M U S I C Netherfield Ball - Amazon S3 · Music for the Netherfield Ball © 2016 Suzanne Guldimann, West of the Moon Books. Licensed to original downloader only. 1 M U S I C for the

1Music for the Netherfield Ball © 2016 Suzanne Guldimann, West of the Moon Books. Licensed to original downloader only.

M U S I C for the

Netherfield BallS O N G S & D A N C E S ofJ A N E A U S T E N’ S E R AArranged for C E L T IC H A R P

by S U Z A N N E G U L D I M A N N

2 Music for the Netherfield Ball © 2016 Suzanne Guldimann, West of the Moon Books. All rights reserved.

Published by West of the Moon BooksP.O. Box 6133, Malibu, California 90264

www.westofthemoon.org

Music for the Netherfield BallCopyright © 2016 Suzanne Guldimann

Illustrations copyright © 2016 Suzanne Guldimann

All rights reserved. This book may not be reproduced by any means,whole or in part, without written permission from the publisher.

The e-book version of this publication is licensed to the original downloader only.

ISBN-13: 978-0-9667664-8-6

The music in this collection was researched, selected, and arranged, with care, love, and many months of labor. Respecting the copyright laws that protect this work by not making multiple copies helps support the author who created it, and will encourage more harp music to be produced in the future.

Please help keep downloadable harp music viable and available by encouraging your students, friends and family to purchase their own copies. Thank you for your assistance in this endeavor.

Heartfelt thanks to Ann Dittmer, Carolee Doing, Sylvia Woods and especially my mom, Eleanor Guldimann, for assistance, guidance, proofreading, and encouragement.

This book would not have been possible without the scholarship and dedication of researchers like Ian Gammie and David McCulloch, who are committed to sharing the contents of the Austen family music collection with the world.


Table of ContentsIntroduction ............................................................................................................... 4Ask If Yon Damask Rose Be Sweet ........................................................................... 6Che Farò Senza Euridice ........................................................................................... 8Corn Rigs ................................................................................................................ 12Duke of York’s New March, The ............................................................................ 14Fairy Dance ............................................................................................................. 16Highland Mary ........................................................................................................ 18Joan Said to John ..................................................................................................... 20Lochaber No More .................................................................................................. 22Love Never More Shall Give Me Pain .................................................................... 24Mr Beveridge’s Maggot ........................................................................................... 26My Lodging Is on the Cold Ground ........................................................................ 28Nos Galen ................................................................................................................ 30Prayer of the Sicilian Mariners, The ....................................................................... 32Que j’aime à voir les hirondelles .............................................................................. 34Robin Adair ............................................................................................................. 36Roslin Castle ............................................................................................................ 38Their Groves of Sweet Myrtle ................................................................................. 40Waly, Waly ............................................................................................................... 42Yellow-Haired Laddie .............................................................................................. 44Select Bibliography .................................................................................................. 46Index ........................................................................................................................ 47


Introduction“Aunt Jane began her day with music—for which I conclude she had a natural taste; as she thus kept it up—tho’

she had no one to teach; was never induced (as I have heard) to play in company; and none of her family cared much for it. I suppose that she might not trouble them, she chose her practising time before breakfast—when she could have the room to herself—She practised regularly every morning—She played very pretty tunes, I thought—and I liked to stand by her and listen to them; but the music, (for I knew the books well in after years) would now be thought disgracefully easy—Much that she played from was manuscript, copied out by herself—and so neatly and correctly, that it was as easy to read as print.”

—Caroline Austen, My Aunt Jane Austen: A Memoir, 1867

Music runs like a complex pattern of thread through the novels of Jane Austen. Elizabeth Ben-nett charms Mr Darcy with music, despite playing “only a little and very ill.” Miss Crawford’s nature is revealed in her endeavor to have her harp transported to her sister’s house during harvest season in the country. Her playing, when the instrument arrives, captivates Edmund Bertram, while his unmusical cousin Fanny Price is unmoved. Marianne Dashwood’s passionate nature revels in music. The anonymous gift of a pianoforte brings both pleasure and pain to Jane Fairfax.

Music was also an integral aspect of the writer’s life. Like many of her characters, Jane Austen played the pianoforte and her letters contain enthusiastic accounts of attending performances. An 1811 letter about a soirée at her brother Henry’s home states:

Above 80 people are invited for next Tuesday evening, and there is to be some very good music — five professionals, three of them glee singers, besides amateurs. Fanny will listen to this. One of the hirelings is a Capital on the harp, from which I expect great pleasure.”

Austen’s niece and biographer Caroline recalled that her aunt practiced every morning before breakfast. The younger Austen deprecates her aunt’s taste in music, but a total of 18 scrapbooks or albums of music collected by members of the Austen family have survived. Eight volumes are held by the Jane Austen Memorial Trust at Chawton House Library, near the home where Austen spent her last years.

In 2005, Ian Gammie and Dr Derek McCulloch published a catalogue entitled Jane Austen’s Music. It was the first complete appraisal of the eight books of music at the Chawton House Library, which had, in the words of the authors, “never before been fully catalogued and on closer inspection proved to have 300 musical items.” I was fascinated to learn how eclectic and varied that music is, ranging from what we would consider classical, to the popular songs of the day. I was also intrigued that the collection contained numerous Scottish and Irish folk songs that would be classed today as “Celtic.”

