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Notes. |
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NO.
singer, would support them through this lyric, with which Incledon has, in the memory of men iiving. roused many a crowded house to a very frenzy of excitement, xcvn. At least as old as the beginning of the sixteenth century. Conformably to the rules of old tonality, the B in the middle of the third bar, following so soon on the F at the beginning of it, should be _/?#/. The tune is in the first, or Dorian, mode. c. A contribution to Playford's Select Ayres and Dialogues, by a veritable Maestro, who, educated under the rule of the old tonality, has here shown that he understood, and liked, the new. cm. Storace, though of Italian parentage, was born in
England, civ. The resemblance of the first phrase of this melody to that of The Heavens are Telling has often been remarked. Hook's tune must have been current at the time of Haydn's visit to London in 1791. evil. I have made a slight excision from this pretty and once very popular tune, which those who know the somewhat desultory original will easily excuse.
cviii. Mr. Alexander Smith has not included these verses in his recent and careful edition of Burns, to whom, in most copies of the song, they are assigned. ex. The melody to which Moore has adapted his elegant When through life unblest we rove. There seems no reason to doubt its English origin, cxi. I took down this melody from the singing of my late friend Mr. Robert Usher, of Newcastle-upon-Tyne, who had been familiar with it from his earliest youth as an old and local tune. There is another and inferior version in Thomson's Scottish Songs (vol. ii. p. 62), entitled My Jo, Janet.
cxii. Another of the " Irish Melodies," entitled by Moore Basket of Oysters. " It has been a favourite tune," says Mr. Chappell, "from the time of Elizabeth to the present day." There are two versions of it, ot which the one printed is the more modem.
cxiil. I have re-modelled the second, and re-written the third, verses of this cleverly designed song, which, in its original form, could not have been included in this collection. The tune has much character.
cxiv. More has been written about this song than anybody is likely ever to read. Mr. Chappell has condensed the facts or opinions most worthy of attention in respect to the origin and authorship both of the words and music, into fifteen entertaining pages, royal octavo ! at the end of which, with provoking impartiality, he leaves "the verdict as to authorship in the heads of 'his' readers"—an example which the exigencies both of time and space oblige me to follow. |
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