PRICE ONE SHILLING.
In Ten Parts.
^^4P r "
#lfr dhglisjj Songs antr §allab
POPULAR MUSIC OF THE OLDEN TIME.
THE SYMPHONIES AND ACCOMPANIMENTS BY
G. A. MACFARREN.
CRAMER, BEALE, AND WOOD, 201 REGENT STREET;
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,
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
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 ;
Wood and Co. Edinburgh, Glasgow, and Aberdeen.
OLD ENGLISH SONGS AND BALLADS
fflpitlar SPtasir ai fbc <§Jton Cim*.
THE SYMPHONIES AND ACCOMPANIMENTS BY
G-. j^. IMI ^ O IF^IR/IR, IE IST.
CRAMER, BEALE, AND WOOD, 201 REGENT STREET:
WOOD AND Co. EDINBURGH, GLASGOW, AND ABERDEEN.
fo (feglisjj gJittks;
W. CHAPPELL'S popular music of the olden time.
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
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)
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
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
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
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
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
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
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
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;
Wood and Co. Edinburgh, Glasgow, and Aberdeen.
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 !
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.
P Ped. ""
In his barque mer-ri - ly,
Sings the boat-man yon - der,
wea-ri - ]y,
On my griefs to pen
Woe is me! the cheer-ful lay Avwakes me not to glad - ness; Sounds of joy, float a-way!
*•: rfr . -*^:
. f ,
Manful - ly, cheer-i - ly,
While the stars are glist'
f / ■
-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
' : J * ; J~i~rw
-q — g-
While I scent its sweet - - ness
-i I pi—r
4 "3 * 4
HERE'S A TRUCE TO IDLE SORROW.
TUNE, "THE GLORY OF THE NORTH," — TIME OF CHARLES X.
Gaily, and well marked.
f _n -1 > «
New Words by J, Oxenford.
Here's a truce to i - - die sor - row.
, Joy no ri
val owns to-day,
Put off sigh-ing till to - mor-row, "lis the nier - ry first
of May. Danc-mg, jumping,
^^ ^ t^gNg ^g hN ^^^^ ^
twirl -ing round, The blithesome lads and las - sesgo, Skip-ping to the ma -gic sound,
>. cres. > «/"
— f — a i f"
Wa-ken'd by the fid-dler'sbow.
\\ a-u.eu u uy tuu uu - uiei » uuw. ^ ^ _—
-es^-T i j-j- i * r r hi — »— g — ^ -^j ^j:
Youth its light-some cares for - get - ting Straight o - beys the tune - ful touch ;
-* — i-
Crah-bed age, no Ion - ger fret - ting, Casts a - side its use - less crutch ; Mirth en - li - Tens,
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_
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.
>f m P
*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
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,"
w - *
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.
■Dal Segn o. §
a g if h— r+f^
-3— r 1
,— ***3 -j>c
S I p^~
3. Ah, the plea - sant sound is gone !
Now I sad - ly sigh a-lone,
: i=i ,r:
ZJ Z^TT S
to love me, none— A - las ! my North Coun-trie !
None are here
+Zjh fCT.q !j^J
J jJ LJ * * J ^
i — ±
| ^ == £=^ P^ ^I
thee I e ver dream in sleep,
And for thee I waive to weep !
^ ' "W _«H
r 3 ?
1 E 1
~r2 — ' —
V — w
In my heart is gra-veu deep The thought, dear home, of thee.
«"*• / P art h-h * . S /
i 3 m
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
la - • ~ :
■ /•, • p_
-=1 — P-
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
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
- ♦r-q— p-
0, ^~ ~
a - lone
'ners a - bout us are hov
when the moon, watch - ing o
er - ing, The
ver us, My
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
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.
l 1 ^
Dal Segno. f$
THE MOON SHALL BE IN DARKNESS.
TUNE, "THE MOON SHALL BE IN DAKKNESS," — TRADITIONAL,
Smoothly, and with expression.
New Words upon the old subject by J. Oxenford.
^* cn?s. 7 ' */ p r»*-«- id*- r*-Sfi-
(»</ ~- cres. ' sr jy __ - _ _ m m
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
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^
flour - isli 'mid the bil-lowsof the sea,
gain'd one, 'Tis my trea-sure and my pride,
The this - tie bear a rose, ere I'm
For all the mines of gold I'd not
-r- g — h
false, love, to thee,
cast it a - side.
ney full of trou-bles is our life up - on earth,
- out a heart to
share them light were its worth: My
own through joy and sor - row, dear-est maiden, shall thou be, The day shall be my
^y ^^ ^F^-T^
-F — P-
last, dear, that parts thee from me.
WHY, BROTHER SOLDIERS, WHY?
TUNE, "WHY, SOLDIERS, 'WHY?" — POPUXAB BEFOBE 1729.