Harpers were persecuted during the Elizabethan era and their harps destroyed, but some of their traditions were revived during the Romantic movement in art, literature, and music. Writers and poets like Sir Walter Scot and Thomas Moore ignited a passion for traditional music and il-lumined the ancient harping tradition with a rosy if somewhat fanciful light, restoring its luster.


This inspired Dublin harp maker John Egan to reinvent the ancient harp. He produced the first modern “Celtic” harp, which he called the “royal portable Irish harp” in 1819. It’s not impossible that some ancient harps survived and continued to be played as parlor instruments, and there were still a few traditional harpers in Austen’s era.

Jane was born in 1775, a time when the Irish, Scottish and Welsh harping tradition was not yet extinct. She died in 1817, just ten years after the death of Dennis Hempson, one of the last of the traditional Irish harpers. Welsh bard Edward Jones (1752-1824) was official Harper to the Prince of Wales and a passionate collector of traditional music. He was also a well known harp instructor who traveled in wealthy circles during Jane’s lifetime.

Harps are mentioned numerous times in Austen’s novels. She herself didn’t play the harp but her cousin Eliza did and her harp music collection survives. However, not much of it is suited to the Celtic-style harp. The single-action pedal harp was the instrument popular in Austen’s era. The modern double-action concert harp debuted in 1810. It’s tempting to speculate that this novel new harp is the type played by Mary Crawford in Mansfield Park, published in 1814—an instrument as sophisticated and modern as the lady herself.

It is unclear how much of the Austen family music Jane herself might have played, but a number

of pieces copied into two of the Austen family books are in her handwriting, and this collection in-cludes two pieces reported by Austen’s niece Caroline to have been among Jane’s favorites.

In assembling the music for this collection, I imagined it as a sampling of occasional music that might be played at a country gathering like the Netherfield Ball in Austen’s Pride and Prejudice: a mix of popular music, folk songs, and composed works, intended to entertain and give joy.

All but one of the pieces presented in this collection appear in some form in the Austen family music collection. “Mr Beveridge’s Maggot” slipped in by way of the 1995 television adaptation of Pride and Prejudice. The tune predates Austen’s era by more than 100 years and is regarded by the ex-perts in all-things-Austen as entirely anachronistic in its use as a dance. However, it wouldn’t be the Netherfield Ball without it. Curiously, the Austen family music collection includes at least two other tunes from the same source as “Mr Beveridge’s Maggot”—Playford’s Dancing Master—a reminder that traditional music often has phenomenal longevity.

I have endeavored to keep to the spirit of the original music as closely as possible. However, I’ve arranged all of the pieces in this collection to be easily playable on small harps for the convenience of 21st century musicians, and have transposed and adapted where necessary. Most of the pieces can be played on a harp with a range of just two and a half octaves, although there are a few exceptions this time. Arranging Gluck, Handel, and Mozart for small harps was an interesting challenge.

In Austen’s era, music was essential. Scores were shared with friends and relatives, copied out by hand, and played at gatherings and for personal enjoyment. While some scholars seem to enjoy dismissing Austen’s music as popular or even simplistic, the fact that so much of it, especially the Scottish and Irish traditional music, remains familiar, much loved, and still performed says far more about the enduring popularity of this music. Like Austen’s novels, the music that she played and loved speaks to us across time.


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Ask If Yon Damask Rose Be SweetThis aria from George Frideric Handel’s oratoria Susanna is in the oldest surviving Austen family music album at Chawton House, thought to have belonged originally to Jane Austen’s mother, Cassandra Leigh. Handel was one of the first major composers to write compositions for the new single action harp. Although Handel died in 1759, the popularity of his music continued unabated throughout Austen’s era.

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Ask if yon damask rose be sweet,That scents the ambient air;Then ask each shepherd that you meetIf dear Susanna’s fair.Say, will the vulture leave his prey,And warble through the grove?

Bid wanton linnet quit the spray,Then doubt the shepherd’s love.The spoils of war let heroes share,Let pride in splendour shine;Ye bards, unenvy’d laurels wear:Be fair Susanna mine.

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Che Farò Senza EuridiceLike the Handel piece, this famous aria from Christoph Willibald Gluck’s opera Orfeo ed Euridice also appears in the 1778 songbook thought to have belonged originally to Jane’s mother. However, Jane wrote her name on the page, so it seems safe to surmise she was familiar with the music. The work premiered in 1762. It remains a much-loved part of opera repertoire. Unlike the original mythological Greek hero Orpheus, doomed to death and despair when he fails to retrieve his love Euridice from the Underworld, Gluck’s version has a happy ending. Orfeo’s sorrow, expressed in this aria, touches the heart of Amore (Cupid), who restores Euridice to life, and reunites the lovers. I’ve included the lyrics with a literal English translation.

Watch for lever changes.Moderately, but with passion


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Che farò senza Euridice?Dove andrò senza il mio ben?Euridice! Oh, Dio! Rispondi!Io son pure il tuo fedel!Euridice!Ah! non m’avanzaPiù soccorso, più speranza,Né dal mondo, né dal ciel!Che farò senza Euridice?

What shall I do without Euridice?Where shall I go without my love?Euridice! O, God! Respond!I am faithful to you!Euridice!Ah, without youThere is no hope left to me,On earth nor in heaven.What shall I do without Euridice?

