in Mooros Ueltdia, and the tune to which it is set— •'The Maid of the Tillej'— was
published In Bunting's Jnonit Irith ilutic 0"'6)-
40
Munster Love Song.
"Have you been at Carrick?"
Translated from the original Irish by
Edwakd Walsh.
Molto Unto.
Tune — Traditional.
P
^
^^
ra.-j-i-
=i=*
^
53=
^
r
saw you my
saw thy own
bo - som is
lus - tri - ous,
-&-
1. Have you been at Car - rick, and
2. Oh! IVe been at Car - riek, and
3. When seek - ing to slum - ber, my
4. Lo ! yon - der the mai - den, il
I
true . . love there ?
true . . love there;
rent . . with sighs,
queen - like, tugh.
s
■o-
^ -J^-i
-e»-
con Fed.
i^
i=FJ
^
^
73 F~
I
beau - ti - ful, bright, and fair ?
beau - ti - ful, bright, and fair;
morn -ing's blest beams a - rise;
down to her sau - dal tie —
1. And saw you her
2. And saw, too, her
3. I toss on my
1. With long flow - ing
^
fea - tures, all
fea - tures, all
pil - low till
tress - cs a
A
^=im^
^
-I — — -
g?
poco cres.
^^^
i^
m
^^
^-
Saw you the most tra
And saw the most fra
No aid, bright be - lov
Swan, fair as the li
J-
grant flow'r - ing sweet ap
grant flow'r - ing sweet ap
ed ! can reach me save God
ly, de - scend - ed of high
pie - tree?
pie - tree;
a - bove,
de - gree.
^
i^=i
S
T^
on espress.
^
poco rit.
^^py^TxT^
*=*=
-^
me?
thee!
love!
thee!
1. Oh ! saw you
2. Oh ! I saw
3. For a blood-lake
4. A my - riad of
my .... lov'd one, — and pines she in grief
thy .... lov'd one, — she pines not in grief
is ... . form'd of the light of my eyes
wel-comes, dear maid of my heart,
like
like
with
The song first appeared in Walsh's Irl
irvli Music and Song.
Popular Sonf/f!^ Dublin, 1847, and is set to an old Munster air which is printed in Dr. Joyce's
41
The Rakes of Mallow.
"'Beauing, bcUeing. dancing, drinking."
Anonjmoiu.
Con spirilo.
Tu )««— Treditiooal.
1. Beau ■ JDg, belle ■ ing, danc • ing, drink ■ ing,
2. Una time nought but olar ■ et drink - ing,
3. Kack - ing ton - anta, itew ■ arda teaa - ing,
Break ' ing win - dows, swear ing, gink - ing,
Then like pol ■ i ■ ti - cianh, think - ing,
Swift ■ \j ipend - ing, slow • Ij rais ■ ing,
^a^
r
1. Et • or ruk - ing. nuT - cr think
2. Raia ' ing fundH when fundii are sink
3. Wiah'ing thuH to spend Itieir da) «
1. Spend ing fast - er than it comen
2. Lir - ing Hhort but mer • ry lireii :
3. Then lo end this rak in;; lifo
Doat - ing
<!o ■ ing
They get
wait ■ era, bai ■ lilfii, duns,
where the De • vil drireii,
•o - bcr, take a wife.
^
J rrj-^ rr
gff=
^
i
:S^
&
^^
1. Boc - chua'
2. Har - ing
true be • got • ten sons,
Rweethoartx, but no wirea,
Lire the nakcs of
I J TO the Rakes of
ter liTe in strife, And wish
gain for
low.
Mai - low.
Mai - low.
w^
Thii mcn-y loiix, like "Ouryoven." la perhaps beat known u a military quickat«p or dance. It wu published orl^naDy in
Thumoth's 7V<(r< Brtgtith and Trftrc Iruh Am (1T4&-50X but possibly exist«d lon^ before then. A Scotch Tenion, with words—
" Wlu wsdna' follow the drum and the fifo T
Wha wadna' be a soldier's wife?" etc.,
uaorf tc be iiretty well known. There are also En^lUh versions existinj^, as "The Rakes of London." "Rakes of Marlow," etc.
12
The Daughters of Erin.
" If'e may roam thro' this world."
Thomas Moorb (1779-1852),
Spiritoso.
mf
7'iine~" Garryowcn.'
1. We may roam thro' this world like a child at a feast, Who but sips at a sweet and then
2. In England the gar-den of bean - ty is kept By a dra - gon of pru - der - y
^
^^
i
^i
^^^
^
ir=^
zmSzmt.
flies to the rest, And when pleas - ure bo - gins to grow dull in tho east, We may
plae'd with-in call, But so oft this un - ami - ab - le dra - gon has slept That the
m
1. or ■ der our wings and be off to the west. But if hearts that feel, and
2. gar ■ den's but care - less - ly watch'd af • ter all. Oh ! they want the wild sweet-
^
:=S=
m
-^-x
^
1. eyes
2. briar
tliat smile Are the dear
y fence, Wlaieh round
est gifts
the flow'rs
that heav'n sup • plies, We
of Er - in dwells, Which
Garryowcn is beet known as a dance or a military quick -step, but we have added Moore's lively words, written for the number of the
Irish Melodies which appeared in 1807. The tune seems first to have appoai-od in a Scotch dance-music collection— ffoic's Reposilortj of
Original Scotch Dances, etc., 1802— and it was printed in numerous Irish and other publications. It was known previous to its appearance
iu Gow's book, and is undoubtedly an Irish dance tune.
TUF DACGHTERS OF ERIS'.
43
1. DflT ■ (
2. namH
Deed le»»o our own Green Islo For
the touch nhilo win ■ oing tho sense, Nor
Ben - M
charms
tivo hearts and for
ua loAKt when it
m
fefe
1, mm ■ bright oycs.)
2. DioHt ro ' poU J
Then ro • mom - ber when ■ cv ■ er your gob ■ Itl is crown d.Tliro" this
^
\W*t=^
«=*=
I ^ J^ J-;^;3
world whether eaitward or weatward you roam.Wbcna cup to the amilo of dear
#f=?
m
In France, when the heart of a woman sets sail
On tho ocean of wedlock its fortunes to try-,
Lovo Hcldom goes far in a vessel so frail,
But just pilots her off, and then bids her goodbye;
While tho daughters of Erin keep tho boy.
Ever smiling beside his faithful oar.
Through billows of woo and beams of joy,
The same as he look'd when he left the shore.
Then remember, etc.
44
Irish Jig.
Saint Patrick's Day.
^
Con spirito.
Tune — Traditional.
^m
gSJjJ^J I f^^B^tn^rt^
-\ I r^-
— I — ■ ' — I — f — i*
mf
'T
1 1
e^s
g^^^— ^
^1— I 1
^^ I 1= •! 1 -* — ^
^^^c~4"
^
=^=*c:
^=«=
^^
-i ^-W-
iiiS
/Tj ^ ^'\ r^^T^j \rP^ ^\ ^^-j^
^
-1 1
^^
^p-^(E -^=^
^
-^-N-
i
ftA
n I J- * i:
gESi
-J-J-W-
^^
^
1 -1 I ^1
P^^
3=
^T
This well-known jig is very old, and it has been stated that it appears in an edition of Playford's Dancing Master, which appeared in
different issues from 1650 to about 1725. In 1748 it was printed in Rutherford's Coimtiy Dances. The jig is the characteristic dance of
the Irish people.
Songs of Wales.
' Out JjinJ of my FiUJurs, the UnJ of the free,
Tht komt of llu telyn, to soothing to mt ;
Thy noble dtfenders wert gallant and brave.
For freedom their heart's life they gar-e."
~.''LanJ of my Fathers," by FyAff fAMKS.
46
March of the Men of Harlech.
"Hark! I hear the foe advancing."
Melsb national Song.
Thomas Oliphant (1799-1873).
Con anima.
Tune — "Rhyfelgyrch Gwyr Harlech.'
^^^^^^^
1. Hark ! I hear the foe ad - van - cing, Barb • ed steeds are proud - ly pran - cing,
bfe^
^ — r
^
^^i=^^
^-r
tt^
i
fc«-
m^
=«=>-^^
f^S±E^^iE3
Hel - mets in the sun - beam glan - cing Glit - ter through the trees.
^^
^
^
=P=
:5a=
* 3 iE
i
feflz
^
*— !— i=*=^
^
9«- T»^- *» -iP^- ^
Men of Har ■ lech! lie ye dream -ing? See you not their faleh • ions gleam ■ ing,
-J-
^=
s^
J d: J
r
fl^
=«:
s
-^ — % . g *— • ■/•— S: ■
33:
While their pen - nons, gai • ly stream - ing, Flat - ter to the breeze :
S*£
^
^
=P2:
3=t
■=x
With "God bless the Prince of Wales" and "Laud of my Fathers" this martial song shares the distinction of being the
national hymn of Wales. It is said to refer to the siege of Harlcuh Castle, in Merionethshire, in 146S, when the Earl of Pembroke,
on behalf of Edward IV., after umeh difficulty, succeeded in reducing it. Like a lovge number of the best Welsh tunes,- this ono
has a strong martial flavour, and it is undoubtedly old.
MARC/r OF THE MFS OF JIMU.KCII.
t7
From Oil" rockii ro ■ I>oudU • ing,
MJ^Z^
i=^
Ixt the war ■ cry sound - ing,
T^ ' f '\
Sum ' men all al Cam ■ bria'K call, Tho liaugh ■ ly too Bur rouod - tng.
!■ i I-
^m
Ttt^
:M=Xi
Mm of ilur ' l<-cli ! on to glo ■ ry, Boo your ban ■ nor, famed in
^d=^^=^^\A. m
I
Waves these burn ■ ing wohIji bo • foro ye, '■ Bri - Uin (corns to yield!
2. 'Mid the fray sco dead and dyiog,
Friend and foo together lying,
All around the ai-rows flying
Scatter sudden death.
Frighten'd steeds are wildly neighing,
Hrazcn trumpets hoarsely braying,
Wounded men for mercy praying,
With their parting breath.
See, they're in disorder !
Comrades, keep close order .
Erer they shall rue tho day
They ventured o'er the Border.
Now the Baxon flies before us,
Vict'ry's banner floatclh o'er us,
Raise the loud exulting chorus,
" Britain wins the field ! "
48
Conway Castle.
"The sinking sun is beaming."
Sir Ai-KXANDER BoswELL (1775-1822).
Moderato.
Tune—"Y Gadlys" (The Camp).
=?!%=
— 1 —
f=^
r ^'' *
N=^
^^ih=iq
^
/(>■)• g
Con - way's tur
J i J J J":
• rets
grey,
1
No
7' -T' ■"'
spear of Sax - on
pj A 1
m^
*-^^ '> — \-^
* -•
1 1 ^
-^eaU
^4 P
— r
1^ J =^
i
g« ^ ^=^
gu J?
'©:
-at 9.
base - less tow'r eaeli
wiW - est tern - pest brav - ing,
Thy
(gii^g:
^i^
P
J -
^^
This fine song, iisually called " Of a noble race was Shenkin," after some wretched words by D'Urfey, we have adapted to the verses
written for it br Sir Alexander Boswcll, for ThomBon's Original Welsh Airs (1809). The txine is of the martial cast so characteristic of
Welsh music, of which we have selected aeveral specimens.
COyWAY CASTLK.
49
-^-J3
No more flrrcc warriom rmlly
Around thy moulilnog tow'ni ;
No more within our vklloy
The itorm of batUo lowV» ;
Whore knights their gauntletit flinging,
Oft urg'J in Bght tho deadly lanoe,
We hold at cto the merry danoe,
And lavH of lovo aro ainging,
We hold at cto tho merry dance,
And lays of love are singing.
3. Tho sun's last rays are glancing
On Conway's glassy tide,
In light oar'd skiffs advancing
Beneath Uiy walls wc glide ;
While oft tho loop-holo viewing,
Where once the wingud arrow flew.
We SCO the swallow darting through.
The insect tribe pursuing,
We see the swallow darting through.
The insect tribe pursuing.
fiO
The Marsh of Rhuddlan
"Mild is the sim on this soft deivv mornino."
Anne Geant (1755-1838).
Tune—" Morva Rhuddlan.'
1. Sweet are his beams on
2. O'er the grave of my he - ro
yon fresh bud - ding tree;
waves slow in the wind
THE Mi HSU OF nUVDDLAN.
51
^=^
3^t
¥
3SE^
-t~
m
T
1. BinlB through the
2. Wht-reClwyd's sad
hranchps
ira - ten
de
mv
light - cd,
mourn • ing,
^
-j^^
-r-.-«-
-n
T^^^
1. To hiiil the flrxt
2. My lov - iT'H wan
Tcr • dure
kllA ■ duw
and
pnme
moon
or
light
ihc Tear ;
I aeo ;
1. Tho prim • roM<and Ti' • lot by mu - lie in - »i - led,
T
1. Tho prim - roM<and Ti' - lot
2. As whon,tho proud Sax - ons
dig
r^A-
/<'. 1' ril.
5r^-j-^^q=j
m
=«t
pear,
free.
1. From long win • fry Hlum - bora
2. Ho ru&h'd to tho com ■ hat,
fold
dio
»P
be
3. I wander alone through these meadows deploring,
Or gather frct.h flow'rcts to dock liis cold grave;
On tho bright clouds of morning I fancy him soanng.
Or mounting the winds with the shades of the brave ;
And though the dear spot where l.leweilyn reposes
Is graced by no trophy, is mork'd by no stone :
There Spring's early Ti'lots and Summer's first roses,
Bodew'd with my tears, »ball be faitlifully strewn.
52
Oh, tell me how to woo thee !
" If doughty deeds my lady please."
IlOBEKT CUNTJINGHAME-GkAHAM
(Died about 1797).
Poco allegro,
mp
Tiwie— "Per Alaw " (Sweet Richard).
I S5
1. If doughty deeds my la - dy please, Right soon I'll
2. If gay at -tire de - light thine eye, I'll dight me
3. Eat if fond love thy heart can gain, I nev - er
mount my steed. And strong his arm and
in ar - ray, ni tend thycham-ber
broke a vow, No maiden lays her
1. fast his seat. That bears from me the mead.
2. door all night, And squire thee all the day.
3. wrong to me, I nev - er lov'd but you.
7
I'll wear thy col - ours in my cap, Thy
If sweetest sounds can win thine ear, These
For you a ■ lone I ride the ring, For
^=*
=i=^
^
The song of " Per Alaw " or " Sweet Richard " is said, on purely ti-aditiotiary and conjectural evidence, to have beeu composed in honour
of Richard II., and verKCs associating it with Richard Cceur-de-Lion and Blondel the minstrel have also been written. The tunc is
evidently very old, as it appears in a slightly different form in the first-printed collection of Welsh music— Parry's AntienX BritUh
Musk (1742).
6S
The Monks of Bancjor's March.
Jf7;cM //;<• heathrn trumpets clang.'
8ir Waitfr Scott (1771-1832)
Moderaio e maestoso.
7-„n«— " Ymdaith y Mwnc."
1. When the hi>a • Uicn trum -poU clang, Hound lio - lea - guer'd Cbea - ter rang,
2. On tho long pro - cchs - ion goes, Glo - ry round their cross - es glows;
m
^
^^
r=^
nun and fri - »r grey, March 'd from Ban - gor's fair ab - bey ;
vir - gio mo - Iher mild Id their peace - ful ban - oer amil'd;
i
«-
* > ly-
ff^^'^^
m
1. High Uicir ho - ly an -them sounds, Cos- tria's Talc the hymn ro - bounds,
2. Who could think such saint- ly band, Doom'd to feel un - bal - low'd hand?
l^tii."^=^^^ J '^^' ^~^
^
1. Float - ing doim the syl - van Doc, " O mi - so-ro - re. On - mi - nel'
2. Such was the di - Tino do - creo, '' O mi - »e - ro - re, Do - mi - no ! "
3. Rands that only masses sang,
(lands that censors only swung,
Met tho northern bow and bill,
Heard tho war-cry wild and shrill :
Woe to Brockmael's feeble hand,
Woo to Olfrid's bloody brand.
Woe to Saxon cruelty ;
" O miserere, Dominc ! "
4. Bangor! o'er the murder wail,
Ix>ng tby mina told tho tale;
Shatt«r'd lower and broken arch.
Long rccall'd tho woeful march :
On thy shrine no tapers bum.
Never shall thy priests return ;
Tho pilgrim sighs and sings for thee,
" O miserere, Domine ! "
»«ott wmlp this hullad for Thomnon!! irw.* Mtlcdtu. tpI. lit (181T), and hi» note to tho song ia u follows:—
" «lhol(Tld, or OUrid, KinR of Nrrthiimherliiid, haTlng bo«legci Cheater, In 613, and Brockmael, a Briti«h prince, ad ran ring U>
relieve it. tho rclUooiu of tho nciKhlH>urin(r nionastory of l^Dgt>r marvhcd In proceMton to pray for the succcm of their countrymen.
But tbo Kritiah being Intallv dcfcjitcd. tho hcatlien rlctom put tho monks to tho sword, and destroyed thoir monartery. The tune
to which those Torac* are aclapted Is oUlcd the Monks' llanb, and ia supposed to hare been played at their Ul-omeaed praoenlon.''
54
The Departure of the King.
"Brave Uewelyti turn'd and sigh'd.'
Anne Hunter (1742-1821).
Andante molio maestoso,
mf
Tunc — " Ymdawiad y Bienin.'
1. Lie • we-lyn brave turn'd and sigh'd As he passd the cas - tie wall,
2. Lie - we-lyn'shigh spi - rit rose As he movV] in mar - tial pride,
1. Faith - ful his men, with their aid, Now a - wait
2. By mil -sic chccr'd as they go : Bound to lay
liim in the glade,
the spoil - crs loiv.
3. Now the rage of battle raves,
Man to man, and blade to blade ;
Of the river's foaming waves,
Winding-sheets his foes have made :
While their fellows fly as fast
As the leaves before the blast —
But the hero's doom was past!
4. Lady, on thy eastle wall.
Wait no more thy lord's return ;
Bards, within his banner'd hall,
Tune your harps his fall to mourn:
Ystol Gwiddon's witching lore
Breaks the loom, the labour's o'er ;
Brave Llewelyn comes no more '.
This -very fine aud majestic melody h.TS been adapted to different words in y.arioiis collections. It is; one of the moat typical
•fwcimons of tile digiiilicd martial music of Wiiles. Like most of tlio tunes associated with Walen, it has a history wliich can be cjirried
back to remote timen, before music was a systematic art. One can only accept such claims with politeness, and ascribe them more to
bardic imagination than the evidence of historic^ record.
55
Loth to Depart.
■So mild Uiis the evening."
Asyr. Orant (1755-1838).
Aiiiianh'no.
V 1
Tunt — ''Anhawdd Yaiadkal.'
3. Sweet vale of Llangollen ! my childhood's lov'd bome,
Through thy grceo recesses now cheerless I roam ;
Thy streams so refreshing, thy flonret« so fair,
Again would delight mo vrcro Winifred there.
4. O Winifred ! sweet as yon lonely wild rose
In Uio deep shclter'd cleft of the mountain that grows ;
While I cherish thy image that lives in my heart,
From aolitude'ii peace 1 aoi loth to depart.
This beautiful nicloir appears in Jonea' Rclvcit of tht WtUk Bardi (\7MX and in Tariotu other coUecttooi.
56
The Rock of Cader Idris.
'/ lav on that rock where the storms."
Fklicia D. Hemans (1793-1835).
S^
Allegretto con grazia.
P
Tune—" Llwyn On " (The Ash GroTe).
^
1^
^
1. I lay on that roek where the storms have their dwell - ing,
2. I lay thus in si - lence, a spi - lit came o'er me,
^^
^~^J J
m
i
s^
m
^
p
-tS-
1. The birth - place of phan - toms, the home of the cloud ;
2. Man's tongue hath no Ian - guage to speak what I saw !
*e:
J^
a. '
1. A ■ round it for
2. Things glo - rious, un
deep mu - sic
pass'd float • ing
is swell - ing,
be - fore me,
m^
r-fni^
V ^1
n c Jf
1
,
L-.
tJ •
1
•
1
p
1
-e»-
1. The
voice
of
the
raoun
- tain
wind
so
lemn
and
loud.
2. And my
^yf p
heart
al
most
— r — 1
fain
ted
with
rap
— ta
ture
and
—^ 1
— ^>
awe!
1 r 1
>*.^_fl 1
1 ■
=^
A —
H — 1
u 1
1
Verses for this popular tune have been written by Sir F. H. Doyle and others as well as by Mrs. Hemans. The supernatural tradition
connected with Cader IdiTs has furnished the theme o£ the song. The original Welsh words of " Llwv-n On " or "The Ash Orove ' ImTe been
translated into English. The tune bears some resemblance to the Iriah melody of *' Kitty of Coleraine."
THE ROCK OF CADER I ORIS.
67
1. Twaaa mid ■ night of sha - dews, all fit ful ly stream - ing,
2. I Tiew'd the dread be • ingB a ■ round ua that hoT • er,
1. or wild waTea
2. Tho' yoil'd l>jf
and
breez
- ea
that
rain
glcd
their
moan,
tl.o
iniAtji
or
mor
■ tal
■ i
ty*
brwth
/|i>gg* 1
I.i - ^
hi—
=t=
1— 1
1 1 —
—fi —
1
— S \--\ \ 1
w — ^
1. or
I-!'' r f =
dim shroud ■ ed
Hlan
at
brief
1 — p —
in
— p —
ter
^ 1 ^ J rl
rain gleam - ing,
2. I
called up - on
dark
n<»*
the
Tia
ion
to OCT ' er,
f©H(JJ 5 —
-A — ■ * 1-^ —
1 — •
— 1
— 1 1
Z \r -^-\
ll^'V '^ =
4_3 — \ ^=!J_
1 .
r 1 r — ' — 1
l-i M
1. And I felt
2. For a strife
'midst a
was nitli
of
mo
dread
or
gran
mad
dcur,
np88
looe!
death!
^^
1 saw what man looks on. and dies!— but my spirit
Was strong, and triumphantly liv'd thro' that hour!
And as from tho gmve I awoke to inherit
A flame all immortal, a voice and a pow'r!
Day burst on that rock with tho purple cloud crested,
And high Cadcr Idris rejoic'd in the son ;
But oh ! what new glory all nature invested,
When the sense, which gives soul to her beauty, was woo!
58
The Rising: of the Lark.
"See, oh see the breaking day! "
<NB Grant (1755-1838).
Allegretto grazioso.
Tuiie — '■ Codiad yr Hodydd.'
1. See, o)i
2. Come, my
3. Now the
see the brealc
love, and diiuk
dap - pled clouds
day, How the dewdrops deck the thorn t
sound. Ere tho dazzling sun ap - pears ;
mong.Swcctand clearas-cends tho lay;
Si
^
^
1. Hov' - ring
2. While each
3. Come be
low the
droop - ing
fore the
sky - lark's lay, Long pre - lud-ing, meets tha morn:
flow'r - et round, Bends with Nature's ear - ly tears!
plu - my throng,Wake to hail the king of day!
^
1. Hark! hark ! tho li - quid
2. Pois - ing as she
3. Warb - ling loud - er
notes a - wako a - new, Ris - ing sweet - er
mounts with hu - mid wings. Still a - bove her
still she mounts a- lone. Near, and near - er
MS
Lf J'-
jr-2Ji
t=m:
1. wth the ris- ing dew, And ris
2. low - ly nest she sings, O'er
3. to his ara-bcr throne. Near
with the
low - ly
to his
nest
am
ing dew.
she sings,
ber throne.
^
^
Thi»; song appears :
vhat mgdifieJ form ;
s' Rdicks (1784), and in other similar publicatu
s»
Welsh Country Dance.
Hunting the Hare."
Turn — " Hola'r Ysgyfamog.'
Allegro nnimatc.
4.
^^
=:~'"~r ^-"^
U-^jJ51
^^
F=St
g^^^^=3^^ g J -I
I^P^
*P
I::
i .
^
r
^
i>— gi
As the Wdsli have no sptsia! chanctcristic dance of their own, the forcg-oiiig HtcIt tunc ha* been arraDged a^ a ommtry dance.
It hat been claimcil a^ an EngU>l) melody, but this baa boco very etouUy resisted by WcLih antiquarica, chiefly on traditionary
evidence.
Citt
Welsh March.
Tune — " Captain Morgan's March.'
Tempo di marcia.
W^
i
ft^
^S
a
^"^r^
E
i±
>— r-
^^
-^— *-
::i=i*
fe
3i ^ k
^^
^
^ I II::
=^
^ fl^-1.^- ^
mttrs^^^^^
^
mf
s*^
ie?:f"tf — I"
^tp
^^
-^ — ^
g
EU%OPE.
Songs and Dances of Austria-Hun(;ary.
AUSTRIA.
MORA VIA.
TYROL.
BO f I F.MIA.
HUNGARY.
BOSNIA.
62
Austrian National Hymn.
"God preserve our gracious Emp'ror."
1797.
Baron J. C. von Zedlitz (1790-1862).
Translated by Edward Oxenfokd.
Andante inolto.
Joseph Haydn (1732-1809).
-Wif-
^
--*=*■
^
f'^ TJ
*:
I.God pre - serve our gra-cious Emp' - ror, Franz, our bov'- reign, great is
2. O'er a vast and might-y Em - pire, Rul-er and sov'- reign, day by
3. Pi - o - neer of per - feet free - dom, Bless - ings round his foot - steps
S^
-• — m-
he!
day:
cling !
f-ir— f-
=pt
^
-4 ! — J^: I I rv^ — ^=J J~r^^^ ! ! ! — A A
=5=S
1. Wise as rul - er, deep in know - ledge, Na - tions his re - nown may see !
2. Though he wields a po - tent seep - tre, All be - ne - fi - cent his sway!
3. To its pin - na - cle of great- ness, Soon may he his coun - try bring!
m
±Ei
^=
^=^
f^
^^
^m
r^
^^
^-r
^T^-S"
-^h-
-•■ ~ -«!-
1. Love en - twines a crown of lau - rel, That shall
2. Prom his shield tlie sun of jus - tiee, Ev - er
3. And when death at last ap - proaehes, Shall his
^^m
^^
all un - fad
casts its pur
grate - ful peo
I
ing be ;
est ray !
pie sing,
BE
E^S
%
poco tit.
* -^ — — M_ — — y—m •- — o '-P B —
i:^
^=5:
I r r I j" ^ .
God pre - serve our gra - cious Emp' -ror, Franz, our sov' - reign, great is ho!
ik
-J^J^
=g=fl
r^t
=P2I
Tlie national hymn of Austria was composed by Haydn, the celebrated musician, in 1707, during the Napoleonic wars, and is said to
have been written in rivalry of, as it was partly suggested by, the English •' God save the King." Various sets of words have been writteu
for this very fine national hymn.
63
Moravia.
"Ok. land! 'mong the mountains."
/Moravian 5onfl.
Poco andantino.
1. Oh,
2. Oh,
Und! mODg the moun - tains Thou'rt fair,
sons! from thy homr • land Far nff.
mid thy foun - taius
will voii still stand
^''.l* '
— 1 —
f^=-i-
=d=
1 J -
1
pq
1 1
»J
v^ *
1. Cool -
2. Brave
ing,
■ ly
=9=
— 1
Th
fo
1 great manh
r Mo ■ i-a
-•—
oa,
Tia,
1 JL-i-
Where Uio
Which you
m
wa
loft
— 1
S
ten
long
1
xtill
a
I 1
\—tt
lie.
go?
1. Sail -
ing:
think with fond
ncss
2. Cool
ing.
There wo ram •
bled
r^
Ere trom thy
In the days
plains
long
-s»-
M..r»Tia, which at one time (armed part of the ancient kingdom of Bohemia, bat t« now an Indcpcncicnt foTemmcnt in Austria-
n'm4';jy, ha« a Uiye collection of soiip), which approximate in character nomcvrhat to the style of Bohemian nimic The collection by
f- Siuil, entitled VoroMle Xiimlxi Puni contalna ucarlf a thouaaud times.
64
Austrian Waltz.
7he Swallow."
Tempo di Valse.
m
JOHANN Strauss (1804-1849).
A -^
»
%=p=
^^-
E&
g
-^^
-^ • |j F
=P==*
7Ti-r
^^ f ?
^-
r i t
^
-*— JL
>»- -*-
^=t
^n:^:.|r Qr^j^n^T^rp^
-r ir =g
1^ I i I
r r I ^
^— Jt
-K — 1 — ^ r — — h-
*4=fE
I I ^
i
fJT^ - r^?=FJ^- ^^^ J y I w'~^^fe^
3^3:
^ J--i-i» :h»
^f^^^
^^^^a^
1*
t=±i
^^
t|*g" >1
Ml. f f Ijf £
i
» '^ *=¥
^
I I I
f"! J -l'
>-^^-
::^=P=
^=?t
=p=s=p=r
f f , t
-I 1 • r
:^^
g^ ^ I I ^ < I \
m
^^
-i r
i
ffO.
:?^n:^
-f^^rV^ir
t^^
T-r-^
■^ -^ - ^ ^ %
-F 1 —
Sk:
1=1=;=^
II
The origin of this universally popular dance ia obscure, but it is highly probable that it was evolved among the Germanic races of
Avisti-ia and Germany. It became popular in Europe early in the nineteenth century, and, in 1S12, was introduced into England. At
first it excited much opposition, being regarded as a highly indecorous dance, and even Byron satirised it in his " apostrophic hymn,"
entitled "The Waltz." He addresses it as—
'* Imperial waltz ! imported from the Rhine
(Famed for the growth of pedigrees and wine).
Oh, Germany \ how much to thee we owe,
As heaven-bom Pitt can testify below.
Ere cursed confederation made thee France's,
And only left us thy d— d debts and dances."
Byron wrote this in 1812, under the name of "Horace Homem,"and it is obvious from the above quotation that the waltz came to
England from Germany. Under the fostering care of the Strauss family of Vienna, Lanner, and hundreds of Austrian and other
composers, assisted by " Viennese," *' Hungarian," and other bauds, the waltz obtained a firm hold, and is probably the most popular
dance iu existence.
V,-)
65
The Tyroleans,
"Tyrolese, so bappy and jqyoin."
Tyrolean Song.
1. (Iftno-iDK they ipend all the day:
a. Oott hvlf, and Ore - tol leada Hana:
Eaoh mom-ing no ear - ly tho lad* and girl*
With graoe-(ul and light utepa thoy turnrouudand
1. rise, . . And
2. round, Ai
work till the eVn-ing, when each on* home hiea; . . Ty • rol - ose, lo
lithciomo aa rham-oia with ita niro-ble bound;.. When Bun - day doth
. ji .._4^
1. hap- py and joy-ooa
2. como round, they join in
are they,
the danco.
With wine clear and dancing, tboy ipcnd all the day.
And Nan-nerl leads GottrbelT, and Ore - t«l leada Hans.
3. When cattle to Alma are driven for grass.
Each lass sows and knits, too. and makes the time pass
While bold lads seek chamois and climb up the hills,
With singing and jodling the mountain-side thrills.
When cattle, etc.
4. Swpethcarts here with fond lore, rrmain staunch and
They jilt not and prove false, as other folks do; [true,
But marry and keep house, with children dear ;
From which Tyrol reareth its bold mountaineer.
Sweethearts here, etc.
The moslc o( tho AiMtrUn Tyrol, like th«t of SwitterUnd sod the blghlsnds of Southern Germsny, U dUtingulshcd by ita florid
chancter, and the Introduction of the Tocal frace oUled the jodel (yodel), which (ounds very cflectlTo In the open sir, when performed
by > good faUetlo Tolce, but lo«e<i much of lt< sttractlTeneM when board indoors. The »ong giren sbore wu Introdncod In in operetU
entitM, " Der Tyrolcr WutI, ' by Jacob Ilaibel, produced in I'M.
66
The Bohemian Maid.
"I'm a sweet Bohemian maid."
JSobemian 7olk=5ond.
Words adapted from
BOWRING'S ChESKIAN ANTHOLOGY (1832).
Molto nwdcrato.
§:rn=£z
Tune — "Otbyty PiBir.'
^
^^3
• J IV 1 -i 1 F J
e
1. I'm a sweet . . Bo • he - mian maid, Blue eyed, fair, and air • y,
2. What's to you ... if I al - low Youths of love to chat - ter ;
i
^
m
■ poco rit.
1. Would you know my name ? why then,
2. Let them rat - tie at my door,
'Tis no name
Sure - ly 'tis
■*- -m-
but Ma
no mat
ry.
ter!
gfc
f
3^
I
p a tempo.
^^
E^^e
^=^t*=s
1. What's to you
2. I will mar
it I have fled,
ry — wherefore talk-
Fled to love's em
Wherefore talk, my
s
£=
E^^
-p-fl»-^-
m^^
^
•poco rit.
:m=^.
--sr^
1. Eat - en fruit
2. Am I yet
of eg - Ian - tine,
a year too young ?
Slept in rough pla - eea ?
Must I wait an - o - ther?
^&
f
3^=t«=
^
67
The Tre asure.
"Hear not, my S'xeethfart."
JSobemlan folhsSong.
7'uiij'— " Wsak D:lm tak. nebude."
AUegrtlto (on s^axia.
P ^
m
^■=« I * ^
U3=i=i=^
=^>^^
*=*=*^
^
1. F.-ar
nol, my (weet ■ heart,
al - BO Irea • Kuro
(or
safe
not
green
^m
j^^^^i^
osur,
field,
j^j j \^^^^m
>=w
m
m
1. I'vo trra - Riirr in (he itrcnm,
2. Which in great inoa »ure
'ocath the wat • en
com fori will
dear,
yield.
m
R=^=^
i=9:
^
^
4^
2. Good (lore
iweet loTf, wc iihall ito nap
om nno, plon ty for you
he,
1
|^^^^^ga=T^=^
1. Sur - row then we'll leave bo ■ hind,
2. Sor ■ row sood well leave be - hiod,
pain
pMD
and poT ■ er
and poT • er
m
J i»
^i^
The DobemUti!! h»Tc ■> Tfry Urirf nunihir o( <olk-aonir< "nd danrea nf all kind", and Micction wan aomewhat difficult in iuch i
«. The tno folk 'aou;!!— "The Bobcmlau Maid "and "The Treasure " are Tory (air epecimess of liobemian aoogs.
