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Table of Contents
    Front Cover
        Front Cover
    Thomson's collections of national song with special reference to the contributions of Haydn and Beethoven
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    The development of Scott's "Minstrelsy": An attempt at a reconstruction
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    Back Cover
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Full Text





EDINBURGH BIBLIOGRAPHICAL

SOCIETY, TRANSACTIONS


z. ^L -


Vol. II, Pt i (Session 1938-9)


Thomson's Collections of National Song, with special reference
to the contributions of Haydn and Beethoven. By CECIL
HOPKINSON and C. B. OLDMAN. With twelve collotype plates.




The Development of Scott's Minstrelsy: an attempt at a
reconstruction. By M. R. DoBIE.


Page


EDINBURGH
Printed for the Society
By R. & R. Clark Ltd
1940


C)

L~. ~


**-.













THOMSON'S COLLECTIONS

OF NATIONAL SONG
WITH SPECIAL REFERENCE TO THE CONTRIBUTIONS
OF
HAYDN AND BEETHOVEN

BY
CECIL HOPKINSON
AND
C. B. OLDMAN


t




















S


for.


2.


PLATE I. George Thomson, water-colour drawing by William Nicholson, R.S.A.
Original io x 8j in.
Scottish National Portrait Gallery












HAYDN AND BEETHOVEN IN THOMSON'S
COLLECTIONS

THOMSON'S collections of national song are so well known, at least by
repute, and combine literary and musical interest in such a unique
degree, that it is surprising that so little bibliographical work has been done
upon them. Even J. Cuthbert Hadden's life of Thomson, admirable as it is
as a general biography, adds little in this respect to what may be gleaned
from the ordinary works of reference.' The chief reason for this neglect is
no doubt the difficulty of assembling the necessary material for examination.
No library possesses more than a small proportion of the various editions and
issues that are known to have been published, and of some of them no copy
can now be traced.2 But the most serious difficulties result from the nature
of the material itself. The peculiar features of Thomson's collections derive
in part from the nature of the aims which he set before him and in part
from his own character and temperament. He sought not merely to recover
and to publish the best of the traditional songs, but to promote them from
the cottage and the tavern to the drawing-room. To this end the simple
melodies had perforce to be dressed out with fashionable accompaniments,
including introductory 'symphonies,' and the original words, when, as was
often the case, they were too crude or too frank, to be replaced by something
more acceptable to polite ears. It was for this purpose that he enlisted the
services of such a host of collaborators, both literary and musical, among
them a few men of genius to whose contributions, however inappropriate
they may occasionally seem to folk-song enthusiasts of the stricter sort, his
collections owe the great part of the reputation that they still possess. Un-
fortunately Thomson was a difficult man to please. He was constantly
revising songs already published, and substituting in later editions new or
amended words or accompaniments for the old. Moreover, like most amateur
publishers, he was extremely haphazard in his methods and, all unwittingly,
from sheer ignorance of the rules of the game, did his best to complicate
matters for his future bibliographers. Again, from the financial point of
I A short bibliography of the relevant literature is given below on p. 17.
2 Copies of most of the editions described are in the possession of one of the writers (C. Hopkinson).
We should like to take this opportunity of expressing our thanks to Mr Paul Hirsch, of Cambridge,
whose splendid music library contains many of the rarer items, and who very kindly sent us for ex-
amination such of them as we had been unable to find elsewhere. We are equally indebted to Mr W.
Beattie, both in his capacity as Keeper of Printed Books at the National Library of Scotland and as
editor of these Transactions. Without his sympathetic co-operation we should have found it impossible
to publish this paper in its present form,







4 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS
view his enterprise was never a success, and one result of this was that
when, still tempting providence, he ventured on a new edition, he was
continually finding himself with sheets of previous editions on his hands,
which he was apt to mix indiscriminately with sheets freshly printed for the
new edition. The identification of a volume as belonging to a particular
edition is thus a matter of considerable difficulty. Except on his title pages
Thomson was not sparing of dates, but his dates are often in hopeless conflict
with one another. Often one finds one date at the end of the preface, another
in the colophon and still another in the body of the text, and this even in
volumes which there is reason to regard as constituting the first issue. In
reissues the most baffling combinations are often met with, such as the
association of the preface of one issue with the printed text of another and
the engraved music of yet a third. Such cases as a copy of Volume I of
the Scottish Songs, with a preface dated 1803 and a colophon dated 1817,
or a copy of Volume III, with a preface dated 1815 and a colophon dated
1810o, to mention only two actual examples, are comparatively common. To
make matters worse, Thomson would occasionally reprint from plates that
he had already once discarded.
It is thus clear that the field for bibliographical investigation is a very
wide one. The present paper makes no attempt to cover the whole ground.
It seeks in the first place to determine, and in part to collate, the main
editions and issues of Thomson's collections of Scottish, Welsh and Irish
songs, and to fix the dates at which they were published; and in the second
place to establish the first appearance in the successive editions of the
musical settings furnished by Haydn and Beethoven. All other problems-
and there are many-we have deliberately ignored. We say nothing, for
example, about the texts, though their history, at least in the case of the
Scottish Songs, is as complicated as that of the music, and nothing, except
incidentally, about the musical contributions of composers other than Haydn
and Beethoven. Moreover, though we discuss them, we have not given
collations of the first editions of Volumes I and II of the Scottish Songs,
in which neither Haydn nor Beethoven had any share, or of any of the later
volumes which contain no contribution by them or merely reprint settings
already published. Throughout we have kept the needs of students of these
two composers in the forefront, and it is for their benefit that we have
printed the thematic indices which show at a glance for what musical settings
they were responsible in the various editions.
The chief purpose of these introductory notes is to explain the nomen-
clature used in describing the different editions and issues, and to give the
evidence for the dates of publication which we have ascribed to them. The
Welsh and Irish collections can be summarily dismissed. The former ap-
peared in three volumes, the first of which was published in 1809, the second







HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS 5
in 1811 and the third in 1817,' the latter in two volumes, which were pub-
lished respectively in 1814 and 1816. Of none of these volumes have we
traced any later edition that can claim to have been published during
Thomson's lifetime, or any variant issue.z
The Scottish collections, on the other hand, had a most complicated
history. The work was originally planned to consist of two books or sets,
each containing twenty-five songs. The first set, with accompaniments by
Pleyel, was issued in 1793; then ensued a delay, due chiefly to difficulties
with Pleyel, and the second set, with accompaniments by Kozeluch, was
not published till 1798. The success of these two sets, though not great,
was sufficient to encourage Thomson to bring out a third set (twenty-five
songs, all set by Kozeluch) in 1799, and to add a fourth set of twenty-five
(eighteen settings by Kozeluch and seven by Pleyel) in the course of the
same year. None of these sets bears a date upon the title page, but the first
two contain dated prefaces and the last two may be dated from Thomson's
own record of the delivery of copies to Stationers' Hall.3 So much for the
first edition of the first four sets, or the first two volumes as they ultimately
became. There exists, however, a later edition or reissue of the first set
(1793) which presents a pretty problem. This edition, in which the music
is reprinted from the plates of the first edition, but the text, with slight
alterations, has been completely reset, has a new preface headed 'Preface
to the Second Edition.' As this preface is dated I January 1794, one would
naturally assume that the volume was published in that year. On the other
hand all the copies that we have examined have a frontispiece dated March
1799. One must assume then either that it was first issued without the
frontispiece (or with a frontispiece bearing a different date, though no such
copies have yet been found), or that its publication was delayed until after
the appearance of the second set in 1798. It should be added that this 'second
edition' is the only volume of any edition to contain anywhere in the text a
description of the edition other than 'new', to which it is supposed to belong.
When, at the turn of the century, Thomson succeeded in interesting
Haydn in his enterprise and in engaging him to contribute to a projected
third volume, he decided at the same time to reprint the two volumes
already published and to furnish them with new title pages on which the
name of Haydn should appear as well as those of Pleyel and Kozeluch. This
title page, which was engraved (the previous title pages had been printed)
T Not 1814, which is the date given by Grove, Hadden and Kidson.
2 In the course of his preface to the first volume of the Irish Songs Thomson remarks: 'After the
volume was printed, and some copies of it had been circulated, an opportunity occurred of sending it
to Beethoven, who corrected the few inaccuracies that had escaped the notice of the Editor and his
friends: and he trusts it will be found without a single error.' We have not succeeded in tracing one of
these uncorrected copies, but they are obviously better regarded as proof copies than as a genuine
first issue of the volume. Cf. p. Io, n. 3.
3 See Hadden, p. II8.







6 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS
and embellished with a vignette, became henceforth, subject to slight
modifications, the standard title page for the work. The two volumes were,
however, in the first issue of this new edition furnished with printed title
pages also, on which alone the date of publication (18oi) was given. Some
of the music was re-engraved, and for eight songs Kozeluch wrote new
and simplified accompaniments. The text was again completely reset. On
technical grounds this has thus every right to be described as the 'second
edition' of the Scottish Songs. We have, however, been forced to describe
it as 'a reissue' in view of Thomson's own descriptions of subsequent edi-
tions. These are to be found only in advertisements contained in other
publications of his, but they are too precise to be disregarded. The preface
to the first volume of Welsh Airs, published in 1809, contains for example
the following announcement: 'Speedily will be published in four volumes
a new edition [of the Scottish Songs], being the third.' Again the preface
to the second volume of the same work, published in 18II, announces:
'Lately published, in four volumes, a new edition, being the fourth,' whilst
in that to the third volume, published in 1817, we read: 'Lately published,
in four volumes, a new and improved edition, being the fifth.' It appears
then to be reasonably certain that editions of the work in four volumes were
issued in or about 1809, 1811 and 1817, and constituted in Thomson's eyes
the third, fourth and fifth editions respectively. But when was the second
edition issued and how many volumes did it comprise? There can be little
doubt that for Thomson the second edition consisted of a further revision
of Volumes I and II published in 1804 1 and issued together with the second
edition of Volume III (first published in 1802), the whole work thus com-
prising three volumes at this stage. For if the 18o0 edition is called the
second edition, the 1804 edition would have to be called the third, and this
would be in conflict with the first of the advertisements quoted above.
Moreover the drastic alterations carried out in this 1804 edition give it by
far the stronger claim to be considered the real second edition. For at the
same time as he commissioned from Haydn fifty settings for the third
volume which he was planning Thomson ordered new accompaniments for
several of the songs already printed in Volumes I and II. Accordingly in
the 1804 edition of these volumes we find in Volume I thirteen new settings
by Haydn in place of seven by Pleyel and six by Kozeluch, and in Volume
II eight new settings by Haydn in place of three by Pleyel and five by
Kozeluch.
The third volume, consisting of fifty songs, all with accompaniments by
Haydn, was published in July 1802, and, as we have seen, was brought out
again in 1804 in a second edition in company with the second edition of
I Each volume contains a preface dated September 1803 and has the date 1803 in the colophon,
but from the preface to Vol. V, issued in 1818, we learn that publication was delayed till 1804.







HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS 7
Volumes I and II. In this edition the name of Haydn alone was given as
composer on the title page. In June 1805 followed a fourth volume containing
fifty-one songs, again all set by Haydn, and with a title page similar to
that of the second edition of Volume III. There is nothing to show that
Thomson reissued the first three volumes at the same time: it is possible,
but it seems more likely that he had so many sheets of the 18oi01 and 1802
editions still on his hands that he had no need to print afresh.
Thomson's advertisement, quoted above, implies that the third edition
of the whole work, which now comprised four volumes, came out in 1809.
This was probably the case, though we have not in fact been able to locate
copies of the third and fourth volumes bearing that date, the nearest dates
we have found being 1810o and 18o8 respectively. Thomson's fourth edition
(1811) we have failed to trace at all, but it is almost certain that it con-
tained nothing new. Of his fifth edition (1817) we have found copies of the
first and third volumes actually bearing this date, and copies of the second
and fourth volumes which, though dated 1815, contain each a new setting
by Haydn dated 1817. (We have already noted that the third volume of the
Welsh Airs issued in 1817 advertised this edition as recently published.)
On the other hand we have seen copies of these two volumes, otherwise
identical, which do not contain these Haydn settings, and were presumably
actually issued in 1815. It is probable that no copies of these two volumes
were ever issued dated, like Volumes I and III, 1817 in the colophon.
Apart from these two Haydn settings these four volumes consisted merely
of a reissue of the previous editions.
The fifth volume, which appeared in August 1818, is of the greatest
interest, for it was here that Beethoven made his first appearance as an
arranger of Scottish airs, though he had been working for Thomson since
1814 and had contributed to the two volumes of Irish Airs, published in
1814 and 1816, as well as to the third volume of Welsh Airs, published
in 1817. This fifth volume contained only thirty songs, the remainder of the
volume being taken up with a setting by Bishop of Burns's 'The Jolly
Beggars' which has no other connection with Thomson's undertaking than
the fact that the text was by the first and greatest of his literary collaborators.
Of the thirty songs no less than twenty-five had settings by Beethoven, the
remaining five being set by Haydn. All made their first appearance in this
volume.
All the volumes hitherto described were in folio, but shortly after the
appearance of the fifth volume Thomson began to plan a handier edition
in octavo. This finally appeared in 1822-23. It was in five volumes and
bore the title: The Select Melodies of Scotland, Interspersed with those
of Ireland and Wales . With Symphonies & Accompaniments for the
Piano Forte by Pleyel, Kozeluch, Haydn & Beethoven. It was, however,








8 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS
no mere reproduction of the contents of the latest folio editions. In the first
volume there appeared for the first time two new settings by Haydn, and
in the second, one by Haydn and two by Beethoven. There were also new
settings by Kozeluch, Smith and even Thomson himself, as well as by
Shield and Bishop, who here made their first appearance as contributors.
This five-volume octavo edition was on sale only for a very short time-
three years at the most-and is consequently very scarce. We have only
seen one complete set.
In the summer of 1825' a sixth volume was added and the first five
volumes reissued with it, the titles being completely changed and the title
page vignettes being re-engraved. The title now read: Thomson's Collection
of the Songs of Burns, Sir Walter Scott Bart. and other eminent lyric poets
ancient & modern. United to the Select Melodies of Scotland, and of Ireland
& Wales. With Symphonies & Accompaniments for the Piano Forte by
Pleyel, Haydn, Beethoven &c. The music and text of the first five volumes
remained unchanged; indeed it appears that the actual sheets of the 1822
edition were utilized. There is nothing to show that the sixth volume was
ever published separately with a title page of its own. It was almost cer-
tainly furnished from the first with only the collective, 'six-volume,' title
page. It is of considerable importance since it contains seven new settings
by Beethoven and two by Haydn. Ferrari made his first appearance in it
with four settings, and there were six other new settings, two of which were
by Thomson himself. This six-volume octavo edition is also very scarce,
though the much later lithographed reprint is fairly common.2 Thomson
appears to have reissued it in 1828 and again in 1831. We have never
seen a complete set of either reissue, but the evidence of various made-up
sets is fairly conclusive. In a set now in the British Museum, for
example, the first volume has the six-volume title and is dated 1828 in the
colophon; the second volume has a similar title and is dated 1831; the third,
fourth and fifth volumes have the five-volume title 3; and the sixth volume
has the six-volume title and is dated 1824 in the colophon. The volumes
dated 1828 and 1831 contain nothing which was there printed for the first
time, such new matter as they have being taken from the 1826 folio edition
which we are shortly to discuss, and it seems safe to conclude that the other
volumes reissued in those years also contained nothing really fresh. The
music appears, however, to have been entirely re-engraved, and it is interest-
ing to note that in Volume II of the 1831 edition Ballantyne for the first
time replaces Moir as the printer of the text.
In 1826 Thomson decided to issue another folio edition in five volumes,
2 The date in the colophon is 1824, but the preface is dated May 1825.
2 The National Library of Scotland possesses a made-up set (Inglis copy) consisting in part of the
original issues and in part of late lithographed issues with the earliest form of the title page.
3 These three volumes are noted in Thomson's hand as being the Stationers' Hall copies.







HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS 9
the sixth in that format. This consisted once more of a rearrangement of
songs from all the previous editions and issues. Its most interesting feature
was the first appearance as an 'arranger' for Thomson of Carl Maria von
Weber, whose contribution of ten songs was dispersed over the first three
volumes. Realising at last that Bishop's setting of 'The Jolly Beggars' had
no place in his collection Thomson now omitted it and printed twenty-
five Scottish Airs in its place. These were furnished with a separate title
page which read: Twenty-Five Additional Scottish Airs, with Songs, and
Symphonies and Accompaniments. . Composed for this Work by Haydn,
Hummel, Beethoven, & sold separately. Of these twenty-five songs five had settings by Haydn,
only one of which was new, and three had settings by Beethoven, all of
which had been previously printed. The other settings were by Thomson,
Smith, Hummel, Weber and by anonymous composers. Shortly afterwards,
for it is dated 1826, an Appendix containing 12 Favourite Melodies, newly
arranged with Symphonies and Accompaniments composed chiefly by C. M.
von Weber was issued. Of these twelve ten were actually by Weber, and the
fact that the pagination of each of the songs corresponds with that of the
same songs in the five-volume edition shows that it was a partial reprint
from that edition.'
With the death of Weber in 1826 and of Beethoven in the following year
(Haydn had died in 1809) the Scottish Songs lose much of their musical
and also of their bibliographical interest. Thomson had no longer a single
composer of note working for him and was reduced to ransacking his desk
for settings by Haydn, Beethoven or others which he had hitherto not found
occasion to print. When he failed to find anything suitable, he was not above
republishing a song and declaring that he was printing it for the first time.
In 1831 he brought out a seventh folio edition in five volumes with the
title: Melodies of Scotland, and prefixed to the first volume a dedicatory
epistle to Queen Adelaide. Completely new designs by Stodhart, incorporat-
ing the figures of Burns and Scott, were made for the vignettes of the title
pages. There were several new settings by Hummel, and it is amusing to note
that some of Beethoven's arrangements were now displaced by new settings
by G. F. Graham and by Thomson himself. The chief interest of the edition,
however, lies in the fact that the fourth volume contained one new setting
by Haydn. The reason why we have not collated this volume or reproduced
the title page is that we have not been able to find a copy that is unquestion-
ably of the first issue. The only copy we have examined has had the date
1831 altered to 1838, to enable it to pass as part of the new edition which
was issued in that year, and it seems unsafe to accept this as corresponding
in all other respects to the genuine first issue.
I The only copy of the Appendix that we have been able to trace is in the British Museum.








io HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS
In 1838 appeared an eighth edition, again in five volumes, later issues of
which bore for the first time the imprint of Coventry & Hollier in place of
that of Preston.
In 1839 there followed another Appendix, which Thomson entitled:
Twenty Scottish Melodies added in 1838-9 . with Symphonies and Accom-
paniments by Haydn, Beethoven, &drc. As the title page is short and printed,
we have not reproduced it. This Appendix consisted in fact of twenty-one
not twenty airs, of which six were set by Hogarth, seven by Beethoven and
eight by Haydn. Three of Beethoven's settings and three of Haydn's were
published for the first time, Beethoven's including one of 'God Save Our
Gracious Queen.' The pagination of this volume is supplementary to that
of the five volumes of the 1838 edition and is given in a most cumbrous
form, e.g. 4th, p. 50; 5th, p. 50; 2nd, p. ioo, and so on. In later issues these
songs were inserted in their proper place in each volume.z
Two years later, forty-eight years after the inauguration of his enterprise,
came Thomson's final effort-the publication of a sixth folio volume. In
1839 he had retired after fifty-nine years' service as Clerk to the Board of
Trustees for the Encouragement of Art and Manufactures in Scotland, and
shortly afterwards came to live in London. He had been in negotiation for
some time with Coventry & Hollier, the London music publishers, and
it was their imprint together with that of George Thomson, (late of Edin-
burgh) the Editor, 7 Pelham Place, Brompton' that appeared on this final
volume when it was at last published in 1841.3 It contained fifty-two songs,
and the new settings included four by Beethoven and one by Haydn.
There were also five new songs by Bishop and twenty-one by Hogarth.
The volume was engraved and in other respects was made to tally with the
previous folio editions. It is not certain whether Thomson took this oppor-
tunity of reissuing the other five volumes: probably he was content to make
up sets from unused sheets of the 1831 edition for those who wanted them.4
A lithographed reprint of this volume, with the addition of two songs by
Bishop, appeared in 1845, and this was the last volume published during

I This differs slightly from the setting recorded in Nottebohm (12 V. V., No. i) where also the words
read: 'God Save our Lord the King.' It is clear that Thomson had it by him for many years before
making use of it.
2 Of the separate issue of the settings there is an apparently unique copy in the British Museum.
It bears a note in Thomson's hand: 'For Stationers' Hall or British Museum.'
3 In the course of the preface Thomson remarks: 'A portion of the Music and Poetry of this volume
was engraved and printed in 1839, and (with exception of a very few volumes that were distributed)
has been lying by the Editor until he might collect as many more Melodies and Songs as were requisite
to complete the present volume.' As in the case of the first volume of the Irish Airs (see p. 5, n. 2)
this partial distribution can scarcely be considered as equivalent to publication. It should perhaps
be mentioned that to the British Museum copy of this volume Thomson has appended two sets of the
pages from Vol. II of the Irish Airs which contain the text and music of songs No. 58 and 59, and
furnished them with the MS. title: 'Addenda | 2 Irish Airs I Beethoven.'
4 See, however, his letter to Coventry & Hollier, quoted by Hadden, p. 86.







HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS ii
Thomson's lifetime. In 1849 he disposed of his collections and two years
later he died at the ripe age of ninety-four.
There still remain the accompaniments to be considered. Here again the
Welsh and Irish collections present no difficulty. There was in each case
only one edition of the main work and only one edition of the accompani-
ments. But the case of the Scottish Songs is not so simple. The first four
sets, issued in 1793, 1798, 1799 and 1799, were described as having 'Ac-
companyments for the Violin & Piano Forte.' The piano part was of
course embodied in the piano and vocal score, but the violin parts were
published separately, with the same title page as that used for the score.
In 18oi0, as we have seen, these four sets were combined to form two volumes
and reissued with 'new and simplified accompaniments' by Kozeluch to
eight of his songs and with vignette title pages on which it was now stated
that there were 'Accompaniments for the Piano Forte, Violin & Violon-
cello.' The violin part and the new cello part were now provided with special
title pages, the only noticeable feature of which is that they describe the
work as being in 'four volumes.' This is merely a misleading reference to
the four sets of which the two volumes were made up. A further 'volume,'
the third, was not published until the following year (1802). The violin and
cello parts to this now refer to the work as being 'in three Volumes,' but
otherwise are similar to those of the 1801 edition of Volumes I and II. In
1804 the publication of a second and extensively revised edition of the
first three volumes necessitated the provision of a new edition of the ac-
companiments. The title pages, however, remained unchanged. In 1805 a
fourth volume was added, but the accompaniment parts to this, to judge
from the only copy we have seen, still had titles which referred to the work
as being 'in three Volumes,' the necessary correction ('4' for 'three') being
made by Thomson in MS. The accompaniments to Volume V, which first
appeared in i818, seem to have been first issued without a title page. At
any rate we have seen a cello part which is simply headed 'Violoncello I to
Scottish Songs Vol: 5th. By Haydn & Beethoven' and has Thomson's
signature at the foot of the first page and the price, also in his hand, at the
top. As it was Thomson's habit to sign or initial the title pages of his publica-
tions, it seems fairly safe to assume that the only reason for the departure
from his normal practice was that in this case there was no title page for
him to sign. Copies with proper title pages exist but they are almost cer-
tainly later issues. It is, however, impossible to speak with assurance in
treating of these part books. They are exceedingly rare, and we have not
found any that can be associated with any volume or edition later than 1818.
It is to this year that is probably to be assigned an edition (with a 'five-
volume' title and hence not earlier than 1818), which incorporated the two
new Haydn settings published in Volumes II and IV of the fifth edition of







12 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS
the main work (1817). The octavo editions of 1822 and 1824, as their titles
show, had no string accompaniments. It is perhaps worth noting that at
one time Thomson appears to have contemplated the publication of addi-
tional flute parts. In the preface to Volume V of the Scottish Songs, published
in 1818, he makes the following announcement: 'The Violin and Violoncello
parts are sold separately when wanted. A Flute Part is in preparation and
will be soon produced.' It seems safe to assume that this was one of many
projects of Thomson which never came to fruition.
The following list serves not only to show the sequence of the different
editions, but also to register the first appearance in them of the various
settings by Haydn and Beethoven. It will be seen that there are in all no
less than 187 settings by Haydn (144 Scottish, I Irish, 42 Welsh) and 126
by Beethoven (41 Scottish, 59 Irish, 26 Welsh). It is to provide a ready
means of identifying the individual compositions that we have drawn up
the two thematic indices which are printed at the end of this paper. The list
of Haydn's settings can also claim to be a pioneer contribution to that
composer's bibliography. Not only have the majority of these songs never
been republished in any modern edition, but they are nowhere adequately
recorded. Haydn's own thematic catalogue, drawn up in 1805 and now in
the Esterhazy archives at Budapest, contains a fairly complete list of his
folk-song settings, but includes the songs he set for Napier (1792) and Whyte
(1804-07), and makes no attempt to separate the various groups. In any
case this catalogue has never been printed I and so is not generally available
to students. The thematic index which we print below shows for the first
time what songs Haydn set for Thomson and in what volumes they were
first published. With Beethoven the case is different. With one exception
all the settings printed in Thomson's collections, as well as some which
Thomson never received or did not think fit to publish, have been printed
in the Collected Edition of his works published by Breitkopf and Hartel.
(The exception is the setting of 'As I was a wand'ring', which appeared
for the first time in Volume VI of the 1841 edition of the Scottish Songs
and seems hitherto to have escaped the notice of Beethoven's bibliographers.)
Moreover, there already exist two thematic lists of Beethoven's folk-song
settings: Nottebohm's, which is restricted to the works printed in the
Breitkopf edition, and Thayer's, which also includes the unpublished MSS.2
Nevertheless we feel that our own list is by no means superfluous. It is
2 The partial reproduction of it in A. Schnerich'sJosejhh Haydn (2nd ed., 1926) is not of much use,
as it does not quote the themes.
2 On these, with which we are not here concerned, the article by W. Hess, cited below, should be
consulted. On one point he is mistaken. He writes: 'Es fehlen also bei Thomson o10 Lieder der Gesamt-
ausgabe, ndmlich Nr. 1-4 der "12 Schottischen" und Nr. I, 4, 7, 9, 1o, 12 der "12 Verschiedenen ".'
In fact of the works specified the only ones not published by Thomson were No. 4, 7, 9, io and 12
of the '12 Verschiedene Volkslieder,' and of these No. 4 and 12 did not come within the scope of
his undertaking, as the former was a Sicilian and the latter a Venetian air.







HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS 13
confined to what Thomson actually published, but gives more precise
bibliographical details.
In using the two catalogues the reader should note: firstly, that the
musical themes are taken from the beginning of the song proper, the opening
'symphonies' being disregarded; secondly, that the words quoted with each
song are those that were printed with it on its first appearance in Thomson's
collections; and lastly, that in noting under each theme the successive
appearances of the setting in the various editions, we have not thought it
worth while to record the reappearance (on the same pages) of Haydn's
early settings in the editions of the Scottish Songs assigned to the years
1809, 18II, 1815 and 1817.













TABULATED LIST OF THE DIFFERENT EDITIONS

THE heavy figures in round brackets relate to the Thematic Catalogues.


SCOTTISH SONGS


1793
1794 ?
1798
1799
1799


Vol. Ia

Vol. Ib
Vol. Ha
Vol. IIb


1801 Vol. I & II


First edition. 25 settings by Pleyel. Preface dated May 1793.
Reissue, but called 'Second edition'. Preface January 1794.
First edition. 25 settings by Kozeluch. Preface August 1798.
First edition. 25 settings by Kozeluch. Preface undated.
First edition. 18 settings by Kozeluch and 7 settings by
Pleyel. Preface undated.
Reissue of the above. Vignette titles. 32 settings by Pleyel and
68 by Kozeluch, 8 of Kozeluch's being revised versions.
Printed title also, dated 18oi01. Prefaces dated September
18I0; colophons 18oo00.


1802 Vol. III First edition. 50 settings by Haydn (1-50). Vignette title
with Haydn's, Pleyel's and Kozeluch's names. Printed
title also, dated 1802. Preface dated December 1801;
colophon 1802.
1804 Vol. I-III Second edition. Vol. I and II have Haydn, Pleyel and
Kozeluch titles, and Vol. III has only a Haydn title now.
Prefaces in each volume dated September 1803; colophons
1803.
Vol. I. Haydn 13 (51-63). Pleyel 18.
Kozeluch 19. Haydn's set-
Vol. II. Haydn 8 (64-71). Pleyel 4. tings are new.
Kozeluch 38. J
Vol. III. Haydn 50, as in first edition.
1805 Vol. IV First edition. 51 settings by Haydn (72-122). Preface un-
dated; colophon 1805.
1809? Vol. I-IV Third edition. No alterations in music.
1811? Vol. I-IV Fourth edition. No alterations in music.
1815 Vol. II & IV New edition. No alterations in music. (See p. 7.)
1817 Vol. I-IV Fifth edition.
Vol. I. Preface October 1817; colophon 1817.
Vol. II. Preface July 1815; colophon 1815. One new
setting by Haydn (123), dated 1817.
Vol. III. Preface October 1817; colophon 1817.
Vol. IV. Preface July 1815; colophon 1815. One new
setting by Haydn (124), dated 1817.
1818 Vol. V First edition. 25 settings by Beethoven (86-1io), and 5 by
Haydn (125-129), with the 'Jolly Beggars' by Bishop. Pre-








HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS 15
face dated June 1818; 'J. B.' preface May 1818; colophon
1818.
1822-3 Vol. I-V First octavo edition. Preface to Vol. I dated May 1822.
General preface ('Dissertation') undated.
Vol. I. Haydn 17. Pleyel 18. Kozeluch 13. Beethoven i.
Anon i. New settings are Haydn 2 (130-131), Koze-
luch I, and Anon I. Colophon dated 1822.
Vol. II. Haydn 12. Pleyel 2. Kozeluch 32. Beethoven 3.
Smith I. New settings are Haydn I (132), Kozeluch I,
Beethoven 2 (III, 112), and Smith I. Colophon dated
1822.
Vol. III. Haydn 37. Kozeluch 6. Beethoven 3. Anon 5.
New settings are Kozeluch i, Anon 5. Colophon dated
1822.
Vol. IV. Haydn 25. Kozeluch 9. Beethoven 6. Anon 2.
Smith 4. Gow i. Thomson i. New settings are Koze-
luch 3, Thomson I, Gow I, Smith 4, Anon 2. No
colophon date.
Vol. V. Haydn 18. Kozeluch i. Beethoven 21. Smith I.
Shield I. Bishop I. Anon 3. Graham 3. New settings
are Kozeluch, Graham, Anon, Smith, Haydn (133).
1825 Vol. I-VI Second octavo edition but First edition of Vol. VI. General
preface undated.
Vol. I-V exactly the same except for title, as first octavo
edition.
Vol. VI. Haydn 12. Pleyel I. Kozeluch I. Beethoven 20.
Anon 3. Ferrari 4. George Thomson 2. D. Thomson i.
Preface dated 2 May 1825. Colophon 1824. New
settings are Haydn 2 (134, 135), Beethoven 7 (113-
119), Anon 3, Ferrari 4, George Thomson 2, D.
Thomson I.
1826 Vol. I-IV Sixth edition. All volumes have prefaces dated 1826. Only
Vol. III has a colophon date, 1826.
Vol. I has 2 new Haydn settings (136, 137), and Vol. IV
has I (138).
Vol. Va Second edition. Preface dated 1826, no colophon date. No
new Haydn or Beethoven.
Vol. Vb Title dated 1826. No preface. No colophon date. i new
Haydn setting (139).
1826? Appendix Reissue of 12 settings from the 1826 edition, 10 being by
Weber.
1828 Vol. I-VI Reissues of the octavo edition.
1831 Vol. I-VI
1831 Vol. I-V Seventh edition. Dedication dated 1831. Preface dated
March 1831; colophon 1831. Vol. II-V have no prefaces
and are undated. 19 new settings, 10 being by Hummel.
Vol. IV contains I new Haydn setting (140).
1838 Vol. I-V Eighth edition.
1839 Appendix 21 songs supplementary to the 1838 edition. New settings
are Beethoven 3 (120-122), and Haydn 3 (141-143).







16 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


1841 Vol. VI


1845 Vol. VI


1809 Vol. I

1811 Vol. I1

1817 Vol. III


First edition. Preface dated September 1841. Haydn 12.
Kozeluch i. Beethoven 13. Bishop 5. Hogarth 21. New
settings are Beethoven 4 (123-126), and Haydn I (144).
Lithographed reissue, 2 songs by Bishop being added at the
end.

WELSH SONGS
First edition. Preface dated May 1809; colophon 1809. Haydn
20 (145-164), and Kozeluch 10.
First edition. Preface undated; colophon 1811. Haydn 18
(165-182), and Kozeluch 17.
First edition. Preface undated; colophon 1817. Haydn 4
(183-186), and Beethoven 26 (60-85).


1814


Vol. I


1816 Vol. II


IRISH SONGS
First edition. Preface dated 1814; colophon
29 (1-29), and Haydn I (187).
First edition. Preface dated May 1816;
Beethoven 30 (30-59).


1814. Beethoven

colophon 1816.












BIBLIOGRAPHY


ALDRICH, Richard.

FRIMMEL, Theodor.

GROVE, Sir George.


HADDEN, James Cuthbert.






HESS, Willy.


KIDSON, Frank.

LEDERER, Felix.

LUTGE, Wilhelm.


NOTTEBOHM, Gustav.


POHL, Carl Ferdinand, and
BOTSTIBER, Hugo.
THAYER, Alexander Wheelock.





THAYER, Alexander Wheelock.


'Beethoven and George Thomson' (in Music
and Letters, April 1927).
Beethoven-Handbuch (2 vol., Leipzig, 1926,
article on Thomson).
Grove's Dictionary of Music and Musicians
(3rd ed., by H. C. Colles, 1927-28, article
on Thomson).
George Thomson, the friend of Burns:. his life
and correspondence (1898). Based mainly
on Thomson's correspondence and letter-
books which are now in the British Museum.
These do not, unfortunately, throw much
light on the bibliography of his various
publications.
'Neues zu Beethovens Volkslieder-Bearbei-
tungen' (in Zeitschrift fur Musikwissen-
schaft, March 1931).
British Music Publishers (1900, article on
Thomson).
Beethovens Bearbeitungen schottischer und
anderer Volkslieder (Bonn, 1934).
'Bericht ilber ein neu aufgefundenes Manu-
skript, enthaltend 24 Lieder von Beethoven'
(in Der Bdr, 1927).
Thematisches Verzeichnis der im Druck
erschienenen Werke von Ludwig van Beet-
hoven (Leipzig, 1868).
Joseph Haydn (3 vol., Vienna & Leipzig, 1875,
1882, 1927).
Ludwig van Beethovens Leben (2nd ed., by
H. Deiters and H. Riemann, 5 vol., Leipzig,
1901-08). The English edition, edited by
H. E. Krehbiel (3 vol., 1921), omits the
appendices containing the Beethoven-Thom-
son correspondence.
Chronologisches Verzeichnis der Werke Ludwig
van Beethoven's (Vienna, 1865).












COLLATIONS


THROUGHOUT all the volumes the pagination of the engraved music
is duplicated, either in whole or in part, by the pagination of the printed
text, so that there can be found a page o10 of music, for example, as
well as a page 10 of text. At the foot of each collation is given the exact
number of pages of music and text represented by Thomson's pagination.


SCOTTISH Vol. III First Edition 1802
Title. See pl. II. Verso blank.
Frontispiece. 'The Soldier's Return' dated December 18oi01. Verso blank.
Printed title. 'Fifty I Scottish Songs, I with I Symphonies & Accompaniments, |
wholly by I Haydn. I [double rule] I Vol. III. I [double rule] I [ornament] I Edin-
burgh: I [double rule] I Printed for G. Thomson, York-Place, I by J. Moir. I
[ornamental rule] I 1802.' Verso has 'Advertisement.'
Preface, pages (i)-4, dated December 1801.
Index, two pages.
Blank page. Pagination, pages 1-50, at the foot of the first 50 there is the imprint
of John Moir, dated 1802. Blank page. There are two blank pages between pages
25 and 26.
(Actually there are 51 pp. of engraved music and 49 pp. of printed text.)
Note.: The next edition of this volume, published in 1804 with the second edition of
Vol. I and II, bore only Haydn's name on the engraved title (as in pl. III). The
pagination was 151-200, and there was no printed title. The Preface was dated
September 1803 and was similar to that in the first two volumes. The entire
text was reset. Another issue is undated.

SCOTTISH Vol. I Second Edition 1804
Title. See pl. II. Verso blank.
'Advertisement,' verso blank.
Frontispiece. 'The Birks of Invermay' dated March 1799. Verso blank.
Preface, pages (1)-4, dated September 1803.
Index, two pages.
Blank page. Pagination, pages 1-50, at the foot of which is the imprint of J. Moir,
dated 1803. Blank page. There are also two blank pages between pages 25 and 26.
(Actually there are 50 pp. of engraved music and 50o pp. of printed text.)

SCOTTISH Vol. II Second Edition 1804
Title. See pl. II. Verso blank.
'Advertisement,' verso blank.
Frontispiece. 'John Anderson My Jo' dated March 1799. Verso blank.
Preface, pages (I)-4, dated September 1803.
Index, two pages.








HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS 19
Blank page. Pagination, pages 5 I-ioo, at the foot of which is the imprint of J. Moir,
dated 1803. Blank page. There are two blank pages between pages 75 and 76.
(Actually there are 50 pp. of engraved music and 50 pp. of printed text.)
Note.: Another issue has the Preface undated.

SCOTTISH Vol. IV First Edition 1805
Title. See pl. III. Verso blank.
Frontispiece. Portrait of Burns, dated June 180o5. Verso blank.
Preface, undated. Verso blank.
Blank page. Pagination, pages 15I-2oo00; at the foot of the first 200 there is the
imprint of J. Moir, dated 1805. Blank page. Two-page Index. Five-page Glossary,
imprint J. Moir. Blank page.
(Actually there are 50 pp. of engraved music and 50 pp. of printed text.)

SCOTTISH Vol. V First Edition 1818
Title. See pl. IV. Verso blank.
Frontispiece. 'The Gaberlunzie Man,' dated June 1818. Verso blank.
Preface, pages (I) 2, dated June 1818.
Index, two pages.
Blank page. Pagination, pages 201-230. Blank page.
(Actually there are 33 pp. of engraved music and 27 pp. of printed text.)
Title to 'The Jolly Beggars' dated 1818, verso Preface dated May 1818, pages (i)
(2). Printed text, pages (3)-6. Engraved music, pages 1-30, at the foot of which is
Thomson's imprint, dated 1818.
Note: Some copies have the Glossary as in Vol. IV.

SCOTTISH Vol. II Fzfth Edition 1817
Title. See pl. II. Verso blank.
Frontispiece. 'John Anderson my Jo' publishedd in 1799 . & re-engraved for new
Edition 1817.' Verso blank.
Preface 'To the Public,' page (i), dated July 1815. Verso blank.
Index, two pages.
Blank page. Pagination, pages 5 1-100, at the foot of which is imprint of John Moir,
dated 1815. Blank page.
(Actually there are 50 pp. of engraved music and 50 pp. of printed text.)
Note: Another issue has the Preface dated January 1816, and yet another is undated.

SCOTTISH Vol. IV Fifth Edition 1817
Title. See pl. III. Verso blank.
Frontispiece. Portrait of Burns, 're-engraved for the New Edition, 1817.' Verso
blank.
Preface, dated July 1815. Verso blank.
Index, two pages.
Blank page. Pagination, pages I51-200, at the foot of the first 200 there is the
imprint of John Moir, dated 1815. Blank page. Five-page Glossary, imprint John
Moir. Blank page.








20 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS
(Actually there are 50 pp. of engraved music and 50 pp. of printed text.)
Note: Another issue has the portrait as in the first edition of 1805. Yet another issue
has the Preface undated. Sometimes there is no imprint of John Moir in the
Glossary. One copy we have seen even has the Preface dated September 1803!

* SCOTTISH Vol. I First Octavo Edition 1822
Title. See pl. Va. Verso blank.
Frontispiece. Portrait of Burns, dated 1822. Verso blank.
Untitled plate, dated 1822. Verso blank.
Preface, pages (i) ii, dated March 1822.
'Dissertation,' pages (3)-19. Page 20 is a blank.
Blank page. Pagination, pages 1-50o, at the foot of which is the imprint of John Moir,
dated 1822. Blank page. Two-page Index.
(Actually there are 51 pp. of engraved music and 45 pp. of printed text.)

* SCOTTISH Vol. II First Octavo Edition 1822
Title. See pl. Va, which shows, however, the vignette to Vol. I. Verso blank.
Two untitled plates, dated 1822. Versos blank.
Pagination, pages 1-5o, at the foot of which is the imprint of John Moir, dated
1822. Blank page. Two-page Index.
(Actually there are 52 pp. of engraved music and 47 pp. of printed text.)

* SCOTTISH Vol. V First Octavo Edition 1823
Title. See pl. Va, which shows, however, the vignette to Vol. I. Verso blank.
Untitled plate, dated 1823. Verso blank.
Pagination, pages 1-5o. No imprint. Two-page Index.
(Actually there are 62 pp. of engraved music and 34 pp. of printed text.)
Note: Of Vol. III-V of the edition we have found two distinct issues, one with the
imprint as shown on pl. Va, the other with the imprint: 'London I Printed & Sold
by Preston, 71. Dean S' Hurst Robinson & Co. Cheapside I & G. Thomson, Edin-
burgh.' Whether these came out simultaneously or in succession we have not been
able to determine, but it should be noted that in the British Museum set, which
includes the Stationers' Hall copies of these three volumes, Vol. III has the first and
Vol. IV and V have the second of the two imprints. Vol. V, with the first of the
imprints, was also issued with a variant form of the title-page vignette, in which
the fiddler was furnished with trousers instead of breeches!

* SCOTTISH Vol. VI Second Octavo Edition but First Edition
of this Volume 1825
Title. See pl. Vb, which shows, however, the vignette to Vol. I. Verso blank.
Preface, pages (i) 2, dated May 2nd, 1825.
Three plates. 'Ettrick Banks,' 'Kind Robin lo'es me,' and 'Tullochgorum,' all dated
as preface. Versos blank.
Pagination, pages 1-69, at the foot of which is the imprint of W. H. Lizars, dated
1824. Blank page. Two-page Index.
(Actually there are 69 pp. of engraved music and 26 pp. of printed text.)
Select Melodies of Scotland.








HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS 21


SCOTTISH Vol. I


Sixth Edition 1826


Title. See pl. VI. Verso blank.
Frontispiece. 'St. Cecilia' (as in Irish Airs, Vol. I), dated March MDCCCXIV.
Verso blank.
Index, verso 'Preface to the New Edition, 1826.'
Blank page. Pagination, pages I-2nd 50. Imprint of John Moir at foot of page 49.
(Actually there are 59 pp. of engraved music and 44 pp. of printed text.)

SCOTTISH Vol. IV Sixth Edition 1826
Title. See pl. VI. Verso blank.
Frontispiece. Portrait of Burns, 're-engraved for the New Edition, 1817.' Verso
blank.
'Preface to the New Edition, 1826.' Verso Index.
Blank page. Pagination, pages 151-200. Blank page. No imprint.
(Actually there are 50 pp. of engraved music and 50o pp. of printed text.)

SCOTTISH Vol. Va Second Edition 1826
Title. See pl. VII. Verso blank.
Frontispiece. 'The Gaberlunzie Man,' dated June 1818. Verso blank.
Index, verso 'Preface to the New Edition, 1826.'
Blank page. Pagination, pages 201-229. Blank page. No imprint.
(Actually there are 32 pp. of engraved music and 26 pp. of printed text.)
Vol. Vb (supplanting 'The Jolly Beggars' of First Edition) 1826
Title. See pl. VIII. Verso blank.
Index, verso page 230 of text. Pagination, 230-253. Blank page.
No imprint.
(Actually there are 32 pp. of engraved music and 14 pp. of printed text.)

t SCOTTISH Appendix First Edition 1839
Title. 'Twenty Scottish Melodies I added in 1838-9, 1 to George Thomson's | New
edition of the melodies, with symphonies and accompaniments I by Haydn,
Beethoven, &c. I Published by G. Thomson, Edinburgh: and Entered at Stationers'
Hall in 1839, by G. T.' Verso blank.
28 pp. of engraved music and printed text. (See above p. 10, lines 12-15.)

SSCOTTISH Vol. VI First Edition 1841
Title. See pl. IX. Verso blank.
Two illustrations both dated December 1841, on one page, verso blank, (i) (ii).
Preface, pages (iii) iv, dated September 1841.
Title to 'Johnie Cope,' verso having music to this song. Recto unpaginated, verso
page 253.
Pagination, pages 253-306.
Index, two pages.
No imprint.
(Actually there are 58 pp. of engraved music and 19 pp. of printed text.)


t Twenty Scottish Melodies.


$ Melodies of Scotland.








22 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS
WELSH Vol. I First Edition 1809
Title. See pl. X. Verso blank.
Frontispiece. 'Llangollen Vale' dated May 1809. Verso blank.
Preface, pages (I)-3, dated May 1809.
Introduction, pages (4)-6.
Index, two pages.
Blank page. Pagination, pages 1-30; the imprint of John Moir dated 1809 being at
the foot of the first page 30. Blank page.
(Actually there are 30 pp. of engraved music and 30 pp. of printed text.)

WELSH Vol. II First Edition 1811
Title. See pl. X. Verso blank.
Frontispiece. 'The Fortune Teller' dated July MDCCCXI. Verso blank.
Index, verso 'Advertisement.'
Blank page. Pagination, pages 31-6o, at the foot of which is the imprint of John
Moir, dated 181 I. Blank page.
(Actually there are 34 pp. of engraved music and 26 pp. of printed text.)

WELSH Vol. III First Edition 1817
Title. See pl. X, but instead of 'Composed Chiefly by I Joseph Haydn' read 'Com-
posed Partly by I Haydn but chiefly by Beethoven.' The words 'or Harp' from
the previous line have now been omitted. Verso blank.
Frontispiece. 'Conway Castle,' dated May 1817. Verso blank.
Index, verso 'Advertisement.'
Blank page. Pagination, pages 61-130, at the foot of which is the imprint of John
Moir dated 1817. Blank page.
(Actually there are 40 pp. of engraved music and 30 pp. of printed text.)

IRISH Vol. I First Edition 1814
Title. See pl. XI. Verso blank.
Frontispiece. 'St. Cecilia' dated March MDCCCXIV. Verso blank.
Preface, pages (I) 2, dated March 1814.
Index, verso blank.
Blank page, verso text, p. I. Text, pages 1-72. Blank page. Imprint of John Moir
and date 1814 at foot of page 72.
(Actually there are 42 pp. of engraved music and 30 pp. of printed text.)


IRISH Vol. II First Edition 1816
Title. See pl. XI. Verso blank.
Frontispiece. 'The Origin of Painting' dated 1816. Verso blank.
Note about Frontispiece, dated May 1816, verso blank.
Preface, dated May 1816. Verso Index.
Blank page, verso text, p. 73. Text, pages 74-144. Blank page. Imprint of John
Moir and date 1816 at foot of page 144.
(Actually there are 42 pp. of engraved music and 30 pp. of printed text.)