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Corn RigsThis old Scottish reel is still popular with country dancers. “Corn Rigs” is one of numerous Scottish tunes in the Austen family music manuscripts, where it appears in a printed collection entitled Thirty Scots Songs for Voice and Harpsichord. The tune probably dates to the late 17th century. Robert Burns popularized it as the setting for his 1783 poem “The Rigs o’ Barley,” which I’ve included here. It’s a good example of a subject not suitable for genteel Regency-era conversation that was acceptable in the context of a song.

With spirit


It was upon a Lammas nightWhen corn rigs are bonnie, O!Beneath the moon’s unclouded lightI held awa to Annie, O!The time flew by wi’ tentless heedTill ’tween the late and early, O!Wi’ sma’ persuasion she agreed toSee me thro’ the barley, O!

Chorus: Corn rigs and barley rigs,An’ corn rigs are bonnieI’ll ne’er forget that happy nightAmang the rigs wi’ Annie, O!

The sky was blue, the wind was still,The moon was shining clearly, O!I set her down wi’ right good willAmang the rigs o’ barley, O!I kent her heart was a’ my ainI loved her most sincerely, O!I kiss’d her o’re and o’re againAmang the rigs o’ barley, O!

I lock’d her in my fond embraceHer heart was beating rarely, O!My blessings on that happy placeAmang the rigs o’ barley, O!But by the moon and stars so brightThat shone that hour so clearly, O!She aye shall bless that happy nightAmang the rigs o’ barley, O!

I hae been blythe wi’ comrades dearI hae been merry drinkin’, O!I hae been joyful gatherin’ gearI hae been happy thinkin’, O!But a’ the pleasures e’er I sawTho’ three times doubles fairly, O!That happy night was worth them a’Amang the rigs o’ barley, O!

Note: A rig is a ridge or strip of cultivated land; corn refers to barley; and Lammas is an August harvest festival celebrating the bounty of summer.

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“Do not you feel a great inclination, Miss Bennet, to seize such an opportunity of dancing a reel?”

—Jane Austen, Pride and Prejudice

Corn Rigs


The Duke of York’s New MarchThe “Duke of York’s New March” is a version of the comic aria “Non più andrai” from Mozart’s opera The Marriage of Figaro, borrowed (presumably without the composer’s knowledge or permission) and re-purposed in England as a military march. This is the only piece of music by Mozart that appears in the Austen family collection. I’ve included the lyrics from the libretto of Mozart’s opera, written by Lorenzo da Ponte, together with a literal English translation, although it is unlikely that Jane would have been familiar with the original.

Briskly

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Non più andrai, farfallone amoroso,notte e giorno d’intorno girando;delle belle turbando il riposoNarcisetto, Adoncino d’amor.

Non più avrai questi bei pennacchini,—quel cappello leggero e galante,quella chioma, quell’aria brillante,quel vermiglio donnesco color.

Tra guerrieri, poffar Bacco!Gran mustacchi, stretto sacco.Schioppo in spalla, sciabla al fianco,collo dritto, muso franco,un gran casco, o un gran turbante,molto onor, poco contante!

Ed invece del fandango,una marcia per il fango.Per montagne, per valloni,con le nevi e i sollioni.Al concerto di tromboni,

di bombarde, di cannoni,che le palle in tutti i tuoniall’orecchio fan fischiar.Cherubino alla vittoria:alla gloria militar!

No more will you flirt, amorous butterfly,Fluttering day and night, Disturbing the rest of pretty ladies,Little Narcissus, Adonis of love.

No more fine feathers for you,No gallant little cap,Your flowing hair, and glowing face,That girlish rosy complexion.

To the war, by Bacchus!A big mustache, a tiny pack.Rifle at your back, sabre at your side,Head up, nose out,A big helmet or a big turban,Much honor, little pay.

Slogging through the mud,Instead of dancing.Over mountains and through valleys,In winter snow and summer heat,To the sound of trumpets.

The roar of bombard and canons,Bullets flying everywhere,A thunder to make the ears ring.On to victory, Cherubino,The glorious life of a soldier!

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A young woman, pretty, lively, with a harp as elegant as herself, and both placed near a window, cut down to the ground, and opening on a little lawn, surrounded by shrubs in the rich foliage of summer, was enough to catch any man’s heart.

—Jane Austen, Mansfield Park

The Duke of York’s New March


Fairy DanceThis well-traveled Scottish reel remains a popular fiddle tune that is also known as “The Largo Fairy Dance” and “The Fairy Reel.” There is an American fiddle version called “Old Molly Hare”; a Manx version, “Car ny Ferrishyn”; a Welsh version, “Dawns Y Tylwyth Teg”; and an English version, “The Fisher Laddie,” among others. The original tune is often attributed to Perthshire fiddler Nathaniel Gow (1763-1831), the fourth son of the legendary Scottish fiddler Neil Gow, and an important figure in Scottish music in his own right. The version in the Austen family collection was arranged by Matthais Holst (1769-1854), the grandfather of composer Gustav Holst.

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Jane Austen spent the last nine years of her life at Chawton Cottage, Hampshire, where she wrote her last three novels. The cottage is now Jane Austen’s House Museum. The Austen family’s collection of music is housed nearby at Chawton House, the former home of Jane Austen’s brother, Henry Austen Knight. Today, Chawton House is a publicly accessable library with 9000 titles. It is also home to the Centre for the Study of Early Women’s Writing, 1600-1830.