68
Polka.
Allegro.
Allegro. ^ c,,,,^
Bobemian 2>ancc.
EE^E
:*=■«
m/
1^ r-r^
■^ — f^i ^ — 1
-I — 1 — 1 —
— ^ 1 F
F=r=p=f=^=i
— ^ it m
4) J^i
^.
J ^ —
1
i-
•^-^
1 P-
L r 1 — r-
— «• — ,p_
— ^ — p —
\^ 0t
i
—r-
*— 1
F=* — t=J
^-r-H
' zJ 1 — "
i
=f»-a» r-
^^is
p r
i
F r ri»-=fe:
-f r F f:
i 1 r
w=. * ^
! ^^ L
-f— _ iT I F F
^
tZl
f=^^^^
^^
^^
^
t:=T:
-mP — •P^
^
I
^^
^] nin-l
This popular dance is said to have been invented by a yoiing Bohemian peasant girl, in 1830. It was firpt danced at Elbeleinit^ and
afterwards introduced by Josef Neruda, a musician, into Pragrue. about ISSS, from which it spread rapidly all over Eitrope, like an
epidemic. The name, "polka," means hialf-step. The tune given above is the original one to which the jwlka waa danced.
69
Hunsarlan National Hymn.
mf Andante tnollo maestoso.
Franz Ebkkl (1810-1893).
1. Which thj sons full braro • ly boiv. Thy fr»o • dom to ro - store;
2. iliin - g» - ry, hor (trengUi ro - gmin Wbon treo • dom comoa to roigD ;
1. Which Uiy sons full bravp - ly bore. Thy free - dom to re store.
2. Hun - ga - ry, her strength re- gain When free - dom cornea to reign.
Tbo Ilunirarinn* h»TC b Tory varied uid ext«niilTe vUiro of national tunfla. mmonf them being what la p«rhapa the fincflt and moat
■ - ... — •jToaclccted the Olio which la the mof-
paratlToly modem, it la none Mm la
tnnptrttlugniarrh In exl«tonco"(thoIUkiJUT), and at least two patriotic or national hymns. We have aelccted the oiio which la tho moat
rvpreaentativc of the people, as dirtlnguiahed from the court of Hungary, and though It it
dignified and eSectlve.
70
Miska and Panni
" iMiskii came clad in red."
'Etuiiijariaii So\\{'So\\q.
Translated from
' Barga csizsmas MisUa silrbran jar.
mf Andante.
Tioie— " Magasan repiil a daru Bzopen szol.'
1. by tho stream, shy
2. thought the man but
3. or a coat, than
Red his coat, yel - low boots,
Of his boots, and his coat,
Wa - ter dries : love will not
1. who
2. he thought
3. live in
gay ?
more
cold;
Sad was Panni
Than of Panni,
He who would
for the stream was in
by the stream, wait - ing
win the prize must learn
3K=t
33^
*
§
S
-r-rl
atig::
=*==ii=
1. her love's way.
2. sad and sore.
3. to be bold.
Red his coat,
Of his boots,
Wa - ter dries :
^0-
yel - low boots,
and his coat,
love will not
who
he
live
thought
1. gay ?
2. more
3. cold ;
Sad was Panni.
Than of Panni.
He who would
for the stream was
by the stream, wait
win the prize must
her love's way.
sad and sore,
to be bold.
Se
=s=*-
m
a=
m
71
The Tiszlan.
(The Gipsy.)
"From the smiling fields of Rakosh."
1)unaarlan foWi'SonQ-
Tune— " J&rtam kcrtben rArsik kntiirt.'
foco andantino.
1. bag • pipes too, Straight hp spok*
2. speak like Oroeks : Blon ■ iog laughter
^=5E
^^^
"Tan - kard'lDD, Wishing to rest
from thpirrhecks. Waited hiH speech.
->-* — » ■ ■F^. — \ — r— ] —
EIS:
^=^
^ m.'
^
3. " Our Hungarians out of pitchers drink the red wine, I 4. " ITf have not a gipsy hostess, but speaks Magyar
Spice their food with rich paprika, from old plates dine ; Urre, they gurgle out their German— patriots they arc!
Your Hungarians are not nice, But if German they prefer.
And their ancient manners are
Sliowing decline,
I'our Hungarians, etc.
Soon would honest Mag>-an> fly.
Seeking fresh air ! ""
But if German, etc
Bundaxihaepdlu ooat.
72
Hungarian Csardas.
■national Dance
Allegretto.
7==r
^^
=e3=se
^E^E^EE^fe^E^i^^f^
J ^-
i 5 C^
^' « ^ J,
=P ^
1 1
^
=y — T
I ^-
-^Pt ^
^
'P— r
tJ
^E^
-+ • ^ ^-. 1— «-
^L^^-4-1
^ J-
=g P W-
^: _ p
^
y T
3^^
^©^^^
e^3=^
The CsArdis is the national dance of the Hungarians, and takes its name from the
up and down the great plahis of Hungtiry. The dance is commenced in a very alow and
rapid, and finally ends in a wild and stormy whirl.
inns, called CsdrdAs, which are scattered
fashion, but gets more and more
Hungarian Gipsy Dance.
AlU/^o.
ZiguQoer Tuoo,
^.
^^U
t
jj^bflPIr^ IC» ^IrJ ^Irl rlJ!' Ii '*
iP' ' ' llr* • y ^ J JI'J^ I J. =
f f Y |g^z^H-j J1CJ .i^^
s
Th© wuKtering gipAlcfl of Hungary are the piincipiJ nmaidanA of th»t rotmtry, and BupT>l7 the buidn for all the Ioc*I fontirala and
titcrrymaklnn. There U l)ut a altftht rceembuuice bctweeu an onlitiary porformaccc of tbelr dances and one bj a band of frenutco
rlpaiea, which I* marked by a atrontr and peculiar rb>*lhni. extraordinary wildnosn, and a ffcnend cliaracter qutUi lt« own. Moirt of the
Hungarian gipaloa an D.ituml cuunclaus and dancen^ and a very laryo proportion uf tno national folk muaic U Gipey rather thaa
Idu^ar.
74
Bosnian Dance.
Moderalo.
1^^^^^^
^^^^^^M:^m
"DJ
9-
^
IF
^^^EgE
^^
:ff=P=
a
fc:yTT^^-T
-*— #-
)izft
=p=?t
r=^
£fe
£ -^ -4».
4— i — -t—
1^=W^
r- ^
-• — ^-
^=»^
j*— r-
^^^
1 — r
;!*!»l I
a
4^
^dn
^^3
EUI^OPE.
Songs and Dances of France.
" GAT.r.AXT natic^n .' nc^.v ttfjrt you
Frttdom, btikonin^ on-war J, standt I
Lit no tyrant's sway be o'er you,
Wrest the sceptre from Mis hands /
Paris (are the general cry :
Glory, Fame, and Liberty/''
—DELAriGXC
76
The Marseillaise Hymn.
" Ye sons of France, awake to glory."
ifrcncb 'Matlonal IbBmn.
Written and Composed by
Claude Josepu Rouget de Lisle (1760-1836).
Tempo di marcia maestoso.
f
^E^
^^^^^=^
"]l ^
=iQ=
f r *r
1. Ye sons ol: France, a - wake to
2. Now,nowthe dan - grous storm is
glo
scowl
ry,Haik, hark, what my - riads
iug,Whiehtreaeh'rousking8,eon
bid you
federate,
^
rr3-^-H=f=g^
^^
=3=*
x^
^3t
m
A
^^^
^
1. rise: Your children, wives, and
2. raise ; The dogs o£ war, let
grand - hires hoar
loose, are howl
Be - hold their
And, lo! our
J T- 1 1=^
i»-f — * — •-
-p-r-
t=t-
ffJ'
•'--^
:S^
-1 ^7^
^
!E
^i;
zct
1. tears and
2. Holds and
hear their
ei - ties
cries !
blazo !
Be ■ hold their tears and hear their
And, lo ! our fields and ci - ties
--r--r
-^^-j-
i=^a
^^^
-r^r-r-
t:^:^
i
^
TFiF
3tzj*:]
^t
1. cries !
2. blaze !
Shall hateful
And shall we
ty - rants, mis
base • ly view
chief
the
breed - ing, With hireling
ru - in, While lawless
I -!•- ■«- ■•-
s
— f ii I-
Ks;
On April 24th, 1792, during the excitement caused by the political and other upheavals in France, and the threat of foreign combina-
tions, just before the Great Revolution of 1T93, Claude Rouget de Lisle, a young French army officer wrote this very celebrated martial
ode. It was successively known as " Chant de guerre aux armies," the *' Marche des Marseillais," " Hymne des Marseillaise," and "La
Marseillaise," and has remained the chief national song of France throughout her various changes from Imperialism to Republicism and
rice versa. There are various versions of the song, which has been considerably enlarged since it originally appeared. The spirited
English translation which is generally used was published about 1795, but its authorship has never been discovered. Tradition has it
that Eouget de Lisle wrote both words and music of his song in one night, and that it became instantly famous. It formed the war
inarch « i the " Reds of the Midi," that band of ferocious revolutionaries from Blarseilles who appeared in Paris during July. 1792. and from
this circumstance it takes the name by which it is now universally known. Like all great songs, " La Marseillaise " has been claimed for
various poets, and the tune has also been claimed, on very slender evidence, by the Germans.
TUK ilAIiSEILLAlSE UYMN.
77
1. hoat8, a nif Qua
2. force, wilh guil - ty
band, Af fright and des - o • lato the
Btride, Spreads dcs - o - la ■ lion far and
While peace and lib- cr ty lie bleed • ing?\
With crimes and blooU hln hands em - bru - ing?'
ZJJ^
Wilh luxury and prido surrounded,
The vile, insatiate despots dare,
Tli->ir thirst of power and gold unlwunded,
To mcto and vend tho light and air :
Liko beasts of burden would they load us.
Like gods, would bid their slaves adore:
Dut man is man. and who is more ?
Then shall they longer la>>h and goad us?
To arms ! cte.
4. O Liberty ! can man resign thee,
Onco having felt thy generous flame?
Can dungeon, bolU, and bars conOno thee,
Or whip thy noble spirit tamo ?
Too long tho world has wept, bewailing
That falsehood's dogger tyrants wield ;
But freedom is our gwonl and shield.
And all their arts are unavailing.
To amis ! etc.
78
Romance of Dunois.
"It was Dunois, the young and brave."
Jfrcncb TRoBallst Sonfl.
HORTBNSB DB BGAUHAIINAIS,
QuBEN OP Holland (17831837).
Maestoso,
.mf
Tune — " Fartant pour la Syrie.'
1. It was Dunois, the young and brave, was bound for Pal - es - tine,
2. His oath of hon - our, on the shrine, he grav'd it with his sword.
But
And
1. first
2. fol
he made his
low'd to the
i - sons be • fore St. Ma - ry's
ly Land the ban - ner of his
shrine ;
lord:
"And
Where,
mwV'
^
1^^
^
?
^^
:g- -g- a
1. grant, im - mor • tal Queen of Heav'n,"was still tEe sol - dier's pray'r,
2. faith - ful to his no - ble vow, his war - cry fiU'd the air:
tlie
'That
'Be
1. I may prove the
2. hon - our 'd aye the
brav - est knight, and love the fair
brav - est knight, be - lov'd the fair
est fair."
est fair."
1 — *— !■-
i
t
^
i
■^=t-
=|:
3. They ow'd the conquest to his arm, and then his liege-
lord said : [repaid —
" The heart that has for honour beat, by bliss must bo
My daughter Isabel and thou shall be a wedded
pair, [fair."
For thou art bravest of the brave, she fairest of the
" Be honour'd," etc.
4. And then they bound the holy knot before St. Mary's
shrine, [combine;
That makes a paradise on earth, if hearts and hands
And every lord and lady bright, that were in chapel
there, [fairest fair."
Cried, " Honour'd be the bravest knight, belov'd the
Cried, " Honour'd," etc.
The song of Dunois, or " Partant pour !a Syrie,
W.alter Scott translated it in ]815 and his
composer, but is also supposed to have been
written by Qiieen Hortense and was adopted as the French royalist song. Sir
_ ven above. The tune was claimed by Louis P. P. DrouBt (1792-1873) a Frenoli
posed by Queen Hortense herself.
7»
T'other morning very early
OlO #tcncb Sotifl.
TlllUADT, OB THEODALIi IV.,
Kino or Navarre (12011253).
Andanlino con express.
Tunc— Traditional.
^
--1
-^
^
^
1. Toth - er morn • i
2. My ro ■ (pect
inf
ly, As thro' groTe and mead I slray'd;
tioD Sbo ro - ttim'd with mod • est graoe,
'g^T^r-f-"^- jf r ^ .\T tJ i\* \
con Ped. ^
^
j^
^
r-*— *
3^
f^
1. 'Cross my path, chant ■ ing right clear • ly, Camo a mpr - nr ril ■ lage maid,
2. While the li - ly and oar - na • Uon Min • gled in lier blush - ing face.
-g » ^ . g . g .-»— 1^
f=YrTn^-iM-U-W^^^
1. Light of heart she tripp'd a - long, Low. the bur - deo of
Z. "It," quoth I, "thou «tut bo mine. Gold and Jew - els thai
her aoog,
ba thine."
^
'r-TYr^r:r\
m
t^^r-ih^
i 4 i-i-t-i=4=*
1. Her sweet lay with ma - gio art
2. She ro - plied, " I fear a snarp,
m^
-m
So Im - guil'd my
Lord • ly TOWS are
f;low - ing bcjui.,
^ M- Jci M^
[igbt as
■^
%
4^
^^t
^
1. That fortli with ap ■ preaching nigh,
2. Sliep ' herd Picrro is my do - light,
"Maid en fair, good
More than rich de
jgJLI '.' P^^^
Both'wonia and muxic of this fine old chausf-n i.-o attributed to '1 hibaut. Kinsf of Navairc in the 13th century. wh"*o court was th»
ruort of truubodotirs uid minntrcU without nurat-cr. Th« »ong is included in hLs poetical works as " L'Autr icr par ta nuitin*^." and
our translation Is trom tho vonloo of Thomas Otlpliant. The tune figures In most histories of music a« a Tery earl7 specimen of the sod^
80
The Pearl.
"Pearl I seek of rarest worth."
jfrencb Gbansoii of tbc t5tb Oenturs.
Kemy Bklleau (1528-1577).
Andante tranquillo.
X u
^^
^
Tune — "Sy jc perdojs mon ami.'
!^-^
3^S
g^^E
^
^
^
> *-J-
By the
Does this
-• — qgr
1. Pearl I seel; of rar - est worth,
2. LustrouB shell, from whose brieht womb
v*v V ^ -^ w V V V*
shore
fai
some brigiit w ' ,
trea - sure come ?
H
J ,^-N^raU
^ ^ * mz
BE
f
i?^::
(r(7« Ped.
r
a^
_i — (. ^^_^
=its
S-g ^
1. Such a gem, whose won - drous birth,
2. If thou art the o - eeau's child,
V-^ V -J- -J> W -J- V -*"*
Ra - dianee to
Though thy kin
all na
dred crowd
tore gave ;
the deep.
1. 'Midst the rud - est winds that blow,
2. And in vain their vows they pour.
Spark - ling
Round thy
^
in its sil
closed and guard
ver light,
cd door,
But when Spring, with treasures rife,
Calls all nature forth to life,
And on pure waves descending
Transient rays of brightness lending.
Falls the dew upon thy breast.
And, thy heavenly spouse confessed,
Thou admitt'st within thy cave
That bright stranger of the wave;
There he dwells, and hardens there,
To the gem so pure and fair.
81
The King of Yvctot.
"Then- was a King of Yvctot once."
frencb political Sono of IS13.
PiSRUB Jean de Deranoek (1780 1867 ,
Poco anJiintirw.
T f^^ -r-— r t 1^ -r irr t
1. There wa« u king of Yvo ■ tot onee, Who, lit ■ tie fain'd io 8to - ry, Went
2. With - in his Uiatch ■ H pa - Uco ho Cod - gum'd hiii four meals dai - ly, Ho
3. This wise and f>m - ous men - arch's faco Is still in pre - scr • va - tioo; And,
1. Jou - ny crown'd this jol • ly chap. With no - thing but a cot - ton cap.1
2. sides his dog, no guard he had. Ho hop'd for good when things wore bad. >Fa,la,Ia,
3. hoi - i - days, a joy - oim rout, B« - foro it push their mugs a-boutj
I
^^^
:^^
^w* '->
I* r
Ml
fam - ous king was be, Fa, la.
B^nngar wToto this (unoiu mnir m > ntlro upon Napnleon I. It wm receiTed with much enjoyment by the Freuch m a capital
•qiitb, bued upon the actual pcrformancua and priTilcgsa o( thu lord of the manor of Tvetot in Normandy, who was ityled tho Kini; of
Tvetot because of bis pretensions.
82
My Normandy.
" When gloomy winter takes his flight."
yiRo&crn IRocman Song.
Written and composed by
Feederic Berat (1801- ."55).
Moderate.
Tune—" Ma Normandie.'
m
^^^
r-5 I— ^1 j~i
^^
55^^
1. When gloom y winter takes his flight,
2. A- mong the glaciers I have been,
When all be-gins to bloom a - new,
Where from the vale the chi - let peers ;
^
-J— i-
And
The
r
i
m
-pa-
^
m
m
j^^-gz
Re - turns to deck our sky so blue,
And Ven - ice with her gon -do-liers.
1. when the sun with soft-est light .
2. sky of It - a - ly I've seen, .
I I
^-
And
And,
-r
^^
^
j^
^
^
, - - J — — -•— r — ^- - r
1. when the swal - lows we can see, And when fresh green o'er - spreads the earth, I
2. leav - ing all, I've said, " To me There is a land of gi'eat ■ er worth : Nought
Se
-^- — *-
1. long for my own Nor-man ■ dy. For that's the land that gave me birth.
2. can ex - eel my Norman - dy. For that's the land that gave me birth.'
J=i.
J=iS:
g
Frederic Berat, the author of this song, was a native of Rouen in Normandy, and composed many aonga which were popular in their
day. His br9ther Eustache was also a composer.
83
The Shepherd's Call.
"e/fi / rost: on Sunday (Morning."
JBreton Song.
Tune — "Ann AlikA.'
1. As I roRO on Sun - day
2. The Qnit tiino I set er(
3. LikuUio broom's kweotgol - don bic
mor - ning
to drive Uie kine to loa,
Mac'-hai'dik, . . my swoet May,
or wild ros - es sweet and smmll.
1. I liiarj my swcvt - heart sing - ing - by the Toico I knew twas she;
2. Was on her Qr«t com - muii • ion on a |i«a<-o - ful Vjk» - ter day ;
3. Like in heath - y brake a flow'r ■ et shone my fair a - mong thorn all ;
/-l^^i J A
•^i:ili^^^^
1. 1 heard mv sweet - heart
2. In the par - isnchiiroh of
3. All tliu limo tho mass wait
sing -
'">g,
sing • ing on tli»
raoun-tain
Kods
nant.
'mong her mates in
age and
•enr • ing,
1 had on - ly
eyes for
l.AiuI i ui;k<li> a song
2. Sin! wastwelve V cars old-
3. And t'lomoro 1 gaz'd
to
ling
with
my
up
dar
- on
• ling
her.
her, a - cross tho val - ley wide,
and my years wore twelve like - wise,
love my heart the more did stir.
Tie balbils acd nngi of Diittany form a cUu by thomsclvos, aud may be atudiixl rcry completely in Hemut de la VUlemarque'a
Bnryti-Bnu, Ckanit Fopnlnint <U la Brtlajnt TxcueiltU tt fmhltrt nr»<r uiu tr.^liution FaiK^uu, da argumnU da nol'j tl la mUoiitt
ariginaUx. P.iri«, IS46, 2 »ol». From tlita work tho late Tom Taylor made a selection which was ixued in English aa Bal aj4 and Songt of
SrUunn. London. ISCS.
Wordi 6y Hud ptrmlislon of Utun. Macmlllaii A Co., Lid.
84
Branle.
®ld #rencb Dance.
Spiritoso.
From Nouveau Recueil (1732).
t
^=t
wm
', J
^f^m
-M — ^
^3^^
X3^
=s=^
T S»»
^T^
=»^
^^-s^M-
=p— »^^
?3Z
^^^
Da capo a/ Fine.
:i^^^^^-jr>^:^
mf
=4^
g^;3 — m-^d — hi M— tM -1 rmsg
The Four characterifitic French dances which are included in this collection were selected from JToureau Recueil, La Haye (17S2).
85
French Minuet.
Prom Koui-eau Bccufit (1732).
Moderato.
c ,-
^
^^^^
^^^
Thb Branlb.
TliiH t>M d&Dco. which WAS known tn Engluid m " The Brawl," profa»bly <Utcs (roin iho fifteontb century. U wm at once a poaiuita*
dance and a court dauco In Pnuico, and bccaiuo very popular dming tho dxtoooth century. Cloacly allied to it wu
The Mixtbt,
which appear? to haro been derived from a branle of Poitou. Tltis stately and oeremonious dance ha« surriTed throughout all tho chAng««
of famhluu, and though now mainly confined to tho stage^ flourishes vlgoroualy, and aa \a abstract danco-forai has giren a name and
origin to an ooormoua quantity of music.
Tub Gavotte Aicn BorRR^B.
Theso dances are arranged together so as to form one extended piece for tho pianoforte. The indlTiduality of each is in no way
BupprcRstl. Tho Gavottk dates from tho fifteenth or sixteenth coulury. It became popular at the French Court in thcsixt4:«uth century,
having been introduced fnmi the pmrlnccs. Tho namo is derived from Gap In Dauphlne ; tho peasants of that district, who uscd.tho
dance, being nicknamed G<\voU, Tho Dot'RBfs is a French pea»mt dance, and aa often as not was accompanied by the voices instead of
Instrumcnta. Like the other Prench dances, it became popiUar at court in the sixteenth co&tury. It la not a society danco by any means,
:LAd is now chiefly known by having its namo applied to pieces of music tn clsasical form.
86
Gavotte and Bourree.
Cwo Jrencb ©ances.
From Nouveau Eecueil (1732).
:9
Gavotte da capo.
EUTipPE.
Songs and Dances
OK
Germany and Switzerland.
• Which is the Gtrmatis fatherland f
lit Pruisids or Swaiiafs land f
jtt wiurt the Rhiru's rich -'intaj^e strtamt f
Or -u'hfre the northern sea-gull sireanu f
Ah, ne>, no, no.'
His fatherland' s not bounded so I "
—Arkdt.
88
The Watch on the Rhine.
(IDie Wacht am Rhein).
(3erman "Vlattonal Song.
Max ScHNECKENBuiiGEii (1819-1849).
Maestoso.
t
Carl Wilhelm (1815-1373).
^
m
5=^
s— » 1 1 ■■ j^^:
1. A voice re-sounds like thun - der peal, 'Mid dash - ing wave and clang of steel; "The
2. They stand a hun - dred thou - sand strong, (^uiok to a - venge their coun-try's wrong; With
^m
r=^
^
^
^
-^ • <H a«
^ ' 5^: S»lj=i^^j^
3ct:
1. Rhine,
2. fil
^
the Rhine, the Ger - man Rhine ! Who guards to - day my stream di - vine ? '
ial lovo theirbo-soms swell, They'll guard the sa - ered land - mark well.
rfcttE
S
->^-^ r
zriz
i^^=r
^r=^
^ • it % S»' < : S» tl — ^
=r=«=
ther-land! no dan
ger thine, Dear Fa
m-
ther-Iand! no dan - ger thine;
^V — \ — — \ — r
\
—^ J-
— ^
F^
1 ,
— nl
<J o
Firm
ft
*
stand
thy
m
sons
1
to watch,
*
to
watch
1
1
the
1
Rhine,
1
1
1
-J-'
^ -w-
— ^
•
-^
-ct .
i
ritard.
^
S*=5=
ffi^
T3^
Firm
=4=
thy
to watch, to wateh
^
^
=?
3. While flows one drop of German blood,
Or sword remains to guard thy flood ;
While rifle rests in patriot's hand.
No foe shall tread thy saered strand !
Dear Fatherland, etc.
Our oath resounds, the river flows,
In golden light our banner glows ;
Oiu' hearts will guard thy stream divine,
The Rhine, the Rhine, the German Rhine
Dear Fatherland, etc.
The long; continued struggle between the French and Germans for the possession of the RMne, which culmin.ated in the Napoleonic
ware, produced many patriotic songs, of which the best known are those of Theodor Komer and Moritz Amdt. The " Sword Song " and
"Battle Prayer" of the former, and " What is the German Fatherland?" of the latter, for many years occupied the foremost place among:
the national lieder of the German people. " The Wateh on the Rhine " was written by Max Pchneckenbiu-gerin 1S40, but did not immedi-
ately spring into general favour. Although several composers set Schneckenburger's song it was not till 1854, when Carl Wilhelm's
version appeared, that it became really popular. The Franco-German war of 1870 gave it an enormous vogue, and it was then adopted as
the national song of a United Germany. Wilhelm was pensioned by the German Emperor in 1S71.
The Rhine Sono-.
7hn' shall not ner xuin thee.
Prussian Sotiii. 1S40.
If
NlcoLADS Bkckbr (1809-184^).
rt^ Moderalo e maestoso.
^^-
8»
G. ECKZE.
ir^d^
'-^t^f'p^
m
«^
:e^
gfl
^
1. Tlicy uliall not ev - cr win
2. Ah ! they thall nev - cr hnvo
3. No I tbcjT shall Dov - er have
theo, Thou free, thou Gcrniftn slrc&rn, Though
Iheo, Thou froc, thou Uurmnn IJhino, So
Iboe, Thou free, thou Ucrman flood, Bo
1. loud - ly they ahnut for tlior,
2. long an tliou dost glad - den
3. long as slonilcr maid - ons
As grcody rarcna
The heart with ll:y red
By hiu-dy youths are
scrcun;
wine ;
wooed;
long as
long as
long as
greenly
in thy
fish aro
How
roik« still finii - It rest,
toil-iiig flsli-er's float,
So long as o'er Uiy
So long as high catli
Bo long as song is
wat
-ed
swoll
ors With
raU Aro
ing The
^SW^^^^^Ui^Ui^
1. sounding oar they row. \
2. mirrored in thy breast. -
3. joy - fill sing- er's throat.)
They shall not
thoe, Thou free, thou (icr-man
stream.
Though loud
ly they shout for thee. As greedy ravens doream.
'a -I Z- -g-
ThiH •nnd WM Tory popular In PnuEta about IMO, and for a consideniblo period It was regarded A a IjrlaU defiance to the preteonons
of tho Krrrich. It wa» «.. well kn.^wii and liked that nmrlv eTirr contemponu^ German compoMr net it to mu«ic while it provoLcd a
taunting f-ronrh ronponso from Alfred do Muaact In tho Bamo year, entitled "Nous I'aTona eu, Totle Rbin Allemaod " (We have had it.
your a«miau Rhino 0-
90
Bavarian Song.
"On the kill stands a tower."
Translated.
Allegretto.
Tune—" Aut'm Berg steht a schloss " (1828).
ores.
1. On the hill stands a tower,
2. She did love him full well,
3. " I shall love you tor aye,
in which dwells a fair maid, And a
and to lose him was loth. But be -
if for years vre should part, And the
^
■z±i
=pt
3*
3±
ES
r
r
:S=F
E^
4==
^
T
1. youth from a
2. fore he said
3. troth which I
I
m
far has her true love re
fare - well he plight - ed his
pledge shall ne'er pass from my
I
paid,
troth
heart.
.}
S
ip
¥=^
B^S
^
zr±L
m
S=3t
la la
I I
Many of the Bavarian eongs are similar in character to those of Switzerland and the Tyrol, being distinguished by graces and florid
passagCB.
91
I
True Love.
Ah I it is hard to say.
CburinflUn yoth Sona-
Kdwakp Oif.xFono.
MciUratfi.
P
r/j j -^--rn^^
rtin^— Tnulitionnl.
E^
J • i
1. Ah! it
Z. Uluu i»
3. Would that
hur.l to
flowr
bird i
et
were!
That we muit
Called the for
Soon would I
part to ■ daj!
get ■ me • not,
■pood thro' air.
1. ThoM hajtt my hoart'i diM'p loTe,
2. Lav it on thy dear brart
3. Hood ■ ing not bird of prey.
Tliou know ' eat well t
Think - ing of roc!
FIjf • ing to thee.
fc»=
^m
^
:t~ai"
-f —
Dut thine a lone.
Faith ful to thee.
Glad ly would die !
1. Kone olh - cr
2. sun would my
3. Then, if one
could I loTe
love re - main
tear Uiou bhed.
wi^
^
eE;
This pretty melody from the Forest of TliuriogU in Gcrmuiy Is perhap* brat knowD in Britain u a hymn tune. It is, howcTer,
▼ery good specimon ai the Germac Tollulie-i, and moroover, the boat apecimcn eitant from Ita place of orig'iD.
92
The Invitation
"I have a cottage by the hill."
Swabian 3Folf5=Sona.
JOHANN W. L. Gleim (1719-1803).
Allegretto.
r^ne— Traditional.
^m
t
m
^
1. stands . . up
2. flings . . its
^
mea
o'er
dow
the
green;
eaves :
J- ' C-^
1 — B-S =^^
^ J^
^1
-. P=S! ^
1
— 1
^ ' F p-i
1 <— I
\~4 g-t
m
1
^
J
p 1
V c=:^-r^l — '
1. hind . . it
2. scarce . . the
flows . . a
sun - shine
mur
vis
mVing
its
rill,
me,
Cool -
Save
f^rS #
M.
^UjJt p
^
-> '
" f
— r — {
— > — ^
^
3. A nightingale sings on a spray,
Through tho sweet summer time nightlong ;
And evening travellera on their way,
Linger to hear her plaintive song.
H. Thou maiden witli the yellow hair.
The winds of life are sharp and chill;
Wilt thou not seek a shelter there,
In yon lone cottage by the hill?
'J3
Rest.
"^he sun goes down,"
Stkelan Song.
1. road . . and track .
2. aongt . . of biriU .
tie ; 8we«t peace and
•ouod; Tbo flown are
3. The trickliDg dew its coolness jiclds,
To stalk and leaf on meads and fields ;
Fresh breezes play athwart the bower.
And odours breatho from bloom and flower,
And odourii, etc.
4. The evening star with silvery glow,
Looks down upon the world below ;
As though 'twould call to every breast:
" Be still, be still, thou, too, shalt rest !*
" Be still," etc
94
Edite, Bibite.
Ocrmau Students' Song.
Con forza.
1. Loud let the
2. This is the stu - dent'
cliDk, Drink deep, nor spare the flow - ing bowl !
hour, The stern pi-o - fes - sor's work is dona \
^
i
e
J *! .r
i
A
rci:
^/
i
^=^
^
:1IP
=ft*:
IPC
=^
1. The
2. We
man
own
to . .
ther .
r
. drink Has no true
. pow'r Save wino and
soul,
song.
^^
^^
^
-^
f
=sf^
^
»-"-?
T
r
Post
^^
eul - la
nul - la.
rrrrr^
3. Here rules the rosy god :
Exalt old Bacchus to his throne,
And, drawing round the bowl,
Serve him alone.
Edite, bibite, etc.
4. Enjoy, while powers remain.
Life's pleasures in their prime ;
Old age brings not again
Youth's golden time.
Edite, bibite, etc.
This is one of the most popular songs of the many possessed by the students of Germany, and dates from the middle of last century.
The students' song is quite an institution in Germany, and there are many fat little editions of those popular songs, generally distinguished
by projecting bosses on the covers to preserve the books from contact with the beer stained tables. The Scottish Siv.dtnU^ Song Book, from
which this specimen is taken, id one of the best collections on German lines ever prepared.
Wendish Song.
" TJie tempest rages."
95
Aiuian/e cfln esprtssiont.
fuitc -Traditioiwl.
Tho tem - pr«l ra ■ gea wild on the hill, loud wa ton
The Wcn<U ire a mx of SUvonle origin, clowlj allied to the Scrriuiii, and are Katterol largelj otct eentnl Eurviic, chiefly ia
Aiistria, Ocrmany, and Ri(>wia. A coUoctiou of their muric, some of which ia Tcry intercrtiog and char»rt«ri«tic, was publlihod by
Ilomni Uaupt and Schmalcr as VtiiMitdcT <l<r WctuUn in ia- OtKi-kindrKUJtT-Lannli aui dm rotttmtindt a-nfj/aticltnti. Grimma, IMl,
two vtjlfl. LaiK<itr., Trhcro movt of these melodiefl were collected, is partly in Saxony and portly in Pniaflia.
96
Wendish Dance.
l\foderaio.
1^^
1 — I — r
:st3ts^
^
^
at=iJ:
fli^
^i^T^
^
-g r
=fc*
«
r r
"u^
i^E
3^
^
-J-a-*L
::»»=
"-^-
' II till 111
r
f^
M7'J r-
-# — ^-
-r — r--
i
^B
ft5
^^^
3=w j^rjj=hij-j J J ii I J ^ ^T^ I «^^
mf
M
9 »
$E
^ 9~i
m
fS-
^
lit — ^
=f=f=
AC", a/ Fine.
87
Landler.
German Couutc\} Dance>
Moderato.
The UlnOlcr ia a country dance which origiMted In Germany or the Gemunlc district* of Au»tri». It U »l«o common in Eohcmia.
The diuice U an old one, but there i» no doflntto Information on record aa to lU flnt appcaianco. The name probably mean* country dance,
though »omc writers claim that It was derived from the district of Landcl in the valley of the Biver Enn« In Auatria.
98
Grossvater Tanz.
