Part X. PRICE ONE SHILLING. In Ten Parts. fj*-' ^^4P r " & THE s&bi x #lfr dhglisjj Songs antr §allab SELECTED FROM W. OHAPPELL'S POPULAR MUSIC OF THE OLDEN TIME. THE SYMPHONIES AND ACCOMPANIMENTS BY G. A. MACFARREN. & Jonhn : CRAMER, BEALE, AND WOOD, 201 REGENT STREET; AND WOOD AND CO. EDINBURGH, GLASGOW, AND ABERDEEN. HENDERSON, BAIT, AND CO. PRINTERS, WINSl.EY STREET, OXFORD STREET, W. A COLLECTION OF THE ANCIENT SONGS, BALLADS, AND DANCE TUNES, WHICH CONSTITUTE THE NATIONAL MUSIC OF ENGLAND; ARRANGED CHRONOLOGICALLY, WITH REMARKS AND ANECDOTE, AND rBECEDED BY SKETCHES OP THE EARLY STATE OP MUSIC, AND OF THE AMUSEMENTS ASSOCIATED ■WITH IT IN ENGLAND, DURING THE VARIOUS BEIGNS, Br W. CHAPPELL, F.S.A. THE AIRS HARMONISED BY G. A. MACFARREN. In Two Volumes, Eoyal Octavo, £2 2s. ; or in Seventeen Parts, each 2s. From the Quarterly Review, July, 1859. " The main body of the book consists of a mass of erudition, no less copious than well digested. Late as it comes, Mr. ChappelTs work is the only one of its kind." From the Saturday Review, June 9, 1860. "Mr. ChappelTs book is a valuable contribution to our scanty stock of musical literature. It is well and earefully executed, and displays a patience in research, and an accuracy of detail, which must make it a reliable authority on points connected with the archaeology of English National Music." From the Athenmum (second notice), August 20, 1859. " Not two, but twenty notices could be written of tins excellent and carefully- wrought book." From Notes and Queries, July 9, 1859. " This book is indeed one which the ladies will delight in for its music, and graver readers for its curious learning." From the Gentleman's Magazine, August, 1857. " The student of history, the antiquary, the reader for amusement, and the cultivated lover of sweet sounds, will come alike to Mr. ChappelTs volumes in search of gratification for their several tastes, and will assuredly not come in vain." From the Spectator, March 5, 1859. " Popular Music of the Olden Time, one of the greatest and most valuable works which has ever issued from the English music press." From the Times, March 31, 1859. " Antique specimens furnished By Mr. W. ChappelTs invaluable work on Popular Music of the Olden Time." From the Morning Post, Sept. 22. " There is an enormous amount of research in Mr. ChappelTs book, yet no sign of labour ; no heaviness whatever ; but, on the contrary, the author gives the results of his studies briefly, smoothly, pleasantly as possible." From the Daily News, Dec. 7, 1858. "Mr. William ChappelTs great collection of our national songs and ballads, is, in truth, an English classic, a standard work — distinguished not only as a vast storehouse of the treasures of genuine English music and song, but as a literaiy work of great learning and research, and so full of curious and interesting information relative to the music as well as the manners and customs of our ancestors, that it may be regarded as a contribution not only to the history of music, but to the history of England." From the Morning Herald, Sept. 1, 1856. " An invaluable history of the early music of this country — the fruit of study, at once patient and unwearying, and of investigation adequately learned and intelligent." From the Daily News, Oct. 11, 1859. "We heartily recommend this important and admirable work to the attention, not of musical readers only, but of the wholo public. It is full of interesting information, the result of great learning and deep research ; while it is attractive from its pictures of society and manners among our ancestors, and from the exceedingly pleasant and animated style in which it is written." From Chambers' Journal, Oct. 23, 1858. " Mr. ChappelTs collection is in all respects a remarkable work, one of those which an honest enthusiasm may, but a money-fee never can, produce. London : Published by Cramer, Beale, and Wood, 209 Regent Street ; AND Wood and Co. Edinburgh, Glasgow, and Aberdeen. X THE OLD ENGLISH SONGS AND BALLADS SELECTED FROM W. CHAPPELL'S fflpitlar SPtasir ai fbc <§Jton Cim*. THE SYMPHONIES AND ACCOMPANIMENTS BY G-. j^. IMI ^ O IF^IR/IR, IE IST. LONDON: CRAMER, BEALE, AND WOOD, 201 REGENT STREET: AND WOOD AND Co. EDINBURGH, GLASGOW, AND ABERDEEN. fo (feglisjj gJittks; W. CHAPPELL'S popular music of the olden time. PART I. 1. Summer is a coming in 2. My little pretty one 3. Now, Robin, lend to me thy bow 4. The hunt is up 5. Ah ! the sighs that come fro' my heart 6. Oh, willow ! willow ! 7. It was a lover and his lass 8. Oh, mistress mine 9. Phillida flouts me 10. A legend of the Avon 11. There were three ravens 12. Then to the maypole haste away PART II. 13. The bailiff's daughter of Islington 14. Drive the cold winter away 15. Since first I saw your face 16. Christmas comes but once a year 17. The blind beggar's daughter of Bethnal Green 18. Sequel to ditto (another tune) 19. You gentlemen of England 20. Sweet day, so cool, so calm, so bright 21. Joan, to the maypole away let us on 22. Once I lov'd a maiden fair 23. Will you hear a Spanish lady 24. Though to care we are born (Hope, the hermit) PART III. 25. To carry the milking pail 26. In sad and ashy weeds 27. Cold's the wind and wet's the rain 28. Phillis on the new made hay 29. Autumn's goljru leaf 30. The British Grenadiers 31. I live not where I love 32. The jovial man of Kent 33. The spring is coming 34. Little Musgrave and Lady Barnard 35. Fair Hebe I left 36. The roast beef of Old England PART IV. 37. The Queen of May 38. Sing a sweet (Dulce domum) 39. come you from Newcastle 40. King John and the Abbot of Canterbury 41. Dear Kitty 42. Why so wayward (Light of love) 43. Cauld and raw's the wind without 44. Rouse thee, young knight 45. The beggar boy (Ladies who shine like) 46. Early one morning, just as the sun 47. Drink to me only with thine eyes 48. Come, lasses and lads, get leave of your dads PART V. 49. I'm call'd the jovial miller 50. My dearest love, why wilt thou ask 61. The name of my true love 52. A soldier should be jolly 53. Northern Nancy 64. There was a simple maiden 55. Oh ! the oak and the ash and the bonny ivy tree 56. When the king enjoys his own again 67 . Love will find out the way 68. Barbara Allen 69. Black-eyed Susan 60. Under the greenwood tree PAET VI. 61. Fairies, haste, the summer moon *s bright 62. Love me little, love me long . 63. Nought I prize beyond her 64. There was an old fellow at Waltham Cross 65. Near Woodstock town 66. I sit upon the mountain side 67. Oh, list to me, my only love 68. The parting (the dreaded hour) 69. Beneath the willow tree 70. My dearest, look on me again 71. In the spring-time of the year 72. The dusky night rides down the sky PAET VII. 73. Let me list to the billows 74. My lodging is on the cold ground 75. Oh ! weel may the keel row 76. Cease, rude Boreas, blust'ring railer 77. There w r as a jolly miller 78. Golden slumbers kiss your eyes 79. What if a day, or a month, or a year 80. Sally in our alley 81. The Vicar of Bray 82. May he who wears a sulky face 83. Till Marj' won my heart 84. Amid the new mown hay PART VIII. 85. Heart of oak 86. The girl I left behind me 87. Dorothy's a buxom lass 88. Past three o'clock (The London Waits) 89. Old King Cole 90. At her cottage, dear Maiy 91. Down among the dead men 92. Yes, to-morrow, my love 93. Send me a lover, St. Valentine 94. As down in the meadows 95. My secret I will safely keep 96. The leather bottel PART IX. 97. Prince Charles Stuart's farewell to Manchester in 1745 98. Oh ! for a husband 99. Row, gallant comrades, row 100. There was a maid the other day 101. Oh, dear ! what can the matter be? 102. Saw you my father 103. The mermaid (an old sea song) 104. From Oberon in Fairyland 105. The carman's whistle 