Fairy Dance


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Highland Mary This traditional and romantic song is one of numerous Scottish airs in the Austen family collection. The air, also known as Katherine Ogie, is attributed to 17th century Scottish harper Rory Dall O’Cahan, and seems to have enjoyed near continuous popularity throughout the 18th century. There are settings of it by a number of high profile composers, including Beethoven. Robert Burns, never one to let a good tune go to waste, borrowed the tune for his poem “Highland Mary” in 1792. Burns’ wrote to a friend that the original lyrics were “altogether unworthy of so beautiful an air,” and lamented that “the awkward sound, ‘Ogie,’ recurring so often in the rhyme, spoils every attempt at introducing sentiment into the piece.” I’ve included his verses for “Highland Mary.” One of the earliest printed versions of this tune appears in the 1688 edition of the English Dancing Master, evidence that while Playford’s dances might have been out of date in Austen’s era, the music continued to live on.

Slow and sadSharp the F above high C.


Wi’ mony a vow, and lock’d embrace, Our parting was fu’ tender; And, pledging aft to meet again, We tore oursels asunder; But oh! fell Death’s untimely frost, That nipt my Flower sae early! Now green’s the sod, and cauld’s the clay That wraps my Highland Mary!

O pale, pale now, those rosy lips, I aft hae kiss’d sae fondly! And clos'd for aye, the sparkling glance That dwalt on me sae kindly! And mouldering now in silent dust, That heart that lo’ed me dearly! But still within my bosom’s core Shall live my Highland Mary.

Ye banks, and braes, and streams around The castle o’ Montgomery! Green be your woods, and fair your flowers, Your waters never drumlie: There Simmer first unfauld her robes, And there the langest tarry; For there I took the last farewell O’ my sweet Highland Mary.

How sweetly bloom’d the gay, green birk, How rich the hawthorn’s blossom, As underneath their fragrant shade, I clasp’d her to my bosom! The golden hours on angel wings, Flew o’er me and my Dearie; For dear to me, as light and life,Was my sweet Highland Mary.

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Highland Mary


Joan Said to JohnThis 18th century catch is attributed to a composer named L. Atterbury. The version of this song in the Austen family collection is arranged for three voices and appears in Jane’s handwrit-ing. I’ve included the verse, although I’ve arranged the melody as a simple tune and variation, instead of a catch or round. This version is adapted from John Arnold’s wonderful and wonder-fully named The Essex Harmony: Being a Choice Collection of the Most Celebrated Songs and Catches, for Two, Three, Four, and Five Voices: from the Works of the Most Eminent Masters, published in London in 1777.

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Joan said to John, when he stopt her t’other day, Pray John let me go, you know I cannot stay; You always so tieze me and want me to stay; But tieze me no more, for now I must away. So she left him in spite of all he could say, Who then could say nought, But pray thee Joan, prithee stay.

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Joan Said to John


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Lochaber No MoreThe sentimental and romantic lyrics for this beautiful old air were written by Scottish poet Al-lan Ramsay (1686-1758). William Thomson, the author of a 1733 collection of Scottish songs called Orpheus Caledonius, set the verses to the tune known as “Limerick’s Lamentation” or “King James’ March to Ireland,” which probably dates to the mid 17th century and is attributed to the great Irish harper Thomas O’Connellan (1640-1698). The song became immensely popular in the Regency era, and continues to be a favorite bagpipe tune.

Moderately


Farewell to Lochaber, and farewell my Jean,Where heartsome wi’ thee I’ve mony day been;For Lochaber no more, Lochaber no more,We’ll maybe return to Lochaber no more.These tears that I shed they are a’ for my dear,And no for the dangers attending on wear;Tho’ bore on rough seas to a far bloody shore,Maybe to return to Lochaber no more.

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”””Tho’ hurricanes rise, though rise ev’ry wind,They’ll ne’er make a tempest like that in my mind;Tho’ loudest of thunder on louder waves roar,That’s naething like leaving my love on the shore.To leave thee behind me my heart is sair pain’d,By ease that’s inglorious no fame can be gain’d,And beauty and love’s the reward of the brave,And I must deserve it before I can crave.

Then glory, my Jeanie, maun plead my excuse!Since honour commands me, how can I refuse?Without it, I ne’er can have merit for thee,And losing thy favour I’d better not be.I gae then, my lass, to win honour and fame:And if I should luck to come glorious hame,I’l1 bring a heart to thee with love running o’er,And then I’l1 leave thee and Lochaber no more.

Lochaber No More


Love Never More Shall Give Me PainThis beautiful Scottish air appears twice in the Austen family music collection. The tune, originally titled “My Deary If Thou Die,” dates to the late 17th century, was given new lyrics by Scottish poet Robert Crawford (1700-1733). This is an excellent example of the 18th century passion for recycling folk music as an accompaniment for contemporary poetry. The tune was one of numerous Scottish airs set by Austrian composer Joseph Haydn. This version is adapted from James Johnson’s The Scots Musical Museum, 1789.

Moderately

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Love never more shall give me pain,My fancy’s fix’d on thee,Nor ever maid my heart shall gain,My Peggy, if thou die.Thy beauty doth such pleasure give,Thy love’s so true to me,Without thee I can never live,My deary if thou die.

No new-blown beauty fires my heart With Cupid’s raving rage; But thine, which can such sweets impart, Must all the world engage. ‘Twas this, that like the morning sun, Gave joy and life to me; And when its destin’d day is done, With Peggy let me die.

Ye powers that smile on virtuous love, And in such pleasure share; You who its faithful flames approve, With pity view the fair: Restore my Peggy’s wonted charms, Those charms so dear to me! Oh! never rob them from these arms — I’m lost if Peggy die.