(3erman (SranCifatbcc Dunce.
mf Molto moderato.
tr-^t — ir-=t--
nahui, Da war - iler Crot..s - va - ter cin Brau
ti - gam.
[l^=g=
^^^
i
p -^-
i
m -gi
^^^
i^^
-^ F-
[^=f=
i
t=o=j=u
m/
This dance is usually performed by the children forming a circle round the grandparents or old people of the pai ty, and after singing
the slow introductory inovcment, proceeding to the lively dance which follows. The words rouglily trans;:ited are : —
" And as the grandf.at.her the grandmother took.
Then was the grandfather a bridegroom."
99
The Swiss Mountaineer.
" Fain 'xouLi I siv ot/wr places.
Swlea /olh'Soniv
TrannUU-d.
Molto aiuianle.
7'un«^TrBditional (1818).
f-
^
^
J^^
i
^
*=s
-* — '—% * »
Where the lun ihinea oot
5=^
■o cold.
where kiud
^El^
oea Smile as io
^
^
days o' old.
Ir *
2. Heart, my heart, oh ! why so Kad,
^Vhile io foreign lands I roam T
Here I see no mountains Know-clatl.
Such as soar in my Sniss home.
The DiUionml sontf of tho Swiss is sun^ to the Mune tiua u th« British ** God save Uw Que«n, ' and aa thte ia already gi tod aa the socODd
*<mi in tbia book, it ia not neoomory to repeat it.
100
Ranz de Vaches du Siebenthal.
»\vl60 Cattle Call.
!r«?ie— Traditional.
Allegretto quasi andaniino .
'g-t I I— --^l i g^
i
£
The " Ranz de Vaches," cattle calls, or shepherd-s' songs of the Swiss, by whatever name they may be called, are represented by quite
a large collection of melodies. They are usually played upon the long alpeuhorn, and have a very fine effect among the mountains when
properly performed. No tourist deems his pilgrimage to Switzerland complete without hearing the " ranz de vaches " played during his
journey. The collection which gives the most authentic specimen «>f Swiss mu.sic is SarMiilxm^j von Sckioeizer — Kiihreilien und Folksliedem,
JBeni, 1818, a volume of "ranz de vaches" and songs in German and French. Thereisalsoalatcr edition of 1826. There are several versions
of the specimen we have chosen.
101
i
Swiss Dance.
isis.
Sfiiriloso.
i^.
m ^ _«_?:_^^
W:
f m r
m^-i
i: IC'^^
[^'
^^
• !-«=
102
Swiss Weddine Dance.
1826.
Traditional.
Con enetxia.
-^^
% «-
-&
-^i^^
J ^ J
-^ — *-
5^^
-jW-^-^-J^
^1^
^^^
i
^-^ ^ P -P-g=
p=;
J-J-^-^-lJ^
c?^
3^1
^EEg
iffl^^^i
crr^
=1*=
^r^
ifc
-k t;:-
^
El?£(pPE.
Songs and Dances
OF
Greece, Turkey, and the Balkan States.
GREECE.
TURKE V.
BULGARIA.
ROiWfAN/A.
SERVIA.
" Cold is t!ie tuart, fair Grrece .' l/ial looks on thee,
Sor fttls as lorers <fir Ike dust they lovtd ;
Dull is the eye that will not weep to see
Thy walls defaced, thy nioulJerin-:; shrines removed."
—BvRcif.
104
Greek National Song.
' Sons of Greece, rouse ye up ! '
i
Tempo di Marcia.
mf
3
^^^
^^
:^
Sons of Greece, rouse ye up,
of tri - umpb
m
3^=^
^^T-nvi
1^
J nir:
comes ! It is here, as of old, with the roll - ing of the
^
f !• F
Greece must not arm so cold - ly, but face the ty - rant
'^^b j r
^=I^^
^^^=^T:^^^
J J — J •! •! — JT
bold - ly!
Let none who fear for free-dom's sake to figlit as - sera - ble
This spirited war song dates from a period antecedent to the war of independence, and arose out of the conflicts which raged between
the Greeks and the Turks. Byron wrote a translation of the song in 1810 which begins —
" Sons of (ireece, arise !
The glorious hour's gone forth,"
but unfortunately it does not suit the rhythm of the tune.
GREEK XATIOXAL SO.\G.
No knavo may come to scorn us all, and 8bamo our coun - try
at bra zcn truin ■ pcLii' call!
To
~-^'^' ' i i- si: 5
fight for Greeco and lib • er • ty, our home (tcada and our all.
106
Pythian Ode.
ancient ©rccS ^cIoDb.
Poco lento maestoso.
Pindar (b.c. 522-442).
i
w^
331
*
m
^=f
^
JT
B
x^
TCt-
i^—r:^
^
^
=3=
=^(1
We have used Crotch's Torsion of this ancient Greek melody aa given in his Specimens (c. 1805), but other reuderini-s will be
found in Naumann'a lIMm-y 0/ Mnsac (p. 140), English edition, or in Westphal's DU Musik des GritchUchen AUtrthvmtt, Leipzig (18331.
In nearly every musical history this fine melody is attributed to Pindar, and most classical writers and critics give him a hit,'h place as a
musician as well as a poet.
107
The Comforter.
Low her -itnce is, soft an J kitul."
AoOccn Orcct; Soiui.
Andante.
Ti(n^— Trmditional.
1. Ix>w ))or Toico IH, soft and kinil, 8or - r»vT necr sp ■ peals in vuin : She can
wrT-J\'Ljr-\r r :ipp^E:Jtir_4jj
con Fed
otliu the trou - blod mind, Did dcti - pair to hope a - gain. She in
2. From her lips but words of truth
Fall, like manna from above;
All the innocenco of youth,
All the strongth of perfect love.
Ne'er a thought unkind, unjust,
Bring the rose-tints to her cheeks;
Still she bids us hope and trust,
Angels listen when she speaks.
108
Greek Dance.
Moderate.
^s- :>■ ^^
T-J-}
4=^-
W
i
-p— r-
TTT!!
&:
^
S
iS
I I I
=3 J J=
^g=^=j^
e^° h k
s
J : ^.
Sf
-^— 3-~J-
^^^
iS
-J J J
i
^/
^^E<
^
3=
3=
i=rd-
^^^^^^
109
Turkish War Song.
" Conie to the plain and meet the Prankish host."
Tun^— Traditional.
Andantino.
(^
"J7J-IJ- ^' Ig- J-J. JM ,r^H^4
&''^ i H M
»
1. Como to the plain and moot the Frank-i&h host,
Como to the
^V' J d l-i ^ l-j H Id
T?— J 1
-^
^=^WJi.i\d\ -^^^^^
wars, with jour wca ■ ponH burnished bright;
I
Meet the bamh foo, with their
(^
■com ful vain boast.
Oh! faith - ful
bond, strike a blow for the
Ci=
^^^-rtm^N i^, -i
Ob! come and driro tho hatighty foo from our coast!
right I Oh ! come and driro tho hatigl
V' »r ^^' ^ J: :J: -ct
^
z^ ^ ^ ^
Z. March on the Giour, and crush his boastful threat ;
March to the song, with your cymbals clashing fast ;
Thnist him with sword, for no mercy we give !
Death, Christian dogs ! is your pay for the past !
Oh ! come and fight, that Moslem Turkey may live !
Th« Turklflh natloD&l song changes with each siiccccdiu^ Sultan, and tb* a matter of fact, most of tho so-caDod Turkiah music ia of
French and Gorman origin. Much of tike rcputi.>d Turkiah muaic introduced into worka like Beethoven's "Ruins of Athena," etc., haa
nothing ol an eastern character about it save the name.
no
Turkish Dance.
Andantino.
^
^
'rrr t ' \r
irgir-f^
-m^—S-
-33
@'" j J*^
i
f(7« Ped.
r^
-r— p-
^^
¥
* ^ 1
tf
m
^Sfc
^
This dance should be played as if in the key of G, the E to be flat throughout. It is frequently necessary in Turkish and Oriental
isic with Tcry irregular scales, to qualify the key-signature as above, in order to dispense with frequent accidentals.
J II
Bulgarian Song.
"Fare tbee well, old ■world."
Tun*— "Tri godini,"
2. 'When 1 count iry cups hilarious,
And the rosy lips I've kissed,
And my robber deeds go various
Not so much of worth I've missed !
Sweet or sour, man has his hour:
JUine strikes! — Need I timid cower?
Tia but death.
For llir " Xaliotiaf .So/if; of BHlfjaria.' srf Appfntlij-, p. SW.
112
Wallachian Lullaby.
"Hush, hush. Baby."
Andanie Iranqutllo.
jTitne— Roumanian Folk-Melody.
con Ped,
^ — r
S
F^P=^
-*r—i-
^
fEi
-* ^ V. -J^
go to sleep,
go to
^g^=^^^^
=*^i?=
i
^^5£
g^'f=^
ncn
I
by thee keep.
■(va - ken till day's blush, till
fct
^
^Ej^i
SE
«j ^ ^^w-
:^^
=*^*
semprc con Ped.
.r
I
-^ " i^
day's blush Comes with
* m 9-- — ^ ■ ("•
. . morn - ing's first bright flush.
For the "National Hymn of Roumania," see Appendix, p. 205.
113
Wallachlan Dance.
J'loK— Roumkni&n Dance.
AlUj^o mcderati
^ -T^
— •-= :
n J? ■> i
.Ll^
^
^-^1
m.
M=i
/ con
I
energia.
1
1
I V
1
T 1
r "1
—sf —
• • 1
=5=J
1
— r — 1
^- i ^'
J
1
=t^
9.
d *
4=4=
— =Si
1
14=
"T=J
^ :^-
■^
H
^ ^
-j-
r
114
National Songr of Servia.
'Rise O Servians! "
Tempo dimarcia.
H5-S-S-ri F 1 i i — r— J — — ^—
eS
i=at
^
il=g
I ' \
Rise, O Scr - vians, take to arms ! Rise, O Ser - vians, take to
^^m.
34=1W=
^
-^ tf:
^=1*
=3?
"153^
^s*ee^ee^ee*eeJ^
^
^=^
^^
i» y
Day a - waits thee, night re - tir - eth, and your coun - try
:S=?t
Jf==^=
»-1-^
^
SEEpE
j J J jg^^
=..^-
=9F
r^
i
sfcJ=
^
^
-fl^
-ft*-
ye Scr
^
Rise!
-J-
breth - ren.
'i ^^'tiw±d^^w=f-y'
g-^i J J. ^ ^
T=r-
'^^m
li - ber - ty which calls.
The Servian national song *' Ustay ! Ustay I Serbinc ! '* or " Rise, Rise, Servians !" is of unknown authorship, but came into prominence
in 184S, when the Servians fought against the Magyars (Hungarians). Since then it has been played by all the military bands in ServU
as a national march, and when well performed has a very stirring effect upon a Servian audience. The Servians have a very fine body of
folk music, but our limits will uot allow us to give more specimens.
KATIUSAL SOSC OF SERVIA.
Ill
14^^
Now'h Uio tiino wlu'n 8cr - via need* you, All her »ons must
IIG
National Song of Montenegro.
Tempo di tnara'a.
mf
W^-vri:
=i=f=
i
-m — 9 — ^
-f r
33=
f^
SEE*
¥
-^ h
^f^J-UJLj-Ji-XJ^-iii^
g — r
^^
J r ^
3*
-^ J
3^=^
-^i S
r=t
I ^
p^^=^=^^
^^^
ESE
^lE
=H=
— ^ — r
r±
g
^
FUTiOPE.
Songs and Dances of Italy.
^Italia, O Italia f hapless thou,
\\Tu> dills t the fatal gift of beauty sain,
A dci'ry fraught with nci'er-ending pain,
A seal of sorrow stamped upon thy brow :
O, were thy bravery more, or less thy charms !
Then should thy foes, they whom thy lovelines
Nov.' lures afar to conquer and possess,
Au'i're thy ieiiutv less or dread thine arms !'
118
Royal March of Italy.
m
^^^^^ G. Gabetti.
Tempo di jnarcia. | ^ | n
— — ^-A — I — tj — • r- — I 1 1 — I — I — Hi I ^_^
^^
:^s=e:
I I H I
ntut
-1^9-V
Ld I
t r3-_J°iT
'tfy-g— 1^
:8=z, g y „ 8 1 ^ rr
\ ^-^1 1 =1-=H 1 >»«l i —
fe^^==fc-^=i=
±z=t=i5:
^3f
gfrt>-H^^-==R-r
^-t
-•- -•- -»- -»- -i»- -*»-
-P^— "P" ^' :N^:P»' W . •^-
^
"^^
— -H M" 1 —
-I* — ^-.dgziE
-e — ^
liOVAI. MAIiClI OF ITALY.
119
n^r*"^*?""^
-J i_i —
■£- -£- "ys.
r — ! — pi 1 My 1 i-^-:=l
T - ^*^
TRIO.
=«?6^
"'/
j^ r
^r — <-
iss
4 U
--P m—r \~r
i2e
Italian National Tune.
Vivace.
" Daghela avanti un passo."
" Polka Militaire," by Paoletti.
^^^^^^^^^m^^
-rSi — ^
sf
^
^
^-
^
^
m
w^^
^ \^p
W
#
^
ii=*s
^3E^
J d
^=^=
^=*
^
ipdzipt:
=£— ^g.
a
-j r
-^L_>i-
=^
^^^i^^g^g^^^
jfczgr
^
^/
r -n
i
^
:^
^=:
=^
In the absence of an accepted Italian national tune, apart from the various royal and other marches which pass current aa Buch, wc
have adopted this specimen because it is identified with a stirring crisis in the history of Italy. W hen the Austrians invaded Italy to assert
their supremacy in ISoSthis tune had become very popularin North Italy, where it was originally introduced as a ballet song. Hearing it
so frequently, the Austrian bands during their advance into Italy, took it up and played it in derision of the military efforts of the Itahans.
When the tables were turned on tho Austrians, and the Italians, with the aid of their French alUes, had become the conquerors, it was
to this tune, "Daghela avanti ua passo" (Move a Step Onward), that the Austrians were driven out of Italy. This tune is often
played by military bands in Germany and France.
121
Neapolitan Song.
"Go then — 'tis vain to hover."
Thomas Moorb.
Allecretlo.
rujw— Traditional.
m^
1. Go then — ti» vain to bo - ver Thus round a hope that's
2. Faro - well, 8wect eyes, whose brightnesH New life a • round me
id
■^ > — jb
^m
5=
^
:7=^
t^^'ijr-f jC^T TT
•I *
l.dead;
2. ghed;
At . . . length my dream Ih o - ver . . Twas
Faro well, fuUo liiurt, whose light - ness . . Now
122
War Hymn of Garibaldi.
StaUan patriotic fj^mn of 1859.
Mebcantini (1821-1872).
Tempo di marcia.
i
I
A. Oliviekl
wf
jct
-^-- — e^
1. To arms !
^
^^
^
faEa=H^^^^
tombs they are riv
I
en, the dead are a - rii
en, Our mar • tyrs have
^
^^
JTju ^^
Safe^Bp
fc^3E
a=»=g
burst from their se
pul - ehre pri
hand and their
m
t^^=^-
9-r
heads wreathed with lau - rels of fame, And the fire of I - tal - ia in
m
^^^
:^==t
9r"
The uiords translated by Mr. S. de Jastrzebshi.
WAIt HYMN OF GARIBALDI.
123
A - way then now has - ten in bat ■ tlo ar - ray - ing, Ou
flag to the free wind of hoa Ten dia - play-ing— On the foo with tho
tal ia ! A - way
from I - tal
ia ! Now,8tran - gcr, a • way!
r4-^
a 5
2. Yonr homes by tho banks of the Danube are builded,
But ours by the sun of Italia are gilded !
Your camps they despoil us, our bread ye are stealing I
Our children appealing shall not call in vain I
The seas and the Alps are our country's confines,
With the chariot of fire well cross th'Appenines,
And the traces of conquest for ever destroying.
Our banner deploying we'll raise once again.
Away from Italia ! Away from Italia !
Away from Italia ! Now, stranger, away !
124
Italian Hurdy-Gurdy Tune.
Allegro
—^
"—^ —
\ —
p-^n^^-^-t-
1 ^
^^ T
P
— 1 —
1
-^^^ —
>
1 J ^ ^ W-
^ * ^ ^
^-^ J
^
^^^-^H— =
\^^
=i:
--t#«i H
i^^^
-«-
rs^ ^^ 5F"
n tt -■ A ■■■ ai ■ J =^d J 1 al J S—' ' ■ 1 i ! ! i 1
TtP ^ ^ Zi ^ ®d — gH— *=^_iS ^ ^ J a^-g — 1^-1
T?h « a . - -. J — a a — c^ * — « — S — • ^» — m M — M —
J^ S s S — ' * * ■ — ' — • — • — ■ — • — ^fiP — w • *
m^^i^^=j^^j^j J rm — J — 1^^^ ir^^
Vj >i-^ _j__^_M«-^ _^ _g_lP ^ ^ »"_^ -»
_^ ^ — .^z
-^, S'
iS
-^ — ^
i^3t
=g=
^
ig^ J~~J 1 tirJ ^
:sr— 4gr
J^S=J=
12?
Sardinian National Tune.
i^^^^^P^
S
EiEi
4 u
fj) • 4 J r-^^^^=4=8=i=t^4^=S=i4=^^t^^
@¥Tr- r=f t r f H ■- ^
IM '
One of Uic Italian patriotic times called forth anil vised by *''>o people during tlic wars of iiidepcndonco in 1807 and fcUowing years.
126
Venetian Song.
"Oh, come to me when daylight sets."
Thomas Moore. Tune—" Carnival of Venice.'
Andantino tranquil lo.
1. Oh, come to mo when day - light sets, Sweet, then come to me ;
2. Oh, theu's the hour tor those who love, Sweet, like tliee and me ;
When
When
1. smoothly go our gon - do-lets O'er the moonlight sea.
2. all's so calm, bo- low, a-bove. In heav'n and o'er the sea.
When mirth's a, ■ wake and
When mai - dens sing sweet
^r .1 [T^r.i fe
m
^
\. Fed. t-l^ ^TPedTiJ
# Fed.
^ Fed. r
:^ Fed.
1. love be-gins, Be- ncath that glancing ray,
2. bar - carolles,And Ech - o bintrs a - srnin
With sounds of lutes and man - do lines, To
So sweet that all with earsandsoulsShould
fe^s^^S^i^
^
i^
Fed. rg;
:^ Fed.:
# Fed.
w
:Kfe Fed.
1. steal young liearts a - wny.
2. love and list - en then
. Then e<>me to me when day - light sets. Sweet, then come to
So come to me when day - lij,lit sets. Sweet, then come to
^
^ '^* I Fed. Cj^
^ Fed. # "^^
^I
rrz-
^
^
Fed.
# Fed.:;
# FeAig:
it:S=
^^
^
3i^=J=j:
ii
1. me,
2. me,
When smoothly go
When smooth-ly go
our gon - do • lets O'er
our gon - do -lets O'er
the moon-light sea.
the moon-lis»ht sea.
n^-F-- , rn:
m
Fed. r^Lj
# Fed.
# Fed.
'# Fed.l^t
:^ Fed.
This weU-knowu tuuo dates from the end of last century. It was .idapted by Mooro to the words above given in his National Ah
published in 181^.
127
Sicilian Son^^.
"Bright is the sun on the ocean."
AlUjp'etlo guiisi andantino.
Hright ia Iho sun on tho o - cc&n, Soft blows the wind of morn,
wu- f r _ajz:rfyTT ^ ^ j ^
^
*
PeA
# Ped.
* Ped.
# Ped.
na - tiiro stirs with bright mo - tion, Ami yd - low gleams tho corn.
-PC.
'^^^—^^A L_ g_l^^^
I'cd.
* Ped.
* Ped.
* Ped.
sempre con Ped
^i—n±^ii
' ^^, *^^
(live me tho pleasure, dear maid - en, Of charm • ing hence thy tears.
128
Tarantella.
3talian Dance.
Vhiare.
^
TJ |i
Popular tradition has associated the Tarantella with a form of mania caused by the bite of the Tarantula spider of South Italy, which
was said to produce convulsive movements similar to those imitated in the dance. On the other hand, it has been asserted that the
Tarantella was iBvcnted as a certain method of curing the bito. In this connection, an interebting communication appeared in the
Gentlemen's Magazint for September, 175S, written by Stephen Storace, the elder, in which he relates his efforts to cure a poor Italian who
was Buffering from the bite of a tarantula, by playing a tarantella in twelve-eight time. The tune performed on this occaBion is published
in the same number of the m.iffazine, and also appears in Tan'sur's Elements of Music, 1772. Storace expresses his belief in the therapeutic
value of the dance, and in this respect differs from most modem authorities. The dance is stated to have originated in Naples, but it
seems more likely to bo a South Italian dance from the district of Apulia on the Gulf of Taranto. From this name were no doubt derived
the titles of both spider and dance. The early examples of the Tar,antella which have been preserved, have little resemblance to those of
modem days, either in time or style. Formerly it was most frequently written in common time, but in more modem examples it appears
in three-eight, six-eight, and twelve-eight time. The specimen given above is oomparativoly old. The dance is usually performed by two
jwrsons, and its graceful movements are frequently accented by the clash of cymbals or a tambourine held by the performers.
TAIiAXTELLA.
129
fe#J^:33^^^^^?^^R^
3=18^
130
The Gondola.
"Quiet is the bright night."
IDenetian JSaccarolle.
Translated.
Andan/e tranquillo.
TifTte— Traditional,
^
?3=
^
^=^
w
gon - do
grace - ful
rocks un - der
The
^
^
P 1
t=x.
-^
sempre con Ped.
i
^E
I^
^
</»m. {^
^
play thee
ear: .... I
^
=P2I
T=^
r 1
/>oco rit.
I I
S
S
thrill with de
light when I
think thou art
Sfe
^
m
m
2. Sails are outspread, the soft wind gently sighs,
The wavelets lap soft as to the breeze they rise.
Oh, hasten, I pray thee, thy fan do not bring,
A zephyr shall cool thee, while sweetly you sing.
3. Then lot us away o'er waters so wide,
AiVith nothing but moonlight and love as a guide.
The rippling soft light which gUdes past at the side
Is all that we want while we float on the tide.
f
EUROPE.
Songs and Dances of the Netherlands.
HOLLA XD.
BELGIUM.
" ReceiI'E not with disdain this product from my hand,
O marl of all the world ! O Jlowcr of Netherlatui .'
Fair Holland ! let this live, tliaugh I may not, 'Jiith thee.
My hosonfs queen ! I show t^en now how feri'cntly
Pve lo'i.ied thee through all change, — thy good and evil days,—
And love, and still will lo-.'e, tilt life itself decays."
—Hugo de Groot.
132
For King and Fatherland,
"Oh, ye within whose burning veins."
2>utcb ■Rational Song.
Tune — " Wien Neerlandsch Bloed."
JOHANN WiLLBM WILMS (1772-1847).
Molio maestoso.
W^
1. Oh, ye -with - in whose burn - ing veins The Dutch blood pure - ly flows,
2. Pro - tect, O Lord, pro - tect the stil Our fa - thers' birthright save,
3. Then let us ehaunt our ho - ly hymn. Our eyes up-turn'd to heav'n,
m
Up -
Nor
And
:JJi^
^=t
-^m
3=5=
-^-^-^-^
^^
-^^
1. lift your voice in so - lemn strains, Not slum-b'ring in re -pose; But join with us tiie
2. let the ty - rant foe de-spoil, Their peace • ful, hal -low'J grave; For ours must be a -
3. catch f rom thenee a cheer- ing gleam, That may be to us giv'n; A ray of hope, of
m^J^^r^^
fi^
t3=
w-
-=i7
-•^Jf*-
-| — r
'^"ti^-
s
=i^
^■-^*=i
s^
?3:
1. stir
2. long
3. glo
ring song,
side theirs,
■ ry yet,
— 1 •-
And
Not
That there is still
-9^
choes ring,
for - eiga strand ;
hand
With watch-words of the
Then hear, O Lord, a
And heart that ne - vor
:^^
^
^^-^
-^"'^^
s^o^^f^
1. pat - riot tongue : Our fa-ther-land and king,
2. na-tion's pray'r. For king and fa - ther - land,
3. will for - get. The king and fa - ther - land,
^ 1
Our fa - ther - land and king !
For king and fa - ther - land !
The king and fa-ther-land!
^&
:^^
ilN:
zH^
t=f:
^
-^
JB. ^
1*^
"as* -«-
Tlie national hymn of Holland, which came into prominence during tho political troubles with Belgiu
13a
William of Nassau.
fUmidb Diatorical jBallaO of 156S.
Moderate.
Tune—" Wilhelmua van Nassouwen.'
can Fed.
poco rit.
poco cres.
m
-J
i^e^
I I I
^
p
-1-^;-^
f^
^
j-:i 4 rj
rit.
4=^
FF^
^
:#* f ~ ■ 1
^_« ^
— - — 1
1 o' Ij
1 e>- 1'
13*
Dutch War Song,
"Bergen, thou sturdy and bravest of towns."
Tunc — " BergenopZoom.'
Tempo di marcia,
mf
r — '""
—^^ — !
cres.
=^
1 1
"^?=l
Ber - gen, thou stur - dy and
(g>:,^/^ J — J— — J — J
■ m-
brav
1 1—
t^''
^ T,h «
- est of towns,
-1 1 1
~"^ S i
— ^5—
Who
1
all our free
-li ^
dom and
-J 1
^•-^b ^■' — S 1
• J
-^^ — '
l=S=
■^W^M
— S —
1
0 ■ ■
—1^
1
« — •
1 N r
1 — B-rif :^-i :; 'r
-1 4 U
mf
-J 1
rs"*! i 1—^ 1
-i^p^^ ,, ;-2-
3 ..j....*j
fV «» ei-
4-4 ««
J 4 ^*=^
"^^ — r-JT i
er
guard - - ed;
1
^ g.^^ ^^ •
rights have ev
1 1 r
Brave - ly she's fought for our
1 J i
1 1 : 1
(<^j-t> — •! J •-
-J—* h-
-^ . J J J J
— j—
1 d :J ^
^r— 3 1 i"
z i 4-
=^
m •
H **, =d
1 '1 ^ ^ «L
^ --r
1cr
-^
-^ ^ — Jf^-^? — ■
^ j- g- J- ' J -w- ^ *^ — ^
^t
^
33t
rights and our strength,
J I
Well has she spent all her blood
and rich ■ es
^^
-t-tM
-^— V-
:t=:«t
-jf^
T»H
^^
dim.
^r=#
^ — j^
ICt
* »-i ^ • "
-1- ^ '=^=f
§i^=tt-=
ed.
of Span • ish drums,
m
.» J • d J
-• ^ L#J
*£
^^
^/
This liiutorical ballad refers to the Spanish wars with the Netherlands, and the investment of Bergeu-op-Zoom, and is a genuine old
1- Boug dating from about 1622.
vurcn w m: song.
135
f
W^b ^.H I
5S
^ ^
-t^: g
Now the foe
I
draw - cUi nigh,
Her - gon's ttronghold
1^
^^F^\M/' -^.'^r^ '
r '^
136
Matelot.
Dutcb Sea 2)ancc or Ibornpipe.
Con spirito.
i
j=»-
^E^E^
g^^f^^i^^^^^^
£
@^^
* r
q==t
../
J J p-gi^gj--p2
=*=¥*=
I I
r
1 I
=^
fc».
^^^^^^^^h^^m
1 — r
-» ^
r
3=*— #
{^
S
yp-^-^:
J^-^^-U^
I
1*-
^^
=^?^^h^
^^
^^
*«e
* I*-
f- -g-
^
J J r^^-g^
^e
=5
fe*-
r— ^ — r r 'r r r r -V— .^ — ^ — ^-^^r-f^
r
I I-
n3=*
^^
:»==te:
The dances of the Dutch Bailors, called matdotSt are very similar in character to the EDglish hornpipe, of vrhich we give an
example earlier in the bcwk.
137
Rosa.
"Rosa, we'll go Ji2ncing.'
yiemleb 9'o(lt»5ong.
Poco altegretlo.
1. Huj - a, well go don • cing, Dear Ru
Ro8 - », with Uio Iwl offlow'rg, Uu noilhcr got wealth nor hua she dow'rg, But
^^^"^ PtdZJ^ * Ped
=^.±ii,i=^^S^^'i^=^HWr^^.
^^«it
Roa • a, well go dan - cing, My
W^
4=t
Ped.
* Ped.
^-r
* Ped:^J^ iff Ped^j^ li^tdZX^ Ij^
2. Shall I kioB von, Rosa,
Dear Rosa, dear Rosa ?
Shnll I kiss you. Rosa,
My Rosa sweet ?
Rosa with the hat of flow'rs, etc
3. Will you raarry vne, Rosa,
Dear Rosa, diar Rosn ?
\Vill you marry nie, liosa,
My Rosa Bweet ?
Rosa with the hat of flow'rs, etc.
A Pirniliih nin^nir danc*, Tory nimiUr in fceneral style to matiy of the singing games played by cMIdrcn in Britain. It appeals in
various coUectluus of Flcmiivli music, and is doubtless co'mpanitiTely old.
138
La Brabanconne.
Dr. Jbnneval.
Tempo di tnarcia.
Who'd believe this arbitrary deed?"
mational Song or JBclgtum, 1S30.
FEAN901S VAN Campenhout (17801848).
^
(» ^
^3
^w=ftz
^^m
3 — r
friend - ly prince would on
speed,
i
^E
3^
^
3d=
3tEZ*:
M^
bill - lets of waste - fu!
^
^^4^-
'Tis fin - ish'd now, ye Bel
^^t
^ ■ p w
i
SES
fmi^J^^
•1 • ^^' *'
We must Bra - bant from Nas - sau
a^=J J-
^S
=i»±P=
^f=
When the strugj;Ie was raging between Belgium and Holland in 1830, the former deairiog self-government and freedom from the yoke
of the Dutch, this song was published at Brussels and received with immense popular enthusiasm. It immediately became the war-song
of the Belgian party, and has since remained the national song of the independent state. The song was issued as "La Nouvelle
Brabanconne " in 1830, words by Jenneval, music by Campenhout, and was dedicated to the defenders of Brussels, at that time threatened
by a Dutch army of i
LA BRABANflONNE.
139
wavi-, . Tho o - range may no long - cr wave, no loDg-erwavo Up- on tho
tree of li ber ty !
Up -on the tree of li - bor
^^ t — r r
I ^'''ir ij, II f
r
J
.^ r
«
-
1
QB,. ■■•
-I
— J t:! ■
1
IT
ty !
.r^
^— h
l"p on
the
1
trco
o( li
-• <•-
-
1
IXT
-# 1
ty!
-1
-j:
^
-b a
^gg-f— ^^
iT ^ iL r L 1 i
r J ■ 1 1 II
•
*■
1
1
-^
2. In our wratli, have wo BclgianH been
Too lax in urging our just cause,
Which a father-king should have seen,
Was but asking liim for just laws.
Yet he, to utter madness run,
With cannon pointed by his son,
llrenchea with blood tho Orange red
Under the tree of liberty !
Under the tree of liberty !
Under the tree of liberty !
3. Men of Brabant, ye nation brave,
Who flinch not in the hottest fights !
With cannon-shot your country save.
And make Bataria grant your rights.
O'er Brussels, at Archangel's ' feet,
Our banners proud for ever meet.
The haughty Orange to defeat
Under tho tree of liberty !
Under the tree of liberty !
Under the tree of liberty I
1 St. Miiliaol, patron saint of Erunsclii.
140
Flemish Dance.
Allegro moderafo.
^f'm'TTrrtn^,
^^^
:«tzt«t
5 5
EUT^OPE.
Songs and Dances or Russia and Poland.
" PoLAffD is not lost for ever
IVhiU our lives remain,
H'Ati/ the foe by force did sever.
Force shall soon regain .'
March ! march ! Dombrowski / '
142
Russian National Hymn.
^S£^
Andante molto maestoso.
1-^
3^1
God. the All-terrible."
General ALEXIS F. VON LvoFF (1799-1870).
!^
SE
-e»- ^ ^
1. God the All
ri - ble,
I
Thou who or
^^
m.
S
i
^6j^-P^
^f
£
=S'=^i=i
^
I
der Thy clar
t?*-
'ning Thy sword ;
^3sk
m
^^
-d-
fe=te
-*!•-
;^
^
itjo^
^^^—^
^.
-f3h
Show forth Thy pi
where Thou reign • est,
J=J
=C^
^
9=
:J=y=F^
-^ — a-
^
B
=r
F
S:
^
in our time,
^r=f
3
3^
3*
3^
_t-^_
2. God the All-merciful, earth hath forsaken
Thy holy ways, and hath slighted Thy word;
Let not Thy wrath in its terror awaken.
Give to us peace in our time, O Lord.
3. God the Omnipotent, Mighty Avenger,
Watching invisible, judging unheard ;
Save us in mercy, and save ua in danger,
Give to us peace in our time, O Lord.
The Russian national liyiun was si^cially composed by General Lvoff in 1830, to tho order of the Emperor Nicholas I. Lvoff
violixubt and composed operas, instrumental music and songs.
143
Forsaken.
"Nightingale, O nightingale."
TnuiBlaloI.
AitJantino con tspressione.
■Ruseiaii Soiifl.
Tnnr "Tlie llt-d Suiafan,'
by A. Vahlamofk.
I ' I
1. Nigbt-in - gale, () nigbt - in
2. O, ] boro a nock • laco
gale, so
once, all
full of song thou art,
pearls, liko mom - ing
^^^-(:^^^^^^
1. maid ou
2. in mj he«rt,
hear thco, full of
luTo so truo and
^
m
V
fears,
r
Sleep-less, rest - less.
But when the sad
com - fort-loss,
Au • tuma came
:.=fcJ
m
-,^— j-
33=
144
Russian Harvest Hymn.
Fields are rich with solden orain."
^
Andante.