106. The "Blue Bell " of Scotland 107. Lovely Nancy 108. The well of St. Keyne PART X. 109. In his barque merrily 110. Here's a truce to idle sorrow 111. Take me to the North Country 112. Under the Rose 113. The Moon shall be in darkness 114. Why, brother soldiers, why? 115. To-night let's jovial be 116. Farewell and adieu to you all, Spanish ladies 117. I wandered through the garden 118. Great Orpheus was a fiddler bold 119. Sad, weary hearted 120. Begone, dull care ! London : Published by Cramer, Beale, and Wood, 201, Regent Street; AND Wood and Co. Edinburgh, Glasgow, and Aberdeen. CONTENTS. PART X. In his barque merrily Here's a truce to idle sorrow Take me to the North Country Under the Rose . . . The Moon shall be in darkness Why, brother soldiers, why? to-night let's jovial be Farewell, and adieu to you all, Spanish ladies i wandered through the garden Great Orpheus was a fiddler bold Sad, weary hearted .... Begone, dull care ! 218 220 222 224 226 228 230 232 234 236 238 240 1 216 IN HIS BARQUE MERRILY. TUNE, "THE BOATMAN," — POPULAR IN AND AFTER 1650. P • - 76. Moderately slow, and very smooth. Nciv Words upon the old subject by J. Oxcnford. 3 P Ped. "" f^mm !^^ FHF^ / ■Ped. ff PP ^5 5 P 2± ^ ^ f 1 *& T r i IE S S * tr m In his barque mer-ri - ly, a tempo. Sings the boat-man yon - der, ^^m zaz $- ritard. pp I ies -'t-P- Whilel sit wea-ri - ]y, On my griefs to pen der. ££ 5 k=^ p *ZE pp 2 • P«*. A T=W- 1 m ^ 3t=y *=^=3 =js ^m Woe is me! the cheer-ful lay Avwakes me not to glad - ness; Sounds of joy, float a-way! atgLrp\r& m=m » . pp *•: rfr . -*^: f • . f , ritard. 219 Manful - ly, cheer-i - ly, While the stars are glist' J— W^ fclfc >: i i p«rf. f / ■ S -j — g jE Some can hail the ploa-sant hour, I think but of its fleet - ness; Wi-ther'd I think the flower, -FJ' P I j * 3ii E ' : J * ; J~i~rw £* *= mf S -q — g- 5 While I scent its sweet - - ness I F* ^4=^ -i I pi—r J%&" 31 4 "3 * 4 I -^ 220 HERE'S A TRUCE TO IDLE SORROW. TUNE, "THE GLORY OF THE NORTH," — TIME OF CHARLES X. = 88. Gaily, and well marked. f _n -1 > « us New Words by J, Oxenford. El &J=S -fe ^3 m ^ *iH-i Here's a truce to i - - die sor - row. , Joy no ri val owns to-day, p ^ ^ -4 w- fi^g f=t 3P l^S ^=E l S^ Put off sigh-ing till to - mor-row, "lis the nier - ry first ^MttMl =3=3=S ^ of May. Danc-mg, jumping, ^^ ^ t^gNg ^g hN ^^^^ ^ I twirl -ing round, The blithesome lads and las - sesgo, Skip-ping to the ma -gic sound, 5« >. cres. > «/" TPTF—r — f — a i f" 3^ f m ■*■ •*■ ^=^ 3 M 221 ***■ ff^FPi ss Wa-ken'd by the fid-dler'sbow. \\ a-u.eu u uy tuu uu - uiei » uuw. ^ ^ _— ! tfef=* -es^-T i j-j- i * r r hi — »— g — ^ -^j ^j: ^^ •^a in j^ s^^ fe?^ ^^i**^? Youth its light-some cares for - get - ting Straight o - beys the tune - ful touch ; §mmm mm -* — i- ^^^ ^P iJSg cffil ■y-f^r^ ^^ gX?^^ ^^s ^^^ =S=5c Crah-bed age, no Ion - ger fret - ting, Casts a - side its use - less crutch ; Mirth en - li - Tens, IS^ em & r-^r ^fcp^^fc 1 £ ^ ip=e ^ -t— ^ smiles in-vite, And not a churl will an - swer'no:' Hearts are gay, and feet are light, And nun - bly goes the fid - dler'sbow j* — a_ \tmm /, i 5=t ^=fe= i~^ ^ j 222 Slou hj, and icith pathos. TAKE ME TO THE NORTH COUNTRY. TUNE, "THE NORTUEltN LASS," — TIME OF CHARLES I. New Words upon the old subject by J. Oxenford. £ ££ 5fe n ws £&£ 7 >f m P m^& $ p $EE$Ek PP W 9fr rirj ir -r—r* Tt" ^sf m ¥ it ^=i *f * .— ■ r- ■ , ■ - „ _j_ . ~g- 1. Take me to the North Co mi trie, That's the land where I would be — In the ci - ty 2. Nor-them winds ! greet you well, Such a lov - ing tale you tell, Those who in the 1 A sf fOfi z^-J- J-r> J- I w X ^ =&p: wea - ri - ly Myyouuglife fades a - way: The nor-them winds are rough and bleak, mountains dwell In you are hov'-ring nigh. My mo -ther warns her child from ill," IP =i ^3^ Pf* w - * S J* i PP mf ^ ^^^ s==± T~ * -r* m sg d2 arf ?i6. 