Ye powers that smile on virtuous love,And in such pleasure share;You who its faithful flames approve,With pity view the fair,Restore my Peggy’s wonted charms,Those charms so dear to me;Oh! never rob me from those arms:I’m lost if Peggy die.

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Yes, yes, we will have a pianoforte as good a one as can be got for 30 Guineas—and I will practise country dances that we may have some amusement for our nephews and neices, when we have the pleasure of their company.

—Jane Austen, Letter to her sister to Cassandra, December 1808

Love Never More Shall Give Me Pain


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Mr Beveridge’s MaggotThe purists are quick to point out that this English country dance that first appeared in print in the 1695 edition of Playford’s Dancing Master is an anachronism, long out of style as a dance in Jane Austen’s era, but I couldn’t resist including it for fellow fans of the 1995 television version of Pride and Prejudice, where its measured cadences were used to great effect during the crucial exchange between Elizabeth Bennet and Mr Darcy. A maggot is a lively dance, however the filmmakers slowed the tune down and made it stately. This version isn’t arranged for dancing, which would require multiple repeats of the two parts. There are a lot of accidentals here, and no easy way to work around them. One way to deal with them is to simply drop the left hand accompaniment in the measures with multiple changes and focus on the levers.

Sharp high C and D and watch for lever changes throughout.With dignity


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””””She played [the harp] with the greatest obligingness, with an expression and taste which were peculiarly becoming, and there was something clever to be said at the close of every air.

—Jane Austen, Mansfield Park

Mr Beveridge’s Maggot


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My Lodging Is on the Cold GroundIrish poet Thomas Moore (1779-1852) borrowed this traditional Scottish tune for the setting of “Believe Me If All Those Endearing Young Charms” in 1807. However, long before Moore, the lyrics for “My Lodging Is on the Cold Ground” by poet Matthew Locke (1621-1677), were attached to the tune . The air, which probably dates to the early 18th century, has retained its popularity and remains as instantly recognizable today as it would have been in Jane’s era.

With pathos


My lodging it is on the cold ground,And oh! very hard is my fare,But that which troubles me most isThe unkindness of my dear.Yet still I cry, Oh turn, love,’And prithee, love, turn to me,For thou art the man that I long for,And alack! what remedy?

I’ll crown thee with a garland of straw then,And I’ll marry thee with a rush ring;My frozen hopes shall thaw, then,And merrily will we sing:O turn to me, my dear love,And prithee, love, turn to me;For thou art the man that alone canstProcure my liberty.

But if thou wilt harden thy heart stillAnd be deaf to my pitiful moan,Then I must endure the smart stillAnd tumble in straw alone:Yet still I cry, O, turn, love,And prithee, love, turn to me!For thou art the man that alone artThe cause of my misery.

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What a felicity it is to hear a tune again which has made one happy!

—Jane Austen, Emma

My Lodging Is on the Cold Ground


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Nos GalenThis old Welsh air, know best today as “Deck the Halls,” is another piece that appears in the Austen family collection in Jane’s handwriting. There’s yet another connection to the ancient harping tradition here. The original air is attributed to the blind Welsh harper John Parry, also known as Parri Ddall (1710-1782). Jane’s version is a copy of the variations on the tune published in 1784 by another Welsh harper, Edward Jones, the “Harper to the Prince of Wales,” in his collection Relicks of the Welsh Bards. Jones (1752-1824) collected traditional Welsh music and information on the harping tradition, and also shared that knowledge by teaching harp.

ModeratelyWatch for lever changes.


Colonel Brandon alone, of all the party, heard her without raptures. He paid her only the compliment of attention; and she felt a respect for him on the occasion...

—Jane Austen, Sense and Sensibility

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The Prayer of the Sicilian MarinersThis Roman Catholic Latin hymn to Mary does not appear to have any connection to either Sicily or mariners. It may seem an odd piece of music to find among the Austen family music, but the traditional Italian tune, first published in 1792, was extremely popular in the early 19th century. Beethoven wrote a setting of the hymn in 1817, but it is most familiar today as a Christmas carol. The lyrics of the carol “O du fröhliche” were written to accompany the melody in 1830 by Jonathan Falk, warden of a German orphanage, for a children’s Christmas play. Falk’s carol and the English version, “O, Most Wonderful,” continue to be sung at Christmas. I’ve included the words to the traditional Latin hymn with a literal English translation.

Moderately


O sanctissima, o piissimadulcis Virgo Maria!Mater amata, intemerata,ora, ora pro nobis.

Tu solatium et refugium,Virgo Mater Maria.Quidquid optamus, Per te speramus,Ora, ora pro nobis.

Ecce debiles, perquam flebiles,salva nos, o Maria!Tolle languores, sana dolores,Ora, ora pro nobis.

Virgo, respice, Mater, aspice,audi nos, o Maria!Tu medicinam portas divinam,Ora, ora pro nobis.

O most holy, O most loving,Sweet Virgin Mary!Beloved Mother, undefiled,Pray, pray for us.

You are our solace and refuge,Virgin Mother Mary.Whatever we hope for We ask it through you.Pray, pray for us.

We are weak and deeply flawed,Save us, O Mary!Take away our lassitude, heal our pains,Pray, pray for us.

Virgin, look at us, Mother, care for us,Hear us, O Mary!You bring us divine medicine.Pray, pray for us.

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“In the evening [Jane] would sometimes sing, to her own accompaniment, some simple old songs, the words and airs of which, now never heard, still linger in my memory.”