ACCOMPANIMENT COLLATIONS


SCOTTISH 1802 and 1804 Editions
Title. Violino [or Violoncello] I Accompaniment I To the I Select Collection of I
ORIGINAL SCOTISH AIRS I For the Voice I With Characteristic Verses
both Scotish & English including I upwards of One hundred new Songs by I
BURNS I In three Volumes I
Price of this I VOL. . Price of the Viol? [or
Accomp' I 3 Shs. Violin] I Accompt 1 3 Shs.
London Printed & Sold by Preston, N 97 Strand I Sold also by the Proprietor G.
Thomson York Place Edinburgh. I [rule] I Entered at Stationers Hall I Neele sc.
Strand.

SCOTTISH Later editions
Title.: Similar to the above collations, but 'five' for 'three' in the tenth line, and in
the two prices there are larger '3's with small 's's over instead of '3 Shs.' Some
copies have in the last line 'sculp' instead of 'sc.'

WELSH 1809, i811, 1817
Title.: Violino [or Violoncello] Accompaniment I to a Select Collection of I WELSH
AIRS I Adapted for the Voice I United to Characteristic English Poetry I Never
before Published I With introductory & concluding Symphonies and I Accom-
paniments to each Air I For the I PIANO FORTE or HARP VIOLIN &
VIOLONCELLO I Composed Chiefly I By Joseph Haydn &c. I Vol. I. [altered
to 2 in MS. for the second volume] I Ent? at Stationers Hall. I
Price of this I Price of the Violoncello [or
Accompt 1 2/6 Violin] I Accomp. | 2/6
[long rule] I Printed & Sold by Preston, 97. Strand. | And by George Thomson,
the Editor & Proprietor, Edinburgh.
Note.: With the publication of Vol. III (1817) this title was slightly modified. After
the words 'PIANO FORTE or HARP VIOLIN & VIOLONCELLO' it now
reads: 'Composed the I.t and 2. Volumes Chiefly I by Joseph Haydn, I And the
3d Volume | By BEETHOVEN.'

IRISH 1814, 1816
Title.: VIOLON [in cello part Thomson has added in MS. 'co' to violin part] I Ac-
companiment I To a Select Collection of I ORIGINAL IRISH AIRS I For the
Voice I United to Characteristic English Poetry I WITH I Symphonies & Accom-
paniments I to each Air I for the Piano Forte Violin & Violoncello I Composed
by I BEETHOVEN | Vol. I Price of each Accompanimt 2/6 | Ent9 at Stationers
hall. Kirkwood Fecit | [thick rule] I [thin rule] I PRINTED & sold by Preston
97 Strand LONDON I & by George Thomson the Editor & Proprietor
Edinburgh.











"/


OR ;INAL, ( SC OTT 3 S3 AI3S

/ or f/
i)" Y // /Y


'JIO /--OR- / 79, .


BURNS I
74 fl 7,,,,/i d/. ll -StrM.ef. d


7. . .... 4, ,,- .



PLATE II. Scottish Airs, Vol. III, First Edition, 1802
Vol. I-II, Second Edition, 1804


r'w. LO
















ORIGINAL SCOTTISH AIRS,







PLvo ORTE, OLL rOO', LL














~/d e' ogcvml TM/ie/ rM r kOA tr fin/ rahe' .-
A /e TUi k f/ tap r,/pa rte 6:.1.


1 bffr rr t'ro f(;i/rtdit/'i. rini/th e ii/tf/w

bml me Ent'dat Stationer. Hall.

Sold also by G.Thomson the Editor &PFprietor lEdinburgh.


PLATE III. Scottish Airs, Vol. IV, First Edition, 1805











ORIGINAL (oTiSi A(i







1Pt,) O) Boi n. )







Set to uAlsic by

HEI iN 13h( J3SE














( /


PLATE IV. Scottish Airs, Vol. V, First Edition, 1818














g Arg gyJ, '_t_ ;IJ). a?2f Y''iafAR



Jrdmclaub Q.QLaTfh
y.'O) 7' 7177E tO..

R
I8V_ -. ()' T B A W,- / O,.

Vmphonics & 2arcompanimentt






o-i wK Iol <'c< pi sd < r & Collected by
GORGE R 'TOMSON, F.A.S.E.
LN FIVE VOLUMES.
l.// K l.,t/ SA/, //,//I Prai /
.. .. ,,, : ,*/,a la, ,


















PRIl'fti'T & OLDl yP l rI' N 71TO 71dEA" S'. a T.' 4LOMSON.



PLATE VA. Select Melodies of Scotland, Vol. I-V, First Octavo Edition, 1822-3















\( F

TX2 8M^S3 O)^ EBU3.3,



A.D) OTHER EMINENT LYRIC POETN ANCIENT & MODDERY
T1ITED) T TIlBE


Ay.I .1 6
i222L.AT2) I OYA3id


FIR TBH
PIANO FORTE
B Y


TnFE W1rR1.E 1 DMT ii.SED FOR %& OLTi. TE]D BT
4E CM BE THDIYi(('. A.S. EIY NiBURGH

17 SIX VD-LIMES
Pnf (ple -Or w-th 14 E rrrvm- bI Allan& Sloiliard 12 'ach


i r ,rdTO/ ---- ? ,.....si _

ID iO D I.
I'HlPThIr &H I1. 1 1 T. VY E T(l; 71. DI1.A" ) T Ek T R H S' I' T. T, R I '? I'1~1AT' 11 lETA
AIF 1) U. TI.H ()'I.N 1) ; I1 1IlY I :I R H _





PLATE VB. Select Melodies of Scotland, Vol. I-VI, Second Octavo Edition, 1825
(First Edition of Vol. VI)











li' '/ &Mn. /&,2<. ft /h nmmrtnAddelMnms J hlmprorpenwti/r.






F-- OR THE VOICE



op /



















SJ >I7//4ow see Ie C/IWedaM/ G en4s mou/r/s









Ad plan- me lly und e omb d rns
p f-h Va. One ,,,s Vol.3 E-11 at Slationeoe Ball M T-W.. orFhfla il i JA.

London Printed & Sold Preston 7l.Dean V Soho-And by G.Thooaon the Editor & Proprietor Edinburgh.
^ ^J /^ ( :^ ^ r- X


PLATE VI. Scottish Airs, Vol. I-IV, Sixth Edition, 1826








.l; r ,1J "/ l a rd, 'h,,, t ."hf l, ; 77't / wf/ //4// t /" .. /Wl;/ h ti i /hll ./ul /*/ h/,. rh ,/ IHs /V W .











)40n m trl & n-
,,} re/ A// ^/ / /// i. h

















1 1..u. f laio n nshal.,
S" / 1 --' /'(7"- '


PLATE VII. Scottish Airs, Vol. Va, Second Edition, 1826











TWENTY- FIVE


ADDITIONAL SCOTTISH AIRS,

WITH

SONGS,

AND

SYMPHONIES AND ACCOMPANIMENTS

FOR THE

PIANO-FORTE, VIOLIN, OR FLUTE, & VIOLONCELLO,

COMPOSED IOR THIS WORK BY


HAYDN, HUMMEL, BEETHOVEN, &c.

FOIUMING A SECOND PART TO

VOL. V.



COLLECTED, AND IUIBLISHED IN
1826i

BY G. THOMSON, EDINBURGH,

AND .hOLD) mY I11M, AND ]tY PItESTON, 71, DEAN STREET, 80110, LONDON.



IL." deim ... .....t. ing 6 ,,e[)1five NoA .1llic, nd Songs b) o Ihnwlv
or o1 dli ]1( lls to tile thrlntr t'dil nol f f ul. V % ithy h-i, theln I
1 2S.



Qinterb m inotationrro Jall.


EDI ;IN (;illh

r l I I I- i ; 'i N o '1o 11 un i l I N (ll i l I iti : il ',
jm .KHI\ M I) 21, w -ST |- (;Ie II I r.u s ,n:r.r

1 26. e(





PLATE VIII. Scottish Airs, Vol. Vb, 1826










"7 rDL Ir, ; ,5D: 1 ) 1 r-


ITE MRIVi sWDIDILK )F 0'3CDC0 VIA1 I)D

V lh S i'phu'ulier ;unil i\'JnLTijud Ir "u niiic i l.' 1 '',ih

IPlTA ..Q FuTO IIt3t VII.PT,, S, SL c
13 T
-pi 1r I i-'iD, ifi I. I :-r,, '_T ErD -117_ A e

WI1B 1E11, !E MDIsL,, Ac

TI'he c etr lu'llY Ifvw




I 1l ]o hk vold efrtd by .Tholul an, Ie. A.S h.

H1 l I J 'Y 1i e ni 3Et
4 1- h.I t v r i< o n u t 'y b/ l w
Meyw 1 s- LAIIW 1ntdEdwin1/m1Y1 A:-47





















i *//. ll. A"//".I'rice 1


'I! I'- < i Tip n.]i or n'' *l- i, i'Rh) Ih l l ilr, 7, I'l11am Piave, BSTlu pilon.


PLATE IX. Melodies of Scotland, Vol. VI, First Edition, 1841













< f /




( HvESH AI RS )



3ITED) TO CHARACTERISTIC







t,) '-- ,s / ,
-,NOW


I ,NyO FO() RTE orHAlP.'I ()IIN YVI OLON('ELLO





/' a .; II "'<. / 1 /,t, l,', I ,t m / u, nd 'r r//, I. / T/ 17Y ,1#o/i / "/< on, / /o'/ p'iir/.., ? y lr
iil /. Enl' at Siationers Hall.


PLATE X. Welsh Airs, Vol. I-III, First Edition, 1809-11-17
(Vol. III slightly different)

















"jqffict crolklafio-t -.











P1 3 -
- A ..-, iI. Jr -.._ j _j. fm-tnt :i


KSn -a~ on- t. -o n _ip- -...rtr u_ j
















Ii nil 'r IlIr n l 7 ,.l- \n.l l,,.uIlii n ll _ii I ,i In I --l : __h


PLATE XI. Irish Airs, Vol. I-II, First Edition, 1814-16















HAYDN THEMATIC CATALOGUE

ROMAN figures refer to the volume in which the setting was published,
arabic to the page on which it was printed and to the date of publication
of the volume.

S.A. = Scottish Airs 20 S.M.= 20 Scottish Melodies
M. of S.= Melodies of Scotland W.A. = Welsh Airs
I.A. = Irish Airs


SCOTTISH SETTINGS


Andante espressivo


4 Andantino piduttosto Allegretto


( td11 p i lJegJe ^


O Et-trc bas a sum-me night At The wea ry pound, the we- ry pound, The
On Et-tTick banks in a sum-met night At 0) The wea.rypund, the wea.rypund, The
1 2 0


S.A., Ill, i, 1802
M. of S., in, 9, 1822
S.A., In, ioi, 1826
S.A., III, Ilo, 1831


Andantino


S.A., III, 4, 1802
M. of S., Ill, 12, 1822 (different words)
S.A., nil, 104, 1826 (different words)
S.A., III, 104, 1831 (same words as 1822)


Where are the joys I have



S.A., III, 2, 1802
M. of S., III, Io, 1822
S.A., III, 102, 1826
S.A., III, 102, 1831


3 Andante grazioso (Duet)


5 Larghetto espressivo



'Twas at the fear-ful mid-night hour When



S.A., III, 5, 1802
M. of S., III, 13, 1822 (altered words)
S.A., III, 105, 1826 (original words)
S.A., IIl, 105, 1831 (different words again)

6 Andantino
A^ is .Ih J'J-^ 1>J


S0O were I a ble to
When trees did bud and fields were green, And
^,- - __ __0- wer I a bet


S.A., I1, 3, 1802
M. of S., Iu, II, 1822
S.A., In, 103, 1826
S.A., in, 103, 1831


S.A., in, 6, 1802
M. of S., Ill, 14, 1822
S.A., Ill, o106, 1826
S.A., III, Io6, 1831


f ( fir JJg ON


re-hearse My


#=::P P P _1 I .









26 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


- i-M- L k -


II Andante espressivo (BDuet)


I**'*


The moon had climbed the high-est hill.Which


S.A., III, 7, 1802
M. of S., iIn, 15, 1822
S.A., III, 107, 1826
S.A., 111, 107, 1831


8 Andantino

il f :r ,F?. ,


Ay wak ing 0!


S.A., inI, II, 1802
M. of S., III, 19, 1822
S.A., inI, III, 1826
S.A., inI, III, 1831


12
Allegretto


Twas ev'n the dew.y fields were green On A rose-bud by my ear ly walk A -


S.A., Ill, 8, 1802
M. of S., III, 16, 1822
S.A., III, io8, 1826
S.A., in, io8, 1831




9 Andante espressivo (Duet)


S.A., III, 12, 1802
M. of S., Ill, 20, 1822
S.A., ill, 112, 1826
S.A., III, 112, 1831



13 Un poco Vivace

(f U F | '~


W bro For you ye Fair the ol ie spreads For
With bro-ken words and down-cast eyes, Poor I


S.A., Ill, 9, 18o2
M. of S., III, 17, 1822
S.A., III, 109, 1826
S.A., III, o109, 1831



I0 Allegretto scherzando




Saw ye John ie corn ing quo' she



S.A., III, 10, 1802
M. of S., III, 18, 1822 (altered words)
S.A., III, I Io, 1826 (original words)
S.A., III, 110, 1831 (same words as 1822)
M. of S., VI, 277, 1841 (original words)


S.A., III, 13, i8o2
M. of S., III, 21, 1822 (altered words)
S.A., III, 113, 1826 (original words)
S.A., III, 113, 1831 (same words as 1822)




14 Andante espressivo


Thou lin-g'ring star with lessening ray that




S.A., Ill, 14, 1802
M. of S., III, 23, 1822
S.A., III, 114, 1826
S.A., III, 114, 1831


__ "U Afeteso


xjtt1t==E:n


/Kit


[









HAYDN THEMATIC CATALOGUE


-!; Andante
Ai ir al.h~ji m


0 bon. ny was yon ros y brier, That
S 16I gaed a wae fu' gate yes-treen
[. = P T P ^ ___________-


S.A., III, 15, 1802
M. of S., III, 24, 1822
S.A., III, 115, 1826
S.A., III, 115, 1831


S.A., III, 19, 1802
M. of S., III, 27, 1822
S.A., III, 119, 1826
S.A., III, 119, 1831


16 Andante espressivo


S.A., III, 16, 1802 S.A., III, 20, 1802
M. of S., III, 25, 1822 M. of S., III, 28, 1822
S.A., III, 116, 1826 S.A., III, 120, 1826
S.A., III, 116, 1831 S.A., III, 120, 1831


21 Allegretto


17 Andante grazioso
A.Q -


e la-ss o. t i e' lmilS
, The lass of Pa tie's mill -__ So
II I .-. A (.I


IL.. -~ I r ~ ID **. r I


S.A., III, 17, 1802
M. of S., III, 26, 1822
S.A., III, 117, 1826
S.A., III, 117, 1831




18 Affettuoso



I sigh dnd la ment me in



S.A., II, 18, 1802
M. of S., v, 34, 1822
S.A., III, 118, 1826
S.A., III, 118, 1831


Lass ie with the
I --v


S.A., II, 21, 1802
M. of S., iv, 29, 1822
S.A., inI, 121, 1826
S.A., III, 121, 1831




22 1 Andante espressivo
;--','...~ ~~ ".J ; I "I


} Love never more shall give mepain, My




S.A., III, 22, 1802
S.A., III, 122, 1826
M. of S., VI, 281, 1841 (different words)


15 Allegretto

r i~ im - -


A


lint-white locks,


. ....I I f I I7


t taq= 1.


-4


R^5









28 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


23 Andantino piuttosto Allegretto


S.A., III, 23, 1802
M. of S., IV, 30, 1822
S.A., III, 123, 1826
M. of S., VI, 269, 1841 (different words)


27 AMaestoso non troppo Lento


When ly thought fit Did
When Wi ly Pitt as he thought fit Did


S.A., III,
S.A., III,
S.A., III,


27, 1802
127, 1826
127, 1831 (different words)


I't Andante (Duet)



Be- neath a beech's grate-ful shade,Young
.. I I ,,


S.A., III, 24, 1802
S.A., III, 124, 1826






25 Allegretto spiritoso
"


Wha wad na be in love wi'
w:,. j J I


S.A., III, 25, 1802
M. of S., III, 31, 1822
S.A., III, 125, 1826
S.A., III, 125, 1831




26 Andante espressivo

V ,r

When the sheep are in the fauld and the



S.A., III, 26, 1802
M. of S., inI, 33, 1822
S.A., Ill, 126, 1826
S.A., III, 126, 1831


S.A., III, 28, 1802
M. of S., in, 32, 1822
S.A., Inl, 128, 1826
S.A., III, 128, 1831



29 Allegretto


Ar- gyle is my nameandyou may think it strangeTo



S.A., III, 29, 1802
M. of S., III, 34, 1822
S.A., III, 129, 1826
S.A., III, 129, 1831




30 Affettuoso


'Twas at the hour of dark mid-night, Be-
..., ~ ~ ~ ~ M J----.


S.A., III, 30, 1802
M. of S., III, 35, 1822 (altered words)
S.A., III, 130, 1826 (original words)
S.A., III, 130, 1831 (original words)








HAYDN THEMATIC CATALOGUE


31 Andante espressivo


Love's god-dess in a myr-tle grove,Said



S.A., III, 31, 1802
S.A., III, 131, 1826 (different words)
S.A., III, 144, 1831 (different words again)


Andante affettuoso
,.i -s


Sen-si- bi-lity how charm-ngThoumy
Sen-si- bi- li-ty how charm-ingThou my


S.A., III, 32, 1802
M. of S., III, 36, 1822
S.A., III, 132, 1826
S.A., III, 132, I831





33 fMaestoso e ben Marcato


Scots wha hae wi' Wal lace bled,



S.A., III, 33, 1802
M. of S., III, 37, 1822
S.A., III, 133, 1826
S.A., III, 133, 1831



34 Andante affettuoso


How sweet this lone vale and how


35 Andante grazioso
A J 9n


Gd


I t
0 where tell me


where is ourr
where is your


S.A., III, 35, 1802
M. of S., IV, 18, 1822
S.A., III, 135, 1826
S.A., III, 135, 1831




36 Allegretto
(. -. _


Bon ny lass ie


will ye go


S.A., III, 36, 1802
M. of S., v, 7, 1822
S.A., III, 136, 1826
S.A., III, 136, 1831





37 Andante affettuoso


A gain re joic- ing Na ture sees her



S.A., III, 37, 1802
S.A., lln, 137, 1826
S.A., III, 137, 1831




38 Allegretto piulttosto Vivace
A. .. 2 r


Bes sy Bell and Ma ry Gray They
^ --- ------^ J ^.^


S.A., III, 34, 1802
S.A., III, 134, 1826
S.A., IV, 2nd 200, 1831


S.A., III, 38, 1802
M. of S., VI, 41, 1824 (key changed)
S.A., III, 138, 1826 (original key)
S.A., III, 138, 1831 (key as 1824)


i -


11"









30 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


Andante


But late-ly seen in glad-some green, The O San dy


tr-


why jleav ,st thou thy


S.A., III, 39, 1802
S.A., III, 139, 1826
S.A., III, 139, 1831





40 Allegretto piuttosto Iivace
(p% F; -"


Well I a-gree you're sure of me Next


r
S.A., III, 40, 1802
M. of S., III, 22, 1822 (altered words)
S.A., III, 140, 1826 (original words)
S.A., llI, 140, 1831 (different words again)





41 Affettuoso


Ah the poor shep-herd's mourn-ful fate, When




S.A., III, 41, 1802
S.A., III, 141, 1826
S.A., III, 141, 1831


42 Andantino un poco Vivace


S.A., III, 42, 1802
M. of S., IV, 4, 1822
S.A., III, 142, 1826
S.A., III, 142, 1831


fl,


S.A., n111, 43, 1802
S.A., III, 143, 1826
20 S.M., 3rd ioo, 1839
M. of S., VI, 255, 1841




44 Andante risoluto
A.= ji 41 7 -


Fare well ye dun-geons dark and strong,The


S.A., III, 44, 1802
M. of S., III, 6, 1822
S.A., III, 144, 1826
S.A., III, 144, 1831






45 Allegretto


What can a young lass ie, what


S.A., III, 45, 1802
S.A., III, 145, 1826
20 S.M., 257, 1839
M. of S., VI, 270, 1841





46 Andante


By Pink-ey house oft let me walk, While




S.A., III, 46, 1802
S.A., III, 146, 1826
S.A., III, 134, 1831 (different key and words)


39 Andantino (Duet)


G F









HAYDN THEMATIC CATALOGUE


47 Allegretto
.i l... i J l. JI '1


51 Andante
A.^ *r- r^ JI J... i .1


I'll hae my coat o' gude snuff brown,My The smil-ing morn, the breath-ing spring, In -
I 1%. I I j U j I I I


S.A., III, 47, 1802
S.A., Ill, 147, 1826 (different words)
S.A., III, 147, 1831 (same words as 1826)


Andantino


S.A., III, 48, 1802
S.A., III, 148, 1826 (different words)
S.A., III, 148, 1831 (same words as 1826)


49 Zarghetto


A youth a-dorn'd with ev 'ry art, To




S.A., Ill, 49, 1802
S.A., III, 149, 1826


-- I


S.A., III, 50, 18o2
M. of S., III, I, 1822 (different words)
S.A., III, 150, 1826 (different words)
S.A., III, 146, 1831 (same words as 1822)


S.A., I, 10, 1804
M. of S. 9, 1822
S.A., I, 10, 1826


S.A., I, I, 1804
M. of S., I, I, 1822
S.A., I, I, 1826
S.A., I, I, 1831





A Andante =


Will ye go to the ewe bughts



S.A., I, 8, 1804
M. of S., I, 8, 1822 (now arranged as duet)
S.A., I, 8, 1826 (arranged as duet)






53 Larghetto


My sheep I ne glect- ed I




S.A., I, 9, 1804
M. of S., I, 10, 1822
S.A., I, 9, 1826









32 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


S Andante con espressione
(\i r .-nj J -. J r, g


59 Andante espressivo
AI ... . . .
V" .. 1 P4 do 0 _'" " ]


'Twas in that sea- son of the year When Sweet fas the eve on Craig. ie -burn And
Jl -_ us~ J I Swe 1


El ....~.. l~* - ~


S.A., I, 14, 1804
M. of S., I, 14, 1822
S.A., I, 14, 1826



56 Andante (Duet)


There's auld Rob Mor- ris that






S.A., I, 17, 1804
M. of S., I, 17, 1822
S.A., I, 17, 1826
S.A., I, 17, 1831




57 Adagio ma non tanto


One morn-ing ver y ear ly one



S.A., I, 18, 1804
S.A., I, 18, 1826
S.A., I, 18, 1831 (different words)




58 Andantino (Duet)


How lang and drear-y is the night When






S.A., I, 31, 1804
M. of S., I, 31, 1822
S.A., 1, 31, 1826
S.A., I, 31, 1831


S.A., I, 32, 1804
M. of S., I, 32, 1822
S.A., I, 32, 1826


Vivace


S.A., I, 35, 1804
S.A., I, 35, 1826 (different words)
S.A., I, 35, 1831 (words same as 1826)


61 Vivace


Where Cart rins row ing to the sea, By



S.A., I, 39, 1804
M. of S., I, 38, 1822 (different words)
S.A., I, 39, 1826 (same words as 1822)
S.A., I, 39, 1831 (same words as 1822 and
1826)

62 Zargetto


Fate gave the word the ar- row sped And



S.A., I, 45, 1804
S.A., V, 253, 1826 (different words)


F F: r- i









HAYDN THEMATIC CATALOGUE


63 Spiritoso ma non troppo Allegro



Does haugh-ty Gaul in vas ion threat


S.A., I, 47, 1804






64 Andantino grazioso (Duet)
( r. f I I It J I a r I
-, ,- I _,,I- .-- ,--_ -- T "U ..


Larghetto


I 9J r1 .-


The last time I came o'er the muir I


S.A., II, 80, 1804
M. of S., II, 40, 1822
S.A., II, 8o, 1826




68 Andante
A\ -. '. .


0 wat ye wha's in yon -der town Ye Be neath a green shade a

J J j J nJ ^ ( ^ -41t s


S.A., II, 53, 1804
M. of S., II, 29, 1822 (altered words)
S.A., II, 53, 1826 (altered words)


S.A., II, 84, 1804
M. of S., II, 3, 1822
S.A., II, 84, 1826
S.A., II, 84, 1831


69 Andante espressivo


S.A., II, 66, 1804
M. of S., II, 9B, 1822 (altered words)
S.A., II, 66, 1826 (same words as 1822)
S.A., II, 66, 1831 (same words as 1822)


66 Andantino (Buet)


S.A., II, 87, 1804
S.A., II, 87, 1826
S.A., II, 86, 1831


'70 -.. -


And"e espre

Wilt thou be my dear ie When Oh had I


S.A., II, 77, 1804
M. of S., II, 37, 1822
S.A., II, 77, 1826
S.A., II, 77, 1831


s-v ('u "


a cave on some


S.A., II, 92, 1804
S.A., II, 92, 1826
S.A., II, 92, 1831


- - W


(s









34 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


71 Affettuoso


Oh the mo meant was sad when my



S.A., II, 98, 1804
M. of S., II, 45, 1822
S.A., II, 98, 1826





72 Andante espressivo

(4-P


75 Andante espressivo (Buet)



Be hold the hour the boat ar-rive Thou


S.A., IV, 154, 1805
M. of S., v, 28, 1822
S.A., IV, 154, 1826
S.A., Iv, 154, 1831




76 Allegretto piuttosto Vivace
(.IJh4 -


-I -. ~I --;&- I


The Ca-trine woods were yel low seen The i There's nought but care on ev'-


ry hand, In


S.A., Iv, 151, 1805
M. of S., IV, 12, 1822
S.A., IV, 151, 1826
S.A., IV, 151, 1831




73 Andantino piuttosto Allegretto


There was a lass and she was fair, At



S.A., Iv, 152, 1805
M. of S., IV, 17, 1822
S.A., IV, 152, 1826
S.A., IV, 152, 1831





74 Vivace


0 wise and va liant Wil-lyWou'd




S.A., IV, 153, 1805
M. of S., V, 35, 1822 (altered words)
S.A. IV, 153, 1826 (different words)
S.A., IV, 153, 1831 (same words as 1822)


S.A., iv, 155, 1805
M. of S., v, 4, 1822
S.A., iv, 155, 1826
S.A., iv, 155, 1831


S.A., Iv, 156, 1805
M. of S., v, 9, 1822
S.A., IV, 156, 1826
S.A., Iv, 156, 1831


78
A.


Andante espressivo


Sleep'st thou or wak'st thou

I( F I
"__ rl-

f:s.