5^ a tempo. Pf^* -j-g- S S3 ft But tome of home they speak; Here, my pin-ing heart to seek In kindness do they stray. While an- o-ther, dear- er still, Whispers till the teardrops fill Mydimand fa - ding eye. In asfe m ^f^^ ss=3=* ^=r f^ a wwm 22-T PP m igp ■Dal Segn o. § 3" p w pp ft 2E a g if h— r+f^ I -3— r 1 f £ ,— ***3 -j>c ££ S I p^~ Wi 3. Ah, the plea - sant sound is gone ! Now I sad - ly sigh a-lone, r m^ MJM- £ pp Ua U fc£=S53d* 1K2 atrial *==* r i : i=i ,r: pf r 1 IE 3EE* 3 r ZJ Z^TT S ^ i ^E to love me, none— A - las ! my North Coun-trie ! None are here Of 1 pp D m ^ +Zjh fCT.q !j^J J jJ LJ * * J ^ s IT a =£= i — ± ^T^f j,_i5 r | ^ == £=^ P^ ^I *^ thee I e ver dream in sleep, And for thee I waive to weep ! i£ S 15 ata ±=W±=*==at smuij ^ ' "W _«H p=3C £^f£ ^ ^=E r 3 ? r 1 E 1 r t i F? ^ i nJ lib. a tempo. *=£ m -=1-?- ~r2 — ' — V — w In my heart is gra-veu deep The thought, dear home, of thee. «"*• / P art h-h * . S / es i 3 m i# i^ PFfMp 224 116. Cheerfully. UNDER THE ROSE. TUNE, "UNDER, THE ROSE," TRADITIONAL. New Words upon the old subject by J. Oxenford. 1. You smile at the beaux who are for - ward and flat - ter-ing, You 2. Their con - quests pro - claim - ing, the heart - less may stalk a - bout, Of II ifffc-=^ i la - • ~ : ■ /•, • p_ P S -=1 — P- Z2Z :3z=g= :ct I ^ ^ 3S* -#-r- f think I am bash - ful and awk - ward and dull, Ah, mea - sure not love by a hearts light - ly won they may care - less - ly boast, But ah, there are feel - ings too (P T- f — * £EE ^=^ kfc=£^££ ^^? * gEES 3£j± fond-ness for chat - ter-ing, The tongue may be still and the heart may be full. When sa - cred to talk a -bout, Ex-cept to the one who will prize them the most. Then 1 £=F- 3fcEeH ±z=E r-y- 3zr =t - ♦r-q— p- * E^E 225 0, ^~ ~ p no hear me 1— die list a - lone 5 £=£ 'ners a - bout us are hov when the moon, watch - ing o er - ing, The ver us, My S & i -n^-*^ feS^E^i E m m: S3E *=t J truth that ia known but to few I'll dis-elose. Yes, hear me a- lone, and you'll heart's deep - est se - cret shall bid me dis-close, In some aha - dy val - ley, where 1 s I3t T=f i £ /' SI ^^s>— gE f 5fc3a=gi£ See a=Jc find me dis-cov - er-ing The thoughts that are best ut-ter'dun - der the rose, none can dis-cov - er us, My thoughts I'll con-fess to you un - der the rose. ill -#-• £ IE l 1 ^ e£ ■*-=!- 4=fc! 3 / m s *E=±df: I Dal Segno. f$ S *= -g-i ^=^ E7 c2^ E£ P ZfBt ¥ ^ m 2£C THE MOON SHALL BE IN DARKNESS. TUNE, "THE MOON SHALL BE IN DAKKNESS," — TRADITIONAL, ( |»- 84. Smoothly, and with expression. New Words upon the old subject by J. Oxenford. fed te ^* cn?s. 7 ' */ p r»*-«- id*- r*-Sfi- :3: :£* r (»</ ~- cres. ' sr jy __ - _ _ m m £ 3 $3= S i^a BE p— p- si* ^ 1. The moon shall be in darkness,And the stars shall cease to shine, 2. I've lived through ma-ny years, love, I haveroani'din ma- ny parts If And e ^P*^^ ■ ■ g £Era tefc 3* ^p] 5 ea fegg Eg ^ a^n^ e - ver I prove false to thee, mai - den mine ! find no rar - er gems are than true faith - ful hearts : The oak shall proud - ]y And now at last I've p3 _^rEj ^p i j ^j K 4 -j -j i < rh j j j *< j^h t^ jT^ mi :*=.-• ^ E?E^ =v- + m m =£±Z flour - isli 'mid the bil-lowsof the sea, gain'd one, 'Tis my trea-sure and my pride, — 4 The this - tie bear a rose, ere I'm For all the mines of gold I'd not I^PPinii ± ~fff~r HPiPfH 3 / -■#£ 227 35= ¥ Dal Segno.ffi .n -r- g — h 3H false, love, to thee, cast it a - side. ^ SE- PT* =3E=£egai ^E& 3? PSi E^ ./ fflftf+ffp 25t :z2: S ^ErStC Last Vehse. E^ I ^ S I ^=5 3 F 3- *" ■£r 3. A ney full of trou-bles is our life up - on earth, With- ^^^^Efe^^^P^^^^^ fiFEgff P/3 mE=£ 2F* ,1 S*3t r j—3 58* 3^=£ ^*^m & ass D - out a heart to SSS^ 3^— -S share them light were its worth: My \ aESE =± =f q£ £ i sgSgg @^£ £ own through joy and sor - row, dear-est maiden, shall thou be, The day shall be my ^y ^^ ^F^-T^ -*Sr -A- P^ f 3: :#£ £5 ^5p? -F — P- 5 ^EE ?f last, dear, that parts thee from me. 228 