—James Edward Austen Leigh, A Memoir of Jane Austen

The Prayer of the Sicilian Mariners


Que j’aime à voir les hirondellesJane Austen’s niece and biographer Caroline Austen recalled this as one of her aunt’s favorite songs, and the version in the Austen family music collection is in Jane’s handwriting. The tune is traditional. The lyrics are by Jean-Pierre Claris de Florian (1755-1794), who also wrote the words for the song “Plaisir d’amour.” A setting for voice and piano or harp was printed in 1788. I’ve included an English translation published by British dramatist John Oxenford in 1870.

Sweetly and sadlyWatch for lever changes.

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Que j’aime à voir les hirondelles,A ma fenêtre tous les ans,Venir m’apporter des nouvellesDe l’approche du doux printemps!Le même nid, me disent-elles,Va revoir les mêmes amoursCe n’est qu’à des amant fidèlesA vous annoncer les beaux jours.

Lorsque les premiers gelèesFont tomber les feuilles des bois,Les hirondelles rassemblêesS’appellent toutes sur les toits:Partons, partons, se disent-elles,Fuyons la neige et les antans;Point d’hiver pour les coeurs fidêles,Ils sont toujours dans le printemps

Si par malheur dans le voyoge,Victime d’un cruel enfantUne hirondelle mis en cageNe peut rejoindre son amant,Vous voyez mourir l’hirondelleD’ennui, de douleur et d’amour.Tandis que son amant fidèlePrès de là meurt le même jour.

How I love to see the swallowsAt my window every year, For they bring the happy tidings,Smiling spring is drawing near. “In the same nest,” soft they whisper, “Happy love once more shall dwell; Only lovers who are faithful Tidings of the spring should tell.”

When beneath the icy fingers Of the first frosts fall the leaves, Swallows gather on the house-tops, Singing as they quit the eaves, “Haste away, the sunshine’s fading, Cruel winds the snow will bring; Faithful love can know no winter; Where it dwells is always spring.”

If, unhappy, one be takenBy a cruel infant’s hand, Caged and parted from its lover—Captive in the winter land; Soon you’ll see it die of sorrow, While its mate, still lingering nigh, Knows no further joy in sunshine, But on the same day will die.

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Robin AdairJane Fairfax plays “Robin Adair” on the pianoforte that arrives as an anonymous gift and is the source of so much consternation in Emma. It is the only song named in any of Austen’s novels. Charles Coffey popularized the tune in his 1729 ballad opera The Beggar’s Wedding. The lyrics sung in Austen’s day were by Lady Caroline Keppel, the wife of the actual Robin Adair, a colonel and surgeon in the British Army, but Gerald O’Daly, a 17th century harper, is credited with the Gaelic words on which the older version of the song, Eileen Aroon, is based and it seems likely that the original tune was written for harp. By the early 19th century this song was wildly popular. It was even said to be a favorite of American President Thomas Jefferson.

Slow

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What’s this dull town to me? Robin’s not nearWhat was’t I wish’d to see? What wish’d to hear?Where all the joy and mirth Made this town heaven on earth?Oh, they’re all fled with thee, Robin Adair

What made th’ assembly shine? Robin Adair.What made the ball sae fine? Robin was there.What when the play was o’er? What made my heart so sore?Oh, it was parting with Robin Adair

But now thou’rt cold to me, Robin AdairBut now thou’rt cold to me, Robin AdairYet he I loved so well, Still in my heart shall dwell.Oh, I can ne’er forget Robin Adair.

“She is playing Robin Adair at this moment—his favorite.”


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Roslin Castle“Roslin Castle” appears in the second set of Scottish songs in the Austen family collection. The air, also known as “The House of Glamis,” was popularized by James Oswald (1710-1769), official Chamber Composer for King George III. The lyrics are attributed to Cumberland poet Richard Hewitt. The tune is one of the melodies used by the composer Joseph Haydn for his English and Scottish Songs, Opus 111.

Sharp the G above middle C.Moderately


O hark, my love, on every sprayEach feather’d warbler tunes his lay;Tis beauty fires the ravish’d throng:And love inspires the melting song.Then let my raptur’d notes arise,For beauty darts from Nannie’s eyes,And love my rising bosom warms,And fills my soul with sweet alarms.

O come, my love! Thy Colin’s layWith rapture calls, O come away!Come, while the muse this wreath shall twineAround that modest brow of thine;O hither haste, and with thee bringThat beauty blooming like the spring,Those graces that divinely shine,And charm this ravish’d breast of mine.

Twas in the season of the year,When all things gay and sweet appear,That Colin, with the morning ray,Arose and sang his rural lay.Of Nannie’s charms the shepherd sung,The hills and dales with Nannie rung:And Roslin Castle heard the swain,And echo’d back the cheerful strain.

Awake, sweet muse! The breathing springWith rapture warms, awake and sing!Awake, and join the vocal throngWho hail the morning with a song:To Nannie raise the cheerful lay,O, bid her haste and come away;In sweetest smiles herself adorn,And add new graces to the morn.

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Their Groves of Sweet MyrtleJane mentions Robert Burns in her unfinished novel Sandition: “Poor Burns’ known irregularities greatly interrupt my enjoyment of his lines. I have difficulty in depending on the truth of his feelings as a lover. I have not faith in the sincerity of the affections of a man of his description. He felt and he wrote and he forgot.” However, this song by Burns was reportedly one of Jane’s favorites and is copied out in her handwriting. The tune is an Irish air called “Humours of Glen.” In a letter dated 1775, Burns himself described it as “a great favorite of mine.”