■P-C
— «^ 1 r: — I 1 — I 1 1— ^ 1 1-1 1 r~^ I 1 — ,
r?TO<— Traditional.
io w ' ^ ^ ^ ^1 -r ~^
1. Fields are rich with gold - en grain, Har - vest time has come a - gain ;
2. Har - vest now is pea - sants' hope, Long with na - ture he must cope;
VK IFF irf"if^^
^\rM
^ & ^-^ ^*'i Af^^ 'i — r T r ^
s*^
1. All our la - hours of the past, Are with plen • ty erown'd at last.
2. Ere his work with fruit is erown'd, Wrest - ed from the grudg - ing ground.
^
£r+-^
^m
frhe
^
i
-t=v^-
pri
^
4^
:*==i=
^^
^ *
3
33:
:pc
Praise to God for His great dow'r, Praise His mer - cy, praise His powV',
poco rit.--
Sing to Him a thank - tul son;
ly, loud and strong.
145
Ukranlan Son^.
£a6t i;u06ian foitt Song.
7"mti/— Traditional.
K» - mou ■ phinc, And prond - ly wafts it* add - ed store.
2. And two fair barks io gayest pride,
All on the swelling current ply,
And o'er the rippling surface glide,
With many a streamer waving high.
3. And as they urge the gliding prow,
To every measur'd stroke they sing
And Peter forms each ardent vow,
Great Peter ! Russia's Lord and King !
1 Thl RutsiaH Troubadcur, vr a Collection o/ Ukn
I and other yatUmal Mtlodiu,
• LoDtioD, 1816.
146
Minka.
From ilie yolga was he riding.
CossacI? Xovc Soiifl.
m
Andante.
P.
Tune— Traditional.
I I I — I 1 1-
J J J I J^^"^
J J J
^
=T
1. From the Vol - ga was he rid - ing, On his horse so quick - ly strid - ing,
2. " Shy thou art and to - ry bash - ful, Tho' my heart is ev ■ er faith - ful ;
^m
con Ped.
i
^^
1. When ho saw in am - bush hid - ing, Who but pret - ty Min
2. Yet to you I'd be more grate - ful It you'd love me, Min
^
^=^
=^
=P3=
^—
^
^
f
r—
___
^^
F=^
— h
j —
h-i
— ^-
— d ^-1
1 — F — 1 1 1 — 1
, — 1 -^ 1
— 1
VL»
* r
w «
• m _j ! - 1
1.
2.
1
"Min
Min
ka,
ka,
1
Min
Min
1—
— d=
ka,
ka,
1
go
go
not
not
1
from me,
from me,
. r 1
-1
w
1
Do
Do
not
not
r
in
in
^•-
— )
the
the
for -
for -
est
est
hide
hide
m
thee,
thee,
3. " Thou art playful as a kitten.
Knowing when a heart you've smitten ;
I have been by you sore bitten,
Wicked little Minka.
Minka, Minka, go not from me,
Do not in the forest hide thee.
Come and tell me if you love me,
Pretty little Minka.
" Wolves are through the forest swarming.
See! they come in packs alarming!
I will save thee from all harming
If you'll come, my Minka.
Minka, Minka, now I've got thee,
Why did you so much provoke me ?
Wolves won't come, but I'd devour thee,
Pretty little Minka."
Finland's Forest.
" Davs in the wood."
f liinleb folk^Sona
147
Tnumlatcd.
AUegrttto con vivo.
b4
Thtic— "Suomen salossa."
1. Daya id thowood in my safe • hid - den cot, Bright gleams the seashore in the dows of
2. Ulad - ly ro - sound thro' the thick for - est trees, Songs of the birdies in the sweet culm
3. Mo ■ lives of men can be mea - sur'd by none. But signs of na-ture are quite plain to
1. morn;
2. air ;
3. all;
'^^^f^
There can I live a more bap ■ py
Bbop' herds arc blithe in the sum - mcr
Givo mesTTcet Eoundswhentheday is
-I r— ^
lot, . . Than kings en - joy who are by
breeze, Joy is tlicir lot in Fin - land's
done, Rust - ling of trees or gush of
m
^
S^iE
The Finn«, who nro by race closely allied to the Mafryars or Hungnrlaus, have maintained their national cuatonM, literature, and
miiatc, In .iilte of the beat efforts of BuKsia to supproag them. Tlie Finniah "runo" or song is the characteristic form in their folk-miisic,
and of these they possess many fine and qtiaiut 6i>C('imcns,
148
Lapland Song.
■ 'Beiifaih the sky there does not blow. "
Translated.
rMwe— Traditional.
Allegretto,
-mf.
fryrr&j^
ffrrfi^
m
*=f=^
r
Be - Death the sky there does not blow Flow'r more sweet than my true love, To
^
i:J-
-«- — m^ p 1^ » » y ' g m '.^^ ' 9 F — ^
■^ ill
wan - der o'er the drear waste tun - dra, Wliere she's all my bea - eon light. She
5^
^ I
140
Lapland National Dance.
AUegretlo con x facta.
160
Lullaby.
"Sleep, my bonny blue-eyed little treasure."
Xitbuanfan 3foIJ5=Song or 2)ance.
Andantino.
i
i
w
1. trea
2. near
sure,
thee,
Till
Watch
sy
for
^
^
rf-
P dJ H-
3=^
s=
--tl^-
^=^
i
i^^:
^oco rrV.
^
1. Bream the Btar
2. Sleep, my lit
tie
night a - way.
trea - sure, sleep
Sleep,
lit - tie trea
lit - tie trea
sure,
sure.
^iS
^
m
m
-=■"0-
-='fc< —
3. Sleep, my bonny blue-eyed little treasure.
With your brightly laughing eyes of blue;
And your sunny silken tresses,
With your heart so kind and true.
Sleep, little treasure.
4. 'Mid the visions of your peaceful slumber,
Floating round you, ever bright and free;
Let me be among your number.
Don't forget to dream of me.
Sleep, little treasure.
Russian Dance.
151
Alltgro.
152
Allegro spirit oso.
Cossack Dance.
#^
^^^^^^^^&
-»/' — ' ' — '
WTT t
This dance was first published early in the present century, but is probably much older. The Cossack dances, like those of their near
neighbours, the Tartara, are marked by a good deal of hand-clapping and foot-stamping. Many of these semi-barbarous dances begia
slow, and gradually increase In speed, often ending in a dizzy whir! of great rapidity.
153
National Sone of Poland.
Poland is not lost for ever."
Tunt — " Jeszcze Polaka. "
1. Po - Und is not lost for ev - er, While our lives
M
^
/
— r<^ —
—^
■^^h
1 f^ 1
F=
pd
^
.~~^^
:^
t;
F-"
Mixcbl
rnarcKT
Dom
•' -w -m-
■ brow - ski.
I
im
-• •
fair
_f_
tal - ia'g plain,
^
■-
p^
=
-d—
~1
—m M
3^
^
^
■^^fr
fl — ■
— 1 —
■ -ir
-^j —
■9-
-^-
^
1
-^
^^=
=
3
2. Wo shall cross our rivers glorious,
Vistula and Varta ;
We have learnt to fight victorious
Under Buonaparte !
March ! march ! etc.
tw-
3. As of old, through Swedish legionB,
Dashed the brave Czarneki,
We shall now from Southern regions
Rush to succour thee !
March ! march ! etc.
Tho PoIm who »one.i with the Frcndi and took part in Mapoleou's wars in 1811-12 were led by General Dombrowski, and this patriotic
sonif d«t<!s from about that period. The tune U often caUed " DombrBWskis March," and is very stirring and martial wh«n properly
performed. Tho trauaUtlon i^ by Mr. S. dc Jastrxcbfikl.
154
Polish Patriotic Hymn.
'Mid fire and dense smoki.
Larrro 7>taesioso.
Tu7ie— ''Z dyraon pozarow.'
1. 'Mid fire and dense smoke, 'mid fumes of red gore Of breth • ren slain, our
2! How long, Je - ho - vah, will Thy rod chas - ten ? Look down up - on our
1. Toice we raise ; . .
2. wounds still green;. .
In one last groan of griev - ing, so sore, The
Cry - ing un - to Thoe : Help, Fa - ther, has - ten,
1, hair is
2. Thou art,
blanch'd while each one prays !
Lord, all pow'r - f ul, un - seen !
Our ev - 'ry song now
Thou wilt for - give this
God of wrath, no long - er disdain - ing, Hear us in pi - ty, turn
lift our hands in meek sup - pli- ca - tion. To Thee, O God, oh, turn
to us now !
to us now !
This souij originated during tho Polish revolution of 1863. and is one of the most impressive, yet simple, of the national songs of the
country. The tune, constructed from a descending scale of little elaboration, is one of the finest national hymns in existence, and i
probably niuch older than the verses to which it has been adapted. We
the words.
udebted to Mr. S. de Jastrzebski for this translated version of
155
Polish Sone.
"Jacob, drink! "
Allegro con tntrgia.
Tun*— "Pijekuba.'
Ilcallh to thoo, And hcollh to mc, And health to all our par ty ;
f
^m
v^crrcf
^
1F=^
^
IIo irho will his glass not drain
Shall be thrash'd with cud - gels twain,
^H F I ^ ==MJ
m
r^
2. Gooso with sauce,
Zosz and bygos,
Old nobles ato with gusto ;
Now liko storks.
Song knives and forks,
They swallow snails and worms, O!
^V'ho to live with frogs is fain,
bhall bo thrash'd with cudgels twain, etc.
3. With gems gay,
la bright array.
Our ladies shone so dainty ;
Each rough jade
And chambermaid
Now flaunt themselves so jaunty !
Who lives o'er his station then
Shall be thrash'd with cudgels twain, etc.
" Pijs kuba" ia a very popular and charatlorUtic PoUah eong. It dates from last century, and natiriaes the cnuas which then ejdsted
In Poland, as elsewhere, for apcing French fashions. The words " lupu tsupu " are sounds Imitative of blows. The tune is old and is a
(avourito oTcr all parts of Poland. Wo are indebted to Mr. 8. de Jastnebsld for the song, which he voraified from a literal prose trans.
latioD supplied by Mr. M. H. Dziewicki.
156
Kosciusko Polonaise.
polisb ©ancc of ISOO.
Allegro moderato.
^^^
C^A-
The Polouaise is a stately dance which was originally introduced in the 16th century at the receptions of the Court of Poland. It
•was at first a kind of grand march, or processional dance, but has undergone so many changes that the concert Polonaise eiolred by
Chopin and others has hardly any resemblance to the original dance. The specimen we iriTe dates from last century
KOSCIUSKO POLONAISE. 157
D-C. from iS to Fine, ihtn to Trio.
^^ ^ • n^ I ^^;j 'III "g^' Lj u V^ ^
z>.c
Sgp ^ ^ ^ 4— — »-»-» — m — • — •- - -»-»-*^ — * ! m
& uJ^t^
158
Mazurka.
poUsb 2)ance.
Moderate
g^^^P
^
-w^ 'U-^
^
J^L^-
# ^
JLjt
=*=»
:#=P=
i^-r-:^
=J!!=a=
I I
i 1-
-I 1-
^
r-Y^r
=p=fc
-^*i^
^EtE
E^
f— t-
-^ -*
This Polish national dance dates from the ICth century, and origiuated in the songs which used to accompany dancing, not only in
PoKiud but elsewhere. This dance is said to derive its name from Masovia in Poland. Though well known on the Continent, the
Mazurka did not obtain a footing in England till about \%ib. The ide,as of Chopin, as wrought out in his classical compositions, have
changed the form of the concert Mazurka entirely, and it is now a very diHcreut class of composition compared with the original daace.
FUTiOPE.
Songs and Dances of Scandinavia.
DE\.UAJ?A'.
ICELAND.
NOR HAY.
SWEDEN.
' O'er Norway's cra^s, <fer Denmark's valle/s,
HrrM; tombs profusely rise.
Memorials of the love that tallies
Nations round kin::s, and knits their ties !
Sweet is the bond of filial duty.
Sweet is the grasp of friendly hand.
Sweet is the kiss of openinf; beauty.
But sweeter still our native land J
— T. Thaafup.
IGO
King Christian.
o
"King Christian stood by lofty mast.'
matlonal Song of ©cnniarlj.
Johannes Evald (1743-1781).
Adapted from Translation by H. W. LONGFELLOW,
Macs/osf. I K
JoHANN Hartmann (1735-1791).
1. King Chris - tian stood by
2. Nils Jiiel gave heed to
3. Path of the Dane to
I -»• I I
lof - ty mast, In mist
tern - pest's roar : Now is
fame and might : Dark roll
and smoke ;
the hour !
ing wave !
His
He
Re
Et
1^^
=fcsi
2 ^
^
^
1. sword was ham ■ mer
2. hois - ted his red
3. ceive thy friend, who.
so fast, Thro' Goth - ic
flag once more. And smote up
scorn - ing flight, Goes forth to
^?
helm and brain it passed ; Then
on the foe full sore. And
dan - gar with de-spite, And
^.
m
3^:
E^i
"rr-
1. biink each hoa - tile hulk and mast, In
2. shout - ed loud, thro' tern - pest's roar, "Now
5. proud as thou the tem - pest's might. Dark
he who can ! Who braves of Denmark's Chris • ti - an, Who
shel ■ ter fly ! Of Den - mark's Juel who can de - fy. Of
and a - larms. And war and vie - fry, be thine arms, And
I ! I , ^
m-
-^r
4=?ir-
^^
J- *WJ--
3 .
-W- ^ tf^
-• 0t-
f^=
braves
Den
war
of
mark's
and
Den
Juel
vio
^ I I
mark's Chris - ti
who can de
fry, be thine
arms
stroke?"
pow'r ? "
grave.
:^^
"j: J 2
3*
This national son^, which is in praise of various Danish heroes, was first publishc(i in Evald'a lyrical drama entitled, *' Rskerne " (Tht
Piahernien), produced at Coponliagen about 1775, for which Hai'tmanu, a German, wrote the music. It became very popular, and wai
soon accepted as the national uaval song of Denmark.
161
Danish Patriotic Sone of 1820.
•■There ts a laielv land."
Adam O. OianKKscHtAOun (17791850).
Moderato. inj
Hans E. Kk<5ter (17981879).
"3
f»— r-
ertt.
1% 1
' 1 J
"ttS
1
— "H-
/
n
=i^
+-^^
J
o
^
Mai
Uo'h uUt
■ea
■
1 t
M waul)
• •
th
m
0 slraod
m —
In
1
1 8
storm
1
q t4
and
1
calm.
i 1
^ — Y —
— p — ^j—
=d
l=i=sl=
rd-
1—
1 —
' «3>
— ^4—
-1-^- 1
J 'J V
i
5^^^
I -t/:
^
E^
hail with pride old Den ■ mark, The love - 1} home - land
all.
2. "niaro dwelt in days of yore
Bold champions, strong and mail-clad.
WUo rested here from strife and gore
In poaceful calm.
And when the war-cloud hung full dark,
They smote the foeman fast.
And fought for dear old Denmark,
In Viking twilight, long post
3. This country still is fair.
With blue seas close surrounded.
And clothed with verdure, green and rare.
From shore to shore.
Its noble men and ladies bland,
Its children far and near.
Unite in praise of homeland.
The Isles of Denmark, so dear.
A modarn Danish MUonal song, frequenU.y used instead o( " King Christian." We are indebted to Mo.'sars. Stecnberg and 6sterberg
/or the literal tnuulation, from which the above paraphrase was uiade.
162
Danish Love Sonor.
"The bright red sun in ocean slept."
Peter Andreas Heibeeq (1758-1841).
A ndanfe. ^
r«nc —Traditional.
" Jeg giU niig i Skoven.'
1. The bright
2. "Thou Btream,"
1
red
she
1 ^
1
sun
said,
=i=
' r «*^
in , . 0 - ccaii
" from heights a
-F=^^
slept,
boTe,
■ J
N
Bo -
Flow
^s-^-Jf-4 ^ 1*
#
J^-
-f LjK-_
r
J-T
1
—^ '
i
i •-
=J^
* ii *w*
1. Death
2. soft
pine
to
Gun
wo
ild .
man's
wept;
loTs!
And
Run
W^.
^
:1»c
:fi»=
1. eyed the hills with sil - ver crown'd,And list - cn'd to each lit
2. quiet and shut not from my ear, The ten - der sounds
3. Ere chased the morn the night-cloud pale,
He sought the deer in distant dale :
"Expect rae where the moon shines bright on yonder mossy vale."
4. " Return, return, my Harold, dear !
This wedded bosom pants with fear :
Oh, come! and hear the rocks reply to Gunild's joyous cheer."
5. Tlien horns and hounds came pealing wide,
"'lis he! 'tis he I" fair Gunild cried :
And rocks and mountains round about to her sweet voice replied.
163
Marstlg's Daughter.
"Oh, rede m^, dear mother."
Danteb Xallad.
.Indantino.
Tune — "' Marstig's dottre.
^
=«?
^
m
mo, dear mo
him a steed
thcr, a BOD
o' tho clear
sy
m
i
-w
iy^[^^frt-"^tH=^
1. Bon ■ Hv ri'(li<, oh, redo to mc ;
2. Bull • illo and bri - dio o' saod mado sbo \
How liar - etig's daugh - ter
Sho'H sliap'd hiin in to
^
1. 1 may
'i. knight no
g^-t,
fair,
My \o ■ man gay to
To Ha - ry'a kirk-yard rodo
5 3 5
3. Tho merman ho slept o'er one doas,
And ho has stoppit over thrct- :
" () maiden, pledge me faith and troUi!
O Marstig's daughter, go with me ! "
4. And she rpachcd out her lily hand,
And pledg'd it to tho knight so free:
"I giro my faith and troth. Sir Knight;
That willingly 111 go with theo!"
5. An'l when they came to the whito sand,
To shore the small boats turning came ;
And when they came to deep water,
The maiden sank in the sea faem.
6. The sliriek she shriek'd among tho waves,
Was beard far up upon the land :
" I trow, good ladies, one and all.
They dance with no such odd man."
1 Sonsj- rcdc : good or agreeable counsel.
In Denmark tlio very old songs are called " giant " songs to dUtinguUi tbem from the more modem lieder, of which Deumark has a
Urge number. Tl.is IxUlaJ. which io adapted from Jamlcsons Popular Heroic and RoMMic BalUuU, 1814, is a good specimen of the giant
song, and is thorvuijhly characteristic of the mingled wtldness and sadness of the Scandinavian ballad. To those who may bo unal.lc to
read the story In Jamic«,n's somewhat " Runic " rendering, it will bo sufficient to stat- that it relates the metamorphoses of a merman
'i- his wltchm.thor into a knight, his appearance In church, courting and winning of Marstig's daughter, and their final disappearance
• the sc'i.
164
Danish Reel.
Allegro.
}^5g^r- rrCTf^^^^gJ^^
^.'^ r , '^<».
:t;t
/
^^s^^^^
fe
I
-^ Jt it
1 pr-
-^
^m
?yn r 1^^^
I I ' i
f^^rj r ^^eB^^f^. I J J?^r r I [£_r^. J
tTjVt
(a-V r
M
r-ft-%S^
J^inrTrT^P^
■F-F-r-r-w
* ~ I — ~ ^ • —
^
^ T
JL_iL
J r J h
^^
-> ^ — F-t: I I* Nt
q=r — r^
±=t
. Boels are common to both Denmark and Scotland, as we have already pointed out under the **Scots Reel." This Danish apecimt
"bears a somewhat remarkable resemblance to the Scots one entitled, "The Deil among the Tailors," but which is the genuine originftl ^
must leave antiquaries to decide.
Icelandic Folk-Songr.
165
rune—" Tolf Syner."
in the iky, ind hiJ from tight
Moun tain, shore, and tor - rent, where the
fair - it's work tlioir charniB on art - l<'i>fi itonH of men.
CiliuriJ U8, then, ()
-^
m > \ mz
^m
^^
^
-=t-
looUnd, being s part of tho DanUh klugdom, in uaturally placed iu Oio Scandiuaviaii aoctiou. The Icelaudic sonsrs and sagaa are all
rli.inictoriacd by the mclaiuli.ily whicli sppeare iu moat of the old Scandinavian music. The Icelandic tiinos arc comp:irativeIy few im
number, mwt of them being rollected in Berggrecn's moniuncntal Bn,)Alf FoU'f^ge o^ MetalUr, Copenhagen, 1860, vol. L
166
National
Sone
of Norway.
"Children of Norway."
Hesr. a. Bjerreoaard,
Trans, by \V. A. Craigib
Tempo di marcia.
Tune — " Sdnner at Norgo,'
by C. Blom.
1. Chil - dren of Nor - way, the
2. Free - dom, her shrine with the
3. Dear -est of lands with thy
an - eient of na - tions, Sing to tlie harp with a
Norse - men up-rear- ing, Dwells in the heart of his
moun • tains of beau - ty, Fer - tile thy val - leys and
m^
-^^==2^
^
-^=r
'^■^
joy
moun
teem
oug
tains
refrain ;
at rest :
thy shore !
Man - ful - ly, so - leinn - ly, raise
Free is his thought, and his speech
Faith and de - vo - tion to thee
un- fear
our du
I i\it-^^^^ ^^
tions.
ing.
ty-
-1^
1. Sound for our conn - try a glo - ri - ous strain. Fame of our fa • thers
2. Free will he work for Ins fa - ther-land's b(:,t,. Birds in their mo - tion,
3. Glad - ly our life - blood for theo we will pour. Stand thou, un - wear - ing,
^
:1W:
-o-
-f3-
-^f-
-^-
f=^^
-i -i
^^r-^^^
--T-
^
^£3Q
:-"T=t
i^^a
[(*): I b fj
us there ga - thers. Oft as our race and our Und wo pro-claim ;
Chil - dren of Nor • way are fre - ei- than they ;
Free as the tem • pest that roars on the hill ;
2. waves of the o - cean,
3. fame ev - er bear - ing,
1 — r
^=^a=
^
^
1. Swelling of bosoms and flush-ing of fa- ces, Hon - our the dear ■ est and ho • li- est name.
2. Will - ing - ly, yet to the law their de- vo - tion, Horn - age to king and to coun - try they pay.
3. And while thy coast meets the bil - low unspar - ing. For - tune and Fame be thy her • it - age still.
167
Norwegian National Song.
•' Yes, we Icn-e this countty."
BJ6RKSTJIEKB BjuRIfSON.
mf Tempo di marcia.
RiEARI) NORORAAK.
5: 5* t =
t^ ** ^» in^n* f
^
1. Yes, wo lore this coun ■ try as it stands above the sea,
2. Har - old saved our coun - try with his gal ■ lant host of men,
3. Pea ■ sants ground their ax ■ eg when the foo - men did in - vade,
CLt3
32!S
^■^- '^ ^
^^=S
=^
=*=^
5=^^=^
»: ^ ^ X ^ - -
1. ritip.crown'd,wcath-( r • b«it - on, with its thou - Band homes bo freel
i. Il'>t - kiin saved the land from plini - dcr, Ey • vind sang songs then,
3. Tur - donsk-jold flashed warn - ings which shone bright in ev* - ry glade,
1. Ba • ga night we're
2. wuibSverroiipoke with
3. weep - ing, oh, so
pas
gad
1. 8a - ga night we're think
2. BNidi Sverre spoke with pas
3. weep • ing, oh, so sad
ing, thinking, with its dreams of
sion, pas-sion, 'gainst the Ro - man
ly, sad-ly! wished them back a
4 Norsemen ^rcat and small, bo thankful untoOod the great. 1 5. Yes, we love this country as it stands above the sea,
Who led Niirwav thro' the dark and sav'dhcrin dire strait; ' Pino.nrnwn'd weathpr-heaten. with its thousand home
Deeds of fathers, t<mrs of mothers, aid us thro' the ni^ht.
Help us. Lord, and with Tliy blessing save dear Norway's i
right.
Help us. Lord, and with Thy blessing, blessing, save dear
Norway's right. I
Tbo united klusdoms o( Norway and Sweden have at least U
The ruy:U nutinnal sonK of Sweden, which is Bunc to the tune of
melody, and we have selected the two best known Korwegiai
Pine-crown'd, weather-beaten, with its thousand homes so
free!
Yes, we love our rugged country, fathers, mothers, too,
While of Saga night we're thinking, with its dreams of you,
While of Baga night we're thinking, thinking, Vi-ith its
dreams of you.
national anthems, one each for the king, and one each for the people.
" God save the Queen." is not repeated, as we have already yiven the
ional songs to represent that country.
168
Norwegian Dance.
(Halling.)
Allegro moderaio.
—\ r— n
d J I i J J j-J:.^ J I i-fTHgE5
r -1^ ^ ^ — ' I I > ^
I \ L.
^
^^
^
The characterifitic dance of tlie Norwegiana is the Hailing, so called from Halllngdal, its place of orif^^in. Tliese dances are very
plentiful ana compriee some which are quite melancholy as well as those which are brisk and sprightly.
yOB\V£UlA.\' DANCt:.
169
■z:^
iVT' -^ -Jj ^^ rj-j-.J , ^Tr> ^-^AJ.
'"^0
^^i-f ::rrrir^^^-iig-^-t^rrri^'r^j'^
DaCafioal¥\v^.
r- ^ t^ r r
^ C^ ^
170
Norwegian Goat-herd's Call.
Poco allegreflo.
Tune — '^ Gjeite Lok.'
^^^
^m
^*— 4— ^
kil - la blakk,
Kil - la Bukk,
^g-^— f
^
r
^^
m
*
w
m
Ne . va - tapp.
ka!
f5=
^
^
P£
Ny
^^
i
9' ii» 3 I -^^
Spjau - till, Fa • ger leik.
fe):tt !
Spe
le - man hurt ■ i Fjel
lorn.
-^ r-^iii^
^
i-^-^J-j=
I * J=^=
r
This simple little folk-song is practically a musical reproduction of a Norwegian goat-herd calling to his flocks by their names— Rosa,
DokkSj etc. We have not attempted to translate it, but have given it as it stands in most collections of Scandinavian musl«.
171
Karl John.
Matstoso.
"Katl John, out great king."
'national Song of Sweden.
Jean B. E. L. C. Du Put (17731822).
1. KafI John,
2. Long life
our
to
groat
our
king,
king,
To Sne • den comes back,
Who guards thus our name,
And
His
1. wilh him will
2. prais • os we'll
bring The joy which wo
sing, And chor • ish Ins
lack; Ho guards well
fame; Long may ho
m,
m
I J- ^N ]
^
* ^
hH^P^-it-
mf
■i^-^^
#
=in=
1. free - dom, His
2. o'or us, A
reign brings us peace,
prince a • mong kings,
All
Wo
o - Tcr the
raiso the loud
¥
«s*
king - dom
cho - nis:
Our
Tis
I I
1. rich - cs in
2. Bwo • don which
crease
sings,
Karl John, our great king,
Karl John, our great king.
All o - vcr
We raise the
the
loud
This Mng was written in prxiso of Chirlos John XFV. of Sweden, otherwine Jean B.iptiste Jules Bemadotto (1iM.lS44\ one of
Napoleon's leading geDcrals, and a prince whose adminlstnitive ability placed Sweden in a position of prosperity it had never before
occupied. He wag Immensely popular duriuR his reign. The tune was composed by Da Puy, a Swiss musician who settled in StociilolDl,
like many other Swiss artistes who followed the fortunes of the Bemadottes.
172
The Mournful One.
"A very little child was I."
Swe&fsb ffolFi=Son0.
Andante espressivo.
Tune—" Niir jag var ett litet.'
1. A ve ■ ry lit
tie child was I when my dear mo - ther
j^ j^ . rj-T-1
m
loi
And when my fa - ther died at home I sat me down and
^^"1. J
J^_J-
m
=»•=?=
con espress. e molto ritard.
:tl*=^
^~r
^=^
^<s=^
^
cried.
=trr
Ho:
r r
Must I not
mourn, poor
S
2. I put my trust in a loved one, gave him my heart to keep ;
But first he loved, and then grew cold, and I was loft to weep.
Must I not mourn, poor lone one ?
3. Yon little bird pereh'd on that rose, sings for the love she's lost,
And ev'ry living being mourns whate'er they miss the most.
Must I not mourn, poor lorn one ?
At one titno the popular mQlodiea of Sweden were better known in Britain, and generally throughout Europe and America, than they
:iro at present, in the absence of a Jenny Lind to sing them with sympathy and knowledge of their powers. There are many small
collections of Swedish songs, "as sung by Jenny Lind,'* in existence, but comparatively few of the single songs remain, save as »
memory in the minds of old concert goers
173
The Dove's Song.
•'t/f dove sits on a lily bough."
Swedleb fol}n»SonQ.
TuTK — " Dnfvans sSng pS Liljoqvist"
SiD£ ' ing all through
tho Bum • mer day, Com - plain • iug so
e^
A
A
low In tones
fhat melt far
2. She sings a low and plaintive song,
Mourning a maid, once fair and gay,
Now long dead and gone—
Hor complaint melts far away.
3. Why should tho young die, fresh and fair,
When summertime is shining gay ?
Complaints flung in air
Reach the heavens, far away. ■
4. Flow'rs weep and droop their pretty heads,
Cold shines the sun with pallid ray
On her complaining,
Her griefs reach heav'n, far away.
174
Moderato.
Swedish Polska.
matlonal Dance.
Tiine—" Neckens Polska.'
con Fed.
^
«=
^
~ -^ ^i^ ^S^ i^^
^I^-!^T^
r r
^^
^^ '■■* w
^E^
i
f^J^^^
j-t^ .n n^
_■! ^ «_. « ^_^ ^ 1-
p a tempo.
I 1i^
: co« ' express, e nt. \
^^^
3i=
Sword dances and Polskas are the principal dances of the Swedes. The Polska, although suggesting Poland by its name, has no
connection with that country. These dances exist in large numbers, and some of them are fitted with words. The specimen given
above is one of the most popular, and its name, " Neckens," means water sprites, the " Neck" being a Scandinavian, water fairy.
EUROPE.
Songs and Dances of Spain and Portugal.
176
Spanish National Song.
"How wretclied is the angiiisJi.'"
M
mf
Con spirilo.
OTt^=*=Fr^^
^
-^-r
rjTTrr
K F m"
m
How wretched is the an - guish 0£ slaves who are in fet-ters bound, Eaah day they hope-less
^
^-^S-
3^
^=)e:
_*-*:
:^=^=
t-T-l*^
::t^=1=
kJ-* — i«^:=t=
:*=fe:
3^
^^S^F^^^i^S:
^^^E^
?^
'— P« '^M-F-
IM
Ian - guish In mis - 'ry most pro - found ; . , Oh, pa
Ji-*—
fr
triot brave,
fl=:p
::^=*=
-P-P-
:»=?;
-^— r-
3£=t:
^- ^ I
I— 9-S-S — ^ h — I ^ , m''. ^^^^—
^
ffr-f-^'=^
rush to take the field, . . For Spaniards ne'er to foe - men yield ! Then rush to take the
-fl ^ Hi^z
^^^
-1-^rE
3E*=
3^=11*:
^
=N=P--
1=
=i=iS=
=ts=i=
j^^c
:«=|iL
/I— fi-S-fl-^
gfc^a=^^^gaig
-to ^ -^^^
!■=:=*:
^-^iT
^£Jt
field, . . For Spaniards ne'er to foe- men yield POh, lis - ten to the sum - mons,That
^^
SEt
^
:3ci]e:
:|ici|K:
-* > I
calls the pa-triot out a -gain, For vengeance or for tri - umph. To die forfreedomandSpain !
^^
_J_ >-»-•— l^ZJI
=Pci=:^
S
qrzzpz
*^=^^3=
^
177
The Spanish Gipsy.
"/ dance the bright bolero."
Spanlfib ScguMlla JBolcro.
p-O?^
AlU^ro con
W 1
p — 1 1— 1 1 1
-f w
TutK— Tr»diUonal (17th eontory).
E C 1 1 '—1 1 . ... J
(^ ,: '• "* <r -
^=F^
'^^^dsj,j.' H'^ ^ ^ H -^1 >: i^=^^4=;.rir^
if J
>
^ M — >
• *
>
>
m .
MM
-J ^ J
hzgi^g
^^^'5^
4.shr
--b=
T^d—
- J ^ J 1 —J
By, My
sy Thus dance ail the
t3=5-
178
The Lover's Prayer.
"O sue not tfiou for fortune's dower,"
X&saue Song.
Mol/o andantf.
1. O sue not thou fir fortune's dower With lordly pomp to gild Ihy fate, Nor ask of
2. O if tho noon - tide of thy heart With witli'ring sor - row were o'er - cast. It grief had
M
^ ^
^MP
i^isst
t-^-^ U.
con Ped."^
•' M-n~3^:::^&
^^^
^■' I
m^^^E^^^
am - bi - tion'a power To crown thee
its deadliest part, Till joys were
with a haughty state. Seeli not for
of the vanished past : How gen-tly
-^m 1^
j-^^-^^
m
irz
The people of the Basque Provinces in the north of Spain have a very considerable language, literature, and music of their own.
Conspicuous among their music ia the extraordinary number of dances, Zorzicos, Kdates, and Pordons, which foi-m quito an interesting
group. The Bong above given is doubtless derived from one of these dances. The French Basques, who inhabit the Soutb-Westcra comer
of France, have also various dances and songs of much Interest.
179
Fan dan^o.
Spanlsb S>ancc, lo50.
y;^>r^f?----TT^i --^
p
j» a, ^^n ' ' I i I i I i
:^
^^
The FandanRO ia tho oldcit Spanish dinoe form, and U nid to be of gnat aDtiqtiit;r, some writers even tracing it back to ancient
Human times. The word meana '■(;» and dance," and in Spain, which ^arcs with France the distinction of having originated manj
«i 4uce-forma, it ia danced by high and low with aa much devotion as if it were a religioua rite.
180
La Guarracha.
Spanisb Dance.
Allegretto.
^
^P^3;^^gffl^"t^n^
mf \
r
*'<f'J 1 r — h
^
=J!lE
=fte
Q"
-»-. -1 I P -• •-»S^ :»-. -t I I'll
f
r
f
^fS
^
yfp=
^:
^
I m I i — =T«:
:£
^iii
SgEE^gtgCgeE^
=p*.
s
—TT^-m^
p legato. .
w^.