WHY, BROTHER SOLDIERS, WHY? TUNE, "WHY, SOLDIERS, 'WHY?" — POPUXAB BEFOBE 1729. P - 88. Boldly, and with animation ^^^ jj^Myy New Words upon the old subject by J. Oxenford. gl_=§ ^d J— = : — 3-—^= : 3 ' _P^ -i- • t3- -si- ^T ±fe * 1: f * — *- 3 i *fc s P W ^^ Should we be me-lan - cho - ly,boys?Why,bro-thersol-diers, B lH Why, bro - ther sol-diers, why m I i — g — p- HP ^pf^ 3 f? ip* » p J • » : *=s=fc PP ^3=^-- g p i* ■ g &S ffi j|3tJ- £^p az •=F ^^ £r why? m mk We do not fear to die. How now, sigh - ing? fie ! Be e ■ ver brave and m 4- fe I 33! m^F -^—. — W± ffi i ^W ^m / mn ^m- -d- -d- 7 i- -y J =* ^ 1 S 5^F 5 I at 3i 3t3t ? jol - ly, boys : Cold hot, wet, and dry j^U A - like wo will de - fy I To ^ jg — j — P- 4- -s- 3 d ** 3 / 220 '££ i^lzzM jl(ZZ£_^ mzca --— p- quake is on - ly fol - ly, boys, Aye, aye, so say I. fee zM KB 3 I I Jl M N J | l r \^H t &fv fc $*4& I . 1 . I I J k . , <•££: *M ffi # 1=4 3^ 1=4 1- 23 73 ^=r 1 &c oz p =3=c s £ 5F Pol-troons are apt to fly — AVe're made of bet-ter stuff", my boys, Pol-troons are apt to -J- m 2± £i H P- -P P- ,*■ f^ 1 3r- r r^ — j- W*f& ^S g *=* Pf ES - r r J -i- $ as £ y- I J. ^v^ B s=p f^^te *Srt: t- Whendan-gerthreateusnigh. But we'll al- ways try Tosniilewkeulife is fly fe± u Jfe ^ &ri=^ -p— i - g « *— p- gt-^ / s^f ^^P f ^=4 IE <T ^3 p^TF =3 I ^ ^=FH s rough, myboys!Thoughdark is the sky I &S j^-y- ' Twill clear up by and by, And mm '^^^^^^ ^ m^^ *=F se T I ^ W i==P= :fc±z± • ■ d p- that's for us enough, my boys, Aye, aye, so say I £fc «* ¥$* j^N ^=3=£ Tl-P- f aUsHiP ^li PFt £» Ff 5 55 £H£ =r^ g -^r f? 30 r $ = 88. Jovially. i £=§ =8: BEEfc5 TO-NIGHT LET'S JOVIAL BE. TUNE, "HEY, BOYS, UP GO WE," — 1641. 3^ ^=3 New Words hy J. Oxenford ±=& 3= -=q — F PI ±=pi =3? pi fc£ s ae ^5 i jt. .r j SI 1 1. Come, brave corn-pan- ions, ga - ther round, The Christ -mas fire is bright, 3 With wand'r-ing tir'd, in dis - tant parts, To Eng - land some have come, We And w^m. *. --^t- p ■K nN: ^ -=1- ^ £ 3= =1 ^p? feel, with-out one oath, we're bound To have a mer - ry night ; The trou - bles of the with them bring the gol - den hearts That fond - ly long'd for home; And some will leave us m m i S =f^ r^ SFfc fe f j t at fe££l ^=1=¥ §P -9 *f fc -C5-*- £ day are o'er, Our hearts are glad and free, soon, for all Are un - der fate's de - cree, Per-haps we're doom'd to To - mor - row we'll o - J— *- ^ 3E3 W^ ^s i ff 3fcfc£ eb: e=t ijj- s 2.31 4- ^ 3=^ - r i g- meet no more, So now let's jo - vial be. bey her call, To-night let's jo - vial be. W- r^-l rH— -r- fe^g Fine, m BE r=r^ ^ i? e^s ae E^E / £pNfe ^E t=gzr=i 3-g- rt- Si 3==£ ^ E ^? ^ On -* *" I 2. How ma - ny wea - ry years have past Since some of us have met ! &= w 3=$ T^f^ EE^ ? ^^ etE rr 3T-3- ii f^f^=f=^p= g « ^ some dark shad - ows have been cast, With tears have eyes been wet : Ippg^ ss^ But we are gathered 3 ?^p ■n^— * m 1 3 1 ^^ =p £=J- 5F=^ i*=3= §3 i o nce a - gain, One more glad night to see, To sigh o'er an - cient £=* 3= ^ *=M? -* • 5E=» 5 F 1 ^ IF fs 3FE psg^ ^ 3F?=£ 1 fc ^ £ ^=5- E&j3 g — EE P griefs is vain, So now we'll jo- vial be. IP ^ P^^i^ Dal Segno. \ I^E§E *~ Fi /' h . J "fry -ft . v 3^ £=F ?=g=^ f 3=£: 5^ eeee m 5" 232 FAREWELL AND ADIEU TO YOU ALL, SPANISH LADIES! OLD SEA SONG, "FAREWELL, SPANISH LADIES," TRADITIONAL. j» = 132. With great spirit, assai marcato. New Words upon the old subject by J, Oxenford. it % 3. Then weep not at part 8 to you ing, you S 9 ibs: 'w^m W p i Ft * s T J . J— — P g a — a m m M -& all, Span-ish la- dies, Fare - well and a - dieu to you, la - dies of Spain; Though dear Span - ish la - dies, Then weep not at part - ing, you la - dies of Spain ; The iHf i f^?