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Their groves o’ sweet myrtle let foreign lands reckon, Where bright-beaming summers exalt the perfume; Far dearer to me yon lone glen o’ green breckan, Wi’ the burn stealing under the lang, yellow broom. Far dearer to me are yon humble broom bowers Where the blue-bell and gowan lurk, lowly, unseen; For there, lightly tripping, among the wild flowers, A-list’ning the linnet, aft wanders my Jean.

Tho’ rich is the breeze in their gay, sunny valleys, And cauld Caledonia’s blast on the wave; Their sweet-scented woodlands that skirt the proud palace, What are they? The haunt of the Tyrant and Slave. The Slave’s spicy forests, and gold-bubbling fountains, The brave Caledonian views wi’ disdain; He wanders as free as the winds of his mountains, Save Love’s willing fetters—the chains of his Jean.

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“Without music, life would be a blank to me.”


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Waly, WalyThis is another extraordinarily popular Scottish folk song from the Austen family collection that was popularized by Allan Ramsay. “Waly, Waly” seems to be a composite of several ballads, including the well-known songs “Jamie Douglas” and “Barbara Allan.” A century after Ramsay’s version, folk music collector Cecil Sharp pieced together another version of this ballad to create the popular folksong, “The Water Is Wide.”

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‘Tis not the frost that freezes fell,Nor blawing snaw’s inclemencyTis not sic cauld that makes me cry,But my love’s heart grown cauld to me.When we came in by Glasgow Town,We were a comely sight to see;My love was clad in black velvet,And I myself in cramasia.

But had I wist before I kiss’dThat love had been sae ill to win,I’d lock’d my heart in a case of gold, And pin’d it wi’ a silver pin. Oh, oh! if my young babe were born, And set upon the nurse’s knee, And I my sell were dead and gane, For a maid again I’ll never be.

Note: Waly, a cry of grief, is pronounced “waily.” Cramasia is crimson cloth. Arthur’s seat is the peak of the tallest hill above Edinburgh. Saint Anton’s Well may be a reference to Holywell, a spring at the foot of that hill where young women traditionally bathed on May Day for luck in love. In contrast, Martinmas is the November 11 Feast of Saint Martin of Tours, which marks the unofficial start of winter.

O, waly, waly upon the bank And waly, waly down the brae,And waly, waly yon Burn-side Where I and my love wont to gae.I leaned my back unto an oakI thought it was a trusty treeBut first it bow’d and syne it brokeSae my true Love did lightly me.

O waly, waly, but love be bonnie A little time while it is new, But when ’tis auld it waxeth cauld And fades away like morning dew. O wherefore should I busk my head, Or wherefore should I kame my hair? For my true love has me forsook, And says he’ll never love me mair.

Now Arthur-Seat shall be my bed, The sheets shall ne’er be fyl’d by me, St. Anton’s Well shall be my drink, Since my true love has forsaken me. Martinmas wind, when wilt thou blaw, And shake the green leaves aff the tree?O gentle Death, when wilt thou come?For of my life I am weary.

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Yellow-Haired LaddieThis is yet another of the songs from the Austen family collection of Scottish airs. “Yellow-Haired Laddie” is still a popular fiddle tune, 200 years after Austen’s time. The melody was used for a variety of ballad operas in the 18th century, but probably dates to the late 17th century. The traditional words are given by Robert Chambers in his 1862 book Songs of Scotland Prior to Burns. Jane would have been familar with Allan Ramsay’s verses, which appeared in 1724 as part of the Tea Table Miscellany. I’ve included a verse of each.

Moderately


“The Yellow-Haired Laddie,” traditional:

The yellow-haired laddie sat on yon burn brae,Cries, milk the ewes, lassie, let nane o’ them ga;And aye she milked and aye she sang,The yellow-haired laddie shall be my guidman.And aye she milked and aye she sang,The yellow-haired laddie shall be my guidman.

“The Yellow-Haired Laddie,” Ramsay’s version:

In April, when primroses paint the sweet plain,And summer approaching rejoiceth the swain,The yellow-haired laddie would oftentimes goTo woods and deep glens where the hawthorn-trees grow.There, under the shade of an old sacred thorn,With freedom he sung his loves, evening and morn :He sung with so soft and enchanting a sound,That sylvans and fairies, unseen, danced around.

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Mary, at the end of a long concerto, was glad to purchase praise and gratitude by Scotch and Irish airs, at the request of her younger sisters.

—Jane Austen, Pride and Prejudice

Yellow-Haired Laddie


Select BibliographyIn December 2015, 17 volumes containing 600 pieces of music from the Austen family collection held by the Chawton House Library in Hampshire, UK, were digitized and made available online in a collaboration with the University of Southampton. It is a tremendous resource for Austen scholars and enthusiasts and opens a whole new world of possibilities not available when this book was being written. The archive can be accessed at https://archive.org/details/austenfamilymusicbooks.

Arnold, John. The Essex Harmony: Being a Choice Collection of the Most Celebrated Songs and Catches, for Two, Three, Four, and Five Voices: From the Works of the Most Eminent Masters. Volume 2. London: Printed by Robert Brown, 1777. https://musopen.org/sheetmusic/26715/john-arnold/the-essex-harmony/

Austen, Jane. The Oxford Illustrated Jane Austen. Ed. R. W. Chapman. Oxford: Oxford University Press,1988.