P - 88.
Boldly, and with animation
New Words upon the old subject by J. Oxenford.
J— = : — 3-—^= : 3 ' _P^
-i- • t3- -si- ^T
* — *-
Should we be me-lan - cho - ly,boys?Why,bro-thersol-diers,
Why, bro - ther sol-diers, why
i — g — p-
J • » :
g p i* ■ g
We do not fear to die.
How now, sigh - ing? fie !
Be e ■ ver brave and
-^—. — W± ffi
-d- -d- 7 i-
jol - ly, boys : Cold hot, wet, and dry
A - like wo will de - fy I
jg — j — P-
3 d **
quake is on - ly fol - ly, boys, Aye, aye, so say I.
3 I I Jl M N J | l r \^H t &fv fc $*4&
I . 1 . I I J k . ,
Pol-troons are apt to fly — AVe're made of bet-ter stuff", my boys, Pol-troons are apt to
r^ — j-
- r r J
y- I J. ^v^ B
Whendan-gerthreateusnigh. But we'll al- ways try Tosniilewkeulife is
-p— i - g
rough, myboys!Thoughdark is the sky
' Twill clear up by and by,
• ■ d
that's for us enough, my boys, Aye, aye, so say I
TO-NIGHT LET'S JOVIAL BE.
TUNE, "HEY, BOYS, UP GO WE," — 1641.
New Words hy J. Oxenford
-=q — F
i jt. .r j
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,
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
f j t
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 -
- 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-
2. How ma - ny wea - ry years have past Since some of us have met !
some dark shad - ows have been cast, With tears have eyes been wet :
But we are gathered
o nce a - gain, One more glad night to see,
To sigh o'er an - cient
F 1 ^
g — EE
griefs is vain, So now we'll jo- vial be.
h . J "fry -ft . v
FAREWELL AND ADIEU TO YOU ALL, SPANISH LADIES!
OLD SEA SONG, "FAREWELL, SPANISH LADIES," TRADITIONAL.
j» = 132.
With great spirit,
New Words upon the old subject by J, Oxenford.
3. Then weep not at part
J . J— — P g a — a 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
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
cen - -
ores - - -
•y* "#• -^- -•-
see you a - gam.
sai-lors a - gain.
j — p — E
JTrTrrrfi^-jLHip a rtb^q^ ^a
^frf^f^^ ^ ^^^
i " +tl* ULffV
£^ J J:
2. Like true Brit - ish tars
though we love our old Eng - land, The
i J — = J :
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
> 1/ v
^J-tJ-HJ— ^^=tT=^ ^
land of dark beau - ties we leave with re - gret,
In calm and in
ej=3 - i — a=i— «r~j =
g m il « «i i n ■ s ~» g -'
f 3 ^^^?
1 JL T * L ^
■a- ■»• -5- ■»■ "
tern -pests, in peace and in bat - tie, The la - dies of Spain we shall
2- i +■ 4 m
gr^r^B ^^ c=3irT i^
-* — #-
^Bp r 'T 1 1 ^-tV*
-p — p-
ne - ver for - get.
p = 72.
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
M " r ^
f a u r r
I wandered through the gar - den, And saw the flow'rs that grew, And all of them in
turn, love, Re-mind - ed me of you.
I gaz'd up - on the li - ly And
« — tf
J ' M ■ Jj
thought of one more fair, The rose recall'd thy cheek, dear, And ro - ses blooming
And when I saw the heart's-ease, A sigh I scarce sup - press*d, I could not find its
*' ,.l TCT... •
like - ness With-in my ach - ing breast
Pvt> . 1>^
A - las ! in flow'rs of sum - mer No
com - fort can I find — They tell me you are love - ly But not that you
But not that you are
» f P
I I r
GREAT ORPHEUS WAS A FIDDLER BOLD.
TUNE, " STINGO J OR, OIL OF BARLEY," — POPULAR BEFORE lCuO.
f = 90.
M ■ r# ; I ^ rH 1 ,-
New Words by J. Oxenford.
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
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
-4 ' -s>
H 4- P-
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
- i T-P f
Da? Segno. $
- r *i r !T
all would fol- low af - ter.
leave be-hind a pen - ny.
3 * =:
3. i'ou ask, Sir, is the fault in me, Or in the al - tered times, Sir, That thus with lit - tie
-q- r i -;
- i T-P-
K, « ^ -K
-J k — / *
sym - pa - thy They hear my notes sub-lime, Sir ; A rea - dy an - swer I have not To
-i— r i
*ip 1 - re 1 r i -
335 — 5
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
-=1— p — =fc
- 1 r i
-=!— P *h
=i r i ■ -» 1 — *
=£= s f
"r 1 r
fid - die.