S.A., IV, 157, 1805
M. of S., v, 5, 1822
S.A., IV, 157, 1826
S.A., Iv, 157, 1831









HAYDN THEMATIC CATALOGUE


Com-ing thro' the craigs of Kyle,


S.A., IV, 158, 1805
M. of S., v, 6, 1822
S.A., IV, 158, 1826
S.A., IV, 158, 1831



80 Andantino espressivo



Of a' the airts the wind can blaw I



S.A., IV, 159, 1805
M. of S., v, 10, 1822
S.A., IV, 159, 1826
S.A., IV, 159, 1831





81 Andantino piuttosto Allegretto (Duet)



0 Phe ly hap-py be that dayWhen



S.A., IV, 16o, 1805
M. of S., IV, 5, 1822
S.A., IV, 16o, 1826
S.A., IV, 16o, 1831




82 Allegretto


0 how can my poor heart be glad When



S.A., IV, 161, 1805
M. of S., iv, 6, 1822
S.A., IV, 161, 1826
S.A., Iv, 161, 1831


83 Affettuoko assai


(.-.


-0 i


My love built


me a


S.A., IV, 162, 1805
M. of S., IV, 39, 1822
S.A., IV, 162, 1826
S.A., IV, 162, 1831



84 Allegretto piutipsto Vivace


Where's he for hon-est pov-er-ty that




S.A., IV, 163, 1805
M. of S., VI, 34, 1824 (different words)
S.A., IV, 163, 1826 (original words)
S.A., IV, 163, 1831 (same words as 1824)


S.A., IV, 164, 1805
M. of S., IV, 19, 1822
S.A., IV, 164, 1826
S.A., IV, 166, 1831




86 Allegretto scherzando
A -1a P--N


Auld gudeman ye're a drunken care drunken care



S.A., iv, 165, 1805
M. of S., IV, 24, 1822
S.A., IV, 164, 1826
S.A., IV, 165, 1831


79
-A I


0CV


Andantino piuttosto Allegretto








36 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


87 Andantino



Hark the May Is' ev'n ing sang



S.A., IV, 166, 1805
M. of S., IV, 16, 1822 (original words)
S.A., IV, 165, 1826 (different words)
20 S.M., 3rd 150, 1839 (original words)
M. of S., VI, 256, 1841 (original words)


88


91
A iL


92


Andantino


Allegretto


Oh! what had I a do for to mar-ry, My

F r M "I


S.A., IV, 170, 1805
M. of S., IV, 3, 1822 (words slightly altered)
S.A., IV, 170, 1826 (original words)
S.A., IV, 170, 1831 (original words)


Allegretto


(I
,,A''. i J _


'Twas sum mer and soft- ly the
'T\a i J) i-l}


S.A., IV, 167, 1805
S.A., IV, 167, 1826
S.A., IV, 167, 1831




89 Affettuoso
ZK.. nJ"_ 6, ,, -


S.A., IV, 171, 1805
M. of S., III, 43, 1822
S.A., Iv, 171, 1826
S.A., III, 171, 1831




93 Allegretto
'H


1,. I V I- rv
I wish I were where He-len lies, For Come rest ye here John-le what
ill !-'l I rP . .


I ______________


-- 4 L- -1
S.A., iv, 168, 1805
M. of S., IV, 21, 1822
S.A., IV, 168, 1826
S.A., IV, 168, 1831





90 Allegretto schersando
i, --- .. I ,


I' -" -" F -- J i
First when Mag-gy was my care



S.A., IV, 169, 1805
S.A., Iv, 169B, 1826
S.A., IV, 169B, 1831


S.A., IV, 172, 1805
M. of S., VI, 33, 1824 (different words)
S.A., IV, 172, 1826 (different words)
S.A., IV, 172, 1831 (same words as 1824)





94 Allegretto



Oft oft Iwent to her,To sigh and to woo her,Of



S.A., IV, 173, 1805


Come un der my plaid y


the


El W . .


Ad
EE


I F F


i K r


T m Y --


IIil I -- -- ...i. I I








HAYDN THEMATIC CATALOGUE


95 Vivace Scherzando


99 Andante risoluto
"..l --" i -. -- f l '- l ^ J- '


At Wil-lies wed-ding on the green,The Thickest night surroundmy dwell-ing Howl-ing


S.A., Iv, 174, 1805
M. of S., VI, 35, 1824
S.A., Iv, 174, 1826
S.A., IV, 174, 1831





96 Vivace (Duet)



Och pret ty Kate my darl-ing Kate here



S.A.,Iv, 175, 1805
S.A., iv, 175, 1826
S.A., IV, 175, 1831





97 Andante espressivo
i r n iJ J ic j3


My orro deep
My sor-row deep


S r f 0

S.A., IV, 176, 18o5
S.A., Iv, 176, 1826





98 Vivace
A _- j _ -


sor-row in -


S.A., iv, 178, 1805
M. of S., v, 16, 1822
S.A., IV, 178, 1826
S.A., Iv, 178, 1831





IOO Allegretto (With 2 part chorus)



0 Wil-ly brew'd a peck o' ma't And



S.A., Iv, 179, 1805
M. of S., VI, 37, 1824
S.A., IV, 179, 1826
S.A., IV, 179, 1831



II0 Andantino con molta espressione (Duet)



What ails this heart of mineWhat


S.A., iv, 18o, 1805
S.A., IV, 18o, 1826
S.A., IV, 180, 1831 (different words)




102 Allegretto

fI __Could fly-, ge a n


Sow 1l tell you how young Could find a bon- ny glen warm and
ow hrk en and will tell you how young
I -do.


S.A., Iv, 177, 1805
S.A., IV, 177, 1826
S.A., IV, 177, 1831


S.A., Iv, 181, 1805
M. of S., IV, 15, 1822 (altered words)
S.A., IV, 181, 1826 (original words)
S.A., IV, 181, 1831 (different words again)


r


l w v









38 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


103 V'vace



There lived a care in Kel-ly-burnbraes




S.A., IV, 182, 1805
M. of S., IV, 27, 1822 (altered words)
S.A., Iv, 182, 1826 (original words)
S.A., II, 87, 1831 (different words again)





014 Andantino

-" J |. J -' J"
Ye gales that gent ly.



S.A., Iv, 183, 18o05
20 S.M., 6th 150, 1839 (different words)
M. of S., VI, 260, 1841 (different words)


105
A ,


Andantino


107 Andante espressivo


S.A., IV, 186, 1805
S.A., IV, 186, 1826
S.A., IV, 186, 1831


io8


Allegretto


'Tis nae very lang sin syne. That




S.A., IV, 187, 1805
M. of S., II, 30, 1822 (altered words)
S.A., IV, 187, 1826 (original words)





109 Vivace: Brillante ma non troppo presto
A a I


When first I.came to be a man of
Sr--5 r A highland lad my ve was born, The


S.A., IV, 184, 1805
M. of S., Iv, 28, 1822
S.A., IV, 184, 1826
S.A., IV, 184, 1831


IUD Adndantino grazioso
A c .- i


S.A., Iv, 188, 1805
S.A., IV, I88, 1826
S.A., IV, 193, 1831





II0 Allegretto

(I A


I lo'e ne'er a lad-die but ane e


The. law land


maids gang


S.A., IV, 189, 1805
M. of S., V, 23, 1822 (altered words)
S.A., IV, 189, 1826 (original words)
S.A., IV, 188, 1831 (same words as 1822)


S.A., IV, 185, 1805
S.A., IV, 185, 1826
S.A., Iv, 185, 1831


A i


m


i F P- r


I a









HAYDN THEMATIC CATALOGUE


In Allegretto


Sae flax-en were her ring lets, Her

I-

S.A., iv, 19o, 1805
M. of S., III, 45, 1822
S.A., IV, 190, 1826
S.A., III, 2nd 150, 1831





112 Allegretto piuttosto Vivace




The pawky ald Carle came oer the lea WI'


S.A., IV, 191, 1805
M. of S., IV, 31, 1822
S.A., IV, 191, 1826
S.A., IV, 191, 1831





113 Sekersando ma non troppo presto

(\h^ H. j *: [ 1 .*q


S.A., IV, 194A, 1805
S.A., IV, 194, 1826







I 16 Allegretto



My mo-ther's ay glowr.in o'er me Tho'



S.A., IV, 194B, 1805
M. of S., VI, 45, 1824 (different words)
S.A., IV, 194B, 1826 (original words)
S.A., IV, 196, 1831 (different key)





117 Allegretto

.. j i i,


W r I When o'erthe hill ernstar
Tib-bie Fow-ler o' the glen there's Wh o'er the hiU the ast-e star tells


S.A., IV, 192, 1805
S.A., IV, 192, 1826





114 Andantino piuttosto Allegretto..



Our good king sits in


S.A., IV, 193, 1805


...4 r r v J P 1 -

S.A., IV, 195, 1805
M. of S., IV, 34, 1822
S.A., IV, 195, 1826
S.A., IV, 2nd 188, 1831 (different key)


Andante espressivo


The gyp sales came to our
(-^= L -jr


S.A., IV, 196, 1805
M. of S., IV, 35, 1822
S.A., IV, 196, 1826


118


II i% II i I








40 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


119 Allegretto scherzando


I met four chaps yon birks a-mang Wi'
jmt n r r r


S.A., IV, 197, 1805
M. of S., IV, 36, 1822
S.A., IV, 197, 1826
S.A., IV, 197, 1831




120 Andante con molta espressione



Mly Co lin 1v'd Co lin my



S.A., Iv, 198, 1805
M. of S., iv, 37, 1822
S.A., Iv, 198, 1826
S.A., iv, 198, 1831




121 Allegretto piuttosto Vivace



m 0 were I as fleet as the wings ofthewind,in
I~ ~ Ri,.. = '-.
.- ,. : i -V


S.A., IV, 199, 1805
M. of S., iv, 38, 1822
S.A., IV, 199, 1826
S.A., IV, 199, 1831


122 Allegretto e ben marcato


123 Allegretto


By Al- lan stream I chanc'd to rovehle
^. L -- -- P-


S.A., II, 79, 1817
M. of S., II, 39, 1822
S.A., II, 79, 1826
S.A., II, 79, 1831


'14 Allegretto piuttosto Vivace


Let my lass be young my wine be old, My




S.A., IV, 193, 1817
M. of S., VI, 48, 1824 (different words)
S.A., IV, 193, 1826 (different words)
S.A., IV, 194, 1831 (same words as 1824)




125 Andantino grazioso (Duet)



0 Mar-ian is a bon ny lass Theres







S.A., V, 218, i8i8
M. of S., VI, 40, 1824 (different words)
S.A., v, 218, 1826 (original words)
S.A., V, 218, 1831 (same words as 1824)


126 Allegretto grazioso



Oh was I to blame to love him Oh


S.A., v, 220, 1818
M. of S., v, 21, 1822
S.A., V, 220, 1826
S.A., V, 220, 1831


S.A., IV, 200, 1805
S.A., IV, 200, 1826 (different words)
S.A., IV, 200, 1831 (same words as 1826)









HAYDN THEMATIC CATALOGUE


127 Allegretto con anima



A Sol dier am I all the



S.A., V, 224, 1818
20 S.M., 5th loo, 1839 (different words)
M. of S., VI, 256, 1841 (different words)


Andante con espressione


Poor flutt' ring heart ah



S.A., V, 225, 1818
M. of S., V, 32, 1822
S.A., V, 225, 1826
S.A., V, 225, 1831




129 Allegretto

,l b i an. rI iI


S.A., v, 227, i818
M. of S., v, 18, 1822
S.A., v, 228, 1826
S.A., v, 228, 1831




130 Affettuoso (Duet)
Ati -
SWay Wa y ove is bonny A
O Wa-ly Wa ly love is bon-ny, A



0 Wa-ly Wa ly love is bon-ny, rA



M. of S., I, 20, 1822
S.A., I, 19B, 1831


I!


131 Andantino quasi Allegretto



Bon- ny wee thing can- ny wee thing,



M. of S., I, 22, 1822
M. of S., VI, 22, 1824 (arranged for three
voices)
S.A., V, 236, 1826 (arranged for three
voices)
S.A., I, 35B, 1831 (different key)


132 Allegretto
r_; A Ale


S The go- wan glit-ters on the sward The


M. of S., II, 5, 1822








133 Andantino amoroso ma con forza

.1 \ \


Come busk you gal-lant- lie,


M. of S., V, 37, 1823







134 Allegretto quasi Vivace



My loy al heart is light and free, I




M. of S., VI, 36, 1824
S.A., V, 250, 1826
S.A., V, 248, 1831


L L L


I


Z-1-f r f- r
Ni bank brae lotVd in green And









42 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


i35


Vivace


139 Allegretto schersando


My love a win-some wee thing, She



M. of S., VI, 44, 1824
S.A., V, 245, 1826
S.A., v, 243, 1831





136 Andante espressivo (Duet)
@ Tenor ___ r9
N, 0 _1.


y Soprano I' c d yt n e
My Nannie's charming sweet and young Nae


S.A., vb, 246, 1826
S.A., V, 244, 1831


140 Orazioso semplice

P.~ -}~-


W


0 were my love yon


Ii Ise fairWithj


S.A., I, 4, 1826
(ANole: 1826 edition says first published in
1822, but we cannot trace it)





137 Allegretto (Duet)
My Pa-tie is a lov er gay, His


My Pa-tie's a lov er gay



A | |


S.A., I, 7, 1826





138 Allegretto



0 these charms no long-er hide, my
*II .. {- =- --^ ^


S.A., IV, 173, 1826


S.A., iv, 183, 1831








I41 Allegretto
Hi E.7 "iE I.i I i l


Young joc-key was the bly-thest lad, In



2o S.M., 5th 50, 1839








142 Vivace


It was the charm-ing month of May:When


20 S.M., 5th 150, 1839
M. of S., VI, 259, 1841









HAYDN THEMATIC CATALOGUE


143 Andante con molta espressione



There came to the beach a poor



20 S.M., 259, 1839
M. of S., vI, 263, 1841





WELSH


145 Allegretto grazioso



See 0 see the




W.A., i, I, 1809
M. of S., I, 50, 1822







146 Maestoso con motto spirit


Daunt-less sons of
1 --l


144 Andante espressivo con moto



Powers ce les tial whose pro tec tion



M. of S., VI, 275, 1841






SETTINGS

148 Affeituoso



Come sweet-est corn pos er of




W.A., I, 6, 1809
M. of S., I, 49, 1822 (different words)


149 Allegretto


n I F i9 op"


Cel tic sires whose


I I r --
0 el-come bat and owl et grey, thus


W.A., I, 2, 18o09
M. of S., I, 46, 1822






147 Andantino con moto


I gaze up-on those moun-tains, that


W.A., I, 4, 1809
M. of S., I, 47, 1822


W.A., I, 8, 1809
M. of S., II, 47, 1822






150 Allegretto (Duet)



Low hung the dark clouds on Plin -


W.A., I, 9, 1809


| qD


--w


I








44 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


151
A .1


Allegretto


Allegretto piuttosto Vivace (Duet)


Sir Wat kyn in tend ing, the



W.A., I, o10, 1809
M. of S., II, 46, 1822


152 Maestoso


Dost not hear the mar tial hum




W.A., I, II, 1809
M. of S., II, 50, 1822



153 Andante affettuoso (Duet)
A g-1


plain -tive cry-ing


W.A., I, 17, 1809
M. of S., II, 49, 1822


157
Ali


Andantino espressivo


0 fare-well my Fran ces sweet



W.A., I, 18, 1809





158 Maestoso e spiritoso (Duet)
A~ UL -- j ;


the mar -


What a-vails thy
M '. r


W.A., I, 12, 1809
M. of S., II, 48, 1822


154 Andantino


W.A., I, 14, 1809


155
A a


W.A., I, 19, 1809





159 Andante con moto (Duet)



In the vale of Llan- goll-en a



W.A., I, 21, 1809
M. of S., III, 46, 1822


16o Vivace

a(


Vivace


Come ev -'ry shep-herd with his love and Sweet how sweet the haw-thorn bloom-ing
1- :9 A -a I Im. ;1 -- -


k I i i I I


W.A., I, 16, 1809
M. of S., vi, 64, 1824


W.A., I, 22, 1809








HAYDN THEMATIC CATALOGUE


161 Andantino



Sleep on and dream of heavn a-while, tho



W.A., I, 23, 1809
M. of S., III, 50, 1822

162 Allegretto piuttosto vivace (Duet)

"Ar L-. k I -


Good Imor-row to thy sa ble beak and


W.A., I, 24, 18o9
M. of S., III, 48, 1822


163 Andante con molta espressione


While sad I strike the



W.A., I, 26, 18o8



164 Allegretto


The spear-men heard the bu-gle sound, and






W.A., I, 28, 1809


165 Allegretto piuttosto vivace
i'H..-"` _-4 pU-.= ti


Ye maids of Hel-ston ga-ther dew,while I
I I I I I


166 Vivace (Duet)

riF ii l'^ i ^ l rr r


The bu-sy hours of day are o'er, And
I


W.A., II, 33, i811



167 Allegretto (Duet)

sio\ /1 2_ ^' J !I


Let not Glo ry's trum-pet sound-ing


W.A., II, 34, 1811



168 Allegretto (Duet)
St NELL TAFFY


Aye sure thou art dear Taffy Morgan And



W.A., II, 35, 18ii
M. of S., III, 49, 1822


169 Vivace


Now bar the door shut



W.A., In, 36, i811
M. of S., v, 50, 1822




170 Andante
iA: Y "


Sweet Ma ry where now on this




W.A., II, 38, 1811


W.A., II, 31, 181I
M. of S., v, 46, 1822


ti


rft








46 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS

171 tivace 176 Spiritoso


[n days of an-cient sto ry, when Fam'd for our warmth we now re-joice, feel


W.A., II, 39, i8ii



172 Andante espressivrn

(,Jj I I | | "= 1


W.A., II, 48, 1811


177 Allegro scherzoso
4 kr9


lod ma-tins came Hence way with de I sor row -
The Con vents'loud ma-tins came I Hence a way with i dle sor row,


W.A., II, 40, 1811



173 Allegretto


Loud how loud the north wind blow-ing



W.A., II, 41, 1811



174 Allegretto, piuttosto Vivace


The jo-cund days, the play-ful days, the



W.A., II, 43, 181I




175 Allegretto


What weep-ingWin-i fred for shame, the



W.A., II, 44, 18i1
M. of S., V, 47, 1822


W.A., II, 50, i81i



178 Andante espressivo assai


Where is my Ow en



W.A., II, 56, 18ii



179 Andantino affettuoso assai
A ^ i M iJ. h EfeJ ^


I


How fond ly I gaze on the


W.A., II, 57, 1811



18o Allegretto piuttosto Vivace

A ir o s
I've no sheep on the moun-tain nor

41r


W.A., II, 58, 1811
M. of S., IV, 49, 1822


10-







HAYDN THEMATIC CATALOGUE


Andantino


W.A., II, 59, 1811


182 Andantino




On Cam brias green


W.A., III, 93, 1817


185
A I


Allegretto


Sir Wat-kyn's lov'd Min-strel now


W.A., II, 60, i811



183 Andante con molta espressione (Duet)



Rav-ing winds a round her blow-ing



W.A., IIl, 78, 1817


187


W.A., III, 96, 1817




186 AJrdante espressivio
elhb I iJ I j r -


1" I I
No Hen-ry I must not I



W.A., III, 119, 1817
M. of S., IV, 50, 1822


The Pat son boasts of mild ale, The



I.A., I, 70, 1814


Andarnte


IRISH SETTING

Allegro ma non troppo


(I













BEETHOVEN THEMATIC CATALOGUE


Roman figures refer to the volume in which the setting was published,
arabic to the page on which it was printed and to the date of publication
of the volume.


25 I.L. =25 Irische Lieder
20 I.L. =20 Irische Lieder
12 I.L. = 12 Irische Lieder
26 W.L. = 26 Wallische Lieder
12 S.L. = 12 Schottische Lieder
12 V.V. = 12 verschiedene Volks-
lieder


Nottebohm


I.A. = Irish Airs
W.A. = Welsh Airs
S.A. = Scottish Airs
M. of S.= Melodies of Scotland
20 S.M. =20 Scottish Melodies


IRISH SETTINGS


A Andantino con molta espressione


Once a gain, but how changed, since my
P


NOTTEBOHM, 25 I.L., no. I
THA YER 174, no. I
I.A., I, 2, 1814
M. of S., III, 42, 1822

2 Allegretto grazioso (Duet)

I i .--4 i I I r I l -li


Allegretto grazioso


The morn-ing air plays on my face, And



NOTTEBOHM, 25 I.L., no. 4
THA YER 174, no. 4
I.A., I, 9, 1814
M. of S.,rIV, 43, 1822

5 Andante lamentabile
i ~ lp i1 i


- e -r oI-f -tha O h e
Sweet Power of Song that canst im-part, Oh! tell me Harp-er, where-fore flow thy


'


NOTTEBOHM, 25 I.L., no. 2
THA4 YER 174, no. 2
I.A., I, 4, 1814

3 Andante con molta espressione

(I l lli r H -


Once more I hall thee,thou gloom-y De i


FI. rr F


NOTTEBOHM, 25 I.L., no. 5
THAYER 174, no. 5
I.A., I, 12, 1814


6 Affettuoso (Duet)
A I h \ i
(-


1)*


What shall I do


r~. .