Austen, Caroline Mary Craven. My Aunt Jane Austen: A Memoir. London: Spottiswoode Ballantyne, 1952.

Austen-Leigh, James Edward. A Memoir of Jane Austen. Ed. R.W. Chapman. Oxford: Oxford Uni-versity Press, 1926.

Barlow, Jeremy. The Complete Country Dance Tunes from Playford’s Dancing Master 1651-1728. London: Faber Music, 1985.

Chambers, Roberts. Songs of Scotland Prior to Burns. London: W & R Chambers, 1862. https://ar-chive.org/details/songsofscotlandp00cham

Cunningham, Allan. The Songs of Scotland, Ancient and Modern, with an Introduction and Notes, Historical and Critical, and Characters of the Lyric Poets. Four Volumes. London: Printed for John Taylor, 1825.

Dick, James C. The Songs of Robert Burns Now First Printed with the Melodies for Which They Were Writ-ten: A Study in Tone-Poetry. London: Henry Frowde, 1903. https://ia802605.us.archive.org/2/items/songsofrobertbur00burnuoft/songsofrobertbur00burnuoft.pdf

Gammie, Ian and David McCulloch. Jane Austen’s Music. Saint Albans: Corda Music Publications, 1996.

Hogg, James. The Forest Minstrel. Eds. Peter Garside, Peter Horsfall, Richard D. Jackson. Edinburgh: Edinburgh University Press, 2006.

Johnson, James. The Scots Musical Museum. Edinburgh: Johnson and Co Music Sellers, 1789. http://deriv.nls.uk/dcn23/8779/87793667.23.pdf

Jones, Edward. Musical and Poetical Relicks of the Welsh Bards. London: Printed by the author, 1794. https://ia902701.us.archive.org/22/items/MusocalAndPoeticalRelicksOfTheWelshBards/WelshBards26-2-07.pdf

Knight, Henry Austen. A Memoir of Jane Austen by Her Nephew. London: Richard Bentley and Son, 1871. http://www.gutenberg.org/files/17797/17797-h/17797-h.htm

Piggott, Patrick. The Innocent Diversion: A Study of Music in the Life and Writings of Jane Austen. London: Clover Hill Editions,1979.

Ramsay, Allan. The Tea Table Miscellany. Edinburgh: Printed by the author, 1775. https://ia800205.us.archive.org/0/items/teatablemiscella03rams/teatablemiscella03rams.pdf

Smith, R.A. The Irish Minstrel. A Selection from the Vocal Melodies of Ireland Ancient and Modern. Edin-burgh: Printed by Rob Purdie for the author, 1825.

Thomson, William. Orpheus Caledonius. London: Printed by the author, 1733. Accessed through the National Library of Scotland, Glen Collection of Printed Music. https://ia800502.us.archive.org/16/items/orpheuscaledoniu01thom/orpheuscaledoniu01thom.pdf


Index of Titles and First LinesAsk If Yon Damask Rose Be Sweet ......................................................................... 6Che Farò Senza Euridice ......................................................................................... 8Corn Rigs ................................................................................................................ 12Duke of York’s New March, The ............................................................................ 14Fairy Dance ............................................................................................................. 16Farewell to Lochaber, and farewell, my Jean ..................................................................... 22Highland Mary ........................................................................................................ 18How I love to see the swallows ....................................................................................... 34Joan Said to John ..................................................................................................... 20In April when the primroses paint the sweet plain ............................................................. 44It was upon a Lammas night .......................................................................................... 12Lochaber No More .................................................................................................. 22Love Never More Shall Give Me Pain .................................................................... 24Mr Beveridge’s Maggot ........................................................................................... 26My Lodging Is on the Cold Ground ........................................................................ 28Nos Galen ................................................................................................................ 30O sanctissima, O piissima ............................................................................................. 32O, waly, waly, upon the bank ......................................................................................... 42Non più andrai, farfallone amoroso .................................................................................... 14Prayer of the Sicilian Mariners, The ....................................................................... 32Que j’aime à voir les hirondelles .............................................................................. 34Robin Adair ............................................................................................................. 36Roslin Castle ............................................................................................................ 38Their Groves of Sweet Myrtle ................................................................................. 40Twas in the season of the year ........................................................................................ 38Ye banks and braes and streams around ............................................................................ 18Yellow-Haired Laddie .............................................................................................. 44Waly, Waly ............................................................................................................... 42What’s this dull town to me? ......................................................................................... 36


More harp music books by Suzanne Guldimann:

Green Grows the Holly: Medieval and Renaissance CarolsISBN 0-9667664-0-7 $14.95 U.S

The Three Ravens and Other BalladsISBN 0-9667664-1-5 $19.95 U.S.

Pastime with Good Company: Elizabethan Songs and DancesISBN 0-9667664-2-3 $18.95 U.S.

Cold December Winds: A New Collection of Old CarolsISBN 0-9667664-3-1 $18.95 U.S.

Hearts of Oak: Songs and Dances of Old EnglandISBN 0-9667664-4-X $18.95 U.S.

Amid the Winter’s Snow: Victorian Christmas Carols IISBN 0-9667664-4-X $15.95 U.S.

The King’s Delight: A Collection of Early MusicISBN 0-9667664-5-8 $18.95 U.S.

The Bard’s Harp: Music from Shakespeare’s PlaysISBN 978-0966766479 $18.95 U.S.

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