1h
^
?^
^^
Iff:
181
National March of Portu2;al.
lent/io lii tiiarcia.
^j ^ f ^ I— f^ij i j J li "'^-
tJU. J H —
rs-i-
4 1
^ — J
i.r^-«r
-•< —
-a—
F^
— 1—
^. 1- 1 ^
ij ,i"il- r\
-= h
1=1
1 ' • ».
*-
Ft
1
1^ J-1
f
1 1
= J. ;'j , 1
-^^ P
M — L
H
J— 1 — i—
b=
-tr-
— ^
'j. JJ4 '
182
Portuguese Song.
'The rose in the air."
Andatitino.
^-=ttg:^
t» — ' ! ^— -I
1 *
The rose . . in the air,
So lov'd . . by the bee,
Thinks
(3): 'A
"'"CT^u
coji Ped.
PORTVOVESE SONG.
1S3
sempre am PeA
184
Portueuese Dance.
Allegro con grazia.
DaCapoalYl^V..
AMET{ICA.
Songs of the United States and Mexico.
186
Hail, Columbia !
"Hail, Columbia! happy land!"
national Song of tbe "iHnlteO States, 1798.
Joseph Hopkinson, died 1842. Tune—'' The President's March " (1789).
Molto inaestoso. i
^^^m
i^dk^^m
— I — «i — -J — "1—
1. Hail, Col-um - bia! hap • py land!
Hail, ye he - roes, heav'n-born band!
^^
m
^
^
33 3
Wlio fought and bled in Free • dom's cause, Who fought and bled in Free - dom's cause,
@^Ppi[
4i=t
^^
^T
=t
And when the storm of war was gone. En - joy'd the peace your val - our won. Let
m^
de-pen-dence be our boast,
-? — H^
Ev - er mind - ful what it cost. Be
4
' Ml.i -PJJ^
ml mt ^ 9 ' m * — — d ' m ° — «— ^
ev - er giate-ful for the prize, And let its al - tar reach the skie
m
W-
^^^f i^ iifi^-%^
When the United states was about to declare war with France in the summer of 1V08, and was likewise on tbe verge of a similar
declaration against Britain, the song " Hail, Columbia I " was written by the Hon. Joseph Hopkinson for a singer in one of the theatres in
Philadelphia named Fox, Congress was sitting in Philadelphia at the time, and naturally a song so apt was certain to be onthusiasticallj
received. For a long time it remained the chief patriotic song of the United States, but is not now regarded as such, the " Star-Spangled
Banner" and " America" being generally preferred by the Americans themselves. In Europe, however, "Hail, Columbia 1 " is still
accepted as the American national hymn, no doubt because, though bombastic, and weak as poetry, it is a more general expression of
American aspirations than any of the others. It was first published as "The Favorite Now Federal Song, adapted to the President's
March." The time to which it was set was entitled "The President's March,"* and is generally attributed to a German musician of
Philadelphia named Roth or Phylo, who composed it in i:89. Its resemblance to several hymn tunes and carols, together with other
doubts aa to its origin, render its claims to bo an original composition rather doahtfuL
HAIL, COLUMBIA.
187
Finn, u - ni • ted let ua be, Rally - ing round our lib - or • ty,
Chorus.
'g.g I — ^
Firm, u - ni ■ tod let us l>c, Ilally ■ ing round our lib • cr - ty,
As- aband of bro - then join'd, Poace and safe - ty we shall find.
2. Immortal patriots, rise once more !
Defend your rights, defend your shore !
I^t no rude foe, with impious hand,
lyCt no rudo foo, with impious hand.
Invade the shrine whero sacred lies,
Of toil and blood tho well-earned prize.
Wliile off'ring peace sincere and just.
In heav'n we place a manly trust,
That truth and justice shall prerail,
And every scheme of bondage fail.
3. See the chief ' who now commands,
Still to servo his country stands,
Tho rock on which tho storm will beat,
Tho rock on which the storm will beat,
But arm'd in virtue firm and true,
His hopes are flx'd on hcav'n and you.
When hope was sinking in dismay.
When gloom obseur'd Columbia's day,
His steady mind, from changes fre»>,
Resolv'd on death or liberty.
I President John Adaius.
188
The Star-Spangled Banner.
"O say, can vou see by the dawn's early light?"
patrtotic Song of tbc "dnitcJ) States, 1814.
FRANCia Scott Key (1780-1843).
Pomposo. mf —,^=^=^—-
Tune — " To Anacreon, in heaven,"
by John Stafford Smith (1750-1836).
^M
w^^
^
S^
ateac
^^
1. O say, can you see by the dawn's ear - ly light, What so proud - ly we
2. On the shore dim - ly seen thro' the mists of the deep. Where the foe's haoghty
^
T^
■m — m — ^-™-
?=^
^
m
s
a: * T
V ^ ^
1. hailed at the twi - light's last gleaming,WhoBe broad stripes and bright stars
2. host in dread si - lence re - pos - es, What is that which the breeze
thro' the
o'er the
): . h o-
r
-»*-
^m
m
a
^=^
Et
3tZ3tb:
^ ^
1. per - il - ous fight,
2. tow - er - ing steep,
O'er the ram - parts we watched, were so gal - lant - ly
As it fit - f ul - ly blows, half conceals, halt dis
-r^-w
sy
^
i
S I r-i — m-
LJ^
w-
::j^^
W^
1. streaming, And the rock - et's
2. clo3 - es ? Now it catch - es
red
the
glare,
gleam
bombs burst - ing in air,
of the morn-ing's first beam,
^
Gave
In
3?=iS=
:^
3^
f=
=3=3=
The naval war between Britain and the United States in 1S12-1814 was the occasion which gave birth to the " Star-Spangled Banner."
It was written by Francis Scott Key, a young lawyer of Baltimore, in September, 1814, while on a visit to the British fleet, then assembled
in Chesapeake Bay for the purpose of reducing Fort M'Henry. Key had boarded tlie British flagship with the object of obtaining the
release of a civilian friend who had been made a prisoner, and while detained there, he witnessed the bombardment of the fort, and the
triumphant survival of the American flag and garrison afterwards. This incident called forth the song which, it is stated. Key wrote
under the inspiration of the moment in the midst of the fight.
Like nearly all the other American patriotic songs, "The Star-Spangled Banner " owes its time to a foreign source. It is set to a
convivial glee, dating from 1770-1775, entitled "To Anacreon, in heaven," words by Ralph Tomlinson, music by John Stafford Smith, ■m
English composer. The " Star-Spangled Banner" is probably the moat generally known and esteemed American patriotic song, apart
from the Civil War Songs and " My Country, 'tis of Thee," which is referred to iu the note attached to " God save the Queen."
rilE STAR-S!PANGLEn nASXER.
189
-M — J nj — Lu-
— I ^-^'4^
1. proof thro' the night
2. glo ry ro - fleet
that our flag was still thero ; O Bay, does the
ed now Bhincs in the stream ; Tis the star - span - gled
^
O ^ :w ^r i i <^ I j i ^*
1. star - spangled ban - ncr yet ware
2. ban - ner — O, long may it ware
O'er the land
O'er the land
of the
of the
free,
free,
and the
and the
ppiorit. .. . . . . g ChorL'S.
1. home
2. home
of the brave ? O say, does the star - span - gled ban - ner yet
of tho bravo I Ti» the star - span - gled ban - ner— O, long may it
1. wave
2. wave
poco rit.
O'er the land of
O'er the land of
the
the
free
fren
and tho home
and the homo
of the brave ?
of the brave !
3. And where is that bard who so vaiintingly swore
That tho havoo of war and the battle's contusion,
A home and a country should leave us no more ?
Their blood has washed out their foul footsteps' pol-
No refuge could save the hireling and slave [lution.
From the terror of Bight or the gloom of the grave ;
And the star-spangled banner in triumph doth wave
O'er the land of the free and the home of the bravo.
4. O ! thus be it evei when freemen shall stand
■ Between their loved homes and the war's desolation.
Blest with vict'ryand peace may theheaven-rescued land
Praise tbePowcr that hath made and preserved usana-
Then conquer we must when our cause it is just, [tion.
And this be our motto : " In God is our trust ! "
And the star-spangled banner in triumph shall wave
! O'er the land of the free and the home of the brave!
390
The Battle Hymn of the Republic.
" Mitw eyes have seen the glory."
TUnitca states (Itpil "CClar Song, lt^6i.
Julia Wakp Howe (1819- ).
Tempo di niarcia.
mf
Tune—'' John Brown's Body."
1. Mine eyes have seen the glo - ry of the com - ing of the Lord, He is
W^i^T-^
E^
$
ESE
J J. J ^; J^i^
Eg±^^
— I r^ ' — T^~i — ~' — *~ — •"
T
I
trampling out the vintage where the grapes of wrath are stor'd; He hath loos'd the fate-ful lightning of His
m
=ftjfp=fc
^
S
r-^r-r
r
1 ! ^ 1
/i
1
1
1
1
^
M
^^ 1
M
P .
— J —
— M-= p
^
5=
— i*~
— sg 5 —
— f—
— s —
gH
*J
1
ter
1
ri - bio swift sword,
^ m
His
(0
truth
is
march
*
ing
on!
m-
r ^ —
-B»
— P
— — —
— m —
-1"
— tti r
—
~ '
1
-1
=H
M ■■
The songs which grew out of the great civil war in the United States were enormous in number, and were contributed to the general
Btock by both Federals and Confederates. One of the most popular songs at the outbreak of the war was " John Brown's body lies a
mould'ring in the grave," set to a hymn-tune which cannot be satisfactorily traced, and this was sung by the Korthern soldiers as a
marching tune. The words were not particularly dignified, and various attempts were made to preserve the tune by providing verses of
more value and litemry interest, but none of them were successful, till Mrs. Howe, in a moment of inspiration, wrote the " Battle Hymn.'*
THE IlATT/.t: J/iM.W OF TUE REPUBLIC.
ff Chorus.
T f
191
P — ~T~
_^,s
^
.=t=
1 i
r— n^—
.) —
— f>»
r-
1
— 1-
=s=
- 1 .
-« —
c
Ulo
1
1
ry, glo - FT,
1
hal ■
lu
Hi —
- lu
J
jah!
Glo
1
— *-
ry,
glo
ry.
— * —
bal
le -
!; -p-
p i y
I^
3t=
h^
-^■^
■-^ r—
rl ■
it
-■ —
■^ — ^ —
^fi=
d —
*=F=^
-t^
H^
T-
-t—
-^
"'
i=i^--^^-fH J ^ j I
lu ■ jah! H
truth ia march - icg
^^
3
^
2. 1 have Bocn Ilim in the >Yatch-tIrefi of a hundred circling camps;
They have buildod Iliin an altar in the OToning dews and damps;
I can read 1 1 is righteous sentence by the dim and flaring lamps;
His day is marching on !
Cilory, glory, etc.
3. I havo read a flcry gospel, writ in burnished rows of steel —
" As JO doal with my contemners, so with you my grace shall deal-.
Let the hero, bom of woman, crush the serpent with his hee^
Since God is marching on ! "
Glory, glory, etc.
4. Ho ban Hounded forth tho trumpet tliat shall never call retreat.
Ho is sifting out the hearts of men before His judgment-seat:
Oh, be swift, my soul, to answer Him! bo jubilant, my feet!
Our God is marching on !
Glory, glory, etc.
5. Id the beauty of the lilies Christ was born across the sea,
With a glory in His bosom that transfigures you and me ;
As He died to mako men holy, let ire die to make men free,
While God is marching on !
Glory, glory, etc.
i:j2
Yankee Doodle.
'Father and I went down to camp-
amertcan Colonial Soncj, 1755.
Poco allegro.
TMne— Traditional.
1. Fa - ther and I went down to camp, A - long with Caj/n Goo - d'n; And
2. And there we see a thou -sand men, As rich as 'Squire Da - vid; And
3. And there 1 see a swamp- ing gun, Large as a log of ma - pie; Up
1. there
2. what
3. on
wo saw
tliey was
a dcu
the
- ted
- ced
men and boys, As
ev - 'ry day, I
lit - tie cart, A
thick
wish
load
as has - ty
it could be
for fa - ther'i
pud
sav
cat
din'.
ed.
tie.
£=£
Choru.'^
p?.
m^sm
q?^
=^
.^ ■ ^ *r
Yan - kee Doo - die, keep
kee Doo - die,
rM~3=^
^
dy;
^
i^
^
4. And every time they shoot it off.
It takes a horn of powder;
And makes a noise like father's gun,
Only a 'nation louder.
Yankee Doodle, etc.
5. And there was Cap'n Washington,
And gentle folks about him ;
They say he's grown so 'tarnal proud,
He will not ride without 'em.
Yankee Doodle, etc.
6. I see another snarl of men,
A-digging graves, they told me ;
So 'tarnal long, so 'tarnal deep,
They 'tended they should hold me.
Yankee Doodle, etc.
7. It seared me, so I hooked it oft,
Nor stopped, as X remember ;
Nor turned about till I got home,
Locked up in mother's chamber.
Yankee Doodle, etc.
There is as much mystery, conjecture, tradition, and history gathered about this song as would serve for the anthology of a whole
nation t The only definite facta about it are these : — It was written to ridicule the American Colonial Militia which were raised to assist the
British against the French, any time between 1755 and 17n5, and it is set to an old Entjlish dancing tune of unknown origin. The tune
has been claimed as Dutch, German, Spanish, Hungarian, or what not, but its first appearance in print was in Aird's Selection of Scotch,
Jinglish, Irish, and Foreign, Airs, Glasgow (c. 1782). It also appeared in Colman's opera. *' Two to One " 1 784, and is stated by Dr. Rimbanlt
to have been printed in Walsh's Dances as "Fisher's Jig" in 1750 ; but Mr, Frank Kidsou of Leeds, the latest enquirer, finds that the
tune does not occur there, and tliat Dr. Rimbault was mistaken in the statement he made.
193
Plantation Hymn
"I'm troubled in mind."
Binertcan flegro 'fccmii.
AndantiHC .
run«— Traditional.
I'm trou - bled, I'm trou - bled, I'm trou - bled id
agE^ ir r J ij J Jir^
:f=V
^
2. When ladened with trouble and burdened with tjrief,
To Jesus in secret I'D go for relief.
I'm troubled, etc.
3. In dark days of bondage to Jesus 1 prayed
To help me to bear it, and He gave me His aid.
I'm troubled, etc.
■niii. Tcry fine t'lno wm taken down (rom tho «llisrln« ot a Nepx) »1»to In Tennessee before the ciril war, and has appeared in various
coUoctlons of PlanUUon Songs. Tho Negro songs of the United SUtes are one of the problems of the musical antiquary. Why the African
lacoe, with Uttlo talent for melodic forms, should, when transplanted to America, develop into musicians and singers of much abiUty is
difficnlt to understand, unless it is assumed that the highly Imltotive faculty inherent in most Africans U In this case responsible for the
remarkable rwults. No doubt many of tho remarkably fine Plantation Songs and Hymns are Negro reminiscences, or variations, or
adaptaUona of European tunes heard in tho homes of their masters. On no other theory is it possible to account for the melodies current
among tho Negroes of tho Southern United SUtes. The example above given has a very pronounced Scottish character, and in no way
resemblni the native African tunes we have given elsewhere.
194
The Old Folks at Home.
Poco andantino.
" ' IVay down upon the Sxvance River.
Smitatton Tlcgro plantation Song.
Stephen C. Foster (1326-1854).
1. 'Way down up -on the Swa-nee Ri-ver, Far, far a - way;
2. All round the lit - tie farm I wander'd.When I was young:
3. One Ut- tie hut a-mongthe bushes, One that I loTe;
There's where
Then ma -
Still sad ■
ray heart is
nybap-py
■ ly to my
1. turn-ing ev-er.There'swheretheoldfoIksstay.
2. days Isquander'd, Ma -ny thesongsl sung.
3. mem-'ry rush-es, No mat-terwherel rove.
All upanddownthewholecre-a-tion,Sad - ly I
When I was playingwithmy brother, Hap -py was
When will I see the bees a- humming. All round the
1. roam,
2. I, .
3. comb.
Still long-ing for the old pl.an - ta-tion. And for the old folks at home.
Oh. take me to my kind old mudder. There let me live and die. .
When will I hear the ban - jo tumming, Downin my good old home?
^fe^;
aS-
I I
Chorus.
i
-j-
j nJ*
E^
w
^
^»==c
-• — ■-
sad and drea - ry.
All the world
^F 'r-.-^-j.
ry - where I roam;
J- fi*- i^-
i3=
Ei
=^p^
Tg^
Oh, dark-ey8,howmy heart grows wea-ry. Far from the old folks at home.
-J-1'^-ImE
:J3^
3=t
H
S!
?3:
S
=F^^
The Civil War in the United States was largely responsible for nn enormous outpvit of imit,ition Plantation Songs, and also gave birth
to Christy Minsti-els, Jubilee Singers, and similar combinations, which have introduced to public notice hundreds of songs supposed to
represent every side of the Negro or Slave population of the United States. Chief among the composers of this class of music, if not the
actual pioneer, was Stephen Collins Foster, a native of Pittsburg in Pennsylvania, whose "coon '* songs have been circulated in countleaa
thousands all over the world. He composed both words and music, and tile specimen we have printed represents the high-water mark of
auch sou^'.s, ijesides being the production of a genuine American.
195
North American Indian Airs,
Cberof5ce Cra&le Song.
Aniianlf trnnguillo.
fr I r r ^ ^
>J
Bahota SnDtan Scalp Bance.
^
V¥
Allegro
:^
« —
¥^
— r ■"
a —
-^=\
4 —
—
1>
?— J — H
1
— « —
— — J-^
•>
— f--
1 ^ —
1 ^-
^ —
-iJ-J 1
^
r-^-
=4
-•
:>
t=l
L
£3^
^=^
1
-4—
-•
f=^
-^ '
\=^=^
^^m
A considerable uumbcr of olimplca of the munic of the North American Indies has been coUected, and some of it is exceedingly
Intcrestint-. A useful little b.H)k containing 4.i tune., was published iu 18F2 by T. liaker as D.'. J/u«i- KorO^^mcrikanixUn H Uden, Leipzig
(18WX Other specimens are prescrred in works of travel, and by the Smithsonian Institution of Washington, U.S.
196
Mexican Song.
' Is there a heart which saucy love ?
Allegro moderaio.
mf r^ 1^"^
Is there a heart which saucy love has ne - ver yet as - sail'd
form of sweetest, soft - est smile, or lim - pid crys • tal tear ?
jni
there a sor - did soul ^vllich queen - ly wo - man sweet has fail'd
charm, or bless, or with her wiles the lov - ing heart to cheer?
./ni:
Yes ! yes ! charms slie the fick - le men so bold,
lures them back with art
-* * — ^r
/ays when love is grow - ing cold.
For the "National Smig of Mexico," see Appendix, p. 26S.
AMET{ICA.
Songs and Airs of Canada.
198
The Maple Leaf for ever.
'In days of yore, from Britain's shore."
■fflattonal Song of Canada.
AlEXANDEB MUIR.
mf Moderaio spiriioso.
S!
m
Alexander Mdie.
:y ''^ -m- ^ -•- "^
1. In
2. At
days of yore, from Bri - tains shore, Wolfe, the daunt - less
Queen - ston Heights and Lun - ily's L lue. Our brave fa - thers.
fT^
m^s
5=ESEEpE
i^i
^
^
r
1. he - ro,
2. side by
side,
And plant ■ ed firm
For free - dom, homes,
Bri
and
tan - nia's flag On
lor'd ones dear, Firmly
[^
1. Ca - na - da's fair do
2. stood and no - biy
m:
mam
died
may
those
our
which
,d=^
^^=^
5
^E^
pride, And join'd in
tain'd. We swear to
love
yield
-^-H^
to
them
Jam-
ge • ther,
nev - er!
^
The
Our
*
, l3y Alexander liliiir, was first published in 1S71, und was soou afterwards adopted as the national tuue of Canada.
(By permission of The l^ordbeimer Piano and Music Co., Limited, Toronto.)
rui: MAPLL LLAi- ran eveu.
199
^
^
I I I
1. This - tic, Sham - rock, Rose en - twine The Ma - plo Leaf for
2. \Tat<h • nord ev - cr - more eball be, The Ma - pic Leaf for
@
-E^
■*■ :i: :^ ^iT^ ^^^ ^S^*^
•i P
ir^Tt
. Chorus.
1. tv ■ 11- ! )
2. rv - cr! /
The Ma - jilc Lea?, our cr.i
dear, Tho
^"f'F j jTrrm-'-D
3. Oar fair Dominion now extends
From Capo Raco to Nootka Sound ;
May peace for ever bo our lot.
And plenteous storo abound ;
And may tho><e tics of love be ours
■Which discord cannot sever,
And flourish green o'er Freedom's home,
Tho Maple Leaf (or ever!
Tho Maplo Leaf, etc.
fl. On merry England's far famed land
May kind heaven sweetly smile ;
God bless old Scotland evermore,
And Ireland's Emerald Isle
Then swell the song, both loud and long,
Till rocks and forest quiver,
God save our Queen, and heaven bless
The Maplo Leaf for ever!
The Maple Leaf, etc.
200
Vive la Canadienne.
jfcencbsdana&iaii "national Song.
Tune — " Par derricr cheE mon P6re
Moderaio.
-fl Ti P-1 1 i ^ ^ 1 1=*^
i
V'^ Z- \ ^-^t: 11 -I 'y
■mf
-P- 0
-fr
^^^
ii£
=J=
^
n*'^
-J
— ^
1
0\
— ^^
=^
-J— 1-
~T — r~
'
=(*=
=*=
=s=
1 t s
• — 1^
1
T-^L
!
^1
>^It
— 1 — 1 —
— 1 —
=d —
-1 —
— t-
1 U^
J-f —
_^_i
This is a somewhat modernized version of an old French- Canadian air, which is used as the national eong of the French people
Canada. The words of the first verse are aa follows :—
" Vive la Cd.nadicnne,
Vole, mon coeur, vole,
Vive la Canadienne,
Et ses jolis yens doux,
Kt ses jolis yeux doux, doux, doux.
Et ses jolis, yeux doux."
201
Paddling Song.
" Jq^' to thee, my brave canoe."
yrencb-CanaMan Vo^adeur's Send.
Modem/,
1. liiRht and left the bub - bles rise,
2. For thf r»p - id plone bo - nrath
Right and loft the
Ix>aps andshoata bifl
pine wood flies ;
gong of death ;
f T ^ -~
1. KirdH and clouds and lido and wind
Z. Now ono plunge and all is done
We shall leave yo
Now ono plunge, the
all be ■ hind,
goal is won.
boatmen, <md trappon. of French descent, who navigato the great lakes and ri^Ta of ^nada, have a ve^ &ie ^d
uu«i.uicu,_iauu 1. -d^ _^ ^^^ »i,^„ „ «-^iiart*-inr. TT^a tcrmpiA by Klf Ocortre liaxiK. when. Ofi L-ieu-
publishcd a
Tho Toyagctini, c
-.<A .ymj.*<m.€i and acrin,pan,v,^U. by EuuarU Koighl, with EDgll.k words by Soane and others.
202
French-Canadian Song.
" Here's good wind."
IDOBagcur's TRowlng Song.
Tune—" Via I'bon vent.'
ir T r L— — '
Here's good wind, Here's a fair wind, Here's good wind and my love's a - call - ing,
con Ped.
Here's good wind, Here's a fair wind. Here's good wind and my love's a - waiting, Waiting for me
at the land-ing, Graceful as the pine tree standing, Smiling as we swift-ly row.
^
J^^fZ
-p-^-p-
^^E^
^
=a~
Chorus.
Here's good wind, Here's a fair wind, Hero's good wind and my love has come.
-^^iz
^. ^
203
Canadian Indian Airs.
From Crotch's Specimens.
Lenlo.
II.
AtuianU
rr^-^-^^
^&
I I I
n rj J J I
■ I ^ * J J jH-gr
p con espress.
WT'i' if- I F ft
J^
virjr-.-^-j-r^^^r-±^ I
& T-
i -^ U J-
^ I
^
T
Tho mtuic of tho presently Oir^^i^n Indian is very different from what it was a hundred years ago, when a French gentleman
noted down the vpecimena glvoD kboTo. A« a matter of fact the Canadian Indian is hims«U gradually approaching extinctioD, and it ij
pOMlble that the puhliahed si)ecimenfl of his music will siirriTc him.
204
Eskimo Song.
' Long I ga^e across the snow.
Piu andante con espressione.
frg-J g.JT^'-^^-H
^
Long I gaze a - cross the snow, When my love is
Ped. Ped. Ped.
^
gone; For the days and nights are lone - ly, When the hun - ters through the
e-tf p r ^
=y=^=p=
4^' r I ^ F
Fed.
ff -^rj
^ I n j^^f^^-^M
: 3 : s
* ' * — • — j^
«=r
storm - y iee - floes make their way ;
Food^ I shall pre - pare, For my
con Ped.
molto rit. e espress.
lov - er when he com - eth home a ■ gain; Will he come, will he?
AMERICA.
Songs and Dances of South America.
206
National Song of Bolivia.
"O 'Bolivians, the angel of Freedom."
B. VlNCENTI.
Tempo di vtarcia.
itif
m \ m F="^-i h
^^
-f***-
=ti3=
=s=
^^^^
^ps^
^
^i-'-j-ti-i^
O Bo - li ■ vians, the an - gel of Free - dom Has your vows and your va - lour re
t
sf
^
^
3^=^
r • ^ ^ w;
f
ret
^^
^3 I
quit
ed,
She is free, this fair land, all un - blight
m
^^
^
ed,
ff^f
e
m/
,g:is: i J:i^
=#!=«:
hard slavery bid - den to cease.
^S
To the roar of the thun - der ■ ous
nm-
^
ip=
-^ — ^ • 1 I-
I IT| i Hi -i lJ <»i-T-J luJ= — :~^"~F= I -<
?g=
non, And the ela - mour of armies death deal
JM_
JJ^
hm-
ing, Have suc-
-g — 6g-
p»— ^ 1 1 -q-
^'^ — ~ LI
in=t=^= :iJjB=n:d
-r-^
: > r
— a -■» - ' *^ g_,-S-— i-. ^. ' -^ -^ p -^^ '-
ceed • ed the strains, sweet and heal - ing, Of an - thems of con - cord and
^ - h ^ . J ^ I — 5 I
NATIONAL SOSG OF ISOLIVIA.
207
fe
^m
J J,:J J,:*
t' t\ t
-^-
Uavo Buc ■ cced - cd tho elroios sweet and heal
ing, Of
^^gr ^m
i
■j^^
' i.j
^
ift^:;
nacDETfe
^
an - theini of con - cord and peace.
O my coun
try ! thy name so
TJTT
glo
j9 In epicn • dour untar - niohod noli cher - - ish. For
ffr^
thi'O plsd - ly
per - ish, And scorn as blaves to re ■ main, Than in
pO(0 rilard.
bondage as slaves to re - main
^. * ' * — •— •-— — 9~.m-
Than in bondage as slaves to re - main.
'g~jL- *. '_^^r^^*-^»S^
208
Argentine Republic.
mational Song.
Andante mncsioso.
pJrj'rN^^
Tempo I.
^
'- |: liT^^^^i^^*^^^^
=«=S:
^
^
-^—V-
Animato.
^^^^^
oL
*rzs:
stafczg-
f
^
1%^^^
=?3t 3t:iC=Zp=
SfT-^-T^
^
r
flp:
^Tifc
^:=S^
Tgi^ • <
=^
i=
^^-1^
££
^
^E
^fcJ#5Sip33
t**
§
r— a^LLw
* I ^ -.
^^
209
Chilian Song:.
4-
" // was
a dream.'
Andanle.
. 1 -^
??
I
1. It n-as a dream, do-lu-sivc dream
2. Ob, do Dotsmilo up -on my grief,
r£>'i f r
Those bom of joy have pass'd a
That scornful look will break the
m
m
fcm
^
poco rit.
'm
1. way, hav" panii'd a • way, And this poor heart of mine is bro
2. spell, will break the apcll. Ko • vivo a hope— do not dc - lay,
ken. Oh! why so
Oh! let mo
1. cru - el ? why
2. bid, oh t let
r -^ ,
cru-ol, maiden, say ?\\ hero are Uiose signs now o( proffer d
bid tho world fare-welL When I am laid in earth so dull and
1. loTe,
2. cold.
Whore tho af • fee - tion onco pro-mis'd nie ;
Dp - on my tomb those words, these words will be.
Oh! all is
Ucro lica in
1. lost, . . . no hope ro- mains \U! miser - y! ah!mis-er ■ y! ah ! mis-er - y!
2. truUi, . . who fondly lovd, . . . Whomadly lov d, whomad-ly lov'd in lov-ing thee!
210
National March of Brazil.
Tempo di marcia.
fSrjTl r:r'^T -rrri^'^' r Jl ig^igJJS
mf
* * *-
-» — *-*-
iEEEE
^te
J r r
•^-^rr
^^-' r eji^
g^-." ^ mj-^
J^
^^
Ee^
^f=^
^
-jt*** t
^ m m m -m-
^
8FF P
'I — I —
^
^^±=4
:1==t:
I I
"Sl^
i
^F^Tf-i^f^P^
^
!^g^
-b" r b.
^^^^^^^
^^
:*: I
iSS:
>«> g
J LuT
i
:tt»b
-^t=^=w^
^^^
HiS==PE
3=C
=t=±4
I I
^egMfc^
M^
1 r
.\ATIO.\AL MARCH OF liHAZIL.
211
gsv^j'^"^^Tj
I I — \-
!• "" *^ t ^=t-
K^ - . -f p-
*rs-h
** ma •
m ^.mm'M
-__
--ry^
~m 1 1 '^
•fl^^
h"^
►J^-^
5)> -T — S-^ —
=^MN
Ff^Pj-H
4 —
1
iSS
^
if
d=y
crr5.
=^F^
-p=]
^i* J r r
H
3=t=
1 1 1
1 .
1 1 —
=^=fe=
:J—
=5=
H 1
212
Song of Paraguay
Allegretto
m
tX4\ n^
^r^
^^^-H-^
w
=r
^^
J r $ s
S I — a»i-
?^
^
^S
IST
li^
s~F — in
s*^
I s
h±f^iTifi-:
5=^
^ — bd-
fe^
^
fc>';" ^ *
-*' k.
J ^
semprc cc7t Ped.
ii
&^
3BEa
^grrif^^ jig^f
^
:?c=t:
gzzzr::
j?_»i k-
> I •>-
-J — ^-
?^
B iTTj I Jt"^^ ^^I J'?3^^S
^^
^
^
?5=!5=
^
V-
'li^
213
Peruvian Dance.
Andanlinp con motr.
Tempo I.
'?rg4'7!iTtg:^^ir,.ij^^^i^:ii
^'»
=^
^
dtnt. e pi)co fit. -*
^■^g^n--T'^:Trr?i!:: ii- ^
ret
214
South American Indian Tunes.
1.— ITune of Cbiqutto Jn&ians, JBoUvln.
M
^
Allegro con cnergia.
-W-4-*-
> glPPFM^i
-i:"^^
E-^E-B^
E^ESEp
:fe::i
^j^fi^
^^
»=^
:ft^
g^^=p=p=p^s^
t^
Ei.^=j— r
■::^r^4:
^2
fcfl-
:^
j^
^
^
-P- £:
§
K
^
-.■a^-wt
^^
I ^ ^5^3 ^*^ I t
^:5 5
i^
^^
I ^ (-1 1^— I 1 1 ^
Li I
^^
zi:
DT"
il3t=g
!*■
4— t
1^-frr
?^
EE^
*g:^
To V7]iat extent the music of the South American Indhms has been moJifie<l by the Spanish and Portuguese settlers it is impossible to
say, but the flowing character of many of the examples we have examined would seem to indicate that European influence accounts for
Houie of the tunefulness of this music, which compares favourably with that of other savage nations.
SOUTH AMEBIC AS- INDIAtf TUNES.
21&
» fj ,,>-
iv-j J .n7J^^^ .i ij-j J'g"^-f-n
mf
T T
*— f^
^C r Fit ^?t= IJ r ^^
1 I \
^^mzt^if'JJirjU J i\SJJh?U-A_m
B.C.
££.— 'KowluG Sono of JSrajtUau Jn&ians.
Allff^etto quasi anJan/ino.
£16
Song of Venezuela.
Moderate.
*
irr-ig:
f==F"
fcztzt
-p-1-iW-
8*-
mf
^ I
«« Ped.'
*
:f I'
S
tK
^ J jig:
?^^
» J ^:
:JW=
fi*-
^
^
^=^^.i.=j=ri
i
->^
^ I ?>
T
J F IJ
^^^
:L;
^
«
I J f — rlr^
— li i
S
IE
e,"„f, ^ ! i-^ — i^-M— ^-4— g
^3=^
S
^^
—a* ' ^ •
&fc
r _ —
Songs and Dances of Africa.
EGYPT.
ALGERIA.
MOROCCO.
TUNIS.
WEST AFRICA.
MADAGASCAR.
SOUTH AtRiCA.
218
Tempo di marcia.
The Khedival March.
ilboOetn Egspttan ttunc.
«ts=
gl^-^-^-^^
m- m» — <L
-#^ ^
-P — P-
4=1^
i
rF^
r-i
i3^
ii
iTi~ptrf=^=
"* — *^
H
219
Egyptian March.
Tempo di marcia.
220
Egyptian Love Song.
" 7he wind is playing 'mongst the reeds."
L. S. Jast.
Lenio e molto espressione.
^
=r^
i
*=F*=g
^^
f
^
1. The wind
2. The lo
i8 play
tus blooms
M^^^
p sostcnuto.
^
m
con Ped.