NOTTEBOHM, 25 I.L., no. 6
THA YER 174, no. 6
I.A., I, 14, 1814


NOTTEBOHM, 25 I.L., no. 3
THA YER 174, no. 3
I.A., I, 8, 1814


to


VF -


il w I T I


m








BEETHOVEN THEMATIC CATALOGUE


7 AnJL4dwartiw grais~oa


His boat comes on the

TOI 533 L


NOTTEBOHM, 25 I.L., no. 7
THA YER 174, no. 7
I.A., I, 18, 1814



8 Allegro con bpro


Come draw we round a cheer-fl ring, And



NOTTEBOHM, 25 I.L., no. 8
THA YER 174, no. 8
I.A., I, 19, 1814
M. of S., VI, 61, 1824


9 Andante lamentabile
/1b '- . . .. : :-


II Andante affettoso


Thou em blem of faithothu sweet


NOTTEBOHM, 25 I.L., no II
THA YER 174, no. II
I.A., I, 28, 1814
M. of S., VI, 274, 1841 (altered words)



12 Allegretto piuttosto Vivace


Och! have you not heard, Pat, of


NOTTEBOHM, 25 I.L., no. 12
THA YER 174, no. 12
I.A., I, 29, 1814
M. of S., VI, 56, 1824



13 Andantino con moto
^r A


Our ~bu les sung ~truce, for the 1[~ Mae-ingjon the roar-Ing I1o ocean Which di


NOTTEBOHM, 25 I.L., no. 9
THA YER 174, no. 9
I.A., I, 22, 1814



10 Andante con moto ed agilato
l\ I


._ i, V__.. -i.
NOTTEBOHM, 25 I.L., no. 13
THA YER 174, no. 13
I.A., I, 32, 1814
M. of S., Ill, 44, 1822



14 Allegretto seAerzando
A~i An ^ ^ I N I .


If ead-ly think log and spl. rits 0 [ho sits so sadly and leaves the fond sigh?A

'-r^ J^J^ -> p -P~ e .g


NOTTEBOHM, 25 I.L., no. 14
THA YER 174, no. 14
I.A., I, 33, 1814
M. of S., VI, 54, 1824


NOTTEBOHM, 25 I.L., no. io
THA YER 174, no. 10
I.A., I, 24, 1814


\E


A- x








50 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


A15 Allegretto piuttosto Vivace
(\^ .i .j


I, Allegretto
( ,


Let brain spin ning swains In ef When the black let ter'd list to the


(


NOTTEBOHM, 25 I.L., no. 15 (different
key)
THA YER 174, no. 15 (this key)
I.A., I, 36, 1814



16
Andantino amtoroso con espressione


NOTTEBOHM, 25 I.L., no. 19 (as a duet)
THA YER 174, no. 19
I.A., I, 46, 1814


20 Andante espressivo (Duet)
A I
-? n riI i d FI


Hide not thy an- guishthou mustnot de Fare-well bliss and fare-well Nan cy, Fare-well


NOTTEBOHM, 25 I.L., no. 16
THA YER 174, no. 16
I.A., I, 37, 1814
M. of S., VI, 58, 1824



17 Andante espressivo (Duet)


In vain to this de heart my



NOTTEBOHM, 25 I.L., no. 17
THA YER 174, no. 17
I.A., I, 40, 1814



18
Allegretto (Duet)
,\ \ I ^J I | ^


NOTTEBOHM, 25 I.L., no. 20
THA YER 174, no. 20
I.A., I, 48, 1814
M. of S., Iv, 41, 1822 (altered words)
S.A., V, 48, 1831 (altered words again)


21
Allegro scherzando


Morn ing a cru el tur-moil er is,



NOTTEBOHM, 25 I.L., no. 21
THA YER 174, no. 21
I.A., I, 52, 1814
M. of S., V, 42, 1822



22 Moderato con espressione

deaol r r-^ -IJ 3J r -


They bid me slight my Dermotdearfor r G r y h r
SFrom Ga ry-one, my hap py home 1Full
..... ._J hh J j 1I[


i ... "I V 'l ""
NOTTEBOHM, 25 I.L., no. 22
THA YER 174, no. 22
I.A., I, 53, 1814
M. of S., II, 43, 1822


NOTTEBOHM, 25 I.L., no. 18
THA YER 174, no. 18
I.A., I, 42, 1814








BEETHOVEN THEMATIC CATALOGUE


Allegretto con moto ed espressione

( h- -d- .


27
A .


Andante piuttosto Allegretto


A wandering gip sey, Sirs am I, From No rich es from his scat-y store my


NOTTEBOHM, 25 I.L., no. 23
THA YER 174, no. 23
I.A., I, 56, 1814




24 Allegretto piuttosto Vivace


NOTTEBOHM, 20 I.L., no. 2
THA YER 174, no. 27
I.A., I, 64, 1814





28 Vivace schersando


0 e a d J 'Twas a Mar- e chal of France, and he
Shall a son of O'Donnel be cheerless and coldWhile | 1. 4 1 4K


NOTTEBOHM, 25 I.L., no. 24
THA YER 174, no. 24
I.A., I, 57, 1814





25 Andantino con moto
Atnf lr- J'J-J LU


NOTTEBOHM, 20 I.L., no. 3
THA YER 174, no. 28
I.A., I, 65, 1814
M. of S., VI, 59, 1824




29 Allegretto sckersasdo

atSic ey f rm s t h w n


S Oh jharp o iatoJrtSneGryers nomu that yo.uthwl eaAd


NOTTEBOHM, 25 I.L., no. 25
THA YER 174, no. 25
I.A., I, 6o, 1814





26 Andante (Duet)


( -' k I i : i : -" I r .7 ."- l; I

NOTTEBOHM, 20 I.L., no. 4
THA YER 174, no. 29
I.A., I, 68, 1814





30 Andante espressivo (Duet)
/r


When eve's last rays in twilight die, And I dreamed I lay where flowre were springing,
-" I PE


NOTTEBOHM, 20 I.L., no. I NOTTEBOHM, 20 I.L., no. 5
THA YER 174, no. 26 THA YER 174, no. 31


II I I


r


t


I.A., 11, 74, 1816


I.A., I, 61, 1814









52 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


"3 Andante con moeta espressione


To me my sweet Kath leen the



NOTTEBOHM, 12 I.L., no. Io (different
words)
THA YER 174, no. 32
I.A., II, 76, 1816 (solo followed by duet)
M. of S., I, 42, 1822 (words as in Nottebohm
and as a duet only)


32 Andante espressivo assai


Sad and luck4ess was the season, When to


NOTTEBOHM, 20 I.L., no. 6
THA YER 174, no. 33
I.A., II, 80o, 1816
M. of S., VI, 52, 1824




Andante con molta espressione


Soothe me,my Lyre with thy tones of soft sor-row 0



NOTTEBOHM, 20 I.L., no. 7 (slightly
different)
THA YER 174, no. 34
I.A., II, 81, 1816


34


Allegretto grasioso


By the side of the Shan-non was

40


NOTTEBOHM, 12 V.V., no. 8
THA YER 174, no. 35
I.A., II, 84, 1816
M. of S., v, 41, 1822


33 Allegretto (with 8 part chorus)


Fare well mirth and hi la ri ty,



NOTTEBOHM, 20 I.L., no. 8
THA YER 174, no. 36
I.A., II, 86, i816
M. of S., v, 44, 1822




Andante teneramente con molta espressione

AF


I


The kiss dear maid, thy


NOTTEBOHM, 20 I.L., no. 9
THA YER 174, no. 37
I.A., II, 90, 1816





37 Maestoso risoluto con molto spirit


....i -- --- [ -
Then Sol-dier come fill high the wine For we

f I

NOTTEBOHM, 12 V.V., no. 2
THA YER 174, no. 38
I.A., II, 91, 1816
M. of S., V, 43, 1822




38 Andante affettuoso assai (Duet)



Oh thou hap-less sol-dier, Left unseen to moulder




NOTTEBOHM, 20 I.L., no. 10o
THA YER 174, no. 39
I.A., II, 94, 1816









BEETHOVEN THEMATIC CATALOGUE 53

39 Allegretto scherzando Andantino con moto (With 3 part chorus)


We fai ry-elves in se cretdells All I am bow'd down with years and



NOTTEBOHM, 12 I.L., no. I NOTTEBOHM, 12 V.V., no. i
THA YER 174, no. 40 THA YER 174, no. 44
I.A., II, 96, 1816 I.A., iI, lo6, 1816
M. of S., IV, 44, 1822


40 Andantino con moto


When far from the home of our youth we have ranged How




NOTTEBOHM, 20 I.L., no. II
THA YER 174, no. 41
I.A., iI, 100, i816




41 Andante con moto


I'll praise the Saints with ear ly song, For




NOTTEBOHM, 20 I.L., no. 12
THA YER 174, no. 42
I.A., II, 101, i816




42 Allegretto spiritoso


Put round the bright wine for my



NOTTEBOHM, 12 I.L., no. 6 (different
key)
THA YER 174, no. 43 (as above)
I.A., II, 104, 18.i6
M. of S., IV, 46, 1822


44 Allegretto grazioso


'Tis Sun shine at last come my



NOTTEBOHM, 20 I.L., no. 13 (different
key)
THA YER 174, no. 45 (as above)
I.A., iI, Iio, i816



45 Andante


Oh ho my dear Der mot has



NOTTEBOHM, 12 I.L., no. 5
THA YER 174, no. 46
I.A., II, III, 1816





46 Allegretto schersando


The pulse of an I-rishman ev-er beats quickerWhen




NOTTEBOHM, 12 I.L., no. 4
THA YER 174, no. 47
I.A., II, 114, 1816








54 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


31 Maestoso con moto e spirit (Duet)

ilj l JouJ Jn


Pad-dy 0' Raf fer-ty er-ry and vi-go.rous, A health to the brave,in fields a far Sweet


NOTTEBOHM, 20 I.L., no. 14
THA YER 174, no. 48
I.A., II, 116, 1816





48 .ndantino grazioso
"-.-- -- ,';. ',- J' ,3 L" ^ J *-- J 3"


Oh! would I were but that sweet Lin-net, That
S i h h r-- ;1 I


NOTTEBOHM, 12 I.L., no. 9 (as a duet)
THA YER 174, no. 49
I.A., II, 120, 1816


49 Andantino espressivo


in vain, for Jno~thingthriveaWhet]


NOTTEBOHM, II, no. 15
THA YER 174, no. 50
I.A., II, 121, 18i6





Allegretto con aniina (With a part chorus)

(I r *^ I J J


NOTTEBOHM, 12 V.V., no. 6
THA YER 174, no. 52
I.A., II, 126, 1816





52 Allegretto
Pti


Hie Ipro-md me at Ipart in t


NOTTEBOHM, 12 I.L., no 12 (as a duet)
THA YER 174, no. 53
I.A., II, 130, 1816 (as a solo)
M. of S., v, 45, 1822 (as a duet as in Notte-
bohm)


53


Andantino con molta espressione


0 1migt Ibutmy I Pat-rick love My


NOTTEBOHM, 20 I.L., no. 16
THA YER 174, no. 54
I.A., II, 131, i816





54 Allegretto scherzando


S Save me from the grave and wise For Come Dar- by dearea-Sy be ea-sy To be
I & .. 6- I -& & &* *


NOTTEBOHM, 12 I.L., no. 8
THA YER 174, no. 51
I.A., II, 124, 1816


NOTTEBOHM, 20 I.L., no. 17
THA YER 174, no. 55
I.A., II, 134, i816


47 Vivace scherzando
Aa L k


U.id,


OlJ . V


w B


I. L k


53


(









BEETHOVEN THEMATIC CATALOGUE


55 Andante espressivo

_' r-r' 2 h P f t i


The Pip-er who sat on his low mos-sy seat And
. j I j I I 2 I I


. .. I J I I IE I I I

NOTTEBOHM, 12 I.L., no. II (as a duet)
THA YER 174, no. 56
I.A., II, 135, 1816



56 Andante grazioso


* Andantino quasi Allegretto
4 le.1 1 sU 1 P


Ju dy, love ly, match-less crea ture
~ ~ ~ ee --, u re Ji


NOTTEBOHM, 20 I.L., no. 19
THA YER 174, no. 58
I.A., II, 139, I816



58 Andantino con espressione

^^PrP I! #F 1 p


No moe my I gh for must r Fast
No more my Ma ry I sigh for Thy ship must sail,my IHen ry dear Fast


NOTTEBOHM, 20 I.L., no. 18
THA YER 174, no. 57
I.A., II, 138, 1816


0 H Andantino graxioso


O E rin, to thy Harp di-vine I


NOTTEBOHM, 12 I.L., no. 3
THA YER 174, no. 6o
I.A., II, 143, I816





WELSH SETTINGS


60 Maestoso e con molto spirit (Duet)

| 0. o. k L -
Hear the shouts of E van's son



NOTTEBOHM, 26 W.L., no. I
THA YER 175, no. 61
W.A., III, 62, 1817


61
A ,


JMaestoso ma con espressione (Duet)


When the hea then trum-pet's clang
pti i aMR


NOTTEBOHM, 26 W.L., no. 2
THA YER 175, no. 62
W.A., III, 64, 1817
M. of S., IV, 48, 1822


NOTTEBOHM, 20 I.L., no. 20
THA YER 174, no. 59
I.A., II, 142, i816


\t


Wi::' r"II r I









56 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


66
At I


62 Andantino guasi Allegretto


NOTTEBOHM, 26 W.L., no. 3
THA YER 175, no. 63
W.A.,rIII, 68, 1817
M. of S., V, 47, 1822


63
A .


Andante amoroso


Aj. I

-.Her Ifea-tures speak the warm-eat heart ButI


NOTTEBOHM, 26 W.L., no. 4
THA YER 175, no. 64
W.A., II, 69, 1817






64 Andantino con moto
A -' '. - - -


A gold en robe my Love shall wear And


NOTTEBOHM, 26 W.L., no. 5
THA YER 175, no. 65
W.A., II, 72, 1817


65Andantino non troppo lento ma con espressione


Andantino quasi Allegretto


Oh let the Night my blush-es hide, While



NOTTEBOHM, 26 W.L., no. 7
THA YER 175, no. 68
W.A., III, 79, 1817
M. of S., V, 49, 1822




67 Allegretto con anima



Fare well fare-well thou noi sy town Thou


NOTTEBOHM, 26 W.L., no. 8
THA YER 175, no. 69

W.A., II1, 82, 1817





68 Andante espressivo

adu V Y~ =9 ~ jj^


Harp of the winds in air y mea-sure,Thy

fri ,h ,JJ I ,-1 -k -1


NOTTEBOHM, 26 W.L., no. 9
THA YER 175, no. 70
W.A., III, 83, 1817




69 Andantino con moto


To leave my dear girl- my
r.. ..e .,


NOTTEBOHM, 26 W.L., no. io
THA YER 175, no. 71
W.A., III, 86, 1817
M. of S., VI, 63, 1824


NOTTEBOHM, 26 W.L., no. 6
THA YER 175, no. 66
W.A., III, 74, 1817


HaEl* I IF= F=1=1 '


I









BEETHOVEN THEMATIC CATALOGUE


74 Andante con anima ed espressione


When Mor-tals all to rest re tire 0


NOTTEBOHM, 26 W.L., no. II
THA YER 175, no. 72
W.A., Ill, 88, 1817
M. of S., v, 48, 1822


71 Allegretto spiritoso


Wa ken Lords and La dies gay, Up -



NOTTEBOHM, 26 W.L., no. 12
THAYER 175, no. 73
W.A., III, 92, 1817
M. of S., III, 47, 1822




72 Andante

h J r i


How cru el are the pa rents Who A pread-ing haw-thornshadestheseat Where


con &va.

NOTTEBOHM, 26 W.L., no. 15
THA YER 175, no. 78
W.A., III, 102, 1817





75

FX .TT -i


F T Thy
Fair Ti- vy,how sweet are thy wavesgentlyflowing,


NOTTEBOHM, 26 W.L., no. 16
THA YER 175, no. 79
W.A., III, io6, 1817





76 Allegretto

k S-


- I I I


NOTTEBOHM, 26 W.L., no. 13
THA YER 175, no. 76
W.A., III, 97, 1817






73 Andantino con moto (Duet)


Last night worn with an guish that



NOTTEBOHM, 26 W.L., no. 14
THA YER 175, no. 77
W.A., III, ioo, 1817


NOTTEBOHM, 26 W.L., no. 17
THA YER 175, no. 80
W.A., III, 107, 1817
M. of S., VI, 66, 1824




77 Andantino affettuoso
4 K h P h : "& N


Yes thou art changed since first we met, But
Yehho r


NOTTEBOHM, 26 W.L., no. 18
THA YER 175, no. 81
W.A., III, Ino, 1817
M. of S., VI, 67, 1824


7 Allegretto


,, li









58 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


Andante affettuoso


82 Andante espressivo
,C 115 P lop


Think not I'll leave fair Clw-yd's vale, To My pleas- ant Home be- side the Dee I


NOTTEBOHM, 26 W.L., no. 19
THA YER 175, no. 82
W.A., III, III, 1817


79 Andantino piuttosto Allegretto


Sweet warb ler of a strain di-vine What



NOTTEBOHM, 26 W.L., no. 20
THA YER 175, no. 83
W.A., III, 114, 1817





8o Allegretto schersando


Dear bro-ther yes the Nynipbyouwedmust~


NOTTEBOHM, 26 W.L., no. 21
THA YER 175, no. 84
W.A., III, 115, 1817
M. of S., VI, 65, 1824 (altered words)


8i
A ,


V


Andantino quasi Allegretto (huet)


NOTTEBOHM, 26 W.L., no. 23
THA YER 175, no. 87
W.A. III, 122, 1817





83 Allegretto piuttosto Vivace

(~ trg ftJ J


In yonder snug cottage be-neath the cliffs side And



NOTTEBOHM, 26 W.L., no. 24
THA YER 175, no. 88
W.A., III, 124, 1817





84 Andantino con espressione
-A .I -


Lau-ra thysighsmust now no more My
SI I t t I I


d 40

NOTTEBOHM, 26 W.L., no. 25
THIA YER 175, no. 89
W.A., III, 128, 1817
M. of S., VI, 290, 1841 (altered words)


85 Allegretto scherzando
(A a. P


slum her ai


Tho cru -el Fate should bid us part as Ere yet we slum ber seek, Blest
^-^ L "^ I'.. -


NOTTEBOHM, 26 W.L., no. 26
THA YER 175, no. 90
W.A., III, 129, 1817
M. of S., VI, 68, 1824


78
A i


NOTTEBOHM, 26 W.L., no. 22
THA YER 175, no. 85
W.A., III, 118, 1817


k
F1


frlf


a F R









BEETHOVEN THEMATIC CATALOGUE




SCOTTISH SETTINGS


Grazioso (Duet)


Allegretto un poco scherzoso


Be hold my Love how greenthegroves,Thc
Could this ill warldhave been con-triv'd to


NOTTEBOHM, op. 108, no. 9
THAYER 176, no. 201
S.A., v, 201, i818
M. of S., v, 2, 1822
S.A., v, 201, 1826
S.A., v, 201, 1831


87 Andantino con moto


NOTTEBOHM, op. o108, no. 10
THA YER 176, no. 202
S.A., V, 202, i8i8
M. of S., V, 3, 1822
S.A., v, 202, 1826
S.A., v, 202, 1831


88 Allegretto piuttosto Vivace


90


NOTTEBOHM, op. o108, no. 16
THA YER 176, no. 272
S.A., V, 204, 1818
S.A., v, 204, 1826
20 S.M., 4th 100, 1839
M. of S., VI, 272, 1841


Spiritoso e marsiale (With chorus)


Old Sco-tia wake thy moun-tain strain in



NOTTEBOHM, op. io8, no. 22
THA YER 176, no. 205
S.A., V, 205, i818
M. of S., V, 15, 1822
S.A., V, 205, 1826
S.A., v, 205, 1831






91 Andantino un poco Allegretto
A I pJI


NOTTEBOHM, op. 108, no. ii
Not in THA YER
S.A., V, 203, i8i8
M. of S., v, I, 1822
S.A., v, 203, 1826
S.A., V, 203, 1831 (altered words)


The sweet-est Lad was Ja mie The



NOTTEBOHM, op. 108, no. 5
THA YER 176, no. 206
S.A., v, 206, 1818
M. of S., v, 13, 1822
S.A., v, 206, 1826
S.A., v, 206, 1831


i Z I I









60 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


92 Allegretto quasi Vivace
( h AJ J' J


95 Affe#tuoso assai


Where got ye that sil ler moon The love-ly lass of in-ver-ness


8FV lower
NOTTEBOHM, op. o108, no. 7
THA YER 176, no. 207

S.A., v, 207, i8i8
M. of S., v, 24, 1822 (altered words)
S.A., V, 207, 1826 (original words)
S.A., v, 207, 1831 (original words)







93 Allegretto pihttosto Vivace (With 8 part chorus)

.' P 1-*=i J IJ- I-4


NOTTEBOHM, op. io8, no. 8
THA YER 176, no. 210
S.A., v, 210, 1818
M. of S., v, 17, 1822
S.A., v, 210, 1826
S.A., v, 210, 1831







96 Andante poco Allegretto (With 4 par chorus)


Slet me Musichear, Nightand day O swift-ly glides the bon-ny boat Just

,.~~~~4 kl ^ '^^ ^1 .^ -- ^


NOTTEBOHM, op. io8, no. I
THA YER 176, no. 292 (altered key)
S.A., v, 208, 1818
M. of S., v, 22, 1822
S.A., v, 208, 1826
20 S.M., 254, 1839 (altered key)
M. of S., VI, 292, 1841 (altered key)









94 Allegretto ma con espressionh
i Ag n ^ l 1 1


0 maid of Is la from yon clffThat
,, I .S A f, f- f e


NOTTEBOHM, op. 108, no. 4
THA YER 176, no. 209
S.A., v, 209, 1818
M. of S., v, 8, 1822
S.A., V, 209, 1826
S.A., v, 209, 1831


NOTTEBOHM, op. o108, no. 19
THA YER 176, no. 211
S.A., V, 211, 1818
M. of S., v, 12, 1822
S.A., V, 211, 1826
S.A., V, 211, 1831











97 Andantino poco Allegretto
A&Iu


I.


