Scottish music

“ Civilization is of the south and the Lowlands; but Scottish music and poetry, in their nascent, original, most forceful forms, are of the north and west. This is true, also, because among the most potent causes of difference are the aspects of nature, so strikingly in contrast as one nears England or Norway.
Scottish song and verse were born among the mountains nearer the North Star, and the first bards were hunters and cragsmen. In the early poetry and music of no land, more than in that of Scotland, are primitive art and pre-ancient nature more in accord. ”

“ About the close of the seventeenth century, a taste for Scottish music became prevalent among the upper classes of society, and Scottish airs were introduced at all places of public amusement in London and elsewhere. ”

“ By his skill and education, he rendered his compositions more regular and palpable, than those songs and their airs which had been framed and sung by the sad-hearted swain on the hill, or the love-lorn maiden in the green wood.
Not in music only, but in the words of song, some of the Scottish kings had such a share as to stamp the art and practice of song-writing with royal sanction. Thus encouraged, the native minstrelsy was fostered by the whole community, receiving accessions from succeeding generations. ”

“ Scarcely any effort is being made even yet to create a national school of composers in Scotland, although the creation of such national schools in every other country in Europe—at their third and fourth stage of development now in most of them—has constituted during the past half century or so one of the greatest revolutions in music. So far as Scottish music is concerned it remains at best practically where it was in the sixteenth century. Music in Scotland is another matter. ”

“ The martial music of Ireland is a matter of tradition; on the first step of the invader the genius of chivalric song and melody departed from Erin. Scotland retains her independence, and those strains which are known in northern Europe as the most inspiriting and delightful, are recognised as the native minstrelsy of Caledonia. The origin of Scottish song and melody is as difficult of settlement as is the era or the genuineness of Ossian. There probably were songs and music in Scotland in ages long prior to the period of written history. ”

“ James Miller, writer in your good town, was in company with our friend Clarke: and talking of Scottish music, Miller expressed an ardent ambition to be able to compose a Scots air. Mr. Clarke, partly by way of joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air. Certain it is, that, in a few days, Mr. Miller produced the rudiments of an air, which Mr. Clarke, with some touches and corrections, fashioned into the tune in question. ”

“ Scottish music as it now exists has been derived largely from the Highlands. No man did more to acclimatise 76Celtic music in the Lowlands than Burns. By wedding Highland airs to his own incomparable poetry he gave them a new lease of life, albeit he helped to destroy them under their old names while preserving them under the new. ”

“ We were indeed a musical ship’s company, and cheered our way into exile with the fiddle, the accordion, and the songs of all nations. Good, bad, or indifferent—Scottish, English, Irish, Russian, German or Norse,—the songs were received with generous applause. Once or twice, a recitation, very spiritedly rendered in a powerful Scottish accent, varied the proceedings; and once we sought in vain to dance a quadrille, eight men of us together, to the music of the violin. The performers were all humorous, frisky fellows, who loved to cut capers in private life ”

“ Mendelssohn did not disdain taking Scottish airs as themes for the exercise of his profound science and his exquisite taste. It must, I think, be admitted that singing of Scottish songs in the perfection of their style--at once pathetic, graceful, and characteristic--is not so often met with as to remove all apprehension that ere long they may become matters only of reminiscence. Many accomplished musicians often neglect entirely the cultivation of their native melodies, under the idea of their being inconsistent with the elegance and science of high-class music. They commit a mistake. ”

“ Lost ground is being rapidly recovered; efforts are being made once more to create [15] distinctively Scottish literature comparable in artistic quality and tendencious force to the contemporary output of other European countries, and to regain the independent cultural position of Scotland in Europe; efforts are being made to create a Scottish national drama and Scottish national music—both of which Scotland alone of European countries entirely lacks, mainly because of Calvinistic repression—and all these efforts are achieving a measure of success. ”

“ That spirit has lived through the many changes that have taken place since Rob Roy’s day, and it lives in a modified form now. Nothing will make a Scottish audience, especially a Scottish audience far from home, cheer as the pipes will, and no sound is so welcome at an open-air gathering, or to the wandered Scotchman, as the wild notes of the national instrument. In the preface to one collection of Highland music we are told of a well-known Edinburgh man, discreetly referred to as “W—— B——, Esq.,” who was at the time the most exquisite violinist in Scotland. ”

“ To say that Scotsmen abroad are still fond of their national music is simply to say that they do not cease to be Scotsmen. If anything, the fondness becomes intensified. I once heard an enthusiast in South Africa observe: ‘My Ain Fireside—Ye Banks and Braes—The Land o’ the Leal—eh! a body could be fit to gang to heaven hearing thae sangs sung!’ At a mission-school connected with the Scotch Church in Cape Town I once listened to Weel may the Boatie row, sung as a duet by a Dutch girl and a Malay, a result attained by the enthusiasm of the Scottish schoolmaster. ”

“ One thing they do see and feel, painfully enough at times, namely, that the old Scottish pastoral life is passing away, before the combined influence of manufactures and the large-farm system; to be replaced, doubtless, hereafter, by something better, but in the meanwhile dragging down with it in its decay but too much that can ill be spared of that old society which inspired Ramsay and Burns. Hence the later Scottish song-writers seldom really sing; their proses want the unconscious lilt and flash of their old models; they will hardly go (the true test of a song) without music. ”

“ Judging from a comparison of extant remains, and other means of information now available, it may be doubted whether any country has equalled Scotland in the number of its lyrics. By the term lyrics, I mean specifically poetical compositions, meant and suitable to be sung, with the musical measures to which they have been wedded. I include under the term, both the compositions themselves, and their music. The Scottish ballads are numerous, the Scottish songs all but numberless, and the Scottish tunes an inexhaustible fountain of melody. ”