^ * -a w- **= BE* ^ ferf* ^ i -rzf. a ^ 3 ffi fa^f-^^f 53= we've re - ceiv'd or - ders to sail for old Eng land We trust that we short - ly shall ship will some day come a - cross the salt wa - ters And bring you your true Brit - ish mm &&m is if * r cen - - ores - - - do. mi / p a m t •y* "#• -^- -•- « # 3 Tf; 233 $ 3HE 32r -P— g- see you a - gam. sai-lors a - gain. /■#-., S=P H 1- Fine. Ffff PP j — p — E P^ BF e? JTrTrrrfi^-jLHip a rtb^q^ ^a ^frf^f^^ ^ ^^^ ■-^-p i " +tl* ULffV 3~ £^ J J: s E -li= 2± 3 2. Like true Brit - ish tars I though we love our old Eng - land, The f T ^F^-n- m i J — = J : w EI 31 ^j: a=l i g^ g 1 g 1 1 1 g T -g-^H-iF rTT-l. 1 Eg 1 gT ^? f . 1? fr ¥ r ■* ■•■ - -r ¥ r t ¥ * * T 1T » > 1/ v ^J-tJ-HJ— ^^=tT=^ ^ F=3- land of dark beau - ties we leave with re - gret, In calm and in i ej=3 - i — a=i— «r~j = g m il « «i i n ■ s ~» g -' SS^l =F f 3 ^^^? 1 3*=* u j^qSSEffE£gE3 1 JL T * L ^ f f ■a- ■»• -5- ■»■ " ip * i§ £=* fe£ K tern -pests, in peace and in bat - tie, The la - dies of Spain we shall ^JS -J- B 1- 3i 3EE ^Plpli 2- i +■ 4 m r "i se gr^r^B ^^ c=3irT i^ =» i ^ -* — #- i3^ ^Bp r 'T 1 1 ^-tV* 8 S -p — p- IS ne - ver for - get. kS^fefefe^ Do/ Segno. ^-E^T s ,-P^ 234 p = 72. Gracefully. I WANDERED THROUGH THE GARDEN. TUNE, "CUPID'S GARDEN," TRADITIONAL. New Words upon the old subject by J. Oxenford. gfe i I, J j_J d j H ^MH I -J J ^ Ttv yn rT ~T " f fefj g i-H++i ±=± i M " r ^ F i i f a u r r ^ I wandered through the gar - den, And saw the flow'rs that grew, And all of them in h $=F W g^zr^glE^ ^ y k turn, love, Re-mind - ed me of you. £=n= ^£ I gaz'd up - on the li - ly And s^ 2* ±fc *f 1= ^=s « — tf * raa 3EE jg j V * 3 -fZ- 3 :et ^ ■3h ^^ ^ 5 J ' M ■ Jj £ ± ) thought of one more fair, The rose recall'd thy cheek, dear, And ro - ses blooming :h3— J-J5 9 3= S3 ?ffi3 r m 3= £ ^7 * 3EE Nf=F=^ TT 235 And when I saw the heart's-ease, A sigh I scarce sup - press*d, I could not find its i* f^ p LH ^^P i« #— i f= f=F=F=F *=* *' ,.l TCT... • F=P=ff: m !«__,_« * i like - ness With-in my ach - ing breast Pvt> . 1>^ A - las ! in flow'rs of sum - mer No ^1 \h * com - fort can I find — They tell me you are love - ly But not that you But not that you are =*=?=£ «ES » f P I I r f fs-j-^J-J-y PF? £E IS 23G GREAT ORPHEUS WAS A FIDDLER BOLD. TUNE, " STINGO J OR, OIL OF BARLEY," — POPULAR BEFORE lCuO. f = 90. Gaily. H& ^r?r* M ■ r# ; I ^ rH 1 ,- New Words by J. Oxenford. m r f rM-3z £^ & J I ±z :** 3=F=^ M =p=? m ^dtz ^ -J=l-- E 1. Great Or - pheus was a 2, Like Or - pheus I'm a fid - dler bold, And all the world could please, Sir, Both fid - dler bold, But when a tune I plaj', Sir, They >£z: q 3: ±-± =8=S -=i- T" -X r I P mil 3=^ ^=F 3z=P= | fe^ ■n— * ^S ES :S=S= B V— 5 — * man and brute he led, I'm told, And like - wise all the trees, Sir; From stones he'd con -jure do not fol - low,- as of old, Oh no, they run a - way, Sir; A mul - ti-tude I H , -4 ' -s> -"- 1 * ^BE 3fe H 4- P- E ^-f= ± i *=± tears and smiles, The mountains shake with laugh - ter, And if he walk'd some hundred miles, They soon dis-perse, Be ga-ther'd ne'er so ma - ny, They hur - ry off, and, what is worse, Don't m miE f^*P^ ^=F- - i T-P f -I- «- -=l f- 237 Da? Segno. $ - r *i r !T all would fol- low af - ter. leave be-hind a pen - ny. Si & gg^g a^^ *=* ^^ f ^= / mi iff p ? 3 * =: i Last Vehse. *=+ ^S E£ £e ^ -t IP 3. i'ou ask, Sir, is the fault in me, Or in the al - tered times, Sir, That thus with lit - tie -=l— P- -q- r i -; ^E -=i— E P 1 3=* * mE Up - i T-P- -=r-P- rJ£ -=f-P- K, « ^ -K aSE^ -J k — / * sym - pa - thy They hear my notes sub-lime, Sir ; A rea - dy an - swer I have not To 1 gEE i ± r -=!— P- I? -=1— E !^j£ Pi :3=E -i— r i *ip 1 - re 1 r i - 3 pH^i^^^ 335 — 5 ■=*=*■ m H ' 0^, ' solve the cu - rious rid - die, But this I know — if cash I'd got I'd soon hang up my ppE ^P^f ^p ~X- -=1— p — =fc i ir E£ ^EE -k »- I - 1 r i -=!