1 r 1
• -J- -«-
SAD, WEARY HEARTED!
TUNE, -'LOVE LIES BLEEDING," — TIME OP CHAKLES I.
Slow and plaintive,
New W ords by J. Oxenford.
N ^^KfeS^ygHt^ ^ 16
— * —
ap - pear,
sg r H T- f- | | i | | j | | | | . i i , , .
an - guish that
i - - die world
nought but care
have start - ed 1
must hear, love!
less greet - ing ;
Ne - - - ver
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
gaze round af-fright - ed.
an - guish con-ceal - ing.
nought I have spo - ken.
1st 8f 2nd times,
i ^p^^^ g^^ gi i ^
BEGONE, DULL CARE!
TUNE, "THE QUEEN'S JIG," ABOUT 1700.
Old Words, 17th Century.
gff rnrrfcB f
-p- *i r ^
^ — i—
-p — n— p-
S- :£ jl
I prithee be - gone from
m^ m M
dull care, You and I shall never a - gree.
J'^ j ' ^
^3 P a s -.H-- 1
±j -ff | — ^— P q-.. t
«*sl — te-
time thou hast been tar-rying here And fain thou would'st me kill,
: 8_J^ _j ^ z^j
- <T 4
But i' faith, dull
Thou ne - ver shalt have thy will.
-p — q r 1
will make a young man turn
5- ! — a
grey, And too much
will turn an old man to clay,
F ^&=^=* 3
1 1 r
wife shall dance and I will sing, So mer-ri-ly pass the day,
For I hold it one of the
=i — aj~
5 — y
-p — 1-
- r I P-
wis - est things To drive dull care a - way.
END OF VOL. I.
HENDERSON, RAIT, AND CO.,
WINSLEY STREET, OXFORD STREET, W.
THE NATIONAL MUSIC OF SCOTLAND.
WOOD'S NEW AND COMPLETE EDITION OF THE SONGS. Arranged with Pianoforte Accompaniments by Fdjlay Dim,
T. M. Mudie, J. T. Surrene, and H. E. Dibdin. In three volumes, cloth, 21s., or the three in one, half-bound, gilt edges, 21s.,
and 25s. ; elegant bindings, full bound morocco, 31s. 6d., 35s.
The Introduction, Critical Dissertation, and History of the Songs, has been written by George Farquhar Grahame, Author of
the article " Music " in the seventh edition of the " Enclopsedia Brittanica."
THE SONGS WITHOUT THE WORDS. One volume, 7s. Introduction by George Farquhar Grahame.
THE DANCE MUSIC. One volume, 7s. Being the Complete Collection of Keels and Strathspeys so arranged as to admit of their
being played in the regular sequences of Keel, Strathspey, and Reel.
WITH NEW SYMPHONIES AND ACCOMPANIMENTS, AND EDITED BY
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In One Volume, full Music Size, 21s. ; in parts, each containing Twelve Songs, 4s. ; or each Song separately, Is.
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)
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
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
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Lately Published, New Editions of the following Works on the Art of Singing : —
Varna's Ifcfo €xmiUi w t\t %xt ni Singing.
WITH EXAMPLES AND EXERCISES FOR THE CULTIVATION OF THE VOICE.
Price Twelve Shillings.
The production of this work is the result of experience
gathered from a life* devoted to the observation and culture of
the voice under "its numerous phases and varieties. It should
be distinguished from an earlier production, by the same author,
as offering a course of study mote methodical, more progressive,
and complete.' The success, and the still constant demand for
copies of the earlier work, give assurance that the public will
speedily recognise the greater usefulness of the present publi-
There is no branch of education in which an expenditure of
time, talent, and capital may be relatively so unproductive of
improvement as in the art of singing. The failures are more
frequentlyrto be charged to the indifference or insufficiency of
teachers, than to the incapacity of learners. 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. Although capabilities be
various, and some very limited, yet all who diligently pursue a
right course of study and exercise will attain to a certain de-
gree of excellence ; while they whom nature has most liberally
endowed, but who pursue an empirical method, can never rise
to real eminence in the art. The best voice does not make the
best singer, any more than the best Straduarius violin makes
the best player. Even facility of execution, however remark-
able, is worthless, if unaccompanied by any manifestation of
those higher excellences, — colour, expression, and style.
The inability of the public to arrive at a proper estimate of
the excellences or deficiences of the various works on the Art
of Singing, which are now being issued with unparalleled
fertility, induces ! the publishers strongly to recommend the
following pages to the notice of students. 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.
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WALTER MAYNARD'S INSTRUCTION IN THE ART OF SINGING.
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THE VOCALIST'S GUIDE.
Instruction and Solfeggio,- with Illustrative Examples. Revised from the MSS. of the late A Bennett, M.B.O. by T. Cooke.
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