0 how can I be blythe and glad Or


NOTTEBOHM, op. io8, no. 14
THA YER 176, no. 212
S.A., V, 212, I818
M. of S., V, 19, 1822
S.A., v, 212, 1826
S.A., V, 212, 1831


05, Iti 0' F' P


i








BEETHOVEN THEMATIC CATALOGUE


98 Allegro con spirit (With chorus)
i k .


O02 Andantino grazioso con espressione


En chant ress fare well who so


Come fill fill my good fel low Fill


NOTTEBOHM, op. io8, no. 13
THA YER 176, no. 213
S.A., v, 213, i8i8
M. of S., v, 20, 1822
S.A., V, 213, 1826
S.A., v, 213, 1831

99 Andante teneramente con molta espressione



Oh had myfate been joined with thine As



NOTTEBOHM, op. o108, no. 12
THA YER 176, no. 214
S.A., v, 214, i818
S.A., v, 214, 1826



100 Andante con molta espressione



The Sun n-pon the Weird-law hill, in



NOTTEBOHM, op. 108, no. 2
THA YER 176, no. 215
S.A., v, 215, 1818
S.A., v, 215, 1826



101 Andante amoroso con molta espressione


NOTTEBOHM, op. o108, no. 6
THA YER 176, no. 216
S.A., V, 216, 1818
S.A., V, 216, 1826
S.A., V, 216, 1831


NOTTEBOHM, op. io8, no. 18
THA YER 176, no. 217
S.A., v, 217, i8i8
M. of S., V, 30, 1822
S.A., v, 217, 1826
S.A., v, 217, 1831


103 Andantino quasi Allegretto


NOTTEBOHM, op. io8, no. 17
THA YER 176, no. 219
S.A., V, 219, 1818
S.A., v, 219, 1826
S.A., v, 219, 1831



104 Andantino quasi Allegretto


By Will- iam late of fend ed,



NOTTEBOHM, op. io8, no. 21
THA YER 176, no. 221
S.A., v, 221, 1818
M. of S., v, 14, 1822
S.A., V, 221, 1826
S.A., v, 221, 1831

105 Andantino semplice amoroso



When will you come a gain,



NOTTEBOHM, op. io8, no. 20
THA YER 176, no. 222
S.A., V, 222, i8i8
S.A., V, 222, 1826


t=


\t3=









62 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


Allegretto con moto


I IO Andantino grastoso semplice

d,'


The gow-an glit-ters on the sward,The Of all the girls that are so smart There's


NOTTEBOHM, op. io8, no. 23
THA YER 176, no. 223
S.A., V, 223, 1818
S.A., V, 223, 1826
S.A., v, 223, 1831


107 Andante affettuoso
^ ~~ _1f I =! h


0 cru. el was my fa there that



NOTTEBOHM, op. io8, no. 15
THA YER 176, no. 299 (see 226)
S.A., V, 226, I818
M. of S., VI, 299, 1841 (altered words)


IO Andante affettuoso assai

(E


NOTTEBOHM, op. io8, no. 25
THA YER 176, no. 230
S.A., v, 230, 1818
S.A., v, 229, 1826


111 Allegretto con anima (Trio)


NOTTEBOHM, 12 V.V., no. 3 (different
setting)
THA YER 176, no. 49 (2 time)
M. of S., II, I, 1822
M. of S., VI, 24, 1824 (as in Nottebohm)
S.A., I, 49, 1826 (as 1824 edition)
S.A., I, 49, 1831 (as 1824 edition)

112 Spiritoso alla marcia
A n. .-


( ___


A gain my Lyre, yet once a gain With | From the brown crest of New ark its


NOTTEBOHM, op. io8, no. 24
THA YER 176, no. 228
S.A., V, 228, i8i8
M. of S., VI, 38, 1824 (altered words)
S.A., V, 226, 1826 (original words)
S.A., V, 226, 1831 (original words)

109 Andante con moto
A i


NOTTEBOHM, 12 S.L., no. I (different
time)
THA YER 177, no. 3
M. of S., II, 2, 1822
S.A., I, 32, 1831 (key changed)


113 Allegretto con moto (Trio)
i. .. i. Iu ace Lg A


Oh sweet were the hours when In The Lav. rock shuns the pal ace gay, And
I -- r" r" = -r r" I 1


NOTTEBOHM, op. io8, no. 3
THA YER 176, no. 229
S.A., V, 229, I818


NOTTEBOHM, 12 S.L., no. 4 (different
words)
Not in THA YER
M. of S., VI, I, 1824
S.A., va, 238, 1826 (words as in Nottebohm)
S.A., V, 238, 1831 (words as in Nottebohm)


io6
A~ .1


73 i F R j P1 1) R
Ai
A 9 14 0 P 11









BEETHOVEN THEMATIC CATALOGUE

114 Andante con moto (Trio) 117 Allegretto (Trio)
Al __ l ____ ,__ftIt__


A-wy ye gay landscapes ye gardens of roses,In

4E= "- ^ ,


NOTTEBOHM, 12 S.L., no. 9
THA YER 176, no. 296
M. of S., VI, 4, 1824
S.A., I, 2nd 24, 1826 (different words and
rhythm)
20 S.M., 256, 1839 (original words and
rhythm)
M. of S., VI, 296, 1841 (original words and
rhythm)





115 Andantino con moto ed espressione (Trio)


The He-ro may perish his Country to save, And he


NOTTEBOHM, 12 S.L., no. 8
THA YER 176, no. 294
M. of S., VI, 9, 1824
S.A., I, 2nd 40, 1826 (different words and
rhythm)
20 S.M., 255, 1839 (original words and
rhythm)
M. of S., VI, 294, 1841 (original words and
rhythm)


Dun-can Gray came here to woo,



NOTTEBOHM, 12 S.L., no. 2
Not in THA YER
M. of S., VI, 16, 1824
S.A., I, 2nd 48, 1826
S.A., I, 48, 1831









II8 Allegretto spiritoso (Trio)

' T r K- r r- 4-

Up quit thy bower,late wears the hour, Long




NOTTEBOHM, 12 S.L., no. 3
Not in THA YER
M. of S., VI, 18, 1824
S.A., Va, 237, 1826 (with introduction)
S.A., V, 236, 1831


116 Allegretto con brio (Trio) 119 Andantino con moto (Trio)


There was a jol ly Mil ler once liv'd Dark was the morn and black the sea, When




NOTTEBOHM, 12 V.V., no. 5 NOTTEBOHM, 12 S.L., no. 12
THA YER, 176, no. 50 THA YER 176, no. 20
M. of S., VI, 12, 1824 M. of S., VI, 20, 1824
S.A., I, 2nd 50, 1826 S.A., Va, 239, 1826
S.A., I, 50, 1831









64 HAYDN AND BEETHOVEN IN THOMSON'S COLLECTIONS


120 Allegretto con moto
1IJ .3 I h \ h K I 1 -


123 Allegretto piuttosto Vivace
. i'_ 1 : I ; |- h r \


My Har-ry was a gal plant gay, Fu' O love ly Pol- ly Stewart, O
,, I... .. N .F _. .- -


NOTTEBOHM, 12 S.L., no. 6 (in different
key)
THA YER 176, no. 271 (in this key)
20 S.M., 5th 200, 1839
M. of S., VI, 271, 1841


121 [No superscription]

AiI


NOTTEBOHM, 12 S.L., no. 7
THA YER 176, no. 278
M. of S., VI, 278, 1841




124 Andantino espressivo


Cease your fun- ng As I was wan. dring
Cease your fun- ning Force or cun-ning As I was a wan-dring on a
I L L k I ,


NOTTEBOHM, 12 S.L., no. 5 (in different
key)
THA YER 176, no. 264 (in this key)
20 S.M., 258, 1839
M. of S., VI, 264, 1841



122 Maestoso con molto spirit (With 8 part chorus)
, A 1 W i h
NsV( l


God save our


Not in NOTTEBOHM
Not in THA YER
M. of S., VI, 289, 1841





125 Andante con molta espressione (Trio)
q a I( m


g O t r r
gra cious Queen O tell us harp-er where-fore flow thy

R r r i6. r


NOTTEBOHM, 12 V.V., no. I
Not in THA YER
20 S.M., 260, 1839




126 Allegretto (Trio)
A


Should auld ald a-qaintance be for-got And




NOTTEBOHM, 12 S.L., no. II
THA YER 176, no. 300
M. of S., VI, 300, 1841


NOTTEBOHM, 12 S.L., no. io
THA YER 176, no. 298
M. of S., VI, 298, 1841












THE DEVELOPMENT


OF

SCOTT'S MINSTRELSYY'

AN ATTEMPT AT A RECONSTRUCTION

BY
M. R. DOBIE












THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'

IT MIGHT be thought that there was nothing more to be said about the
Minstrelsy of the Scottish Border; but the material now available' gives
us some new facts in its story and suggests some new ideas about the methods
of its editors.
The history of the Minstrelsy begins in those very early days when
Walter Scott was regaled by his grandmother with stories of Wat of Harden
and Jamie Telfer,2 and as a voraciously reading child especially favoured
ballads of Border Raids.3 For in this, like the other mainstays of the
Minstrelsy, Leyden, Laidlaw, and Hogg, he was completely different from
the modern collector. As a child, he believed every word of the ballads,
felt seriously concerned about the issue of the story, and liked the good
characters and hated the bad ones. He loved them with a passion which no
educated adult can feel; and when he grew up, in addition to other attrac-
tions, they had for him the glamour which attaches in later life to books or
toys of which the child has been fond. It is impossible that he should have
approached them in the dispassionate, scientific spirit of one who, much as
he enjoys ballads, has never enjoyed them uncritically, has never been one
of the audience for whom they were composed.
His first recorded feat as a collector was, at the age of five, to glean two
ballads-one particularly blood-curdling-from the unpromising soil of
Bath.4 During his schooldays, or soon after, he set to work to make a
collection from the recitation of shepherds and old people in the country
and the mother of a school friend.5 Some he wrote down; others he bought
from pedlars.6 In the early years of his law-studies, we find him holding
forth on ballads to the mysterious Jessie of his calf-love.7
By this time, thanks to his love of the subject and to his extraordinary
memory, he had a very great knowledge of ballads. But as far as he knew,
this was no cause for pride. Ballads were the amusement of ignorant people
I Particularly the Centenary Edition of Scott's letters (referred to below as Letters); the letters of
Leyden in the possession of Dr John Leyden Morton (grandson of Leyden's cousin and biographer, the
Rev. James Morton), who has kindly allowed the writer to use them (Morton), and those owned by
the Edinburgh Border Counties Association, who have placed them at the disposal of students in the
National Library of Scotland (EBCA); and various MSS. in the National Library (Nat. Lib.).
2 Lockhart, Life, Edinburgh Edition, 1902, I, p. 19; Letters, I, p. 4.
3 Lockhart, I, p. 38. 4 Letters, I, p. 4.
s Letters, I, p. 43; Minstrelsy, ed. Thomas Henderson, London, 1931, p. 66; Lockhart, I, p. 133.
6 Catalogue of the Library at Abbotsford, 1838, pp. 159 (P. vi) and 57 (L. ii); Lockhart, I, p. 133,
and his note in Minstrelsy, 1833, I, p. 227, corrected by W. Macmath, 'The Bibliography of Scottish
Popular Ballads in Manuscript,' Publications of the Edinburgh Bibliographical Society, I, fasc. 9,
pp. 6-7. 7 Letters, I, pp. 4, 7.







68 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
and children, not of young men with literary tastes; nor were they sufficiently
obsolete to claim the attention of the antiquary. Of the books of ballads
published by Thomas Evans, David Herd, and Pinkerton, of Caw's Poetical
Museum and James Johnson's Scots Musical Museum, he does not seem to
have heard. When, about these same student years, he came upon Percy's
Reliques, it was a revelation. Not only did that astonishing work contain
ballads enough to keep him from his dinner, reading under the plane-tree
in a Kelso garden, but the author treated the ballads, the 'secret Delilahs' of
Scott's imagination, as 'the subject of sober research, grave commentary, and
apt illustration'! I He need no longer be ashamed of his hobby, for it had the
sanction of a bishop; and his unobtrusive researches gave place to open raids.
From 1792, when Scott was twenty-two, and beginning to attend regularly
at the Parliament House, he for several years made an annual 'raid' into
the wilds of Liddesdale with his friend Robert Shortreed. On these jaunts,
besides having much hardship and fun, some unsuccessful archaeology, and
many great talks with the people, he gathered some ballads of forays and
escapes, the kind which was always dearest to him.2 The only ballad which
he is said by Shortreed to have got direct from the recitation of a country-
man on these excursions was The Fray of Suport, supplied by Jonathan
Graham, 'the lang Quaker.' But Jock o' the Side, Dick o' the Cow, and
Hobbie Noble were current in those parts-the lilts of them were piped to
him by Auld Thomas o' Twizzlehope and fiddled to him by the Laird of
Whithaugh-and he probably picked up variants on the spot. Dr Elliot of
Cleughhead, who already had a large manuscript collection, and for several
years hunted for more ballads for Scott, may have given him these three
ballads, or referred him to the complete versions in Caw's Poetical Museum,
to which he had perhaps himself supplied them; and he seems to have given
him a version of Jamie Telfer.3 There was no painful setting down of these
ballads on paper; for Scott, to hear a ballad was to remember it, and accord-
ing to Shortreed he called in no aid to his memory beyond cutting notches
in sticks, which he managed in some mysterious way to use when he re-
turned to Edinburgh and wrote the ballads out.4

x Lockhart, I, pp. 39-40.
2 Robert Shortreed's Account of his Visits to Liddesdale with Sir Walter Scott, ed. W. E. Wilson,
1932. Shortreed says that there were seven raids in all-i.e. till 1798. Those of 1799 (Lockhart, II,
p. 36), 18oo ibidd. p. 51), and 1801 (Letters, I, p. 112), may not have been with Shortreed.
3 See also Lockhart, I, p. 222. Scott in his letters (I, pp. 29, 33 ; Nat. Lib. MS. 856, fassim) and
Shortreed always speak of Dr Elliot of Cleughhead; but in the introduction to Dick o' the Cow, Scott
says that that ballad, with Jock o' the Side and Hobbie Noble, was supplied to Caw's Poetical Museum
by John Elliot, Esq. of Reidheugh, to whose friendly assistance the Editor is indebted for many valu-
able communications.' Among the subscribers to the Museum are John Elliot, Surgeon, Cleuchead,'
and 'Thomas Elliot, Reidhaugh.' It looks as if Scott had in the Minstrelsy amalgamated them. For
Jamie Telfer, see Letters, I, p. 29.
4 Not, as Shortreed says, for the Minstrelsy, for he was working in his father's house, which he left
before that work was seriously contemplated.







THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'


In 1796 his manuscript collection of ballads was of sufficient consequence
to be lent to George Chalmers to illustrate his historical researches.'
Naturally, Scott had thoughts of printing them, but by this time he knew
more about current publications than when the Reliques first swam into his
ken, and he was deterred by the great number of such productions already
in existence.2
Towards the end of 1799 the plan of the Minstrelsy began to take shape.3
It seems to have been at this time that Scott proposed that James Ballantyne
should publish a small volume of Border ballads.4 If he still had any doubts,
they must have been dissipated by the irruption into his life of John Leyden.
Leyden, like Scott, had for the ballads of his countryside a love in which
aesthetic appreciation and local patriotism were indistinguishable.5 His
mother knew a great number of ballads; 6 Andrew Scott, his teacher at
Kirkton, was one of the many schoolmasters who collected them; 7 and he
had heard the shepherds in the evenings take their turn at reciting.8 In his
first season at College he had a collection of ballads.9 When Scott enlisted
him in the service of the Minstrelsy he acquired a colleague of unquenchable
and doubtless sometimes embarrassing enthusiasm.
When they met, in the winter of 1799-1800, Scott was engaged in writing
imitation ballads for 'Monk' Lewis's Tales of Wonder. Leyden was roped
in, and their collaboration in contributing to Lewis's 'stock of horribles'Io
was the beginning of three years of association which were perhaps the
happiest in the life of each." Scott was settled down, a young family man
of thirty. Leyden, five years younger, had not long emerged upon the
world; he had his preacher's licence and a reputation for poetic powers and
learning, and some-by no means all-of his rough corners had been
rubbed off. Leyden regarded Scott as an elder brother in worldly wisdom;
Scott delighted in Leyden's boisterous fun. Both were poets, both were
healthy and high-spirited. They had the same standards of frankness and
manliness, and the same love of their country and of unpedantic learning.
Leyden spent much time at the Scotts' house in Edinburgh and at their
cottage at Lasswade. Together, during these years, the two wrote imitations

I Letters, I, pp. 43-4. 2 Letters, I, p. 44.
3 Lockhart, I, p. 292. It seems unlikely that he was spurred on by his interest in the German ballads.
These, so far as he knew them, were chiefly modern poems, much more like the English imitations '
than the real thing.
4 Lockhart, II, pp. 37-8. s Note of Robert Leyden (Morton).
6 'Remarks on the History, Character, and Writings of Dr John Leyden,' in Teviotdale Record,
Oct. 1858.
7 Ibid.
8 'Scenes of Infancy,' in Poetical Works, Edin. 1875, p. 9 and first note.
9 Robert Leyden, note quoted.
1o Letters, XII, p. I58; Minstrelsy, p. 567.
1" For Scott, see R. P. Gillies, Recollections of Sir Walter Scott (anon.), 1837, p. 86; for Leyden, the
tone of his letter to Scott from Penang, 20 Nov. 1805 (Nat. Lib. MS. 939).








70 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
for Lewis-and an unruly team he found them '-made copies and extracts
from mediaeval manuscripts for George Ellis and Richard Heber, and
edited the romance of Sir Tristrem.z For the Minstrelsy, Scott says that
Leyden did not start collecting materials until i8o2,3 but he took an active
interest in its preparation from the beginning.4
Scott's object was to save ballads current among the country people
before they were lost altogether.5 The old people who still knew them were
dying, or losing their memory,6 or turning religious and regarding ballads
as unlawful. He did not, like Percy, Pinkerton, and Ritson, want anything
that was printed or preserved in an ancient manuscript; he wanted to obtain
his material from recitation, or from manuscripts so recent that he could
regard them as giving him a recitation at second hand-David Herd's, or
Dr Elliot's, or the collections which he received later in this year. The
other sources might have given him older ballads; but he was not looking
especially for old ballads. All he asked of a ballad was that it should relate
to the Border or be known among its people.8
He started on his work without rightly knowing how much material was
to be had, and there were to be many changes of plan before the end. At
first he projected quite a small work; 'a neat little volume, to sell at four or
five shillings,' was what he proposed to Ballantyne in 1799.9 But Leyden,
as usual, had large ideas. When Ballantyne spoke of one moderate-sized
volume, he exclaimed, 'Dash it, does Mr Scott mean another thin thing
like Goetz von Berlichingen? I have more than that in my head myself:
we shall turn out three or four such volumes at least.' Io It is probable,
too, that Scott's first intention was to print chiefly ballads dealing with the
history of the Border, and few or none of the romantic ballads which treat
of imaginary episodes. This is what he gave Robert Jamieson to understand
later in the year, as will be seen. Certainly, it was always the tales of Border

x Minstrelsy, p. 560. 2 Scott's and Leyden's correspondence, fassim.
3 Scott, 'Biographical Memoir of Dr Leyden,' in Leyden's Poems and Ballads, Kelso, 1875, p. xxxv.
4 Leyden's letters of 24 Apr. and 4 Nov. 18oo and 21 Mar. 18OI (Nat. Lib. MS. 939); Letters, XII,
pp. 171-2; cf. his researches in Cumberland in 18oo (James Sinton, 'Leyden's Border Tour,' etc., in
Hawick Archaological Society Transactions, May 1906).
5 Minstrelsy, p. 66, and all accounts of his work; cf. Letters, XII, p. 173; I, p. 120.
6 Hogg's mother (Hogg's letter of 30 June 1802, in Edith Batho, The Ettrick Shepherd, 1927,
pp. 24-7).
7 Hogg's uncle (Hogg, letter quoted) and a man mentioned in Letters, I, p. 112, who has been identi-
fied with him, but on insufficient grounds.
8 For the qualities demanded by modern collectors, see T. F. Henderson, in his edition of the
Minstrelsy, Edin. and London, 1902, I, p. xxi, and G. L. Kittredge, introd. to Francis Child, English
and Scottish Ballads, 1904, p. xxxvii. Scott admitted in Feb. 1802 that all his ballads were compara-
tively modern (Letters, I, p. 133). Scott may have at first expected to find more really ancient ballads
than he did. For Scott's inclusion of ballads merely known on the Border and not relating to its history,
see Minstrelsy, pp. 67-8.
9 Lockhart, II, pp. 37-8; cf. Letters, XII, pp. 168, 171, on the enlargement of the work, and a letter
of Dr Robert Anderson of 21 June 18oo, in which he expects it to be in one volume (Nat. Lib. MS.
911, f. 73). 'o Lockhart, II, pp. 48-9.








THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 71
raids that interested him most, and it was these that he had chiefly collected.'
If this was his purpose, the inclusion of the many romantic ballads which
are contained in the Minstrelsy as we know it may have been due to Leyden.
Leyden had a fondness for the uncanny which showed itself alike in his
writings and in his practical jokes.2 Scott would revel in lines like:
Gar warn the water braid and wide,
Gar warn it sune and hastilie!
They that winna ride for Telfer's kye
Let them never look in the face o' me!
but for Leyden it would be:
About the middle o' the night
The cocks began to craw;
And at the dead hour o' the night
The corpse began to thraw.
The first months of 1800oo must have been spent by Scott, probably
assisted by Leyden, in arranging the materials which they already had-
their own collections and recollections, the manuscripts of David Herd,
and one ballad each from the sixteenth-century Bannatyne Manuscript and
Allan Ramsay's Evergreen.3 There was much to be done. Many of the
ballads as they received them were incomplete,4 and those which were
complete contained dull or obscure passages. It was necessary to combine
different versions, or to follow one in the main, improving it by the intro-
duction of stanzas, lines, phrases, or even single words from others.5 There
were plenty of variants on which to draw,6 sometimes isolated fragments
which had caught the popular imagination, like the lines which Leyden
once spouted:
0 swiftly gae speed the berry-brown steed
That drinks o' the Teviot clear.7

i Letters, XII, pp. 168, 173, 376. The ballads which he is known to have collected in Liddesdale were
all of this kind.
2 His raising of the De'il, and his mock-serious defence of ghostly lore (Scott, 'Biographical
Memoir,' p. xii). It may be mentioned that the ballads which he made his mother sing the night he left
for India were all romantic- Young Benjie, Tamlane, and Binnorie; this is on the doubtful evidence
of his brother Andrew, who was only three at the time (James Wilson, Hawick and its Old Memories,
1858, p. 165 n.).
3 The Raid of the Reidswire and Johnie Armstrang respectively. The inclusion of these, contrary
to the principle stated above, he may have justified on the ground that both were typical' riding ballads'
and that the former had been printed in an inaccurate form. Similarly, he may have been induced, in a
later edition, to include Lesly's March from Ramsay's Tea-table Miscellany, Edin. 1762, p. 131 (not
the Evergreen, as he says), in order to complete his series of Covenanting ballads.
4 See the MS. copies collected by Scott for the Minstrelsy (Nat. Lib. MS. 877) and those mentioned
in his letter to Percy of 6 Oct. 18oo (Notes and Queries, 4 Nov. 1933, P. 308, partly given in Letters,
XII, p. 167).
s John L. Weir, quoting Scott, in Notes and Queries, II Sept. 1937, p. 185; Minstrelsy, p. 68, on
Scott's use of Mrs Brown's MSS. 6 Hogg, letter quoted.
7 William Laidlaw, 'Recollections of Sir Walter Scott,' in Hawick Archeological Society Trans-
actions, 1905.








72 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
The heads of both Scott and Leyden were stuffed full of such material. It
is an important feature of the Minstrelsy that Scott, in compiling it, was
doing what he did when he wrote a historical novel-not setting down
matter which he had expressly collected for the purpose, but drawing on a
fund of knowledge which he had been acquiring all his life for the pure
love of it.
He also decided to include some imitations of the ancient ballad, perhaps
encouraged by their practice on the Tales of Wonder. Accordingly, Leyden
started on Lord Soulis and the Cout of Keeldar, and contemplated a ballad
on Michael Scott, while his colleague was to compose one on 'Thomas the
Rhymer and the enchanted man of Eildon,' which, if he ever proceeded
with it, may have become one of his sequels to the ancient Thomas the
Rhymer.' Such imitations, which were a regular feature of books of ballads,
varied from attempts to reproduce the style of the genuine ballads as
exactly as possible, to essays in a literary convention which had been
developing all through the eighteenth century, which did not pretend to be
like the real thing.z
Another raid into Liddesdale would be needed, when autumn made the
roads passable, and there were hopes of getting the manuscript collections
of the late Dr Clapperton of Lochmaben and Mrs Brown, wife of the
Minister of Falkland.3 But late in April 1800, the work could be regarded
as being in some forwardness.4 At this stage it must have been much like
the Historical section of the Minstrelsy as we know it, save that it probably
included five ballads now placed in the Romantic section, and that it lacked
those from the Glenriddell MS., which were obtained later in the year.
Whether the Liddesdale raid yielded anything, is not known; 5 Dr Clapper-
ton's ballads seem to have disappeared;6 but Mrs Brown's material was to
affect the whole character of the Minstrelsy. This great collection, made by
Mrs Brown from the recitation of old women and servant-girls and an aunt

I Leyden, letter of 24 Apr. 18oo (Nat. Lib. MS. 939). It can hardly be The Shepherd's Tale,
which Lockhart places in 1799 (II, p. 27), and of which there is a copy in the National Library in Scott's
handwriting on paper watermarked 1798. Scott said in June 1800, that he had completed a ballad of
Thomas the Rhymer (Letters, XII, p. 163).
2 See Scott's 'Essay on Imitations of the Ancient Ballad.' He makes the distinction between the two
types, but singles out for praise as a specimen of the former, Percy's Childe of Elle (Minstrelsy, p. 542)
which contains such very unballadlike lines as:
The baron stroked his dark-brown cheek,
And turned his face aside,
To wipe away the starting tear,
He proudly strove to hide!
See the Introduction to Erlinton in the Minstrelsy.
3 Leyden, letter quoted; Letters, XII, p. 158.
4 Leyden, letter quoted; Letters, I, p. 96.
s Lockhart mentions it (II, p. 5I).
6 Letters from and to Charles Kirkbatrick Sharpe, 1888, I, p. 143.








THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 73
who had a large repertory, was rich in romantic ballads of love and enchant-
ment and the returning dead. It seems to have been at the end of April or
in May 18oo that Scott procured copies of a number of them.' Already,
in June, he spoke of having 'laid his clutches on' two purely romantic
ballads in this collection, Brown Adam and The Gay Goss Hawk.z The
Romantic section of the Minstrelsy, which is largely indebted to Mrs Brown,
is perhaps that part of the work which is best known to-day.
Meanwhile, the Historical section received important additions, for in
June, in the course of a walking-tour, Leyden obtained from a bookseller
at Carlisle the manuscripts of Riddell of Glenriddell, which provided several
treasures, including three ballads which had hitherto eluded all research-
The Lads of Wamphray, Archie of Ca'field, and Lord Maxwell's Good-
night.3
In this summer a rival ballad-collector-and more, a rival for the favours
of Mrs Brown-appeared on the scene, in the person of Robert Jamieson.
As a child in Morayshire, Jamieson had acquired for the ballads an affection
which he still cherished as a hard-up young schoolmaster in an already
industrial Macclesfield. About a year before, he had begun to think of
publishing, and he had obtained copies of a score of Mrs Brown's ballads.4
Now, in 18oo00, he made a trip north to prosecute his researches, and on
his way through Edinburgh learned to his dismay that Scott was on the
same track. He went on, however, and collected more ballads from Mrs
Brown and others, doubtless with a heavy heart, for he was a man easily
discouraged.5 When he was returning south, Scott asked him to dinner, dis-
cussed how they might avoid poaching on each other, handed some ballads
over to him, and cheered him up considerably.6 He was in particular re-
assured, as he himself tells us, by the thought that 'Mr Scott, at that time,
intended to confine his work, with very few exceptions, to Border Raid
ballads,' so that 'it was hoped that the two publications would interfere very
little with each other.' 7
This was in August. In October, Scott told correspondents that he had
decided to include romantic ballads in the Minstrelsy,8 and he proceeded

I He got two MS. books through Alexander Tytler (Minstrelsy, pp. 67-8). These may be the
'W. Tytler-Brown MS.' sent to William Fraser Tytler in 1783 and the 'Alexander Fraser Tytler-Brown
MS.' sent to Alexander Fraser Tytler on 21 Apr. 18oo (W. Macmath, 'The Bibliography of Scottish
Popular Ballads in Manuscript,' Publications of the Edinburgh Bibliograpfhical Society, I, fasc. 9);
and one of them may be that 'cargo of old legends' which Leyden expected Dr Brown to bring to the
General Assembly in May I8oo (letter quoted).
2 Letters, XII, p. 163.
3 Leyden, letter of 4 Nov. 18oo (Nat. Lib. MS. 939); Minstrelsy, p. 66; cf. Letters, XII, pp. 164-5.
4 The 'Jamieson-Brown MS.' (Macmath, article quoted).
s Nat. Lib. MS. 865, ff. 105-6.
6 Jamieson, Introd. to Popular Ballads and Songs, 18o6; Letters, I, pp. Ioo-I; XII, pp. 172-3.
7 Jamieson, Introduction quoted.
8 Letters, I, p. 104; XII, pp. 168, 170.








74 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
to make up a volume of them. Eventually, although he said that he had
sedulously avoided anticipating Jamieson's publication, it was with the
reservation, 'as far as the nature of my work permitted,'' and he published
half a dozen of Mrs Brown's ballads of which Jamieson also had copies.2
There can be little doubt that Scott did tell Jamieson that he would keep
off romantic ballads, and that this was his genuine intention at the time.
Jamieson's quite definite statement, quoted above, appears in the Introduc-
tion to his Popular Ballads and Songs. Scott himself superintended the
publication of that work, in i8o6,3 and he would hardly have allowed the
words to stand if Jamieson had misunderstood him or he himself had been
lying.
This statement is the only definite evidence in favour of the theory
suggested above, that Scott at first meant to confine himself almost entirely
to historical ballads. It may be added that in one letter of October, in which
Scott announces his intention to include romantic ballads, his words read
rather as if this were a change of plan.4 There is, too, the negative argument
that before October there is no word of any extensive inclusion of romantic
ballads. It is true that Scott had staked his claim on Brown Adam and
The Gay Goss Hawk in June, and that his original plan probably included
five ballads (Johnie of Breadislee, Fair Helen of Kirkconnel, The Laird of
Laminlon, The Laird of Ochiltree, and the Lyke-wake Dirge) which are
now placed in the Romantic section; but most of these latter might pass as
'historical,' and were indeed first published in the Historical section, and
the remainder may be covered by the 'very few exceptions' of which
Jamieson speaks.5 It may be asked why Scott in April wanted to see Mrs
Brown's collection at all, if not for the sake of the romantic ballads, which
were all that he ultimately took from it; but no doubt he hoped that it
might contain some historical ballads. The view put forward has little enough
to support it, but it is hard to find a better explanation of the known facts.
It is possible that, up to October, Scott was undecided whether to include
romantic ballads or not, torn between his own preference for historical
ballads on the one hand and the persuasions of Leyden and the attractions
of Mrs Brown's collection on the other.6 It is to be noted that at the time
I Minstrelsy, p. 67 n.
2 Jamieson, work quoted.
3 This is plain from a letter of Jamieson 'to the friend to whose charge he committed the super-
intendence of this publication,' printed in Popular Ballads and Songs, II, p. 84, which ends with
greetings 'to Mrs Scott and family,' taken in conjunction with other letters (Nat. Lib. MS. 865, f. 93;
MS. 672, ff. 23v., 26v.; Letters, I, pp. 335-6) which show Scott active in connexion with the work.
4 'I do not mean entirely to limit my collection to the Riding Ballads . but, on the contrary, to
admit Scottish Ballads of merit upon romantic and popular subjects' (Letters, I, p. 104).
s Scott wavered over the distinction between romantic and historical. Several ballads treated as his-
torical in the second edition were placed under 'Romantic' in the third.
6 As late as June, Dr Robert Anderson expected the work to be in only one volume (Nat. Lib. MS.
911, f. 73).








THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 75
when Scott spoke to Jamieson, Leyden was away in the Highlands and his
influence was withdrawn. Perhaps when he came back, early in October,'
he returned to the charge, and prevailed.
Whatever qualms Scott might have about his understanding with Jamie-
son,2 Leyden would be quite ruthless. He had no great opinion of Jamieson,
from what he heard of him (for he never saw him in person). In his eyes,
Jamieson had only 'something like genius.' He used an obnoxious brand
of Scots. He adapted Willie's Lady under the title of Sweet Willie of Liddes-
dale-'Now, as the Devil would have it, any Willie in Liddesdale would
knock him down for the epithet.' Altogether, he was unfitted for editing
Scottish ballads,3 and it would be a crime to abandon them to his mis-
handling. Later, while Jamieson's work still hung fire, Scott contemplated
a Minstrelsy of the East Coast, and Leyden said heartlessly, 'This will
interfere a little with Jamieson, and that doleful wight had better therefore
throw off his volumes.' 4
The extension of Scott's plan was a further blow to the already dis-
couraged Jamieson, for now the Minstrelsy would take the wind out of his
sails more effectually than ever. By the time that he heard of it, he was
committed to publishing his work; if he had known of it in August, he would
have retired from the field and given all his own material to Scott.5 Scott
was the lucky one: he had the advantages of residence in the country where
ballads were to be found, useful connections,6 and unembarrassed circum-
stances. Things were not so easy for Jamieson: difficulties delayed the
publication of his work until 18o6, four years after the appearance of the
Minstrelsy, and in the meantime he had to seek a livelihood abroad; above
all, he was painfully aware of Scott's greater competence.7
But Jamieson's disabilities were not Scott's fault. The race started fair,
between two men whose works were equally advanced at the time of their
meeting.8 Scott took no ballad from Jamieson of which the latter alone had
a copy, and he had an equal right to publish any ballad which Mrs Brown
had chosen to give to both. What is more, apart from his other kindnesses
to Jamieson,9 he gave him several pieces, some of which he had meant to

x Letters, XII, p. 171.
2 That he thought that his conduct might be questioned appears from his account of the affair to
Heber (Letters, XII, pp. 172-3; cf. p. 170, n. 2, and I, p. oo00 n.).
3 Letter to Heber, probably of the end of Mar. 18o01 (Morton).
4 Letter of 27 Mar. 1802 (Nat. Lib. MS. 939).
s Jamieson, work quoted; for his fears as to the financial success of his work, see his letter to Constable
of II Oct. i800 (Nat. Lib. MS. 672, f. i).
6 Jamieson, letter in Nat. Lib. MS. 865, f. 105; Letters, XII, p. 168.
7 Jamieson, Introduction quoted.
8 Ibid.
9 He obtained a post for him at the General Register House (Letters, I, p. 340; Archibald Constable
and his Literary Correspondents, 1873, I, p. 505). He helped him with his Northern Antiquities
(Letters, II, p. 423). He got him the work of editing Burt's Letters (Letters, V, p. 274).







76 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
publish himself, for his Popular Ballads and Songs,1 and saw the work
through the press when Jamieson was abroad. Leyden, too, with a kind of
bullying friendliness, took some trouble to supply Jamieson with material.2
Certainly, Jamieson does not seem to have considered himself ill-used. If he
occasionally prefaces a ballad which had also been published by Scott with
a slightly querulous claim to having had it first,3 he is afterwards ashamed
of his 'feeble and foolish complaints'; 4 and he speaks warmly of Scott's
liberality and good will to him.5
When Leyden returned early in October, he stayed with Scott at Lass-
wade, and the two settled down to a spell of hard work on the Minstrelsy.
They worked in the morning; in the evening, Leyden would give voice to
an enthusiasm for Ossian which he had acquired in the Highlands, or they
would fight over the old disputes of the Cameronians and their opponents.6
The material prepared in April now became Volume I, and was entitled
the Historical section, although it still contained the five ballads of a more
romantic cast surviving from the original plan of a work in one volume.
When the ballads from the Glenriddell Manuscript, with any others recently
discovered, like Kinmont Willie,7 had been put in order and incorporated
with the original stock of material, and Leyden's Ode on Visiting Flodden
added as a tailpiece, the volume was complete, and most of it was very soon
sent to Kelso to be printed.8 The inclusion of romantic ballads, which were
to make up a second volume, entailed a vast amount of work, for far more
of these than of historical ballads were in existence, and it was a problem
what to select.9 In the original department, Leyden seems to have finished
Lord Soulis and The Cout of Keeldar at this time,Io and he started on a
ghost-story entitled Hoddleswoodee Haugh, which is, alas, lost to literature."
When he wrote the ode on Scottish Music, which appeared in the second

I He gave him some at the time of his visit (Letters, XII, p. 173). Of a number of ballads which Scott
had collected but not determined on publishing by 6 Oct. 18oo (letter to Percy in Notes and Queries,
quoted above), about nine were eventually printed by Jamieson, to whom Scott may have resigned them.
Scott also gave Jamieson versions of Sir Patrick Spence, The Laird of Wariston, Patie's Courtship,
Captain Wedderburn's Complaint, and Lord Wa'yates (Jamieson's general Introduction and special
introductions to those pieces).
2 He gave him The Trumpeter of Fyvie and Allan a Maul, accompanying the latter with a letter
which he cheerfully expected so to enrage the recipient as to alienate him for ever (letter of 27 Mar.
1802, quoted). For his labours on Jamieson's behalf, see Jamieson's Introduction and Nat. Lib. MS.
672, ff. 7, 9.
3 Popular Songs and Ballads, passim. 4 Nat. Lib. MS. 865, f. o106.
5 Introduction quoted; Nat. Lib. MS. 672, f. 21.
6 Letters, XII, pp. 171-2; Leyden, letter of 4 Nov. 18oo (Nat. Lib. MS. 939).
7 Letters, XII, p. 173. 8 Leyden, letter quoted.
9 Minstrelsy, p. 67; for Scott's indecision about what to include, see his letter to Percy in Notes and
Queries, quoted.
10 Letters, XII, p. 172.
1' Leyden, letter quoted. Perhaps it was the story of the Minister of Hobkirk and the blue-bonneted
ghost given in George Tancred, Rulewater and its People, 1907, pp. 9-10o, which concerns Hoddles-
woodee.







THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'


volume, is not known. Scott attempted two imitations, Helen's Cave and
The Reiver's Wedding, but was dissatisfied with them,' and in the end
contributed nothing to the first edition but Glenfinlas and The Eve of St
John, which he had written for Lewis two years before,2 and his two sequels
to Thomas the Rhymer. Between them they wrote a number of dissertations,3
and it may have been now that Leyden wrote his essay on fairies on which
Scott partly based his introduction to Tamlane.4 There were disagreements
between the collaborators, as might be supposed. Leyden derided the title
of Minstrelsy as being affected,5 unavailingly; but it may have been his
arguments that persuaded Scott to withdraw certain emendations of his
material and to allow nothing to stand that was not justified by a manuscript
or recitation.6
The year 18oi01 did not witness the burst of energy which should have
saluted a new century. All through, it is marked by delays, alternating with
hopes that the Minstrelsy will come out shortly.7 Scott ascribes the delay
partly to his own laziness; 8 but it seems to have been mainly due to his
indecision. He was in hopes of obtaining more material,9 and at the same
time embarrassed by what he already had. He played with the idea of a
Minstrelsy of the East Coast.10 Early in the year he had thoughts of
bringing out a third volume,"' but at various times changed his mind as to
whether it should contain those ballads for which there was no room in the
first two volumes, or the romance of Sir Tristrem,-2 or even, much later,
The Lay of the Last Minstrel.13 At the end of the year he decided to delay
no longer, and let the first two volumes go, 'stuffed to overflowing,' 14 re-
serving the third-whatever it was to contain-till later.
There was much to interfere with work on the Minstrelsy this year. Scott
was busy editing Sir Tristrem, and had many professional, patriotic, and
domestic duties.15 The intemperate Leyden, in addition to helping with Sir
Tristrem, until he found that it was in parts too improper to appear with
the name of a prospective minister on the title-page,16 and continuing to
supply his London friends with masses of information about manuscripts
I Letters, XII, p. 171.
2 Before Lewis's letter of 6 Jan. 1799 (Minstrelsy, p. 566), the date of which is confirmed by allusions
which it contains, as printed in full in Wilfred Partington, The Private Letter-books of Sir Walter Scott,
1930, p. 217.
3 Leyden, letter quoted. 4 Scott, 'Biographical Memoir,' p. xxxvi.
s Leyden, letter to Heber of end of Mar. 18oi01 quoted.
6 Leyden, letter of 4 Nov. 18oo quoted.
7 Letters, XII, pp. 178, 188; Leyden, letter of 21 Mar. (Nat. Lib. MS. 939); Hogg, letter of 20 July,
in Batho.
8 Letters, XII, p. 188. 9 Ibid. Perhaps from Dr Currie (see below).
io See above, p. 75.
11 Letters, XII, p. 175; Leyden, letter quoted.
12 Lockhart, II, p. 56; Leyden, letter of about the end of Mar. 18o01 (Morton); Letters, XII, p. 221.
13 Letters, I, p. 166; XII, p. 231. '4 Lockhart, II, p. 69.
1s Letters, XII, p. 188, etc. x6 Leyden, letter of 21 Mar. 1801 quoted.








78 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
in the Advocates' Library,' hunted for professional employment studied
medicine,3 brought out his edition of The Complaynt of Scotland, started
on his work on Africa,4 and planned the publication of several mediaeval
romances.5
For the Minstrelsy, Scott probably did some work on his introductions
and notes.6 In the spring he went ballad-hunting in Liddesdale and Ettrick,
but with so little success that he feared that the sources were drying up.7
A correspondence opened with Dr Currie of Liverpool, in the hope that he
might have something suitable among the papers left by Burns, proved
fruitless.8 Joseph Ritson, that formidable critic, spent two days at Lasswade
in the autumn, and the touchy, half-mad little man was so charmed by the
learning and straightforward friendliness of Scott and Leyden (combined
with some manhandling on the part of the latter) 9 that he sent them the
ballad of The Gallant Grahams, and showed the Minstrelsy unwonted
indulgence when it was published.10
But of all that Scott did in 18oi01, what proved of the greatest gain to
the Minstrelsy was his entering into correspondence with William Laidlaw,
and through him with James Hogg. It was probably in the summer that
Andrew Mercer put Scott in touch with Laidlaw." But if the two new
recruits, who were to do the Minstrelsy such great service, sent him any
ballads in this year, they were too late for the first edition. When the two
volumes came out, at the beginning of 1802, they contained no ballad, or
next to none, but those which Scott had had before the end of 18oo.12

I Leyden, various letters of 180i.
2 Leyden, letters of 12 June 18oi (EBCA), etc.
3 A. Fraser Tytler, letter of 25 June (EBCA).
4 Leyden, letters of 14 Jan. (EBCA), 21 Mar., quoted, and about end of Mar., quoted, etc.
s Leyden, letter of about end of Mar. quoted.
6 Letters, XII, p. 175. He was still writing the introduction to Tamlane in August (Letters, XII, p.
187).
7 Letters, I, pp. 112, 120. 8 Letters, I, pp. 104, 118-19.
9 Who on a regrettable occasion threatened to 'thraw his neck' (R. P. Gillies, work quoted, p. 113).
10 Arthur F. Jensen, 'The Revival of Early Literature in England and Scotland,' Ph.D. thesis,
Edinburgh University, 1933, II, pp. 436-9; Ritson, Letters, 1833, II, pp. 222-3; Scott, Letters, XII,
pp. 194, 197, 208-9, 231; Archibald Constable and his Literary Correspondents, I, pp. 497-500;
George Ellis, letter (Nat. Lib. MS. 873, ff. 9, 13); Thomas Park, letters (Nat. Lib., Adv. MSS. 22.4.10,
f. 213v., and 22.4.17, f. 178). The Gallant Grahams appeared in the second edition.
x Laidlaw, 'Recollections,' quoted. It must have been before the 20 July, when Hogg wrote to Laid-
law about ballads which he was collecting for Scott (letter quoted, in Batho). It can hardly have been
before April, for in that month Scott was wandering in Ettrick in search of ballads (Letters, I, p. 112),
and would surely have looked up Laidlaw and Hogg if he had been in correspondence with them, and
it will be shown presently that he met neither for conversation until 1802. It is true that he might equally
be expected to have visited them during his progress of the district in August 18oi (Letters, XII, p. 186),
by which time they were certainly in correspondence, but he was then on official duty and may not
have had time.
12 It is not certain when he first got Lord Thomas and Fair Annie, The Wife of Usher's Well, A nnan
Water, and The Queen's Marie. All the others are known to have been obtained before i8oi (see Scott's
and Child's introductions to the ballads and the lists which Scott sent to Percy on 6 Oct. i8oo (letter in
Notes and Queries, quoted).








THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 79
In the spring of 1802, when the first two volumes were out and they were
collecting material for a third,' Scott and Leyden spent a week or two
roaming in the Forest, 'saw and heard much rare fun,' and discovered
some good ballads. In the course of this 'most glorious excursion,' they
descended upon Laidlaw at Blackhouse. Their host brought out a copy of
a ballad which he had received from his friend Hogg. Leyden made a grab
at it, but Scott secured it, and quietly began to read. The two visitors looked
at each other with eyes sparkling. It was the very ancient ballad of Auld
Maitland, which they knew by name but had supposed lost. As Scott read
on, his excitement was betrayed by a perceptible strengthening of his burr,
while Leyden's antics became so extravagant that the bewildered Laidlaw
took him for a crackbrained young Englishman. Inquiries about Hogg
followed. Scott took down his address, that he might correspond with him
direct in future. Leyden threatened such terrors in the event of Hogg trying
to palm off forgeries of his own, that Laidlaw's faculties were paralysed
for the next half-hour. A lovely evening on Yarrow, whither they had
ridden, closed a day of talk and admiration of the scenery, of Leyden
reciting Scott's poems to Laidlaw and showing off with the putting-stone,
all to the increasing delight and wonder of the gentle William. Laidlaw was
never to see Leyden again; but he was to be perhaps the truest of all the
friends of Scott, the one to whom in his last days his failing mind turned
most constantly.3
Scott was soon in correspondence with James Hogg, and met him person-
ally at least once in the next two months; but it was probably in the autumn
that the great forgathering took place which remained in Hogg's mind as
the real beginning of their friendship.4 During a tour which provided all the
discomfort and danger which Scott seems to have regarded as essential to
I April or early May. Laidlaw, 'Recollections'; Letters, I, p. 137; XII, pp. 217-19; Leyden, letter
of 27 Mar. 1802 quoted.
2 Leyden, letter of about I June (Morton). 3 Scott's letters from Naples.
4 The dates are obscured by Laidlaw's vagueness, Hogg's inaccuracy, and Lockhart's amalgamation
of two letters of Scott so as to place the visits to Blackhouse and to Ramsaycleugh on the same excur-
sion (II, pp. 86-7). On the 30 June, 1802, Hogg wrote that he had 'seen and conversed with' Scott
(letter in Batho, p. 24), but implies that Scott had not yet visited his cottage; he must refer to some
interview too unimportant to be remembered by anybody. The visit to Ramsaycleugh, described by
Hogg (Domestic Manners . of Sir Walter Scott, 1834, pp. i ff.) and Laidlaw ('Recollections'),
must have occurred on the autumnal 'grand tour in quest of ballads' described by Scott in a letter of the
17 October (Letters, XII, p. 220); compare Laidlaw's account of the rough going with Scott's. Scott was
on the Border between the 13 August and about the 6 September (Letters, I, pp. 153-4, 157), and again
from the 3 to the 13 October (Letters, I, p. 159). He is more likely to have gone to Ramsaycleugh on the
former occasion, for at that time he apparently stayed at Blackhouse (Letters, I, p. 153), whence Laidlaw
conducted him to Ramsaycleugh ('Recollections'), and on the 26 September he wrote to the Scots
Magazine, recommending Hogg's articles on his recent Highland tour (Letters, I, p. 158). Further, a
letter written by Scott to Laidlaw from 'Witebanklee,' dated 1803 in Letters, I, p. 171, but probably
written during the visit to the country of October, I802-for it acknowledges ballads sent by Laidlaw
on ii September, 1802 (Nat. Lib. MS. 877, f. 12) and a copy of it (Nat. Lib. MS. 85 f. 271) bears the
date 1802-speaks as if Scott had visited Blackhouse not on the same trip but on a previous one. Hogg's
Highland tour lasted till August, and in the last week of July he was at Loch Ericht, making for Ross-








8o THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
the collection of ballads and to true enjoyment,' he arrived with Laidlaw
at Ramsaycleugh, to spend the night with the Brydons.2 Hogg came in,
bringing masses of ballads and fragments. Scott was enchanted by the
Shepherd's heartiness, his absurdity, and the genius which struggled with
the cruel disability of his lack of education. Laidlaw rejoiced to see how his
two friends took to each other, and they kept it up till the small hours. Next
morning, Scott visited Hogg at his cottage, and was introduced to his old
mother, that mine of ballad lore, who sang Auld Maitland to him and was
very outspoken in her strictures on the Minstrelsy.3 He returned to Edin-
burgh, he says, 'loaded with the treasures of oral tradition.' 4 Of these, he
mentions specifically only three ballads of battles of the Covenanters, but
in view of his poor opinion of them, and his dislike of the tradition which
they represented,6 it may be supposed that there was something more.
In Laidlaw and Hogg, Scott had found the very men he wanted for the
service of the Minstrelsy. Both, like himself and Leyden, had been reared
on the ballads from their childhood, both had intelligence and poetic taste,
and both were in constant touch with people who still had ballads by
tradition.7 The ballads which they supplied, in whole or in part, are those
which first come to the mind when one thinks of ballads-Sir Patrick
Spens, The Dowie Dens of Yarrow, The Lament of the Border Widow,
and The Broom of Cowdenknowes.
In this year, according to Scott, Leyden turned collector.8 Scott has told
us how he walked forty miles and back to recover a missing fragment, and
burst in upon a dinner-party, chanting his find in tuneless triumph.9 He
supplied many picturesque verses which Scott combined with other versions
of Sir Patrick Spens, Archie of Ca'feld, The Queen's Marie, and Annan
Water,I0 besides some which Scott did not use." Other collectors came forward
shire ('A Journey through the Highlands of Scotland in the months of July and August 1802,' unfor-
tunately not continued to the end of the tour, in Scots Mag., June 1803, p. 385), but this allows him
time to get home before the 6 September.
Hogg places the visit in summer, 18oi (Domestic Manners), but he introduces the Minstrelsy as
already published, and Laidlaw says that he had not met Scott before the spring of 1802.
1 Letters, XII, p. 220.
2 Thomas Brown, in the 'Life of John Leyden' prefixed to Leyden's Poetical Works, Edin. 1875,
pp. xlvi-xlvii, says that Leyden was present, and even quotes words of Hogg to that effect. I have not
found the passage in any of Hogg's autobiographies or reminiscences, and there is no other indication
that Hogg and Leyden ever met; Laidlaw says that he himself saw Leyden only the once (see above).
3 Laidlaw and Hogg, works quoted; Batho, The Ettrick Shefherd, pp. 21-2.
4 Letters, XII, p. 220.
5 Philiphaugh, Loudon Hill, and Bothwell Brig (Letters, I, pp. 157, 161).
6 Letters, I, p. 161.
7 Hogg's mother and uncle; the servant-girls, etc., quoted by Laidlaw (Nat. Lib. MSS. 877, ff. 51,
82; 893, f. 15; etc.).
8 Biographical Memoir,' p. xxxv. 9 Ibid., pp. xxxv-xxxvi.
lo Nat. Lib. MSS. 877, f. 169; 893, f. 19; Leyden, letter of 6 July 1802 (Morton).
"x Verses entitled 'Hughie Graham' but not related to that ballad (Nat. Lib. MS. 877, f. 169), and
part of The Maid Freed from the Gallows (f. 236) and Hind Horn (Nat. Lib. MS. 893, f. 19), besides
fragments of Tamlane (MS. 877, f. I76v.) and Thomas the Rhymer (f. 176).







THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 81
with contributions. The eccentric Mr Bartran of Biggar, stimulated by
letters of Laidlaw (which the writer considered very artful), and further
taken in hand by Leyden at a ball in Edinburgh, set off in hot and indis-
criminate pursuit of ballads, and supplied Katherine Janfarie and The
Laird o' Logie.x Charles Kirkpatrick Sharpe of Hoddam, after seeing the
first edition, wrote introducing himself to Scott and offering ballads from
the western Border.2 From him came The Twa Corbies, Lady Anne, and
parts of The Douglas Tragedy and The Queen's Marie.
Additions were made to the imitations. Scott put in Cadyow Castle, The
Gray Brother, the wholly inappropriate War-song of the Royal Edinburgh
Light Dragoons, and Christie's Will, which, since it was partly made up of
genuine fragments, he placed among the historical ballads. Leyden furnished
his Mermaid; there were two excellent ballads by C. K. Sharpe; and a
number of friends sent in contributions which caught the authentic style
with various success, from Dr John Jamieson of the Dictionary, whose
ballad had a whole glossary to itself, to the gifted Anna Seward, who
achieved a language quite immoderately Doric.
Most of this material went into the third volume. Scott may at first have
intended simply to make this volume a supplement to the first edition,3 but
a call for a second edition came unexpectedly soon, and Scott and Leyden
proceeded to revise Volumes I and II.4 Some of the ballads there printed,
they replaced by better versions,5 and they incorporated new passages into
others.6 Scott added to his introductions, and there was some rearrangement
of the matter. But the bulk of the new material was kept in Volume III,
which contained a section for each type of ballad, historical, romantic, and
imitative, so that, though labelled 'second edition,' it could equally well
accompany the first, and for this purpose it could be bought separately.7
When the second edition of the Minstrelsy was published, early in 1803,
its contents were almost as we now have them. Three more genuine ballads
were afterwards added,8 three forgeries with which Robert Surtees hoaxed
Scott, and some imitations. In the third edition, in 18o6, the contents of
Volume III were distributed into their appropriate sections, and a number
of ballads were transferred from the Historical to the Romantic class. Scott
added further to his introductions, and for the edition of 1830 wrote his
essays on 'Popular Poetry' and 'Imitations of the Ancient Ballad.' But the

I Letters, I, p. 172 n.
2 Sharpe, Letters, quoted, I, pp. 26-7, 135-8, 142. 3 See above, pp. 75-77 nn.
4 Letters, XII, p. 221; Leyden, letter of about I Oct. 1802 (Morton).
s Bartran's Katherine Janfarie and Laird o' Logie for The Laird of Laminton and The Laird of
Ochiltree.
6 E.g., in Archie of Ca'field, The Queen's Marie, Tamlane, Annan Water, and The Sang of the
Outlaw Murray.
7 Advertisement in Kelso Mail, 6 June 1803.
8 The Rookhope Ride, The Battle of Pentland Hills, and The Daemon Lover.







82 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
essential work was done, and the two editors turned to other things. Before
the second edition came out, Leyden had taken himself and his enthusiasm
to the East, where his insatiable mind was to plan wider and ever wider
conquests, until early death interposed; and by November 1802 Scott was
talking of 'a sort of romance of Border chivalry and inchantment,' in a
Light Horseman sort of stanza,'' which was to be The Lay of the Last
Minstrel.

Modern collectors of ballads, after paying their tribute to the pioneer
work done by Scott, are apt to sigh over his editorial methods. The account
which has been given of the way in which the Minstrelsy was built up may
meet some of their criticisms; at least, it shows that Scott's starting-point
and objects were entirely different from theirs.
It is said, first, that he was no judge of a ballad, and would accept 'in-
different modern stuff.' 2 But Scott was not looking for what was old, but
what was alive. He did not mind if a ballad had reached the country people
from some recently printed stall-copy, or if an over-romantic phrase, born of
the taste of the day, had crept in; he could even accept the elegant account
of the fairies and their rosebuds in Tamlane, of which he admits, 'The
diction is somewhat of a modern cast.' It is not to be expected that he or any
of his collaborators should have had the flair for genuine antiquity possessed
by a modern collector, whose judgement is based on the reading and com-
parison of innumerable ballads and variants, on the theories of his prede-
cessors, and on the exposure of forgeries. They had a keen sense of the
style of the ballads on which they were brought up, in the state in which
they were then current,3 but this did not enable them to go outside them, to
criticize them.4 Their judgement was further impaired by a love of the
stirring and the poetic which other collectors have successfully resisted.5
Scott's worst mistake was to be deceived by the three ballads forged by
Robert Surtees. These have been described by writers who had the ad-
vantage of being forewarned as 'palpable imitations,'6 but the flatness and
faulty rhythm of Lord Ewrie, the dots and square brackets which com-
pensate for a certain poetic quality in Barthram's Dirge, and the learned
commentaries and stories of aged female reciters with which Surtees
ballasted all three might well deceive a more expert critic than Scott.
I Letters, I, p. 166; XII, p. 231.
2 As Child calls parts of Archie of Ca'field (The English and Scottish Popular Ballads, 1882-94).
3 Scott could see through the spuriousJock o' Milk well enough (Letters, I, pp. 142, 16o).
T. F. Henderson holds that Mrs Brown composed parts of the ballads supplied by her, e.g., Rose
the Red and White Lily; but her collection was for Scott a source and a standard.
s Scott 'uniformly preserved what seemed to him the best and most poetical reading of the passage'
(Minstrelsy, p. 67), unlike Ritson, who, when 'judging between two recited copies . was apt to
consider the worst as most genuine' ibidd., p. 524).
6 Thomas Henderson, Introd. to Minstrelsy, 1931, p. 8.








THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 83

Scott is also charged with the more serious offence of introducing into
the ballads alterations and additions of his own. Francis Child and T. F.
Henderson frequently say that a line or a whole passage is probably of
Scott's composition-so frequently, indeed, that to read the ballads of the
Minstrelsy under their guidance gives the depressing sensation of dealing
with an impostor, sometimes caught redhanded and always to be suspected.
Their attributions, however, must be received with caution.
Two chief reasons are given for assigning a passage to Scott: that it does
not occur in any known copy, particularly those which Scott declares
himself to have used, or else that the style resembles Scott's, or at least is
not that of the genuine ballads. But lines condemned for both these reasons
have since been found in Scott's sources.' The instances are very few, but
even one or two are enough to show that no particular line can safely be

1 All the bits of Sir Patrick Spens which T. F. Henderson regarded as Scott's, because they were
found nowhere else-gurly sea and King's daughter of Norroway and all-occur in a fragment in the
hand of Leyden, who got it from a woman at Kelso through his cousin James Morton (Nat. Lib. MS.
893, f. 19; Letters, I, p. 294; Leyden, letter to Morton of 6 July 1802, in Morton). In Kinmont Willie,
that much suspected ballad, one of the verses which the same critic put down to Scott, presumably on
grounds of style, is :
O is my basnet a widow's church?
Or my lance a wand of the willow tree?
Or my arm a lady's lily hand,
That an English lord should lightly me?
This is certainly in Scott's best romantic vein, and the attribution would have been plausible enough, if
a letter of Scott to Heber had not turned up, in which he says, 'Some of the ballads I have recovered
are very fine indeed-what think you of this verse?'-and gives the four lines exactly as they are printed
in the Minstrelsy (Letters, XII, p. 173).
T. F. Henderson says that verses v-vi of The Gay Goss Hawk are from Mrs Brown 'with several
emendations': every word not supplied by her is in the 'MS. of some antiquity' cited by Scott (Nat.
Lib. MS. 877, f. 262). The substitution of 'Annan' for 'Allan' in Annan Water, at which Henderson
jibs, appears in the title of Leyden's fragment (MS. 893, f. 19). Child says that Scott published Archie
of Ca'field from the Glenriddell MS. 'with editorial improvements, besides Scotticizing of the spelling.'
From this one would not gather that the Glenriddell version is itself written in Scots; and at the time
when he wrote Child knew that Scott also used another version, which he himself had not seen, so that
he could not tell how many of the 'improvements' might come from it. In particular, the description
of mettled John Hall-'The luve of Teviotdale aye was he'-which Child at first ascribed to Scott
because it was not in the Glenriddell MS., was afterwards found, as Child himself points out in a later
note, in the other version, obtained by Leyden (MS. 877, f. 169); the ascription was peculiarly hazard-
ous, since the verse in which the line occurs is not in Glenriddell at all.
Other charges are at least disputable. Child says that the half of Young Benjie not in Jean Scott's
version 'might easily have been supplied by' the editor (IV, p. 478); but T. F. Henderson gives reason
for supposing that Scott must have used another copy, as well or exclusively. But perhaps the strangest
account of Scott's procedure is given by Child with reference to Jock o' the Side and Dick o' the Cow.
These were probably among the ballads which, according to Robert Shortreed (Account of his Visits,
quoted above), Scott got from Caw's Museum; it is equally likely that he got some phrases from Dr
Elliot, or from the Shortreeds. His versions, wherever he got them, contain the same stanzas as Caw's,
but differ in language. In 1815, Alexander Campbell, collecting airs forAlbyn'sAnthology, obtained
these two ballads from the Shortreeds (Albyn's Anthology, II, 1818, pp. 28, 31; cf. Letters, IV, p. 104;
Nat. Lib. MS. 856, f. 18v.). His versions are exactly the same in language as Scott's, but he omits
several stanzas; and when one looks at his volume, it seems as plain as can be that he copied the
Minstrelsy versions, but left out some stanzas of each ballad to fit it into his page. Yet Child, for no
ascertainable reason, supposes that Scott took his versions from Campbell and added from Caw the
stanzas which Campbell omitted.








84 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'
ascribed to Scott on the ground of its style or of its absence from other
known copies. The latter reason is as dangerous a guide as the former
obviously is. We have seen Scott making up some of his ballads from
different versions, a line from here and half a ballad from there, and it is
to be supposed that this was his usual practice. No record remains, it is
true, but it is impossible that any should. We know that he and his three
chief assistants had a great fund of ballads between them, and the repeated
raids into Liddesdale and Ettrick must have yielded some booty.' Now, if
one subtracts from the Minstrelsy all that is said to be taken from manu-
scripts and printed works, the residue is so meagre that it is hard to believe
that this was all that Scott collected from other sources. It is more probable
that in many instances where he departed from his acknowledged source,2
he was drawing, not on his imagination, but on old stores and more recent
spuilzie-ballads or the merest fragments which gave him a phrase which
he thought worth saving.3 This cannot be proved; but it is at least as reason-
able to assume this as to declare that he mainly used manuscript and
printed sources,4* and then to explain discrepancies by saying that he must
have made them up.
But all this is only probability, and, since probability is here the only
guide, it must be allowed that it is very unlikely that all the many differences
between Scott's versions and his known sources come from a source now
lost. It has only been intended to show that attributions to Scott should
not be made lightheartedly. He must often have used language of his own.
He relied largely on his memory, which, powerful as it was,5 was by no
means accurate in details; 6 and his notched sticks cannot have been instru-
ments of precision. But it is unlikely that he cared. In this respect, he and
his allies came to the ballads from quite another side than the modern

I Letters, XII, p. 168, etc.
2 Sometimes he did not give his source, although we know it; e.g., for The Fray of Suport (Jonathan
Graham) and Jamie Telfer (his grandmother and Dr Elliot). Robert Shortreed (of. cit.) says that he
got much from Dr Elliot. He already had a portion of Suport before he met Graham (ibid.).
3 The true version of Jamie Telfer, as Col. the Hon. Fitzwilliam Elliot has shown (The Trust-
worthiness of Border Ballads, etc., 1906), seems to be that in which the Elliots are the heroes and the
Scotts the villains. But it would be wrong to accuse Scott of felony in inverting the r6les. His grand-
mother's version presumably favoured the Scotts, and even if he remembered the merest snatches of
this, and was given the Elliot version entire in Liddesdale, he would feel justified in grafting the former
on to the latter, which he doubtless numbered among the variations due to 'the prejudices of clans and
of districts' which had to be corrected (Minstrelsy, p. 67).
4 Child, on the ballads printed in Albyn's Anthology; Fitzwilliam Elliot, Further Essays on Border
Ballads, 1910, p. 23 and n.
s See the stories of his feats in remembering whole poems, e.g., Campbell's Lochiel's Warning
(Carruthers, Abbotsford Notanda, p. 155).
6 'This memory of mine was a very fickle ally, and has through my whole life acted merely upon its
own capricious motion' (Scott, in Lockhart, I, p. 38). That he could vary the language of a ballad
without intent to deceive is shown by the fact that many of his alterations are no improvement on the
original; and by the fact that the two lines of The Lads of Wamphray which he places in Leyden's
mouth in his 'Biographical Memoir' (p. xxiii) do not run as in the Minstrelsy.








THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 85
collector. The latter usually approaches the world in which ballads are
recited from the outside. It is a foreign country to him, and to determine
the type (that is, a particular ballad), he must record such specimens (the
variants) as he encounters with the utmost accuracy, lest he should ex-
aggerate what is a departure from the type and omit what is characteristic.
The makers of the Minstrelsy, on the other hand, were born and bred inside
that world. In their childhood, at least, ballads were current all about them;
the language in which they were couched was their mother-tongue; they
had heard them recited in a dozen different ways. They repeated them, as
did those from whom they got them, in what seemed the best possible form,
rather as a man will tell an after-dinner story. In so far as he followed the
same process, and in so far as he stopped it by petrifying the ballads in
print,' Scott may with justice be called 'the last of the minstrels.'
It is argued that the artless variations of a peasant are one thing, and
those of Scott, an educated man and a poet, are another; and the same
disqualification causes any material supplied by Leyden, Hogg, and
Laidlaw to be regarded with suspicion. But it is hard to determine how
unsophisticated a man must be before his rendering of a ballad can be
accepted. A herd of Laidlaw's father wrote down Sir Patrick Spens from
the recitation of a crazy old woman, 'literally as she spoke it, except "They
hoised their sails on Monday and they landed in Noraway on a Wedensday"
-this he could not bear to write down and added some words of no con-
sequence to make it rime.' 2 Here was a herd betraying literary taste; is it
certain that the crazy old woman was untainted? On the Border, education
and poetic gifts were often found in unexpected places-in the shepherd
in Ettrick who, in a poetical competition with Hogg, wrote a blank verse
poem entitled 'Astronomical Observations,'3 in Wull Beattie, the learned
poacher of Denholm,4 and in that Teviotdale shepherd who could not read
or write, but composed a very high-flown elegy published by Caw.5 In such
a country, where is the scientific collector to find the genuine, unsophisticated
peasant of his dreams?
But Scott must have done more than can be justified by the practice of
previous reciters. In addition to thus unconsciously and uncaringly using
words of his own, he must often have introduced improvements deliberately.
For all we know, Leyden and Laidlaw did the same thing; Hogg certainly
did.6 In Scott's view, each ballad had been composed by an individual
I Mrs Hogg, in Domestic Manners, p. 53.
2 Letter of Laidlaw, probably of 18o6 (Nat. Lib. MS. 893, f. 15).
3 Hogg, autobiographical letter prefixed to The Mountain Bard, 1807, pp. xv-xvii. He was named
Alexander Laidlaw, like the aforementioned emender of Sir Patrick Spens, and was possibly the same
man. 4 David Walker, The Border Pulpit, 1877, pp. 163-4.
s 'Lines on the Death of Robert Scott, Esq., of Whitslade,' in Poetical Museum, p. 189.
6 With Otterbourne, saying, 'Sure no man will like an old song the worse of being somewhat
harmonious' (letter in Child, IV, pp. 501-2).








86 THE DEVELOPMENT OF SCOTT'S MINSTRELSYY'

minstrel long ago,' and the various existing forms might all be degenerate
or fragmentary. They had 'reached us in a mutilated and degraded state,'2
in consequence of the 'ignorance and errors of the reciters and transcribers by
whom they have been transmitted to us.'3 Then, 'in justice to the author,'
it was necessary 'to remove obvious corruptions.* Accordingly, it is to be
expected that he should have made many alterations for the sake of rhyme
and rhythm,5 to make sense of nonsense,6 and to give clearness to what was
obscure,7 picturesqueness to what was flat,8 and even, being a child of his
day, elegance to what was crude.9 More, where there was a gap in the
narrative, either because parts were usually told in prose10 or because the
story was so well known that some links could be taken for granted, he
would fill it with lines of his own, replacing supposed lost verses by something
which gave their probable sense in language like that of the context."
Parts, then, of the Minstrelsy were almost certainly composed by Scott
or his associates, although nobody can safely lay his finger on any one of
them. If so, Scott was not only acting contrary to modern principles; he
was departing from his own professions, set down in his Introduction. No
liberties, he said, had been taken with the ballads except to use the best
reading where two versions disagreed and to rearrange for the sake of
rhyme, 'freedoms essentially necessary to remove obvious corruptions.' 12
x Minstrelsy, pp. 62, 501 ff.
2 Ibid., p. 509. For his poor opinion of much of the language of the ballads, see p. 505.
3 Ibid., p. 505. Cf. Hogg's letter, printed in the introduction to Auld Maitland.
4 Minstrelsy, pp. 66-7.
s Rhyme: Minstrelsy, p. 67. Where he did not know the tune of a ballad, he may have made mistakes
in altering the rhythm, for the rhythm in which one would read a ballad may be quite different from
that in which it is sung. 'They were made for singin' an' no for reading" (Mrs Hogg, in Domestic
Manners, p. 53).
6 InArchieofCa'field, he alters the numbers of the rescue-partyto make them consistent throughout;
gives the reason for reversing the horses' shoes as 'For it's unkensome we wad be,' instead of the point-
less 'forward'; makes the bolts of the gaol door 'loup frae the wa" under the efforts of John Hall,
instead of jumping to it; and makes some sense of the incomprehensible gold twist of the mare.
7 In Archie of Ca'field, he substitutes 'quo' Lieutenant Gordon' for words which do not make it
plain who is speaking.
8 Many phrases described by the critics as being probably by Scott.
9 At the end of Erlinton, he makes Willie kiss his lady 'tenderlie,' instead of 'cheek and chin,' and
alters the line which has to rhyme with this accordingly.
10 Hogg had to take much of Otterbourne in plain prose (undated letter in Batho, p. 181), and the
death of Dick o' the Cow was always described in prose (Poetical Museum, p. 35).
1z In his Lochmaben Harfer, the verse beginning,
Now all this while in merry Carlisle
The Harper harped to hie and law
serves to introduce a change of scene from Lochmaben to Carlisle which in the source is made so
suddenly as to be puzzling. At the beginning of The Lads of Wamhkray, nobody would know what was
happening without two lines said to have been written by Scott:
The Galliard to Nithsdale is gane
To steal Sim Crichton's winsome dun.
Cf. the verse added to the end of Courteous King Jamie by Lewis in the Tales of Wonder, to explain
the story, and retained by Scott when he printed the ballad as King Henry.
12 Pp. 66-7.







THE DEVELOPMENT OF SCOTT'S MINSTRELSYY' 87
The utmost care, he said, had been taken 'never to reject a word or phrase
used by a reciter, however uncouth and antiquated.' I Sometimes he must
have been tempted by the nature of his materials, a few glorious lines linked
with miserable stuff, and fallen open-eyed. Generally, it seems likely, he
imagined himself to be austerely abiding by his proclaimed principles.
A man with a creative mind does not always know that he is creating. The
memory on which Scott largely relied was by no means an objective faculty.
The dangerous principle of restoring the lost perfect form, combined with
the establishment of poetic excellence as a standard of perfection, could be
made to justify any change or addition which appealed to Scott's fancy,
and was enough to undermine all resistance to temptation. Moreover, it
has been seen that one of the chief features of the history of the Minstrelsy
is a frequent change of Scott's plan of selection, due to the uncertainties of
the supply of material; it was natural that the same cause should make it
difficult to maintain a constant principle in presenting it.


I P. 69. Cf. Letters, I, p. 12o.









EDINBURGH BIBLIOGRAPHICAL SOCIETY
FOUNDED 1890

Hon. Presidents Hon. Secretary &' Editor
A. W. POLLARD, C.B. WILLIAM BEATTIE
SIR STEPHEN GASELEE, K.C.M.G. National Library of Scotland
W. K. DICKSON, LL.D. Edinburgh I
G. D. HOBSON, M.V.O.
F. S. FERGUSON HOn. Treasurer
J. D. OGILVIE
WILLIAM WATT, W.S.
President i938-9 28 Charlotte Square
L. W. SHARP Edinburgh 2



Transactions
Vol. I
Pt I (Session 1935-6)

A Bibliography of Sir George Mackenzie, by F. S. FERGUSON (pp. 1-60);
An Unrecorded Specimen Sheet of a Scottish Printing House, by
A. F. JOHNSON (pp. 61-64, with collotype facsimile); A Bibliography
of Lady Eleanor Douglas, by c. j. HINDLE (pp. 65-98).


Pt 2 (Session 1936-7)
A Bibliography of the Poetical Works of Sir Walter Scott, 1796-1832,
by WILLIAM RUFF (pp. 99-240).


Pt 3 (Session 1937-8)
Title-page, etc. (pp. i-xvi); Notes on the Printers and Publishers of
English Song-Books, 1651-1702, by ELEANOR BOSWELL MURRIE (pp.
241-76); corrections and additions to a Scott Bibliography, by WILLIAM
RUFF (pp. 277-82); Index to the Volume, by M. R. DOBIE (pp. 283-93).



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