^^
-N 1=
I i " I -j r— *5} ,
1. 'mongst the reeds,
2. bove the stream,
The
And
sun
clo
868 as
^^=^
^
I
red ■ dens
^m
■^-TrrtA k^^^^
=SF=r
1. o'er the Nile,
2. sha - dows grow,
And my bo - dy trem - bles
O, but thou, my li - ly.
e^" -I j -
my
nest
^
:^
i
^^f^prf^^
f
r
and
1. heart
2. o'er
^Ffr
^^
it bleeds ;
my dream ;
O, come.
Ah come —
3^-
love, and my
the pas - sion ■ ate
pam
hours
shall smile,
run low.
^— J-W-
-^
^ r
Algerian Song.
Remain, Loic ! ' '
221
lunto con cspressione.
t5 2'^^^^=-"?^=^} r
^
Re ■ main,
g
T
^^H^^=^
^::
ipc
I
rest
222
North African Airs.
Moderato.
:?3i
#2=
3=c
S
^
li— /Roorisb.
223
Moorish Song.
■O/i, Haidee!"
Poco allegretto.
con Ped.
My kill*
c-
:s
•^^iC:
-s:
-/-I ^-
^
=8:
eg are not
paid :
I
Why wilt thou
"g tT
■stmi
^-1 J^-
:Dt:
^
Oh, Hai - dee, my
=««:
^^
-m • — •=•
224
mi=w-
Allegretto.
i "i i
Moorish Instrumental Tune
E3^
^5S:
!»/
«3E
^ II 0 ^ — ati — g' -^ .
i^i
p;j
P^
:r ^^-J-
ig:i=*=
^^^^S
"g ^ • ^— gJg:
-J— gL
^fe^
.:t P^
-^^-T
_« 1 — ^
:g::^-
:d-T ^ — ' —
■<»•* »-g-
ES
■MJ^zmZjfTM.
S
^S
-1 ' ■( ^ 1*
:ii • J g-
-^sr- ^:
m/
gg3-i:i-=tg
zaot
I 1
1^=*=
:ir::S:
TMs is a specimen ol the music pliyod by Ami) perfuvmcrs in the bazaars and cafos of Moorish aud Egyptian towns.
225
Tunisian Song.
" The sand is blcrmng."
Unto e tnollo esfiressione. " '''"/!£_
^ >
1. The sand is blow - ing
2. Tbo mosque is wait - ing
^'-^^r^^^
m
1. liO\'d one. 1 8cek glan - ces from
2. Fair one, in thy prcs-encc I . .
thinu
find
a tempo.
I ^ -^ rit. ^^
226
Allegro,
West African Dances.
Hsbanti anD ifingo.
i
:^r5:
^
=c^
r-TTl
^^
* -1
poco
1 ^ ^
^
•I * •{
— I 1 — -±-
^ ■L
--_^-J-^ ^
in=i^-¥=^
3
^^"yr^r^~r
^=^
^
^«(/ /;V«ie /> ZJ.C
^S
g " J ^ J
-» * » "^ * -» » -^ -
The original music of the African races is gradually being extinguished, and though much of it has been collected by varioua travellers
and special students of the subject, like Captain Day, it is to be feared that, as Sir H. H. Johnston remarks in his work on British Central
Africa^ the vulgarities of the concertina and other European noise provokers are driving the native music and musical instruments of
Africa fast from the field. Apart from this it is almost impossible to convey any adequate idea of vphat genuine African music is like in
ordinary musical notation, because much depends upon the environment and the special excellencies of the musician. Transplanted
African music is therefore absolutely meaningless in the majority of cases.
South African Songs
228
Malagasy Song.
Hark! flow loud the storm blows.
$
p Mofierato.
Madagascar Tune.
i^F
:?2=^
^m
SE
^
:?z:
%
-^ «
T
15: ^ ^ 5i- -*-
Hark! how trees and . . rocks arc torn,
-s — *' — ^g-
Gods of might
m
^
*c:
^
i
;«/ pocoriL
m
s
r^
V -*r
pest
:^3:
S
^
SEE
2. Hear the surf so madly beating!
How the sand drifts at the door!
Sea birds through the air are fleeting,
As on tempest's wing they soar.
3. Noises echo through the forest,
Lightning flashes through the sky,
Every living creature longeth
Till the break of day is nigh.
4. Hark! how loud the storm blows over,
Haik ! how trees and rocks are tora,
Gods of might around us hover
Till the tempest sinks with morn.
The tunee of the Malagasy are generally much moi*e melodious and singable than those of the tribcfl on the mainland of Africa in the
south and equatoriiU regions. This may be partly owing to the Malay descent of the people of Madagascar.
229
Hottentot Song.
" The cattle from the kraal have straveJ.
/fndanfinn con rspressioiie.
iBl - tic rrom thu kraalliavoBtrtty'(l,ADj dark the night lir.s faU - en, I'll
con Ped.
The nm»ic of tlic ii»tlvcs of Soutli Africa— Zulus, Kaffirs, Ilotlcntots, etc., U gradually diMppcaring before the rapiii advances of the
white man, and little roniains of the older tones apart from what has been preserved in the bo.iks of traTellcrs. Many «f the Kaffir tune*
arc ilmplf modifications of missionary hrmns, or seouiar songs picked >ip from European settlons. The Hottentot tune given aborc has
a «>o«idei»Wo admlxtur* of this hyinn tune character, although it is taken from Crotch's SiMimau published early this century. This i»
a mcludiuus and fioiahcd tunc compared to the foUoviug melody noted among the Kaffirs of N'atal :—
230
South African National Song.
" Ihe sunny hills of y4frica.
H. HAETWELt.
Andante,
mf
1. The sun - ny hills of Af
2. The flow - 'i-y fields of Af
ri - ca, how pic - tur-esque and grand, Whilo
ri - ca, how beau - ti - Jul and gay, The
1. cloth'd in niibt the vales lie hid, hke some dark spi - lit
2. fair - est bios - soms deck the plains, and per - fume fills the
land.
May.
The
While
1. moun- tains in the
2. gush- ing streams trom
-^— -^- -J- -S-
dis-tance seen like hoar - y oas - ties rise,
ev - 'i-y kloof spread o'er the ver - dant green.
And
And
1. banks of clouds sus
2. brows- ing game up
ed hang, lilje ice - bergs in
the land adds beau - ty to
And
And
5 ^-
3. The country homes of Africa, where are their equals found ?
A welcome always greets the car, and gladness reigns around ;
And as one cosily reclines upon the snow-whit,e fleece,
He feels a thi-ill of thankfulness, of gratitude, and peace.
1. Then should we not lore Africa, and speak of her with pride,
And hang to her and cling to her whatever may betide ?
And though we yield to other lands the palm for scenes of mirth.
Our song shall be for Africa— the land that gave us birth!
Versts from the "Poetry of South Africa," edited by the Hon. A. IV. Wilmot; published bij Messrs. J. C. Juta & Co., London and
Caoe Touin, 1887. By permission.
Boer National Volkslied.
"Right nobly gave, voortrekkers brave."
Allegro moderalo.
S31
C. p. VAX Rbbs.
1. Ui){lit nobly gave, voorlrrkkem Imre,
■<',. Whatn^lniKo fair, BO rich - ly fraught
3. With wisdom, Lord, ourrul-erg guide,
K
Their Hood.their lives.tlieir all.
With treauiires o» - er new.
And these Thy pco - pie bless ;
I
For Kn-edom's
Where Nature
May we with
1. right, in Death's do - spite,
2. hath her won - ders wrought,
3. na tiona all a - bide
They fought at du - ty's call.
And free - ly spread to view !
In peace and right - eous - ness.
Ho,
Ho,
To
1. 1.1%; • hem t high our banner war
2. biir^ - hers old! b«< up and King
3. Theo, whoiio mighty arm hath shield
e-.^-f— Mi
JI--
eth, The stan - dard of the free,
ing, Qod save the Volk • en land,
ed Thy volk in bye - gone days,
_* Jml^^ mm--
No
This,
To
g> .
f
m
n^
^fe*-^i
^
^
fo - reign yoke our land en-slav
burg ■ hers new. your anthem ring
Tliee a ■ lone Ik- humbly yield
cth. Hero reign - eth li - bcr - ty. TisHeav'n's com-
ing. O'er veld, o'er hill, o'er strand. And,burgbers
ed All glo • ry, hon • our, praise. God guard our
-p ,
rT^
~-rj
—^ ! 1 J-
J. N 1
h» * 1 —
w^' '^
1. mand,
2. all,
3. land.
U:, H
■
He
8ta
Ou
5— «
re we shouU
nd ye or
r own dear
-1
1 fiUnd,
fall,
land.
And aye de
For hearths an
Our children's
fend the volk and
d homes at coun - try's
home, their Fa - ther ■
land,
call,
land.
^^L^—r,
m
^-•L
\tJ ■ .-
^ — ^^
[— i—
0
-z±-
P
— * "
Thlj tune wm composed by Miss Catherine F. Tan Rc««, a Dutch composer, who was bom in Holland in 1331, and it was officially
*lof ted as the national hymn of the South African Republic in 1875, at the instance of Mr. Biugei-s, the president of the Republic.
For the " National Song of Orange Free Staff," see Appendix, p. SSG.
232
The Transvaal Flag.
Once more o'er Transvaal hills and plains.
JSocr patriotic Soiifl.
1. Once more o'er Trans - vaal hills and plains Our flag's four col - ours blow; And
of free - dom, wave a - loft, The air is bright and clear,
2. Through many a fierce and angry storm
Thou wert our light of day :
And now that storm to ealm gives place
Together let us stay.
Though Britons, Kaffirs, lions assailed,
Thou eouldst not be abased.
And to their utmost grief and shame
Thee higher up we've raised.
3. For four long years with words so fine
They talked our land away :
We wished no British, good or bad,
Alone \To're brij^ht and gay ;
But as the vexing Briton stayed,
Our refuge lay in force ;
Of trouble we'd had quite enough,
We had no other course.
4. And God has helped us England's yoke
From oif our backs to pull ;
Once more, O joy, we're bright and free.
Our flag waves beautiful.
We've shed some of our noblest blood,
But England have amazed;
And as the Lord has made us free,
So let His name be praised.
5. Up then, thou dear four-ooloured flag.
Wave high o'er Transvaal's land :
Woe to whoe'er would tear thee down
With irreligious hand.
Thou flag of fi-eedom, wave aloft,
The air is bright and clear ;
Our enemies are put to flight.
More joyous days are near.
ifter the defijat of the British at Majubii Hill in 1881, this song was written, and becamo p«pular among the Boers. The war
Africa of 1899-1»00 brought it iiito pronuueuce, and it was published in many English and American newspapers and magazines.
Songs and Dances of Asia and Oceania.
ARAB J A.
ARMENIA.
PERSIA.
INDIA.
BURMA.
SIAM.
MALA YASIA.
CHINA.
JAPAN.
AUSTRALIA.
NEIV ZEALAND.
POL YNESIA.
234
Mabrooka.
' DAy hopes are dreams of night."
Arabian Sons.
Andante tnolto esfressioTie.
^
3=^^
3K=*:
^=i=^
My
hopes are
night,
Yet as the stars they
i
3(=3t
s
=^■(=3^
3
-<^-JL
a» »!-
con Ped.
-J 3 i I J
m/
fcfz
N
.^-
^
3^
shine in the dark ;
Oh, mv thoughts still
3
Jt=at
^^m
^- ^
S&g
^
:jS
giiLaia:
i^*^
^ J '--S— 1|'
l-S-J-j-p=s^
3r--gi-
er round thy charms.
el des ■ ert bird, come
home, you
=^
:^-
:^ :^ :^
=it -^t
Sf :*:
i
?<=S:
5^
:it=-^
#-^ ri^^
=^^^
break ray
Snatch not
^
•I 1
^3=K-
^
m M
^ ^ ^
1 »!
ii^
^^^f^-oj
S3
-^^^-^
thus thy graceful pres - ence
3t=it
:^:*:
3tl3t
285
Arabian Dance.
Alltgrello medtrato.
From F. David's /,« Desert.
This dance, which Is pcrliaps more African than Asiatic, has appeared in various coUections of Arabian music, butts best Itnown in
It* .otttng aa pirt of F«Udcn thivids U Dturt. a symphonic poom, produced in 18H, in which the oomposer introduced a number oL
Arabian tunc, obtained by himself In the Ea..t. This Interesting and highly original French work is now very seldom produced, at least m
BriLiir, but lU groat merit* as a glowing musical picture of Arabian life in the dewirt, entiUe it to be kept more prominently before the
public.
Q
2SG
The Singer.
A fairy tale is thy mouth:
acmentan Song.
Atidanic.
^
|j^r^ r i ^ » ^ J J 1 J ^
^
i r^> . . f=i
=JW:
EdE
poco rit.
^<^
ms^.
^==^
-* — 1^
sweet
I
tongue, Thus win - ning hearts from ev - 'ry one.
2S7
Ferruh.
"Ok niv Ferruh, so proud."
perdian Soiifl.
Aniianft tranquil lo.
Oh tuv Fcr ruh
proud,
With the (laio - ty red
For ihf " Xalional Song of Persia," see Appendix, p. S7S.
238
Persian Song.
"Sweet maid, come, if thou wouldst charm."
Andante sosienuto.
m
:S:
^r=t^
T'^ir-jZ
^
^
^i=^
ii=^
-oi-
p con espress.
^^^
1. Sweet maid,
2. Let the
5S
^
i
iS:
J «<
^^
S:
iSI5 S it#
1. come, if thou wouldst charm all my Eight,
2. ru - by li - quid plon - teous - ly flow,
^^
And bid these arms thy
And bid the pen - sive
afe£
iflfc
' lI^LdJ
-^=^
rit.
1
|7\
/?« mosso.
1 ,
1 rW **■" n ' ■ '■ ^ *
m
«.
^
ir J
t^
z
1
ISL) «
m
" If >
. r7 — «■ 1
o
1
-r
r
♦ ,^
1:^:
1. neck
to
in
fold.
rii.
That to •
8y
cheek.
fair
an
d soft.
2. heart
to
bo
glad.
The frowns that
fate
throws
a
my
/^S.fl gS—
f-
-f-
-^
rf-
-B-»-
,
m 1 „
(ra
PS=
-P-
.
1
d^f^—
-1 —
— I—
-*—
-1 i r —
•—
-P-
1"
-le*-'
\ ^^- it ^ - ■ 1
1
' '
1 ' '
IC/
JCJ
tnolto andante.
^gqg!g
=s=s=
^T
TCT
r
1. thy white li • ly hand, More rich to mo . . than . . gems of Sa - mar ■ eand.
2. life ne'er shall me daunt, If love will stay . . with . . me and fa - vours grant.
m^^^f
fe
32t
:^
2r,9
Desolation.
''/ could not speak with him."
Tune—" Kuma na pSoe bSt."
Andante esprtssione.
1. I could notspcakwitli him those fond -est words Which I had trca-sur'd op to
2. Ah ! DOW I Tain ■ ly cry, I vain- ly cry, Dear lord, dear heart, Eo fond - ly
btzi:
^-
\. loll, My Btrcam • ing eyes were
2. loT'd. Thou would'st,thouwould'stnot8oo nii<
dim with wea ■ ry toars.Which tlicn, a -
lio HO wea - ry, nor fail, Nor fail that
1. Ual
2. lOTO
iin - lioed
so tru
cd
fell!
Rude blows tho
bit -
tor
wind, .
.Cold
ly
pruv'd ;
Reht, rest, oh
break
>
ing
heart, .
. For
S.
Ah, mo! from them un - kind.
Ah, why de - lay thy dart !
oh,
pitying word, No . . ehel-ter - ing
kind Death, Take mo to him,
love
that no
I find,
morowepart.
240
Indian Serenade.
' O cot)ie, my love, with me to-night.
Bengali Tune.
O come, my love, with me to - night.
O eome, my love, to
h-j - \f-
J.' "^
m
moon's eleai- light ; The wind is sigh - ing soft - ly thro' the
s
=pc
zriz
sway - ing palm, O come with me Tsliilo night is calm.
The Hindu Child.
" I go unto the fair."
t)lndu Song.
Ana<t>ititu> molto tranqaillo.
241
Tutu — Traditional.
r-tttri'H^
go UD - to the fair, .
to get my trctt - bures there,
m
T^'u- JJ
<-«n Ped.
.fe
think how great the joy . .
f^^~zi^^-tr=t^
of buy - ing Ijil a. toy. . . She is my on - ly
-^ 'J. ^^-"^^^
sempre con Ped.
^t^^rf-1
1 — > —
diuighter, jiiet loarn'd to Uugh and ohat-tcr, She KComs so full of prat- lie, just
tjg^-T^ lJ^W<^ Hg^"^~^ £?^1~^ ^'
i^n*"!"
like a lit - tlo rat • tie
^ . . 1 !r-
Each Jay she grown more charming, In man-ncrmost a-
■^•^
lanning, with impish tricks she daz-zles. I can- not think which toy .. . will
bring her greatest joy,
But ere tlic fair is past... HI guess her wish at last.
242
East Indian Song.
Our sorrow is vain."
L. s. Jast.
Larghetto.
p "
M
-e-9\'m:
^— l^-i=U
J j^j;.
=rp=^
Our sor - row is vain.
Our plea - sure has its mea - sure, When
■l-aif^
¥J?3=
w
con Ped.
w—^Ej.
* *
m/
is; 5i:
^^
-^ rt *
*«^
joy turns to pain.
The shapes we fol • low they are fair, Eut
grasp'd they arc but air; And like a ball we rise and f all, 'Twixt laughter and des-
^^ ^ -Ti ^— -/ ^fl -ife
con Ped.
-.:-V
4f*=
Thee,
I
this chain
This melody was first printed in Tki Oriental iUscdlany, Calcutta (17S9), by Wm. Hamilton Bird, and is characterized by Dr. Crotch
" perhaps, the finest of the East Indian tunes.'*
243
Hindu Song.
" U^ight doth on the river fall.
Modetato.
Bombay Air
Thl. old Indian »lr. which w« obtained br Edward Jones rivnr Air,) in 1804. bean. such '^^^^^^^If^Zr^^^^^A^S^oi^l^^t^i.
it mijtht almo,t b. takin for a penuinc product of Sootland. The close rcaemblanre between he r;"™^ of tbf East and '}■»' »' f^^'"*"^
bM. however, b«n obwrTed ofUn before by musical writers, but no satisfactory explanation has been advanced to account lor tne
•inillarity.
244
Burmese Air.
From Two Years in Ava, 18Z7.
m
^
:^=i
r^2^-rJ
=«=*:
^t J . ^
ij ;• : J a;
=pz:
=irF=*
W^
m
^
^
Ijl," 1
jr<"^J,
p^
=^ J ^\ J-
-^"^^5^
1 J--
~3. ;~j —
:.:-^
1
m
-n \ ^—
-f iT'
J-- ^>
-T^-
— !• --1» -^
1
__f3
— 1
f^-
p r -\
[V^b ^
-^
-M l-p^
-H —
^=^^
i
fe'^— r
p^ . •
-1 r
:^
rt<^
^
T I >; y**^
=^
'«/-(
^
4=^
£
245
AiiiltiHte.
Malay Song,
•■ Piiinful is mv heart."
TurM—Javuifse Air, " Longkie,'
quoted by Crotch.
Pain - ful U my heart, now full of madness, 1 am weary of wait - ing,
con rspress.
#"L^U^,^g^
ir-^-a-m
sha - doAvy fori;i I seek. She comes, my love!
Ukc muiy Hindu mnd other Eaut Indian tunes, thU melody from Java has a remarkable resemblance in general character to the style
ol Scotch muaic. It niuat be a very old air, though no record of its origin is ob;aiuabIc.
246
Malay Dance.
Allegro spiriioso.
SEE
^
EiE*
"1 ^
'^=ih ^J. J_
■^ ^ m m '^ »
dt^^
f^J^=^.
"'^ W J J ^
I I
&=E^EE^
r I-. -
5FB=g
e^
©
^3=
g^^^- •/ J|j=i^j^'^j j^if7ta>ggi
-■i> jf
jri^ i^ J
^e^
^ ^-
i
iJii^N^^^^^^J.JU JS.^
.dJi^J^Mf-
m
.!=£:
ife
iT^I r '^
1 — fi-S _ — a tf^ — m m^» ^— » 1 ^— «i 1 1 1 1 —t
#g rUl--P r zS r -r r • / ^ - / ^'- JJJ J J J
^zi:: = _ -It _•_ ^. jiL
-^; SI J^^^- ^^.H" ^r~:r?;j}»^=ti ! i '•
J—^. r-
^a):c ,-tr=3^^' — #r 1 r ^ - — ~ 1
-f f
H C £~^=^^-fl
^^^»-^ -+-.-P-- =& -^ :■
"-1 b- "
Songs of China, Japan, and Siam.
248
National Anthem of China.
Andaniino.
m^s^
•h-^-r^—f
T"
i
^
^^f^
3f
=9
^^
r^
^
^
^=
3. 2^
=}:
-1 [-
rpT^^
Zg==0Z
=1=
^
=>— iF
^
249
Chinese Song.
" Sorf is my hrart with yearning.
Allegretio quasi aniiantino.
I
250
The Moo-lee Flower.
"How lovely this sweet branch of flowers."
Obinese jFolk'Sons.
Andante con molto espressione.
Tune — " Moo-lee Chwa.'
m^^^^^
!^S3
nTJ n-
s
-t -3
1^.
How love-ly this sweet biunuh of flowers,
^1
Left at, my houae one
con Ped.
-J ^, I , r'^^ , ! r^ . J /-^i . !
* a -L^_^ I Q— Z. I (i ~r-f> I J iC
I I
I will DOC ivoar them out of
S=g^K^jJ_^J4
^
1:
-'-=(
■c/
^^
^
3E
^^i
But will keep them fresh and clean.
f
? rr
Oh, how kind
r m
±^
:tii:
^
»"/ 1
^^
-lit ar-
r
Moo - lee flower!
^H
LJ r
None liko thee ere seems so sweet.
^
pp ritard.
?=^iF=^^
~f ^
Well pleased am
I,
My love !
m.
d= J — g-
:ifc
JV— W-
This song is stated by Sir John Barrow in his Traveia in CAina (1804), to have been very popular while he remained in that coiintry.
It is one of the most melodioufl specimens of Chinese musi« which has reached Britain.
251
Chinese Dance.
AlU^o moderato
Du Halde's China, 1736,
quoted by Crotch in his Specimens, 1805.
ccn Ped.
i^i,'f , r-
f=r=l
■ «
— .
-t F r
tF=
f^
-•— ]
— m^
— _—
•=1
Tr — tE
Li— ^
-IC^
-.am h
— 1 ^> 1
■"F
s
3-^
|dJO -
^
• »-
— T"
- -1
^
\s:^\,"„ " _
1 ^'
=4
1 «1 1
252
National Hymn of Japan.
'May our Lord for ever reign."
Tune—" Kimi-GaYo."
(Reign of my Kiag.)
^
p Largo.
I I r
n
iii i-j \i^m
p^^
I I
J # S 4 * *
May our Lord for ev - er . . reign, While the sun shines
m.
! J J
^
con Ped.
-p» jo 'tg^ ^^ — — — -^ ^ — ■:^ — ^
o'er ten thou - sand a - gcs more; Hail his reign! May our Lord for
'ihn. e ?'//.
■Jlie words of the Japanese National Hymn to the Emperor are as follows : —
" Kimi ga yo wa
Chiyo ni yachiyo ui
Sazare-ishi no
Iwao to narite
Koke no musu made I '
and the version applied to the music is almost a literal translation.
253
Japanese March.
PiU mosso.
W^'^ ^ - IV ^^zA-^Ai^U
my-} MFV; -ij F ," I;
^ F Fi
'■^ r I
Tempo /.
J
-JT^J J JH-
1
=^
-^
=iM=i
=3^
/
1
1 »
=j4
1
^« M
-3lr-
Jip r r uu —
ol
=tsi=
=^J=^
254
Japanese Processional Tune.
Moderate.
fej-ij-j4-^^r=^bi
mf
fa^xt^^
f T T y I ^^-f^
:^^
3E^^^tEg^
qK=iB=|K:
1g~Ti» >»-
V
glljil l.jl^^p==fatj^^
istt
r f
^idt
^^r^
z I & k
^
a^
■y" y" j/ •
^/
^.^a-M^^^i^^^^g
^
^±
I I I
^» L» L L
^
r f ff r f
« -n
^
32:
^
'w —
sf sf sf-
sf
r
r
"P" =
_ --»•-— Tt"
This tune is familiar to most visitora to Japanese ports as forming the accompaniment to a kind of Bacchanalian procession very often
to bo witnessed at nights. The tune " Chon Kino, Chon Kino '* in the opera called Th^ GeUha is based upon it, though considerably
altered from the original-
Japanese Lullaby.
255
Andante tranquillo.
ten Fed
Tune — ^Traditional.
P.
^
^
^E^
m
rriz
■m- ■»- -^ -^ -^
1. low, And tho night is falling fast; Slumber comes to thee at last, Sleep,my prct-ty
2. night. When Ihf sUrs arc shining high; I will keep my darling nigh, Sleep, my pret-ty
etSSEa '■ ■ ' - ■- '" '
1. babe.
2. babe.
III
Birds and flow'rs and pretty maidens All have gone to rest Oh ! sleep, my pretty
Birds and How'rs and pretty maidens All have gone to rest. Oh ! sleep, my pretty
256
Siamese Song.
Hail the sun's bright morning rays."
Andante.
Tune — " Cha Lok I^-ang.'
"^^^ ' J J=^
rays,
gay.
r
1. HaU
2. Hail
the
the
san g
birds
bright mom
with mu
Now
9^
" con Ped.
i
^
m
^
1—1 - T
1. night flees from earth's fair
2. pell-ing sleep from the
^^
sur
faith
faoe. All hail,
ful. Hail ! riv
sweet flow'rs that
er great, with
=P2=
1^
=P^
— f= 1 -^ .J 1-
^^^
3:*
=fW=
1. scent the mom - ing air,
2. might - y wa - ters full,
With
With
grance steep'd and
merce rich and
^^^
ra):g P
^
^
^^m
^
5^, j i "^^
r
1. soft with
2. stook'd with
dew.
food.
To
To
Bud
Bud
^5^
dha praise !
dha praise !
I
^3:
For the "National Song of Siam," see Appendijc, p. ^74.
u
257
Australian Aboriginal Air.
From Nathan's Souiltern Euphrosynf (1846).
Moderato con energia.
fc^
^S=|---|---tf j : - l(j-.
f
-O^
258
Narrinyeri Corrobbery.
Soutb Sustrallan aboriginal Hie.
Taplin's Folk-Lore of the South Australian Aborir/ines.
Allezyetto.
=i=^
* d
^==it=Mz
A^
^
^^
con Ped.
m
=3=^^
^
3tl=S=
=g=n=«z
-ttcr
E^
^JP.
i
j:::*'-
J'O
^
^
^(7cc> r;'/.
^59
New Zealand National Sone.
" CoJ girt her about with the surges."
Hod. William P. Reevks,
Mtusloso.
^•^fHB^^
• i "^
1. Ood girt her a • bout with the sur - gcs, And wioda of the mas-terless deep,
t^
"i^F^
m
=p-p-
:i^^
=tJ:
* d
s *
^i
*JJ .Q.
»n/
33=
tu - mult up-rous • ea and ur - gcs Quick bil - lows to spar - kic and leap ;
2. Uor ncTPi- tho fovcrinist shrouding.
Nor drought of tho desert may blight,
Nor pall of dim smoke overclouding
Vast cities of cliuiiour and uight.
But the voice of abundance of waters,
In valleys that bright rivers lave.
Greets her children, the sons and the daughters
Of sunshino and wave.
3. I..0! here where each league hath it« fountains
In isles of deep fern and tall pine,
And breezes snow-cooled on the mountains,
0>- keen from tlie limitless brine ;
Sec men to the battlefield pressing,
To conquer one foe— the stern soil,
Their kingshfp in labour expressing,
Their lordship in toil.
Though young, they are heirs of the ages ;
Though few, they are freemen and peers ;
Plain vorkers — yet sure of the wages.
Slow destiny pays with the years.
Though least they and latest their nation.
Yet this they have won without sword.
That Woman and Man shall have station,
And Labour be lord.
The winds of the sea and high heaven
Speed pure to her kissed by the foam.
The steeds of her ocean undriven,
Unbitted and riderless roam,
And clear from her lamp newly lighted
Shall stream o'er the billows upcurled,
A light as of wrongs at length righted,
Of hope to the world.
Words by permission 0/ the Author.
ibO
The Fisherman.
" The hush of noon is round me.
Sond of tbe gl\i JelanOs.
L. S. jAsr.
Moderate tranquillo.
Tune — Tradition&I.
pr\ I
J--j ^*'\Ht^
1. The hush of noon is round
2. The reef issplash'dwith col
me,
our,
The palm trees shimmer far,
The fish - es dart be - low,
^m
^s
Like
With
AND'f-^-ry
-TJ-r
^ ^ ti- ^
con Ped.
1. oil the drow - sy waves slip by the bar.
2. gold and green and ru - by do they glow ;
The world of dreams has
My love's eyes are not
1. bound me, I'm id - ly, id - ly fish - ing, and I'm oh! so dear - ly wish - ing,
2. dull - er, I catch the gleam-ing fish - es, shall I lose what my heart wish - es.
1. Heart of sweet maid - en I could catch much shy - er than the fish - es are.
2. Ma- ny are the fish - er - men, and who a maid -en's fan - ey can know':
For " Hawaiian National Song," see Appendix, p. 267.
Hebrew Songs.
262
Jewish Funeral Dirge.
Tune — " Hakkafoth."
Larzo violio sosienuio.
^^
-r^T-t
teE^
I i i
f^« Ped.
==^
7i^ J
ggT~g~¥ ^
J. ! . r— =ii=^- C S
2C3
Jephtha's Daughter.
'Since our country, our God — oh, my Sire I "
•fcebtcw Song.
Lord Btkos (17881824).
Andante fspression
Tune — Traditional.
2. And tho voice of my mourning is o'er,
And the mountains behold me no moro:
If the hand that I love lay mo low,
There cannot bo pain in the blow.
3. And of this, oh, my Father! be sure—
That tlie blood of thy child is as pure
As the blessing I beg ere it flow,
And the last thought that soothes me below.
4. Though the virgins of Salem lament.
Be the judge and the hero unbent!
1 have won the great battle for thee,
And my Father and Country are free!
5. When this blood of thy giving hath gush'd,
When the voice that thou lovcst is hush'd,
Let my memory still be thy pride.
And forget not I smiled as I died!
From Ihbrtv Mdodia, edited by Isaac Nathan and John Braham (1822).
261
Hebrew Synagogue Air.
Tune — " Ki hineh kachomer."
Andante.
I
■ S^ JJI r.
^
^
^S
^^
4=:
^
(^
/) <rc« espress.
J. JV
J J,J.^.^
gjEg
^^^^
&L.y ^•^~^rjijj_^,_j|J. jj ^
^
^
J. j^ jj
-Sei-
J, J. ^S^^U
r f^ 'r r r
ill I ! I *- * ^^^\A • =g
J-LJ J f j I v> — ttffj . Zjl
J. J^J
4 ji a
r r
e
■« e»-
H : O
^^i^
i^
r
A large proportion of the ancient Hebrew music has been composed for the rites and ceremonies connected with the Jewish Church,
and amone the mass which exists is to be fotmd some of the most dignified and solemn music ever written for the chiirch service. Much
of the Jewish music is melancholy and sombre in characterj reflecting the sadness of an oppressed people.
265
appendix.
♦ * *
National Hymn of Roumania.
"Traeasca Regele!"—" Long Live the King!"
Moderato molto maestoso.
^ I J . ^
E. A. HuBSCH.
■• ' ' ^m rt J I 1^ "-F S*^-r-^ 1 d 1 — I JJW ^m^
i
*^«:
^
3=^TP
f^
mf s/y~
^^
J^-*
-# ^
^
266
National Song of Bulgaria.
Maesloso.
i
=«=F2
W
^
:=1K:
S— >-PE
^
=0
3 '• ^
s«-
^5±
s«p %
i^
:3=^:
■^.^
S=«=i
3
?3=
^ * d-
i
^
-R-
=*=i^
^
=g=
=*=?=^
rS^L
-n-
i^
-^ • ^^-Tcir
^=^
'~^^flg— gifted
B=
^d^E^^igfe
■ — * ^' -S-^^
^1=3=
^^
S^^
:iW=nift*
Stt:
1 H *»»1 I'M^ 1 1-
=t
-t^- latni^
National Song of Orange Free State.
"Heft, Burgers, 't lied der vrijheid."
H. A. L. Hameibeeg.
Maesloso.
m
E
feffe
A r-4-
V
mf
m&i
^
4^
1 — [
u
^-^-j^-
■t=i=
^
-rt— g^
W. F. G. NicoLAi.
:i=i=at
-■B It" =j 1 1 h-
NATIONAL SONG OF ORANGE FREE STATE.
267
^^dm^^^^mM
^¥%
r
*=»
-J-r— ^
:B g p P , I I r* I I
' L r r ~H • ■< J J
1 — ^r 1 if^C
^S
^^^
3S3
x:^
"SInir, Burgbcn, tbo ttODg ul rrccdom" wu tho N'*tiaiuU Song uf Uio Ute Boer Republic— Tho Orange Free State,— now Oraogo
KlTOT Colony.
Hawaiian National Song.
" Hawaii ponoi."
MaestOiO. mf
E. Bbbgkr.
The N»tlonid Hymn of the Bandwidi I.Unda, with words by a Ute Idng «d ma«io by . German bantoaater^ Is eHlI played tt
Honolulu, though H.w»U la now a poe««»ion U the United SUte.. The word. " Hawaii ponoi mean "Our native land.
268
National Song of Mexico.
" Mexicanos, al grito de guerra."
Jaive Ncno.
Tempo di Mania.
— f^
Rt-A| J : ^^l
-m m *. ^lU^ i^-H 1 — f^"— ' P* — '^'—^ TT-atT — g '^»
b^'
^
cres. "^ I
-Ci-
^±
^
-4*— P-
=&»t:
i^a ir<i/(7 (z/ Fine.