— P *h =i r i ■ -» 1 — * 1 r ft mi fc=t =£= s f "r 1 r fid - die. H*— 1»- H=pg3=pH^ip3 / 1 r 1 Wf • -J- -«- 238 SAD, WEARY HEARTED! TUNE, -'LOVE LIES BLEEDING," — TIME OP CHAKLES I. = CO. Slow and plaintive, New W ords by J. Oxenford. fe£ i ^=p±^ N ^^KfeS^ygHt^ ^ 16 ife^£ ^= — * — ed! love, 1. Sad, 2. Calm 3. Hap wea still - iy, ry heart ap - pear, •when meet Soon List - With to 'ners glan - be are - ces ; *M=^ *=£ PP 3 ^ F ii part near, fleet I 5 - edl love, - in& Check Ne'er Oft we of we the tear our sor shall seem - drops - row to change of the £*S3 m m -jr «/ m sg r H T- f- | | i | | j | | | | . i i , , . 239 I 5 m m be-night ro-veal the to w^w an - guish that i - - die world nought but care have start - ed 1 must hear, love! less greet - ing ; All Is Ne - - - ver Thou'lt know ed Our ing A ken, With I rg-i faE souls that light - ed, Star - tied are we from wound past heal - ing Let us wear a cheer heart nigh bro - ken, Thou wilt plain - ly read our dream, And ful smile, Our my looks, Though im gaze round af-fright - ed. an - guish con-ceal - ing. nought I have spo - ken. 1^3 fflS *-■-# --5=c zFff* 1st 8f 2nd times, ^%0H F4h"= IPffll ££ £i I Hf F=*=F ^m\ £—& i ^p^^^ g^^ gi i ^ p^w 240 BEGONE, DULL CARE! TUNE, "THE QUEEN'S JIG," ABOUT 1700. = 92. Clieerfully. m es Old Words, 17th Century. mm ± --*=£ gff rnrrfcB f fc^- en; =£ p r^r. 1 1 ii i=rf -p- *i r ^ ^^ ^ — i— -p — n— p- ? ES ^ 5 S- :£ jl Be-gone! dull Care ! I prithee be - gone from m^ m M » f fcgf±!±d *>, ^n^%^p -4=S- -=I-F- ^p wm 5 P £=* =£ Begone ! dull care, You and I shall never a - gree. fmmmmm Smmm J'^ j ' ^ ^3 P a s -.H-- 1 ±j -ff | — ^— P q-.. t =^^g g=fc -*r-P- fa F^Ei -(•— e =*=* w-f—f- V? «*sl — te- time thou hast been tar-rying here And fain thou would'st me kill, : 8_J^ _j ^ z^j 5: ^^ - <T 4 But i' faith, dull ^ / r ^^ 3r 241 I ^ ^ i Thou ne - ver shalt have thy will. -f-r-< 1 9 -&- MeeM p f HWz i^k 1= T T J=K £=5 -p — q r 1 Sp l- Too much Mta jjff will make a young man turn 3 en £ p T I ? 5- ! — a S3! p £ ^ grey, And too much 3= Pfe will turn an old man to clay, My 3 F ^&=^=* 3 =*? as 1 1 r £ £ ^f fe ^f=V £ grqg^ ^ :tat v=? wife shall dance and I will sing, So mer-ri-ly pass the day, mmi 5 For I hold it one of the £ :3=£ -3: ^ ?* ! eiE / *=± =i — aj~ W i 5 — y « ^ 3=* -p — 1- - r I P- JH wis - est things To drive dull care a - way. g EEE ^ :_ jjjbjjttitfeip p / f PP If 4- -4-* ^=r END OF VOL. I. 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After the battle (Night closed around) As a beam o'er the face of the waters As slow our ship At the mid hour of night Avenging and bright fall the swift sword Before the battle (By the hope within lib) Believe me, if all those endearing By that lake whose gloomy shore Come, send round the wine Come o'er the sea, maiden, with me Come, rest in this bosom Dear harp of my country Drink to her who long Erin, the tear and the smile Erin, Erin (Like the bright lamp) Eveleen's bower Farewell ! but whenever you welcome the hour Fill the bumper fair Fly not yet Forget not the field Go where glory waits thee Has sorrow thy young days shaded How dear to me the hour How oft has the Banshee cried I'd mourn the hopes that leave me If thou'lt be mine 111 omens (When daylight) I saw from the beach I saw thy form in youthful prime In the morning of life It is not the tear at this moment shed Let Erin remember the days of old Love's young dream (Oh ! the days are gono) Love and the novice (Here we dwell) My gentle harp Nay, tell me not, dear Nora Creina (Lesbia hath a beaming eye) No, not more welcome the fairy numbers Oh ! breathe not his name Oh ! blame not the bard Oh ! had we some bright little isl Oh ! doubt me not Oh ! where's the slave so lowly Oh ! for the swords of former time Oh ! 