“ This work was undertaken by James Johnson, Engraver and Musicseller in Edinburgh. [5] at the suggestion of William Tytler of Woodhouselee and Dr. Blacklock, and its professed object was 'to unite the songs and music of Scotland in one general collection.' It was intended to extend to two volumes only; [6] but before the first volume was completed, Johnson got acquainted with Robert Burns, who was then in the zenith of his popularity in Edinburgh—and from that hour, the 'Scots Musical Museum,' which in all probability would have gone down to the dust, expanded its wings, and became immortal. ”

“ And truly, effect cannot be left out of view as an element in judging of the character of any music. The pity is that this music is fast going out of use even in the Highlands. It has always been confined to the counties of Caithness, Sutherland, Ross, and part of Inverness. ”

“ Nothing can be more sweet, more touching, more tender, than the native growth of Scottish song—nothing more full of fun and spirit than the brilliant dance music which, like the song, seems to have sprung spontaneous from the soil. And no country has {465}ever more loved both songs and strathspeys, or clung to them with greater devotion. It would be perhaps impossible for the most learned to decide between the rival claims of Scotland and Ireland in respect to the airs which seem native to both ”

“ There are beautiful, simple, touching airs, to which the common songs of the country are sung, and there are airs of a similar class, but distinct, which are used with the religious hymns of Buchanan, Matheson, Grant, and other writers of hymns, of whom there are many. The dance music of the Highlands is also distinct from that of any other country, and broadly marked by its own peculiar features. There is the strathspey confined to Scotland, a moderately rapid movement well known to every Scotchman; there is the jig in 6/8th time, common to Scotland with Ireland ”

“ These are all “wedded” to music, which is the reason for noticing them here, and the music must be known in order to have the full relish of the poetry.
There are several collections of Highland music which are well worthy of being better known to the musical world than they are. The oldest is that by the Rev. Peter Macdonald of Kilmore, who was a famous musician in his day. More recently Captain Simon Fraser, of Inverness, published an admirable collection ”

“ An extended dissertation on Scottish Song is. however, in this place the less necessary, as already a vast amount of information on the subject, and almost all that is valuable in the way of anecdote, is scattered over the volume in the shape of commentary to individual songs. A brief chronological summary of the leading authorities in Scottish song may therefore here be sufficient to guide the reader in his researches.
A love of music and song can be traced in the earliest literature of Scotland, in the works of James I., Dunbar, and Gawin Douglas ”

“ But in the year 1821, Mr Robert Purdie, an enterprising music-seller in Edinburgh, having resolved to publish a series of the more approved national songs, made application to several ladies celebrated for their musical skill, with the view of obtaining their assistance in the arrangement of the melodies. To these ladies was known the secret of Lady Nairn's devotedness to Scottish song, enjoying as they did her literary correspondence and private intimacy; and in consenting to aid the publisher in his undertaking, they calculated on contributions from their accomplished friend. ”

“ There is more both of dignity and variety of the right sort in the Scottish church music, secured by the free use of close metrical versions of the Psalms, paraphrases of other parts of Scripture, and anthems of the best type—all sung, mark you, by the whole congregation, and not by the choir only. ”

“ The most remarkable change which has taken place within living memory in the services of the Scottish Church is unquestionably the introduction of instrumental music. In most of the large congregations of the chief towns, the precentor has given way to an organ, which leads the choir, as the choir leads the congregation. ”

“ Our song-writers, for a long time after, are unknown minstrels, who had no character to lose by making or singing profane songs,—they were of the people, and sang for them. So matters continued, until, at the commencement of the eighteenth century, Scottish songs began to be the rage both in England and Scotland, and an eager desire arose to gather up old snatches and preserve them. Henceforth Scotch poetry held up its head, and a few remarkable poets won their way into the hearts of large masses of the people. ”

“ There have been crofters, shepherds, farm laborers, tailors, weavers, and shoemakers, servant lassies and old wives, who have given expression to their feelings in verse and song, with more or less skill and success, and testified to the strength of the national genius which has made Scotland so peculiarly the land of song, and filled the lower bed of bracken and furze in which the higher and rarer flowers of Scottish minstrelsy have stood preeminent. ”

“ Even in Scotland, we have comparatively few national songs in the eastern part, where we have had most influx of strangers. A real old Scottish song is a cairngorm—a gem of our own mountains; or rather, it is a precious relic of old times, that bears the national character stamped upon it—like a cameo, that shows what the national visage was in former days, before the breed was crossed.”
While Scott was thus discoursing, we were passing up a narrow glen, with the dogs beating about, to right and left, when suddenly a blackcock burst upon the wing. ”

“ The human heart loves the things of romance, and in the exercise of its native privilege, delights to feel. Scottish song has been written in harmony with nature, scenery, and circumstances; and fledged in its own melodies, which seem no less the outpouring of native sensibility, has borne itself onward from generation to generation. ”

“ Surely it is along similar lines in Scotland itself that our difficult national characteristics may yet be turned to musical account and make the basis of a new technique, at once completely modern yet intimately related to the whole history of Scots psychology and conjoining in the closest fashion the artists we are about to become, if the Scottish Renaissance realizes its objectives, with the Auld Makars and the ballad makers whose achievements we have yet to parallel and continue. ”

“ The genius of folk-song and ballad poetry had always been remarkably developed in Scotland, in comparison, at least, with England, and, in spite of many characteristics among the Lowlanders, worldly thrift, bitter and barren bigotry, and a sort of dourness and hardheadedness, not calculated to encourage sentiment and emotion; and the student of racial distinctions may be inclined to attribute it to the influence of Celtic blood and tradition, creating a vein of sensitiveness, tenderness, and susceptibility to the magic of song and music in the strong and hard fabric of the Saxon character. ”