I
ibat
}==F
£^a
-^-t^
269
National Song of Peru.
" Sonios Hbrcs, seamoslo siemprc ! "
Timpo di marcia.
^^^^^^^^^^i!^
8l
3^3
270
National Song of Chili.
' Duke Patria."
Alia marcia.
^
^^^*^^^^^
^ I 3 — — n — i-
if^
^%^
3» j^
!• ^ •! 1-gpzn
S|=
^ — n-
r— ^r
^ ^-a U^-=q =1-
=^=
9^
i^ l<L
-m
"^^r-rr -^
^1 — I TjT«^ I r - -»-^ — P=^ — ^-q- r 1
rP- fj
3teii:
-3 L>- ji^
333
r%^^^^i
^fO^ssiig
NATIONAL SONG OF CHILI.
'^m
272
National Song of Venezuela.
"Gloria al bravo pueblo." — "Glory to the brave people."
J. Saxdaf.ta. (1811).
2 tnarcia.
I 1st.
■m-m^m-m rm — -^ — i-r«i \ — hi — i r^ —
mf
a3E
^
n
3^3<
I I J r-, J
/■ft')- L^
b** •^
^
«"je
td-t^
I I I.
t-.t^
T^ '^^^*^ T^^^ ^s-^^g^-^ 'f^
i
r^i
^^
fs
i?ti capo al Fine.
273
National Song of Persia.
" Scilamati, Shah ! ' '
Ariiiiifitf esftressivo.
aj:^
6^, ^^ ^=<
m/ ,^ ' aim. ^-^ ■'
^-^ T ' t ^
^^^^^^^esj
^-^ — *'if ^-Tvw^rg^ 't
274
National Song of Siam.
Andante.
> n
J=izi=*=«z*
^^^fe
N r-i 1-1
EP^^
^
^* J
^gr
^ I — 1-" — ^»-
3"^ "^ r '^
I I
-^
NOTES ON NATIONAL MUSIC,
With a List op Works on the Subject.
THE subject of National Folk Music, one of the most fascinating in the whole range of
musical art, has not yet been treated in a comprehensive manner, nor is it likely to be,
until each nation has adequately examined and recorded every historical and technical fact
conccrnmg its own anthology in an approved scientific manner. Collectors of national music have
been many, expositors and historians comparatively few; and until someone arises combining the
necessary qualities of musician, critic, historian, scholar, and poet, the subject, by reason of its extent,
is not likely to be taken up as a whole by any one person. The only attempt in English of any
value is the late Carl Engcl's An Introduction to tht Study of National Music, comprising researches
into popular sjh^s, traditions, and customs, London, 1866, a work largely expository and theoretical,
and dealing with musical form rather than with the actual tunes of any given nationality. He
published afterwards, as a series of papers in the Musical Times, a selection from this, slightly
amplified, as a work entitled The Literature of National Music, London, 1S79. These are the only
formal English works on the subject in general which have been issued, apart from the various
notices and theories to be found in musical histories. Numerous separate treatises have been
published on special departments of national music, but, as before noted, a comprehensive general
work has yet to appear. Such works as The National Music of the World, by Henry F. Chorley,
London, 1880 (first delivered as four lectures at the Royal Institution, London, in 1862), and
Stories ef Famous Songs, by S. J. Adair Fitz-Gerald, London, 1898, have no scientific or particular
value, and are only mentioned here as examples of the popular treatment of this great subject
within very narrow limitations.
The most important general collections of national folk music are those of Crotch and Berggreen
in the following list. Crotch's specimens have no words, and the arrangements are rather thin for
modern taste, while Berggreen's work, an admirable publication of great interest and value, is confined
to a few European nationalities. The works of Wolff and Fulgence are nicely produced, but that of
Wolff was apparently intended to cover much more ground. The modern productions of Beyer — a
pianoforte collection as notable for its picturesque representations of national flags as for its music —
and H. Reimann— confined to Europe, but otherwise very good — are not sufficiently comprehensive
to be of much value to students; and the national albums issued by Continental publishers, in the
form of instrumental arrangements, are simply interesting as collections of pretty tunes.
GENERAL WORKS.
Jones (Edward) Lyric Airs: consisting of specimens of
Grerk, Altxinian, VV.il.ichian, Turkish, Arabi.^n, Per-
siAn, Chinese, and Moorish oaliooal songs and melo-
dies. London. 1804.
Jones ( ICdward) Musical Curiosities; or a selection of the
most ch.'uacteristic national songs and airs, many of
which were never before published : consisting of
Spanish, Portuguese, Russian. Danish, Lapl.ind. Mala-
\xu, Hcvi South Wales, French, Italian, Swiss, and
particul;irly some English and Scotch national melo-
dies. Loudon, l8it.
Clementi (.Muzio) A Selection from the Melodies of
Different Nations, with new symphonies and accom-
panimcnu for the pianoforte , the Poetry by David
'l~bomson. London, 1815.
Moore (Thomas) and Sir John Stevenson. A Selection of
Popular National Airs, with symphonies and accom-
paniments. London. 181S. 2 vols.
Crotch (William) Specimens of Various .Styles of Music,
referred to in a course of lectures read at Oxford and
London, and adapted to keyed instruments. London
(i8ao-ai). 3 vols. [The lectures were delivered in
1800-4 ^nd 1820, and the book w.is published after-
wards. Vol. i. contains specimens of European,
American, and Oriental folk music]
Wolff (O. L. B. ) Braga : sammlung Deutscher, Oester-
leichischer, Schweizerischer, Franzbsischer, Englischer,
Schottischer, etc., Volkslieder in ihren urspriinglichen
melodien, mit klavierbegleitung und unterlegtcr Deut-
scher uebersetzung berausgegebea. Bonn {c. 1820).
14 parts.
Bishop (Sir H. R.) and T. H. Bayly. Melodies of Various
Nations. London (1835).
Baumstark und Waldbruehl. Bardale: sammltmg auser-
lesener V'olkslieder der verschiedenen Volker der Erde.
Leipzig (1830).
Fui.GE.vcE (G. ) Cent Chants Populaires des Diversos
Nations du Monde. Paris, 1840.
Kavser (J. F.) Orpheus: neue sammlung national-lieder
aller volker, mit historischen und kritischen anmer-
kungen. Hamburg, 1853.
Berggree.n" (A. P. ) Folke-sange og melodier, faedre-
landske og fremmede, udsatte for pianoforte. Copen-
hagen, 1855. 4 vols. Enlarged edition, 1861.
270
NOTES ON NATIONAL MUSIC.
ENGLAND,
Only a selection of the most useful collections are given in the following list. It is the
misfortune of England to possess magnificent stores of folk songs, which are somewhat neglected
by musicians and ignored by the general public. The average amateur knows but little of the
wonderful collection of old songs which his country possesses. The fev/ English songs which are
known generally are those of a patriotic sort, like "Hearts of Oak," "Rule, Britannia," "Home,
sweet Home," etc., which are taught in public schools. Musical amateurs may, and do, occasionally
sing ballads of the period of Shield, Bishop, and later, but the old anonymous music of the
seventeenth and early part of the eighteenth century, so delightful in its freshness, beauty, and variety,
still remains, for the most part, comparatively unknown. No musician will willingly allow these
splendid old songs to fall into further neglect.
Pammelia. London, 1609.
Deuteromelia. London, i6og.
Melismata. Musical! Phansies, fitting the court, citie, and
countrey. London, 1611.
Catch that Catch Can, or a choice collection of catches and
rounds. London, 1652.
MusicAi, Companion. London, Playford, 1672-73.
D'Urfey (T.). Wit and Mirth, or pills to purge melan-
choly. London, 1698-1719-20. 6 vols.
Merry Musician, or cure for the spleen. London, 1716-
1730. 4 vols.
Musical Misceil.any, being a collection of songs. London,
Watts, 1729-31. 6 vols.
British Musical Miscellany. London, Walsh. 1734.
6 vols.
BiCKilAM'S Musical Entertainer. London, 1737-38. ;
vols.
CALLIorE, or British harmony. London, 1739-46. 2
vols.
Universal Musician. London, 1738.
Lampe(J. F.) British Melody. 1739.
Universal Harmony. 1745.
Clio and Euterpe, or British harmony. London, Roberts,
1759-62. 4 vols.
RiTsoN (Joseph). Select Collection of English .Songs.
London, 1783. 3 vols.
Chappell (William). Popular Music of the Olden Time :
a collection of ancient songs, ballads, and dance tunes,
illustrative of the national music of England. London
(1845-59). 2 vols. New edition, by H. Ellis Wool-
ridge. 1893. 2 voU.
RiSHOP (Sir H. li.) and Charles Mackay. ICnglish National
Melodies. 1845.
KiDSON (Frank). Traditional Tunes: a collection of
ballad airs, chiefly obtained in Yorkshire and the
south of Scotland. . . . O.xford, 1S91.
Beoamwood (Lucy E.) and J. A. Fuller Maitland. English
County Songs. London, 1893.
Gould (Sabine Baring-). English Minstrelsie, Edinburgli,
1895. 8 vols.
Songs of the West (Devon and Cornwall). London,
Methuen.
Moffat (Alfred) and Frank Kidson. Minstrelsy of Eng-
land. London and Glasgow, Bayley & Ferguson, 1900.
SCOTLAND.
The patriotic sentiment so strongly characteristic of the Scot, both at home and abroad,
has been responsible for the care and comparative completeness with which the national songs
have been preserved and elucidated. The same sentiment is also the cause of the enthusiastic love
which every Scot bears towards his national songs, and for the assiduity with which he cultivates
them. The average Scotchman, in any position of life, can generally name quite a catalogue of
good Scotch songs, and is probably able to sing half-a-dozen favourites, and give a satisfactory
account of those connected with the history or traditions of his native land. Few other nationalities
have treasured or cultivated their folk songs to a similar extent.
One enormous advantage which Scottish national songs possess lies in the merit of the poetry
and the intimate setting of the music, which makes so many of them eminently singable. Another
feature which further aids their popularity is the immense variety and attractiveness of the tunes,
which make them acceptable wherever they are sung. It has been estimated that Scotland possesses
at least eight thousand melodies, all marked by a sufificient measure of national character to make
them distinguishable. No other nation possesses such a wealth of folk music, and certainly no
country can show such a treasury of poetry and music combined. The very latest writer on national
music — Louis C. Elson, an American, and consequently free from special prejudice — remarks,^ " The
character of each nation is indelibly stamped on its folk music, and the folk song of Russia, in its
deep pathci and its bacchanalian wildness, speaks of serfdom, and the temporary escape from sadness
in intoxication ; the folk songs of Norway and Switzerland resemble each other in the flavour of
mountain life which is apparent in them ; the traditional history of England is found in its old folk
ballads i and the most varied, most ancient, and the most beautiful folk music of all, the songs
1 In his National Music 0/ An
AOTES ON NATIONAL MUSIC.
Til
of Scotland, speak of every phase of Gaelic and modern Scottish life." That a comparatively small
and poor country like Scotland could support and encourage the publication of such large and
expensive collections as those of Johnson, Thomson, Urbani, Smith, Dun, and Graham, not to
speak of many others, all closely following each other, is eloquent proof of the love which the Scot
has for his national music, and a practical and most convincing proof of his good taste.
The list given below only represents a few of the more important and trustworthy collections.
A complete list of song and dance collections would fill many pages.
Playfoku. \ Collection of Original -Scotch Tunes (full of
Ihc HigliLind humours) for the Violin, being the first of
this kind yet primed. London, 1700. Second edition,
1701.
Thomson (William). Orpheus Caledonius, or a collection
of the best Scotch songs set to musick. London, 1725.
Second edition, 1733. 3 vols.
Ramsay (Allan). Musick for Allan Ramsay's Collection
of Scoli Songs. Edinburgh, 1726. Vol. i. all pub-
lished.
C'RAKi (Adam). A Collection of the Choicest Scots Tunes.
Edinburgh, 1730.
WAt-SII. A Colli-clion of Original .Scotch .Songs. London
(<740).
OswALU (James). Caledonian Pocket Companion. London
(1743 641. 13 vols.
M'GlBBON (William). .Scots Tunes. Edinburgh, 1741-55.
3 vols.
Baksanti (Francis). Collection of Old Scots Tunes.
Edinburgh, 1743.
Ukemnke (Robert). Scots Songs. Edinburgh (1757). a
vols. ALso London, 1763.65,
Johnson (James). Scots Musical Museum- Edinburgh.
1787-1803. 6 vols. New edition, 1839.
CoRRi (Domenico). New and Complete Collection of the
most Favourite Scots Songs. Edinburgh (1788). 2 vols.
Napier (William). Selection of the most Favourite Scots
Songs, chiefly pastoral. London, 1790.
Thomson (George). A Select Collection of Original Scot-
tish Airs. London (1793-1841). 6 vols.
Urbani (Peter). A Selection of Scots Songs. Fxlinburgh,
1794-99. 3 vols.
Eraser (Simon). Airs and Melodies peculiar to the High-
lands of Scotland. Edinburgh, 1816- Other editions,
1874 and 1884-
Campbkll (.\lex.ander). Albyn's Anthology. Edinburgh.
1B16 18. 2 vols.
Smith (R. A.). Scotish Minstrel. Edinburgh (1822-24).
6 vols.
Du.s (Finlay) and John Thomson. Vocal Melodies of Scot-
land. Edinburgh (1837, etc. ). 4 vols.
Wilson (John). Songs of Scotland. London, 1842. 3
books.
Graham (G. F.). Songs of Scotland. Edinburgh (1848-49).
3 vols. [.Mew edition, revised by J. Muir Wood, 1884.
Now the property of Messrs. Bayley & I**erguson. ]
Moffat (Alfred). The Minstrelsy of Scotland. London,
IRELAND.
Like the Scots, Welsh, and all Celtic nations, the Irish are intensely fond of their beautiful
national melodies, which arc to them the chief medium for the expression of every phase of hope,
sorrow, joy, or aspiration. The song, as a vehicle for the registration and expression of national
sentiment, has been to the Irish more than art or any form of literature. The most ignorant peasant
can appreciate the beauty of "The Last Rose of Summer" or "The Coolun," the bitterness of "The
Wearing of the Green," or the gaiety of " St. Patrick's Day," when the literary side of the songs would
appeal to him in vain. The Irish have not been so fortunate as other nations in their collectors and
editors of folk music, and it is somewhat remarkable that the first really satisfactory edition of the
best Irish songs should be of quite recent origin. Many of the finest Irish melodies suffer from their
association with words of low literary merit, which renders them uninteresting and causes them to
fall into neglect. The comparatively few Irish songs which the verses of Moore have rendered
famous are by no means the finest specimens.
ThumOTH (Burk). Twelve English and Twelre Irish Airs
('745).
Twelve Scotch and Twelve Irish Airs.
Jackson's Celebrated Irish Tunes. (1775-)
Wai.kkr (J. C. )- Historical Memoirs of the Irish Bards.
Dublin, 1786; also, 1818. 2 vols.
Hrysson. Curious Selection of Fifty Irish Airs.
1791.
I'.L'NTiSG (Edward). A General Collection of the Ancient
Irish Music- London. 1796. Another edition, London,
1809. Also, Dublin, 1840.
OFarreli. Nation.il Irish Music for the Union Piper,
1797-1800.
MVLHOIXAN (J. M.). Irish and Scots Tunes. 1804,
O'Farrell. Pocket Companion for the Irish Piper. 1805.
OwENSON (Sydney), Lady Morgan. Twelve Original
Hibernian Melodies. 1805.
HOLDEN (S.). Collection of old-established Irish Slow and
Quick Tunes. Dublin (1806). 2 vols.
Moore (Thomas). Irish Melodies. 1807-34. Numerous
editions, by Balfe, Stanford, etc.
Crosby. Irish Musical Repository. i8o3.
Murphy (John). Irish Airs and Jiggs. i8og.
HoLDES (S.). Periodical Irish Melodies. i3io
MULHOLi.AND (John). Collection of Ancient Irish Airs.
Belfast, 18 10.
HiME. Selection of the most admired original Irish Airs.
(i8io.)
278
NOTES ON NATIONAL MUSIC.
FiTZSIMON's Irish Minstrelsy. 1S14. 2 vols.
Thomson (George). Select Collection of Original Irish Airs.
London, 1814-16. 2 vols.
Smith (R. A.). Irish Minstrel. 1825.
Ckouch (F. N.). Songs of Erin. London. 1841.
KoRNCASTLE (F. W.). Music of Ireland. 1844.
Lynch (J. P.). Melodies of Ireland. (1845.)
O'Daly. Poets and Poetry of Munster. 1849-60. 2 vols.
Petrie (George). Ancient Music of Ireland. Dublin, 1855.
Joyce (Patrick W.). Ancient Irish Music. Dublin, 1873.
Hoffmann. Ancient Music of Ireland, from the Petrie
collection. 1877.
Moffat (.Mfred). Minstrelsy of Ireland. Two hundred
Irish songs. . . with historical notes. London, 1897.
WALES,
Welsh national music is not only fostered at the great festivals held throughout the country, but
is intelligently and lovingly cultivated by the people at large. Peasants, miners, and industrial workers
of all kinds know and can sing the majority of the Welsh folk songs, and those who have heard a
good Welsh choir engaged in rendering some of the more martial melodies are not likely to forget
the performance. Like many other countries Wales is deficient on the poetical side, and consequently
suffers both from the lack of fine Welsh original words and adequate English translations. A Welsh
Burns, or even a Moore, is greatly needed.
The collections enumerated below represent but a small number of those actually issued. It
may be said generally that the Welsh collection, combining scholarship with poetical and musical
taste, has yet to appear.
Parry (John) and Evan Williams. Antient British Music,
or a collection of tunes never before published, which
are retained by the Cambro- Britons, more particularly
in North Wales. London, 1742,
Jones (Edward). Musical and Poetical Relicks of the
Welsh Bards. London, 1784. Second edition, 1794.
Bardic Museum. London, 1802. Vol. ii. of above.
Thomson (George). Select Collection of Original Welsh
Airs. London, 1809. 3 vols.
Parry (John). Cambrian Harmony. London (1810).
Parry (John), Bardd Alaw. The Welsh Harper. London
(1839-48). 2 vols.
Williams (Maria Jane). Ancient National Airs of Gwent
and Morganwg. Llandovery, 1844.
Thomas (John), leuan Dhu. The Cambrian Minstrel.
Merthyr, 1845.
Owen (John). Gems of Welsh Melody. Ruthin (i860).
Thomas (John), Pencerdd Gwalia. Collection of Welsh
Melodies. London, 1862. 2 vols., and editions in 4
vols, and i vol.
Parry (Joseph). Cambrian Minstrelsie. Edinburgh, 1890.
6 vols.
MANX.
MoNA Melodies, a collection of ancient and original airs of
the Isle of Man. London, 1820.
Moore (A. W.). Manx Ballads and Music. Douglas, 1896.
Gill(W. H.). Manx National Songs. London, 1896.
AUSTRIA-HUNGARY.
Owing chiefly to the mixture of races in the empire of Austria-Hungary, its folk music is of
the most varied and interesting kind. With Germans, Hungarians, Moravians, Poles, Bohemians,
Croats, Bosnians, Roumanians, and minor nationalities, all contributing to the common stock, it is
not remarkable to find immense differences in the national music of the empire. Apart from this,
the Austrians — to use this name for the whole — are perhaps the most musical nation in the world ;
that is to say, as regards the almost universal cultivation of music. At any rate, there can be no
doubt about this as regards the Hungarian or Magyar people, who possess a body of national songs
second only in number and interest to those of Scotland. Unfortunately, like the music of savage
peoples, Hungarian music loses much of its peculiar quality when not performed in its native
environment by native performers. A genuine Hungarian folk song sung by a foreigner is a very
different thing from a real native performance. It is impossible in such limited space to do more
than merely name a few of the older and most useful collections of Austrian folk music.
AUSTRIAN : GERMAN AND SLAVONIC.
AVenzig (Joseph). SLawische Volkslieder Ubersetzt. Halle,
1830. (Bohemian, Wendish, Bulgarian, and other
Slavonic songs.)
KuHAC (F. S.). Juziio-Slovjenske Narodne Popievke
(National songs of the Southern Slavs). 1878-81.
TSCHISCHKA and Schottky. Oesterreichische Volkslieder.
Pesth, 1844.
Spaun (Anton Ritter von). Die Oesterreichischen Volks-
weisen. Vienna, 1845.
Si!sz (Maria V.). Salzburgische Volks-Lieder. Salzburg,
1865.
MORAVIA.
SusiL (Frantisek). MoravskiS Ndrodni Pisn?. Briinn, 1840.
Enlarged edition, i860.
BOHEMIA.
Erbena (K. J.). Ndplwy Pjsnj Nirodnjch u Cechach.
(Collection of 300 Bohemian songs. ) Prague, 1847.
HUNGARY.
mItray (G.). Magyar Nepdalok. Ofen, 1852. Pesth,
1858. 2 vols. (Hungarian songs. )
The soDgs of Austrian Poland fGalicta) are noted under Russia.
NOTES O.V NATIONAL MUSIC.
279
FRANCE.
In every department of archaeological research the French take a foremost place, and certainly
they have not neglected to preserve and make accessible their very fine national son^^s Both as
rc-ards general and local collections, French musicians have been exemplary in the devotion
ta;,tc, and ability with which they have garnered and presented the songs of the French people. Of
all the Latin races, the French possess by far the finest body of folk song. It would be very difficult
indeed to select examples from the folk music of any land which would excel in charm and quaint
beauty some of the older French chansons. Like their rivals, the Germans, the French possess
many collections of folk music, and it is impossible in a work like this to do more than register the
titles of a few of the most useful books.
Ballard (J. B. C). L.i Clef des Chansonniers. P.iris.
1717. 3 vols.
NouvEAU Rccucil dc Chansons Chobics. La Haye, 1731-
3a. 7 vols.
.Vntholocik Franjoise. 1765. 3 vols.
La ClS du Caveau It TUiagc de tous les Chansonniers
Kranjais. Paris. 181 1.
Chants ct Cbanjons Populaires de la France. Paris, 1848.
3 vols.
Pakis and Gevatfrt. Chansons du XV«. siccle. Paris, 1875.
Koi.i.ANU (E.). Recueil dc Cbaiuons Populaires. Paris,
1883-87. s vols.
llotHMF. (F. M). OrifjinalKcsangc von Troubadours und
Minnesangcrn, dci 12-14 Jahrhundcrtc. Mainz (1884).
TiERSOT (Julien). Histoire de la Chanson Populaire en
France. Paris, 1889.
Champfleury and Weckerlin. Chansons Populaires des
Provinces de France. Paris, i860.
BUJKAUD (Jerome). Chants et Chansons Populaires des
Provinces de lOuesl. Niorl, 1866. 2 vols.
Bouillet (J. B.). Album Auvergnat. . . . Bourr&s,
Chansons, etc., en Patois d'.Auvcrgne. Moulins, 1853.
Villemarqu£ (T. HiTsart de la), Barzaz Breiz. Chants
Populaires de la Bretagne. Paris, 1846. 2 vols.
UOURCAULT-DUCOUDRAY (L. A.). Trentc Milodies Popu-
laires de la Basse- Bretagne. Paris, 1885.
Blad^(J. F.). PoBsies Populaires de la Uascogne. Pari^
188 1. 3 vols.
GERMANY.
Probably no country has been so industrious as Germany in the publication of national song
books, not only for herself, but for every other country. The general interest bestowed on music
and the enterprise of German music publishers largely account for this. The collections of German
folk music are almost numberless, and only a small selection has been noted in the following list.
/Vlthuugh the Germans possess a very large number of volkslieder, it must be confessed that the great
majority of them are tame, commonplace, and featureless compared with the songs of other nation
alities. A very large number of the popular songs of Germany are quite recent, and by known
composers, and most of these are written in the simple "lied" style, which has been so very
influential on song form generally. Some of the older German songs to be found in the works of
Korner, Becker, and Boehme are most interesting, and surpass in musical value the common
sentimental lieder of recent davs
Xretzschmer und Zuccalraaglio. Deutsche Volkslieder.
Berlin, 183840. 2 vols.
llRK und Irmer. Die Deutschen Volkslieder. Leipzig,
•843-
K.RK (Ludwig). Deutscher Liedcrhort. Berlin, 1856.
KRK(Ludwig). Deutscher Liederschatz, Leipzig. 3 vols.
Various editions.
KORNEK (P. M.). Historische Volkslieder aus dcm 16""
und I9'"V Jahrhundert. Stuttgart, 1840.
Mkcker (C. F.). Lieder und Weisen vcrgangener Jahr-
hunderte. Leipzig, 1853. (German songs of sixteenth,
seventeenth, eighteenth centuries.)
Boehme (F. M.). Altdeutsches Liederbuch Volkslieder
. . . 12 bis zum 17 JahrhunderL Leipzig, 1877.
Volksthilmliche Lieder der Deutschen in 18 und 19
J.>hrbundert. Leipzig. 1895.
DiTFURTH (F. W. Freiherm von). Frankische Volkslieder.
Leipzig, 1855, (Franconia or Bavaria).
Weckerli.s (J. B.). Chansons Populaires de r.A.lsace.
Paris, 1883. 2 vols.
H.\i-'PT und Schmalcr. Volkslieder der Wenden in der
Ober-und N'ieder-Lausitz. Grimma, 1841. 2 vols.
(Wendish songs.)
Fallersleben und Richter. Schlesische Volkslieder.
Leipzig, 1842. (Silesian songs.)
SWITZERLAND.
KuHN UND Wysz. Sammlung von Schweizer-Kuhreihen
und Volksliedern. Bern, i8i8. Also edition of
1826.
Tarenne (G.). R^cherches sur les Ranz des Vaches.
Paris, 1813.
280
NOTES ON NATIONAL MUSIC.
GREECE, TURKEY, AND THE BALKAN STATES.
The best and most characteristic music of the Balkan peninsula is that of the Roumanians
(Wallachians) and Servians. Modern Greece also supplies many fine examples of melody. Genuine-
Turkish music is closely allied to Arabian music, and much of what passes as Turkish music —
marches by Mozart, Beethoven, and other German and French composers — has no claim to the
name.
Sanders (D. H,). Das Volksleben cler Neugriechen. . .
Mannheim, 1844.
BOURGAULT-DUCOUDRAT. Trente Melodies populaires de
Grfece et d'Orient. Paris {1876).
KlESEWETTER (R. G.). Ueber die Musik der neuern
Griechen. Leipzig, 1838.
Westphal (R. ). Die Musik des Griechischen Alterthumes.
Leipzig, 1883.
Deiters (H.). Studien zu den Griechischen Musikern.
Posen, 1881.
Weitzmann (G. F.). Geschichte der Griechischen Musik.
Berlin, 1855.
Kalauz (A.). Serbische Melodien. Vienna, 1850.
Wachmann (J. A.). Melodies Valaques pour le Pi.ino.
Vienna (1850). 4 parts. (Wallachian or Roumanian.
music.)
ITALY.
General collections of Italian folk music are few in number and inferior in quality. There are,
however, several good collections of Tuscan, Roman, Neapolitan, Piedmontese, Sicilian, and
Venetian music, in which are to be found the best specimens of Italian national music. Like the
Spaniards, the Italians are excessively fond of dance measures, and the folk songs are, to a
larger extent than most other countries, based upon dance tunes.
Passatempi Musicali. Naples, Girard (1850).
Teschnek (G. W. ). Collezione di Canzonette, Barcarole e
Calascionate Napolitane, Veneziane, Siciliane, etc.
Berlin.
Gerhard (W. ). Neapolitanische Volkslieder. Leipzig
(N.D.).
Meglio (V. de). 50 Canzoni Popolari NapolitanL Milan
(N.D.).
NETHERLANDS.
WiLLEiJS(J. F.). Onde Vlaeinsche Licderen. Ghent, 1848.
Coussemakek (E. de). Chants Populaires des Flamands
de France. Ghent, 1856.
Meyrac(A.). Traditions, etc., des .Ardennes. Charleville,
1890.
Valerius (A.). Niederlandsch Gedenck-clang (1626).
Uitgave van het Matschappij tot hev d. Toonkunst.
Utrecht, 1871.
RUSSIA AND POLAND.
Owing to the great admi.xture of races, Russia has a varied and exceedingly fine body of folk
music, ranging from Lapland to the Caucasus. Few countries possess so many beautiful and
quaint folk songs, and only one or two nations have been more industrious in the publication
of collections.
The Poles have also a remarkably interesting store of folk songs. Some of these belong
to Austrian Poland (Galicia), but for convenience the Polish collections are grouped under Russia.
Pratch(J,). Sobranie Roosskich Nai odntich. St. Peters-
burg, 1790. Also sditions, 1806, 1815.
KociPINSKi (A.) Pi.sni, Dnmki i Szumki Ruskoho Naro-
dana PodoH, etc. Kieff. 1861.
Pyacenennik ele Polnoy sobranie stariich e noviich
Rossisskich narodniich e protchich. St. Petersburg,
Gustenberg & Ditmar, N.D. 3 vols.
LITHUANIA.
Rhesa (L. J.). Dainos: oder Lrttliauischo Volkslieder.
BL-rlin, 1843.
Nessklman.m (G. H. F.). Litthauische Volkslieder.
Berlin, 1853.
Bart.sch (C). Meloili.on Litauischcr Volkslieder. Heidel-
berg, 1886-89. - ^'ols.
FINLAND,
SchrotER. Finnische Runen. Stuttgart (1834).
Illberg(F. W. ). Suomalaisia Kansan-lauluja ja Soitelmia,
Helsingfors, 1867.
COLLAN and Reinholm. Suomcn Kansan Laulantoja
Pianolla Soitettavia. Helsingfors, 1849; also 1871.
POLAND.
Kolberg (Oskar). Piesni Ludu Polskiego zebral i wydal.
Warsaw, 1857.
Baranski (F.). Jeszcze Polska nie Zginela ! Lemberg,
N.D.
Zaleski (V.) and K. Lipinski. Piesni Polskie i Ruskie
Ludu Galicyjskiego. Lemberg, 1833.
NOTES O.V NATIONAL MUSIC.
281
SCANDINAVIA.
The countries of Denmark, Norway, and Sweden possess among them a large and interesting
collection of folk songs, which have been well edited and preserved in different works ; that of
Bcrggrecn being especially notable.
DENMARK.
Abkamamson, Nyerup, og Rahbck, Udvalgte Danske
Viser. Copenhagen, 1813. 5 vols.
BXBCGREEN (A. P.). Danske Folkc-Sange og Melodicr.
Copenbagen, i860.
NORWAY.
LandstaI) (M. B). Norskc FolkevisCT. Christiania, 1853.
BUGCE (SopbuE). Uamle Norske Folkeviser. Chrisliania,
1858.
SWEDEN.
Oeijer and Afzelius. Svenska Folk-visor. Stockholm,
1814-16, 3 vols. ; also 1846, 3 vols,
Akwidsson (A. I.). Svenska Fornsanger. Stockholm.
18^-42. 3 vols.
AHLSTKOM and Boman. Walda Svenska Folksanjcr,
Stockholm, n,d.
Dybeck (Richard). Svenska Vallvisor och Homlalar.
Stockholm, 1846.
Runa et Hefteskrift. Stockholm, 1842-50
SPAIN AND PORTUGAL.
Like Italy, both Spain and Portugal have a somewhat frivolous body of folk music, abounding
in dance measures, and on the whole not distinguished by any feature of great interest. Mexico and
the various South American republics have been influenced entirely by the music of the Peninsula,
and thus it happens that Spanish national music is much more widespread than that of most
other countries. The collections are not of great importance, and the Spaniards have not yet done
much themselves to preserve and edit their national music.
Kestnur (H). .\uswahl Spaniscbcr und Portugisischer
Lieder. Hunovcr, 1846-50. 3 vols.
LroTi> {(■.). Collection of Peninsular Melodies. London,
183a a vols.
FUEITKS (M. S ). Historia de la Miisica EspaAola.
Madrid, 1855-59. 4 vols.
FOL'QUIER (.■\.). Chants Populaires Espagnols. Paris,
1882.
MiLCENT (F. D.). Jomal de Modinhas. Lisbon (1800),
M, (F. ). Lusitanian Garland ; Twelve Portuguese Melodies.
London (1850).
BoRDES(Charlesj. Cent Ch.insonspopulaires Basques. 1894.
AMERICA.
The national music of America may be roughly divided into four classes: — i. The songs of
the French Canadians ; 2. The patriotic songs of the United States ; 3. The Slave songs of the
United States ; 4. The Spanish and Portuguese songs of Mexico and South America. The
aboriginal music is separately referred to. Collections of classes i, 2, and 3 are fairiy plentiful, but
of class 4 the collections are few and unimportant. The United States has not yet developed a
characteristic folk music of its own, hut it is the home of the Christy minstrel or Coon song ; for
which, in its more vulgar form, the musical world has no particular reason to be thankful
SLAVC S0N«S in the United States. By .■Mien, Ware and
Gamson. New York. 1867.
EUON (Louis C. ). The National Music of America.
Boston, 190a
Smith (Nicholas). Stories of Great National Songs.
Milwaukee, 1899.
Baker (T. ). Die Musik Nordamerikanischen Wilden.
I>eipzig, 1S82.
COLECCIOS de 34 Cancioncs y Jaraljes Mexicanos. Ham-
burg. N. D.
Knight (Edward). Canadian Airs, collected by Lieutenant
Back. London. 1823.
Gagnon (Ernest). Chaiuons populaires du Canada.
Quebec, 1865.
Perdiz (G. de la). Seis Canciones Espafloles del Peni y
Chile. London, 1846.
Clasing(J. H.). Zwblf Brasilianische Volkslieder. Ham-
burg. N.D.
EASTERN MUSIC.
An adequate and comprehensive collection of genuine Oriental music is one ot the chief needs
of the musical student. The collections which have been pubUshed of the musiC of various
Eastern countries are somewhat fragmenUry, and the work of the musician who attempts a
collection on general lines will consequently be verj- much increased. The best-known books are
noted in the following list, but in addition it should be stated that some of the best specimens
and descriptions are to be found in general histories of music.