'tis sweet to think Oh ! the shamrock (Thro' Erin's Isle) One bumper at parting O think not my spirits are always as light Remember the glories of Brian the Brave Rich and rare were the gems she wore Remember thee ! yes, while there's life She is far from the land Silent, Movie, be the roar of thy water St. Senanus and the Lady (Oh ! haste and leave) Sublime was the warning Take back the virgin page The harp that once through 'Para's halls Though the last glimpse of Erin The meeting of the waters The legacy (When in death) Through grief and through danger This life is all chequered The young May Moon The Minstrel Boy to the war is gone The valley lay smiling before me The time I've lost in wooing They may rail at this life 'Tis believed that this harp 'Tis the last Rose of Summer 'Tis gone and for ever Though dark are our sorrows To ladies' eyes around Weep on We may roam through this world What the bee is to the flow'ret When he who adores thee When through life unblest we rove When first I met thee When cold in the earth Whene'er I see those smiling eyes While gazing on the moon's light While history's muse Wreathe the bowl with flowers You remember Ellen, our hamlet's pride CRAMER, BEALE, and WOOD, 309, Regent Street. 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S P <& §■ a ' §" § g 11 Pour rows and a half of S?»5'2Saaog2:!?5»^?;°3 ™ . £?S3 3.>SS.3^S3?2. »|S3 Bosewood, Walnut, Vibrators. ffP§SPSg-<»S 8 a. & g • p « |- ft |. | s g £60 £6 3 Seventeen Stops. a - S ' ■"* Knee Pedals. @~ © Grand jeu, treble, & bass. 12 Five rows and a half of pLS£S'gS3 -o5o~3 55r 5§°£3 f» fol'j^S Jj!«i;|;j."5S53 Bosewood, Vibrators. f 8 P , g g | ' & ■ g. » I | s. ff S Twenty-one Stops. » " e s= Knee Pedals. © — © Grand jeu, treble, & bass. Walnut, £75 HARMOUICORDES, COMBINING THE PIANO AND HARMONIUM ON THE SAME ROW OF KEYS. 13 Three rows and a half of ISS^Ix^SsSS, ? | ■§-£■£■ y ff • g ^5-8 Bosewood, Vibrators. S P « g S g ■" P ? S- £60 Thirteen Stops. Forte - for Strings. ®— (§) Grand jeu. Knee Pedals. Walnut, £65 14 Walnut, £85 Six rows and a half of likllliiiS>S9f?SSii§lE J* B' » P s o ■ g • 5ff g ? S E .« Bosewood, Vibrators. § ? • P * £ ' S ff " £ S - S • . a £80 Twenty-one Stops. ■ Forte' for Strings. (F)— © Grand jeu. 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In many caees,. before the voice is educated,' its 'register known, or any portion of it properly developed, in order to gratify the impatience of parents, the pupil is allowed to sing ballads and popular songs, or required to practise some modern operatic cavatina or aria, which, after many attempts, she is supposed to have accom- plished, although, in truth, she sings no better at the last lesson than at the first. Instead of real improvement, bad habits have been engendered, which it becomes henceforth the more difficult to eradicate ; and yet the lessons may have been many, long, and expensive. On the contrary, many artistes, whose voices, in a normal condition, were most unpromising, weak, limited, and unpleasing, by appropriate method and study have achieved unanticipated excellence and great popularity. 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Besides copious direc- tions for the discriminative treatment of voices, they contain important suggestions on vocalisation, instructive examples of the various modes of expression, and those valuable exercises for the attainment of command over the voice, by the aid of which many of the Author's professional pupils have earned European reputation ; among whom may be numbered the most attractive vocalist of the age. f * As several eminent artistes bear the name of Garcia, it may be proper to state that the author of this work is the son of the renowned vocalist, who was also Madame Malibran and Madame Viardot's father. t Madame Jenny Goldschmidt Lind. CRIVELLI'S ART OF SINGING. The Sixth Edition of this celebrated work contains the Author's latest observations and amendations. Price 20s. WALTER MAYNARD'S INSTRUCTION IN THE ART OF SINGING. After the method of the best Italian Masters. Third Edition. Price 7s. THE VOCALIST'S GUIDE. Instruction and Solfeggio,- with Illustrative Examples. 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