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l. The long sequence which forms the second section of this tune is suggestive of a Cambrian origin. lvii. Mr. Chappell has thoroughly disposed of the Irish claim to this melody. ' The termination of As sloiu our Ship, in the " Irish Melodies," is doubtless Moore's own.
LXlii. Another "Irish Melody," undoubtedly of English origin. The writer of Believe me, if all those endearing young cJuirms may, however, be pardoned his abduction, in consideration of the immortal verse to which he has married the music he ran away with.
lxiv. To be found in most collections of " Scottish Songs," —probably on account of the single iambic foot with the emphasis on the first syllable,—so characteristic of, though by no means peculiar to, Scottish melody.
Lxvi. " The Blue Bell of Scotland, a favourite ballad, as composed and sung by Mrs. Jordan at the Theatre Royal, Drury Lane," was entered at Stationers' Hall on the 13th of May, 1800. (See Chappell's Pop. Mus.
P- 793-LXIX. The British Musical Miscellany was published by Walsh, well-known from his connexion with Handel. Like too many musical works it is without date, which is supplied however in this case by the "song and spinet, and the allusion to From Rosy Bowers, the finest of Purcell's "Mad" Songs. Purcell died in 1695, from which year till 1710, that of Handel's arrival in England, no other musician's works were tolerated here. lxxi. Commonly and rightly regarded as one of the most characteristic of English melodies. The disjunct intervals are all drawn from the chords of the tonic dominant and sub-dominant—chiefly from the former two. LXXHI. Entitled, in the British Musical Miscellany, "A
Yorkshire Song." i.xxv. Too diffuse, if not too long, for a "national" meiody ; but the last four bars are exquisite. It is to be regretted that Dibdin's science, of which he had enough to awaken his ambition, fell short of enabling him to develop his ideas in an orderly manner. lxxyiii. Introduced, as a Round, by Shield into his opera,
lxxxv. The one song which still keeps its favour of John
Percy, a prolific and popular melodist of the last
century. The third verse is, I suspect, not by the
same hand as the former two.
lxxxvi. Few melodies of the present century have enjoyed
wider popularity than this; nor is it the only one
by the same composer which has known the same fate.
XCii. By a comparison of dates, Mr. Chappell has disposed
of the claim of Falconer, the author of Tlie S/iip-
ivreck, to this song. The patience of no modern
audience, nor indeed the lungs of any contemporary