282
NOTES ON NATIONAL MUSIC.
EASTERN-GENERAL.
GUATELLI (M. C). La Lyre Orientale : recueil d'Airs
Orientaux. Constantinople, 1858.
Macgregor (John). Twenty Melodies from the Egyptian,
Greek, Jewish, Syrian, Turkish, and Arabic. London,
N D. (Novello. )
Dickson (C. H.). Oriental and African Music. London,
1858.
ARABIAN.
Christianowitch (Ale.\. ) Esquisse Historique de la
Musique Arabe aux tentps anciens. Cologne, 1863.
Daniel (F. S.). La Musique Arabe. Algiers, 1863 ; also,
1879 with 15 tunes.
Stadler (M.). Original-Chore der Derwische Mewlewi,
Vienna (1834).
HINDU.
Bird (Wm. H.) The Oriental Miscellany; being a
collection of the most favourite airs of Hindostan.
Calcutta, 1789.
Trinks (C). Collection of Hindostanee Songs.
Williamson (T. G.). Original Hindostanee Airs. Lon-
don, 1797-98. 2 vols.
W!LLARD(N. a.). Treatise on the Music of Hindoostan.
Calcutta, 1834.
Saurindramohana (Sarman). Hindu Music. Calcutta,
1875.
FARTHER INDIA.
DuMOUTiER (G). Les Chantes et les Traditions Populaires
des Annamites. Paris, 1890.
JAPAN.
Siebold, Japanische Melodien. N. D.
Bevan (Paul) Miyako-Dori. Japanese Melodies. London
(1893)-
PiGGOTT (F. T. ) Music and Musical Instruments of
Japan (1893).
HEBREW AND GIPSY.
Nathan (Isaac) Ancient and Modern Hebrew Melodies.
London, 1815, 1829, and 1861.
De Sola (D. A.) Ancient Melodies of the Liturgy of the
Spanish and Portuguese Jews. London, 1857.
Weintraub (H.). Schire Beth Adonai, oder Tempel-
gesange fur den Gottesdienst der Israeliten heraus-
gegeben. Leipzig, 1859.
GIPSY.
JiiLLIG (Franz) Zehn Russische Zigeunerlieder. Vienna.
Smith (L. A. ) Through Romany Songland. London.
COLLECTIONS OF DANCE MUSIC.
CAHUSAC (M. de). La Danse Ancienne et Moderne. La
Haye, 1754. 3 vols.
Kohler (C. Louis H.). Volkstiinze aller Nationen der
Erde. Brunswick (1854).
CzERVPiNSKi (Albert). Geschichte der Tanzkunst. Leipzig,
1862.
Schubert (F. L.) Die Tanzmusik dargestellt in ihrer
historischer entwickelung. Leipzig, 1S67.
Waldau (A.) Bohmische Nationaltanze. Prague,
1859.
BoEHME (Franz M. ) Geschichte des Tanzes in Deutschland.
. . . Leipzig, 1886.
SAVAGE RACES.
The songs and dances of the aboriginal tribes of North and South America, Africa, Asia, and
Polynesia have never been systematically collected, and there is no single work to which the
enquirer can be referred for information. Most of our knowledge of the music of savage races
has been gathered by travellers, and their descriptions, together with the tunes they collected,
are scattered throughout thousands of works of travel. A separate index of these references would
be of much value to musical students, but the task of compiling it would be one of immense
magnitude. A few references have been gathered together by Engel, in his Study of National
Music, but this seems to be the only attempt made, apart from the entries in certain public library
catalogues which note the occurrence of music in books of every kind. Apart from the difficulty of
procuring collected specimens of the music of savage races in one place, there is a further difficulty m
the notation in which many of them are set down in different works of travel. It may be stated,
generally, that there is hardly any accurate idea conveyed by ordinary musical notation of how a
wild, uncultivated tune will sound, hence the untrustworthiness of most of the published specimens :
and to this may be added the absence of any recognised method of noting down such tunes.
GENERAL INDEX.
Entries distinguished by a small n (n16) are references to the footnotes.
Abcrdcrnshirc Ballad, - - ■ 27
Addison, ni6
Africa, Songs and U.inci:,, - 217232
African Muiic. - - . 282, n229
Ah I il is hard to say, - - - 91
Alfred, a masque-, - - - - na
Algerian Song. . . - 221
America, N.Uion.iI Song. . n^
America, National Music, - - 2S1
America, Songs and Dances, - 18; 216
America, South, Music, - 205-216
American Indian Airs, - • 195. 214
Anhawdd Ymadael, * ■ • 5S
Ann Alikr, 83
Annnm, National Music, . 282
Arabian Dance. .... 215
Arabian National Music, - - 28,2
Arabian Song, - • - • 2')t
Argentine Kcpublic, National Song, 208
Armenian Song. ... - 236
Arnc, T. A. - - - • - 2
As 1 rose on Sunday morning, 83
Ash Grove, 56
Ashanti l>ance, .... 226
Asia, Songs and Dances, - 333-256
Al Saratotf, 145
Auf'ni U-rg steht a scbloss, • 90
Auld Kang Synt-, - - - - 2t
Aiistmlian Alxinxinal Air, - - 257
Austria- Hungan,-, National Music, - 278
Auslrian-ltali.iii V\*.ir, - - - 11120
Austrian National Hymn, - - 62
Austrian Sonijs and Dances, - 6J-74
Austrian Wain. - - - - 64
Aulr'ier par la Matinie, 1' • - 79
Balk.m States, Songs and Dances, 103-11 6
lUlk.ui Stairs, N.iiional Music, - 280
Hannockliiirn. ILitik-of - - - nao
Ikistjue N.itiunal Music, - - »ii78, 281
ltas<|ue Song, 178
Battle Hymn of the Republic, ■ 190
Bavarian Song, - - - - 90
Hcauharnais, Hortense dc - -78
neauing.lxllfing, dancing, drinking, 41
Hccker. Nicolaus. - - - ■ 89
Hcdouin Air, 222
FV-lgium, National Song, - - 138
Hcllt-au, Remv .... 80
Beneath the sky, .... 148
Bengali Tune. .... 240
Bdrangcr, I'. J. de - Sx
Wrat, K, 82
Bcrgen-op Zoom, .... 134
Bergen, thou sturdy and bravest of
towns, 134
Berggreen, ----- :'7S
Bibliography of National Music, - 275
Bjerregaartl. H. .\. - - - 166
Bjt3rnson, H. 107
Bless our Kind with gladness, - 69
Blom. C. 166
Blondel, ------ n^a
Boatman, The - - - - 28
Boer Nation.-il Vo'kslicd, - - 231
Boer Patriotic Song. - - - 2 ^a
Bohemia, National Music, - - 278
Bohemian Maid, The - - - 66
Bohemian Songs and Dances, 66-68
Bolero. »77
Bolivi.i, National Song, - - - 206
Bombay Air. ... . 243
Bonnie Bncr Bush. ... B26
Border \V idow's Lament, • - 26
Borrow, G. - - - - - ni$
Bosnian Dance, ... - 74
BoswelU Sir A. . - - 14. 48
Bourr^. 86, ^85
Bowling's Cheskian Anthology, - 66
Brabanconne, La - - - - 138
Brangill of Poictre . - - . nj
Branle, French Dance, - - 84, nSj
Brave Llewelyn, .... 34
Brave my bark set sail. - . - 165
Brazil, National Music, - . - 281
Brazil, National Tune. - - .210
Brazilian Indians' Rowing Song, . 215
Hremncr, R., Reels, - - - n3i
Breton Song, - - . . - 83
Bright is the sun on the ocean, - 127
Bright red sun in ocKiti slept, • 162
Bright sun, before whose glorious
"■ay, 36
British National Ode, ... 2
Brittany, Music of - - - 83, 279
BrockmacI, n^j
Brown -ha ir'd m.iidcn, - - - 29
Bruce to his men at Bannix:kburn, - 20
Bru-ssels, 0138
Bulgarian Song. - - . - iii
Bull, John «4
Bunting, E., Irish Music, »I36, 1138, «39
Burmese Air, ..... 244
Burns, R. .... n2o, 21
Byron, Lord - 104, 263. (Waltz) n64
Campenhout, F. van
- 138
Canada, Music of - - 197-204, 281
Canada, National Song (English
, - iq8
C.anad.i, National Song (French)
- 200
Canadian Indian Airs, -
• 203
Captain Morgan's M.orch,
- 60
Caradoc, ....
- n;o
Carey. Henr}-
"4, It
Carlisle.
- B24
(!.arnival of Venice,
- 126
Carol, '' God rest you," -
6
Vattle from the kraal.
- 220
Cha Lok Lo-aiig, -
- 256
Chambers' Songs of Scotland,
- 1126
Charles Stuart,
- n24
Cherokee Cradle Song, -
• »9S
Children of Norway,
- 166
Chilian Song, - - - .
- 309
Chinese Dance,
- 2S«
Chinese Songs,
248-250
Chiquito Indian Tune, -
- 214
Chon Kino, . . . -
- ''2.';4
Christian VII. of Denmark, -
- "4
Christmas Carols, .
. «6
Civil War, U.S. Songs, .
- ni90
Cockburn, Mrs.
22
Cockburn of Henderland.
- >I26
Codiad vr Hcdvdd,
- 58
Collections of National Music,
275-282
College Hornpipe. -
- ni7
Come, Lasses and lads, -
8
Come to the plain, -
- 109
Comforter, The
- 107
Conway Castle,
- 48
Coolun, The . - - -
- 37
Cornish Mav Song,
- 14
Cossack Dance,
- '52
Cossack Love Song.
- 146
Country D.\nces ( English),
16, 18
Country Dance (Welsh),
- 59
Coupcr, R. - - - -
- 30
Cowpcr, William -
- IS
Crotch, William -
- 275
Csdrdd-s,
- 72
Cumming, A., Strathspeys, -
- "32
Cummings, W. H.
- n2l
Daghela av.anli un passo,
Dakota Scalp Dance,
Dale, J. ...
Dance Music Collections,
120
195
Dances, National.
Class.
Bolero, Spain, -
Bourr^, France,
Branle, France,
Corrobbery, S. Australia,-
Country Dances, English,
\Valcs, ...
Csdrd4s, Hungary, -
Fandango, Spain, -
Gavotte, France,
Grossvater, Germany,
Hailing, Norway, .
Hornpi[)e, England,
Jig, Ireland, -
Landler, German, .
Matelot, Holland, -
Mazurka, Poland, -
Minuet, France,
Polka, Bohemia,
Polonaise, Poland, -
Polska, Sweden,
Reel, Denmark,
Scotland, -
Strathspey, Scotland,
Tarantella, Italy,
Waltz, Austria,
- 84
- 258
16, 18
98
168
•36
158
85
68
156
174
164
128
64
Dances, National.
Coun/ry.
Arabia, ..... 235
Ashanti, 226
Australia, 258
Austria, ----- 64
Bohemia, 68
Bosnia, - - - - 74
China, . - . - . 251
Cossack, - - . - . 152
Dakota, ..... 195
Denmark, .... 164
England, i6-i8
Fingo, 226
Flemish, 140
France, 8486
Germany, 97-98
Gipsy. 73
Greece, ..... 108
Holland. ..... 136
Hungary, 72-73
Ireland, . - -' - - 44
Italy,
Japan,
Lapland, -
Malaysia, -
Norway, -
Poland, -
Portugal, -
Peru.
Roumania.
Russia.
128
- 254
- 148
- 246
- 168
156-158
- 184
- 213
- "3
151-152
Scotland. 31-32
Spain, - - - 177-179-180
Sweden, .... 174
Switzerland, _ _ - 101-102
Turkey, 110
Wales. .
Wends, -
Dancing Master,
Danish Ballad,
Danish Love Song,
Danish Patriotic Song,
Danish Reel. -
Daughters of Erin, -
David, F. "235
Days in the wood, - - - - 147
Denmark, National Music, - - 281
Denmark, National Songs, - .160161
Departure of the king,
Der en et yndigt land,
'63
162
164
284
GENERAL INDEX.
Desolation, ...
Deuteromelia. -
Die Wacht am Rhein, -
Dioclesian, ...
Dombrovssl^i's Marcli,
Dove sits on a lily bough,
Dow, D., Strathspeys, -
Down amonR the dead men,
Drouet, L. F. P. -
Dufvans sang pa Liljeqvist,
Du Puy, J. - - -
D'Urfey, T. - - -
Dutch Hornpipe, -
Dutch National Music, -
Dutch National Song,
Dutch War Song, -
Du Toit, St. ■ . -
Dyer, K. - . .
Dymen Pozarow, Z.
East Indian Song, .
Easter Hymn,
Eastern Music,
Edite, bibite, -
Egyptian love song,
Egyptian Marches, -
Egyptian Music,
Elliott, Jane -
Emigrant's complaint, -
England, National Music,
English National Songs,
Erkel, Franz -
Esk, River -
Eskimo Song, -
Ethelfrid,
Ettrick Forest,
Evald, J. - - •
136
280
132
134
Fain would I sec other places.
Fair-haired maiden,
Fairy tale is thy mouth, -
Fandango, . . . -
Fare thee well, old world.
Father and I went down to camp,
Fear a Bhita . - . -
Fear not, my sweetheart,
Ferruh, - . - . -
Fields are rich with golden grain,
Fiji Island Song,
Fingo Dance,
Finland, National Music,
Finland's Forest, -
Finnish F'olk Song,
Fisherman, The
Flemish Ballad,
Flemish Dance,
Flemish Folk Songs,
Flodden, Battle of
Flowers of the forest.
For King and Fatherland,
Forsaken, ....
Foster, Stephen C. - -
France, National Music,
France, Songs and Dances,
French-Canadian Songs, - ;
French National Hymn,
French Royalist Song, -
From the smiling fields of Rakosh,
From the Volga was he riding,
Gabe:ti, G. - -
Gadlys, Y. - - - -
Garibaldi, W^ir Hymn, -
Garryowen, - . - -
Gavotte, . - - -
German Country Dance,
German Students' Sengs,
Germany. National Music
Germany, Songs of
Gilfillan, R. - - .
Gipsy The
Gipsy Dance,
Gipsy Music. -
Gjeite Lok.
Gleim, T. W. L. -
Glen, John -
Glenlogie,
Goat-herd's call.
Go then, 'tis vain, -
Go where glory waits thee
God bless the Prince of Wales
God girt her about with the surges,
276
6-17
67
237
144
260
226
280
133
140
37, 270
132
143
'94
279
146
87-98
- 170
- 92
31, «32
«46
259
God preserve our gracious Emp'ror,
God rest you, merry gentlemen,
God save the King, - - ?/
God save the King,
God, the All-terrible,
Gondola, The . _ . _
Gordon Family, . - . .
Gow's Repository, - . . -
Graham, R. Cunninghame
Grandfather dance,-
Grant, Anne .
Greece, National Music, ■
Greek, Ancient, melody,-
Greek Dance, -
Greek, Modern, song,
Greek National Song,
Grossvatcr tanz.
Groves of Blaraey, -
Guarracha, La
Haibel. J.
Hail, Columbia, . - - -
Hail the sun's bright morning rays,
Hakkafoth,
Hailing, Norwegian Dance, -
Hark ! how loud, -
Hark ! I hear the foe advancing.
5,58
280
106
Ha
II.
Hartmann, J. -
Hartwell, H. - - -
Have you been at Carrick?
Haydn, Joseph
Hebrew Music,
Hebrew Songs,
Hebridean Song,
Heiberg, P. A.
Heil dir ini Sieger-kranz,
Hela'r Ysgyfarnog.-
Helston furry dance,
Hemans, F. D.
Here's a health to the king.
Here's good wind, •
Hey, tutti, taiti,
Hindu child, -
Hindu Music, -
Hindu Songs, - - .
Holland, National Music,
Holland, National Song,
Hopkinson, Joseph
Horo, my brown-hair'd maiden
Hornpipe, ...
Hortense de Beauharnais,
Hottentot Song,
How lovely this sweet branch
How wretched is the anguish,
Howe, Julia Ward -
Hundred Pipers.
Hungarian Gipsies, -
Hungarian National Hymn,
Hungarian Songs and Dances,
Hungary, National Music,
Hunter, Anne
Hunting the hare, -
Hurdy-gurdy tune, •
Hush, hush, baby, -
Hush of noon ii round me,
Icelandic folk-song,
I climb the mountain,
I could not epeak with him,
I dance the bright bolero,
I fee'd a lad, -
I go unto the fair, -
I have a cottage by tlie hill,
I lay on that rock, -
I wish you would marry mo now,
If doughty deeds my lady please,
I'm a sweet Bohemian maid, -
I'm troubled in mind.
In days of yore,
India, Songs of - - -
Indian, American, Music,
Indian, East, Music,
Indian Serenade, -
Indian, South American, Tunes,
Invitation, The
Ireland, National Music,
Ireland, Songs and Dances, -
Irish Jig. - . . -
Irish National Song,
Irish War Song,
228
46
282
:-264
241
282
1-243
2S0
132
78
229
250
176
190
- 69-73
165
239
177
239-243
195. 214
240
214
277
33-44
Is there a heart ?
Isle of Man, -
Italy, National Music, -
Italy, National Tune,
Italy, Songs and Dances,
Italian Dance. -
Italian hurdy-gurdy tune,
Italian patriotic hymn, -
It was a dream.
It was Dunois, the young and
I've seen the smiling,
Jacob, drink, -
Jacobite Songs,
James V. of Scotland,
Japan, National Hymn, -
Japan, National Music, -
Japanese LuUaby, -
Japanese Processional Tune,
Japanese M.iich, -
lartam kertbea r6zsdk kozOtt,
jast, L. S. - - 111. :
Jastrzebski, S. de -
Javanese Air, •
Jeg gik mig i skoven,
Jenneval, Dr.
Jcphtha's daughter,
Jeszeza Polska.
Jewish Funeral Dirge.
Jewish Music, .
Jig, Irish,
Jodel, .
John Brown's body.
Jones' Relicks.
Joy of my heart,
joy to thee, my brave canoe,
Joyce's Irish Music.
Judgment of Paris. -
- 280
- 120
117-130
- 124
- «I20
- 209
brave, 78
22
252
- 282
• 255
- 254
■ 253
- 71
242, 260
'. 153-155
■ 24s
- 162
- 138
- 263
- 153
- 262
-264, 282
44
■ "65
- 190
«55. «S8
Kaffir Music, -
Karl John,
Key, Francis Scott -
Khedival March, -
Ki hineh kachomer,
Kidlinton, Green •
Killa Bukk, -
Kimi-ga-yo, -
King Christian.
King of Yvetot,
Kosciusko Polonaise,
Kroyer. H. E.
Kiihreihen.
Kunze, G. . -
Kurna na pace bat,
Land of my fathers.
Land o' the leal.
Litndler, ....
Lapland National Dance.
Lapland Song.
Lark, The ...
Last rose of summer.
Lays from Strathearn, -
Lithuania, National Music,
Lithuanian Folk Song, -
Llewelvn brave,
Llwyn'On,
Long I gaze across the snow,
Longkie, . - -
Loth to depart.
Loud let the glasses clink.
Low her voice is. soft and kind,
Lowlands of Holland,
Lover's prayer.
Lullabies, ...
Lyoff, Ale.vis F. von
264
18
170
252
160
81
156
«46
- 148
- «22
- 38
- n24
- 280
- 150
- 54
- 56
- 204
- 24t;
- 55
- 94
- 107
- "23
- 178
150. 25s
. 142
Mabrooka,
Mac Bean, L. -
Macleod, P.-
Madagascar Tune,
Magasan repul a daru sz<5pen
Maid of the valley, -
Malagasy Song,
Malay Dance, -
Malay Song, .
Mallet or Malloch, D. -
Manx Music, -
Maple leaf for ever,
March of the men of Harlech,
sz<51. -
234
«29
. 228
- 246
- 245
«2
'I5. 278
GENERAL INDEX.
285
M^rcbioncss of f luDtly, Strathspey
Mor^ilUiL&c Hynia.
Mar^h of KhudilUn,
Miushall, Wm.
Mnrsug s daughter, -
Malrlot,
Mazurka, ....
May our Lord for ever reign, -
Maypole soiik,
Mrrcantnii, War Hymoof Uaribnldi
Mrrvhanl s daugbler,
Mexican Soup.
*Mid fire and dense smoke,
Mild is the sun on this soft dewy
nioming. - • - . -
Miller's wedding, . . . -
Mine eyes have seen the glory,
Minka, - - • -
Minstrelsy of the Scottish Border,
Minuet, - . - - -
Mi->ka and Panni. •
Xliss lUktr s Hornpipe, -
Mo nighran donn, llhotdheach.
Modal, A. - - - -
Monks of Rangor's March,
Montenegro, National Song,
Mou-tee llowcr,
Moore, Thoni.-u 37. 38, 39, ^3, la
Moorish Instrumental Tunc,
Moorish Songs,
Moravia, NatiofvU Music,
Moravian Song,
MunaKhuddlan, -
Mournful one, ...
Muir,Alcx. ...
Munstcr love song, -
Musical Maga/mc, 1767,
Musset, Alfred de -
My country 1 'lis of thee.
My ht>p<-s are dreams of night
My love he built me a bonnie bower
My Norraandy,
Myleclioraine,
Naime, Baroness -
Napier. William
Napoleon I., -
Nar jag var ett lilel,
Narnnyeri Corrobbery,
National Music, Notes, -
Neapolitan Song, -
Ncckens I'olska,
Negro hymn. -
Negro t'lantation song, -
Neruda, Jost-f-
Nethcrl.inds, National Music,
Ncthei lands. Songs and Dances,
New Zealand National Song,
Ni^ht dolh on the river fall.
Nightingale, O nightingale,
Nordraok, R.
Norman Song,
North Highland Song. -
Norway, N.itional Song (modem),
Norway. National Song (old),
Norway. National Music,
Norwegian Dance, - - -
Norwegian goatherd's call, -
Now the sun is low.
76
5°
>03
.58
252
17a
258
275-282
O Bolivians, -
O come, my love, -
Oh I come to me when daylight sets
Oh, Haidce, . - - -
Oh, land I 'mong the mountains.
Oh, my Ferruh, so proud.
Oh, Paddy dear, and did you hear
Oh, rede me, dear mother,
O say can you set ? -
O sue not thou.
Oh, tell me how to woo thee !
Oh, why left I my banie ?
Oh, ye within whose burning veins,
Oceania, Songs,
Oehlenschlagcr, A. -
Of all the girls that ru^ so smart
Of noble race was Shenkin, -
Offa of Mercia,
Old folks at home, . . -
Oliphant, C, uc Naime, Baroness.
Ohphani, T. - - -
■93
»94
>t6S
282
-140
259
243
M3
167
57-260
201
2^5
Oiivieri, A, - - - - -
On the hill stands a tower.
Once more o'er Transvaal hills.
Oriental Music, ....
Oswald, J. - . . J120, n22
Otbyty Pis4r,
Our sorrow is vain, ...
Oxenford, Edward . . -
Paddling Song, . . - ,
Painful IS my heart, ...
Paoletti, Polka Mililaire,
Paraguay, Song, - - . . 212
Parry's British Music, - . . «52
partant pour la Syrie, ... 78
Pearl I seek of rarest worth, . - 80
Pearl, The 80
Per Alaw, - - ... 52
Persian Songs, - - - 237, 238
Peru, National Music, • - - 281
Peruvian Dance, _ . _ - 213
Pije kuba, 155
Pills to purge melancholy,
I*indar. - . - - -
Plantation Hymn, -
Playford's Dancing Master. -
Playford's Division Violin,
Poland is not lost for ever,
Poland, National Music,
Poland, National Song (1813),
Poland, National Song (1863),
Poland, Songs and Dances. -
Polish Folk-bong, - . -
Polka,
Polonaise, . . - .
Polska, . . . - .
Portugal, N3tion.al Music,
Portugal, National Tune,
Portuguese Dance, - - -
Portuguese Song. - . -
President's March, - - -
F'russian Song (1840).
Purcell, H. - - - -
Pythian Ode, . - . -
- 106
- >93
- "44
- <ii6
- »S3
■ 280
- »53
- «54
153-'S8
- 155
- 68
- 156
181
184
182
46.
Quiet is the bright night, - - 13°
Roinforth, Elii. - - " - - nu,
Kakcs of Mallow, . - - - 41
Kakolicy M.irch, ... - «i69
Ramsay, A. . . . - W2I
Ram de Vaches, ... - too
Red. red is the path to glory, - - 3°
Red Sara/an, 143
Reel. Danish. 164
Keel. Scots, 3'
Kees, C F. van - - - - 23«
Reeves. 'Wm. P. - - - - 259
Reign of my king, - - . - 252
Remain, love I - - - - 221
Rest, 93
Rhine Songs. - - - - «88, 89
Rhyfelgyrch gwyr Harlech, - 4^
Richard II.. "S^
Right nobly gave, - - - - 231
Rise, O Servians ! - - - - "4
Rising of the lark, . - - - 58
Rockof Cader Idris, - - - 56
RogPT de Coverley, dance, - - 16
Romance of Dunois, . . - 78
Rosa, 137
Rose had been wash'd. - - - '5
Rose in the air, - - - - 182
Rose, The '5
Rosina, "*'
Rouget de Lisle, C. J. - - - 76
Roumanian National Music, - - 280
Roumanian Dance, ... 113
Roumanian Lullaby, - - - 112
Rowing Songs. - - 201, 202, 215
Rule, Britannia I . - - • 2
Runo, Finnish, . - - - «I47
Rural dance about the maypole, - «8
Russia, National Music, - - - 280
Russia, National Song, - . - 142
Russia, Songs and Dances, - I4'-I52
Russian Dance, - - - - 151
Russian Harvest Hymn, - - - 144
Rutherford, Alison . - - - 22
Rutherford's Dances, - - - «44
Sailor's Hornpipe, - - - - K17
Saint Patrick's Day, Jig. - - 44
(»900). «34
Sally in our Alley, - - - .11
Sand is blowing, - - . . 225
Sardinia, National Tune, - - 1^5
.Sarga csizsmas M iska, - - - 70
.Savage Races, Music of - - - 282
Scandinavia, National Music,- . 281
Scandinavia, Songs and Dances, 159-174
Schneckcnburger, Max - - - 88
Schumacher, B. G. - - • - n\
Scotland, National Music, - - 276
Scotland, Songs and Dances, - -20-32
Scots Reel, 31
Scots wha hac, - - - - 20
.Scott, Sir Waltei - 53, K78, naa, H26
Sc»a Song, - . ... 7
See, oh see, the breaking day I - 58
SegudiUa Bolero, - - - - 177
Servia, National Music, - - - j8o
Servi.an National Song, - - - 114
Shepherd's Call, . . - - 83
Shield, 'Wm. nit
Should auld acquaintance be forgot, 2t
Siamese Song, .... 256
Sicilian Song, ... - 127
Silesian Song, - - - - 93
Since our country, - . - . 263
Singer, The - ... - 236
Sinking sun is beaming, - - - 48
Sir Alexander Don's Strathspey, . «2i
Sir Roger de Coverley, ... 16
Skene MS.. .... «7. >»2a
Slave Songs, ni03
.Slavonic Music, .... 278
Sleep, my bonny blue-eyed little
treasure, - - • - - no
Smith. J. S. i38
Smith. Samuel F. - - - - "4
So mild was the evening, - - 55
Songs, National.
Appendix, - - - a65*74
Argentina, . _ . . 208
Austria, . - - ■
Uelgiom, . - - .
Boer, ....
Bolivia, ....
Brazil, . . -
Britain, ....
Canada (British),
(French),
China,
Denmark,
Egypt, -
France, -
(iermany,
Greece, ...
Holland, -
Hungary,
Ireland, - - -
Italy, . . - ]
Japan, _ - -
Montenegro, -
New Zealand, -
Norway, ...
Poland, -
Portugal,
Russia, ...
Sardinia, .
Scotland, .
Servia, - - -
South Africa, -
Spain, . . -
Sweden, . - -
Transvaal,
Turkey, . - -
United States, -
Wales, -
Sijnner af Norge, -
Sons of Greece,
Sore is my heart, -
South Africa, National Song,
South America, Songs, etc..
»33
«3«
206
210
3.4
. 200
- 248
160, 161
218. 219
76,78
- 104
- 132
- 69
- 34
18, 120-iaa
- 352
- 116
- =59
- 166, 167
• IS3. '54
- 181
. 142
- "s
20
. 114
- 230
- 176
- 171
- 231
- 109
- 186, 188
. - 46
. 166
- 104
- 249
- 230
306-216
South Australian Aboriginal Air, - 258
Southey on " Rule. Britannia," - »2
Spain, National Music, - - - 281
Spain, National Song, . - - 176
Spain, Songs and Dances, - 175-180
Spanish Gipsy. - - - - »77
286
GENERAL INDEX.
Stanford, Prof. V. , - - kio, 7137
Star-spangled Banner, - . . 188
Storace, Stephen - - - - «i28
Strathspey. - - - - - 32
Strauss, Johann . - - - 64
Stu mo run, ----- 30
Stuart, Prince Charles - - - 712^
Students' Song, - - - - 94
Sun goes down, - - - . 93
Sunny Hills of Africa. - - - 230
Suomen salossa, ... - 147
Susil Movarlta Narodni Pisne, - K63
.Swabian Folk Song, - - - 92
Swallow Waltz, - - - - 64
.Sweden, National Music. - - 281
Sweden, National Song. - - - 17!
Sweden, Songs and Dances, - 171-174
Swedish Polska, - . - - 174
Sweet maid, come, - - - - 238
.Sweet Richard, - - - - 52
Swiss Cattle Call, - - - - 100
Swiss Dance, ----- 101
Swiss Mountaineer, - - - 99
Swiss Weddmg Dance. - - - 102
Switzerland, National Music. - - 279
Switzerland, Songs of - - 99-102
Sy je perdoys men ami, - - - 80
Synagogue Air, . . - - 264
Tandy, Napper - . . - ;/34
Tarantella, ----- K128
Taylor, Tom 83
Tempest rages, The • " " 95
Theobald IV. , - - - ■ 79
There is a lovely land, - - - 161
There was a King of Yvetot once, - 8i
They shall not ever win thee, - - 89
Thibaut of Navarre. - - - 79
Tho' the last glimpse of Erin.- - 37
Thomson, G. - KI4. w20, «2t, n48, ^53
Thomson, Jas. - - - - 7/2
Three score o' nobles, - - - 27
Thumoth's Airs, - . - . K41
Thuringian folk-song,
'Tis the last rose of summer, -
Tiszian, The - - - -
To Anacreon. in heaven.
To arms ! to arms !
TolfSyner, - . . -
Tombs they are riven. -
T'other morning, very early, -
Transvaal Flag,
Treasure, The - - .
Tri godini, - - - -
True love, - - - -
Tunisian Song. - . -
Turkey, National music,
Turkish dance, - . _
Turkish war song. -
Tyroleans. The,
Tyrolese, so happy and joyous,
188
122
122
280
IIO
109
65
6=;
Ukranian song, . - - . i^jg
Und als dcr Grossvater, - - - 98
United States. National music, • 281
United States, songs, - - 186-195
Universal Songster, - - - «io
Ustay! ustay ! Serbine, - - - 114
Varlamoff, A. - . - . 143
Venetian barcarolle, - - - 130
Venetian song. . _ - - 126
Venezuela song, - . . - 216
Very little child was I, - - - 172
Vincenti, B., - - - - - 206
Vive la Canadienne, - • - 200
Via Tbon vent, - - . - 202
Voice resounds like thunder peal, A 88
Voyageur's songs, - - - 201-202
Wagner, R., on Rule Britannia. - 772
Wales, National music. - - - 278
Wales, songs ajid dances, - -45-S9
Walker's Irish bards, - - - 7/37
Wallachiaii lullaby, - - 112
Wallachian dance, -
Walsh, Edward,
Walsh's Dancing-master.
Waltz, 64
Watch on the Rhine, - - - 8S
'Way down upon the Swanee River, 194
We may roam thro' this world, - 42
We be three poor mariners, - - 7
Wearing of the green. - - - 34
Welsh country dance, " - - 59
Welsh march, . - . . 6&
Welsh National song, - - - 46
Wendish dance, - - - - 96
Wendish song, - - . . ng^
West African Dances, - . - 226
West Highland Song, - - - 29
Westminster drolUiry, - - - «8
Wha uadna' follow the drum ?
What shall I do to show how much
I love her?
When Britain first, at heaven's com-
mand, ------
When gloomy winter, - - -
When the heathen trumpets clang, -
Who'd believe this arbitrary deed ?
Wi' a hundred pipers,
Wien Necrlandsch bloed.
Wilhelm, Carl ....
William of Nassau,- _ . ,
Wilms, Johann W. - - - -
Wind is playing,
36. 4*
7?4I
Wsak, nam tak, nebude,
Yankee Doodle,
Ye Maids of Helston,
Ye sons of France, -
Yes, we love this country.
Ymdawiad y Brenin,
Yindaith y Mwnc. -
Zedlitz, Baron von -
Ziguener Dance,
Zulu music,
138
24
132
83
133
132
220
67
76
167
INDEX TO APPENDIX.
Berger, H. , 267
Bulgarian National Song, 266
Chilian National Song, 270
Dulce Patria. 270
Gloria al bravo pueblo, - 272
Hawaiian National Song, 267
Heft, Burgers, 't lied der vrijheid, 266
Hubsch, E. A., 265
Kalakaua. King. 267
Mexican National Song, ------- 268
JOicolai. W. K G. , 266
PAGS
Nun6, Jaime, -.. 268
Orange Free State Song, --...- 266
Persia. National Song. ------- 273
Peru. National Song, ..---_- 269
Roumanian National Hymn, ------ 265
Salamati. Shah ! 273
Sandaeta. J., 272
Siam, National Song. 274
Somos libres. seamoslo siemprc !----- 269
Traeasca Regele ! - - - 265
Venezuela, National Song. ------ 272
V.
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