The songs of Ireland - National Library of Scotland

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THE GLEN COLLECTION OF SCOTTISH MUSIC
Presented by Lady DOROTHEA RUGGLES-BRISE to
the National Library of Scotland, in memory of her
brother, Major Lord GEORGE STEWART Murray,
Black Watch, killed in action in France in 1914.
28th January 1927.

Digitized by the Internet Archive
in 2011 with funding from
National Library of Scotland
http://www.archive.org/details/songsofirelandwiOOrugg

THE
X
SONGS OF IRELAND
WITHOUT WORDS
FOR THE PIANOFORTE
ARRANGED AND EDITED
J. T. SURENNE.
WOOD AND CO., 12, WATERLOO PLACE, EDINBURGH,
42, BUCHANAN STREET, GLASGOW, AND 213, UNION STREET, ABERDEEN;
OLIVER & BOYD, EDINBURGH; CRAMER, BEALE, & CHAPPELL, REGENT STREET; CHAPPELL,
NEW BOND STREET; ADDISON & HODSON, REGENT STREET; J. ALFRED NOVELLO,
DEAN STREET; AND SIMPKIN, MARSHALL, & CO., LONDON.
SIDCCCLIV.
x OF SCOTLAND r j

GlilKBI.'EOU : PRINTED
BY T. CONSTABLE, PRINTER TO 11EK MAJESTY

INTRODUCTION.
This Volume contains two hundred and twenty-three of the best Irish Melodies, arranged for
the Pianoforte alone. Care has been taken to apply to them such harmonies as appeared most
suitable to their structure and character. The Sets of the Airs are given after an attentive
examination and comparison of those contained in the Collections that have been published at
various times in England, Ireland, and Scotland. Second Versions of some of the Airs are
given, when derived from good authorities, and are placed in the Appendix. When an Air is
known by two different names, both of these are inserted in the Index.
Many of the Irish Melodies are so well known, and their beauty is so universally acknowledged, that wo
need not dwell upon the merits of the national music of Ireland.
The earliest printed Collections of Irish Airs are :—one by Burke Thumoth, in 1720— another, soon after, by
Neil of Christ Churchyard—and a third by Carolan's son, about 1747. It does not appear that any of the
older Irish airs were committed to writing until the close of the 17th century, or the beginning of the 18th ;
that they were formerly handed "down by one generation of harpers and pipers to another. That these airs
remained totally unchanged during centuries of such tradition, has been boldly asserted by Mr. Bunting and
others ; who yet, with curious inconsistency, declare that it was the practice of the harpers to teach the airs to
their pupils with improvements, upon which each master prided himself. In the preface to his " Ancient Melodies
of Ireland," published in 1840, Mr. Bunting says (pp. 1, 2) :— " The words of the popular songs of every country
vary according to the several provinces and districts in which they are sung ; as, for example, to the popular air
of Aileen-a-roon, we here find as many different sets of words as there are counties in one of our provinces. But
the case is totally different with music. A strain of music once impressed on the popular ear never varies.
.... For taste in music is so universal, especially among country people and in a pastoral age, and airs are
so easily, indeed in many instances so intuitively acquired, that when a melody has once been divulged in any
district, a criterion is immediately established in almost every ear ; and this criterion being the more infallible
in proportion as it requires less effort in judgiug, Ave have thus, in all directions and at all times, a tribunal of
the utmost accuracy and unequalled impartiality (for it is unconscious of its own authority) governing the musical
traditions of the people, and preserving the native airs and melodies of every country in their integrity, from the
earliest periods." In the Introduction to the first volume of Wood's Songs of Scotland, 1 we disputed this doctriDC
of Mr. Bunting's ; and we find, in the first number 2 of the Petrie Collection of the " Ancient Music of Ireland,"
edited by that learned Irish antiquarian George Petrie, LL.D., a passage confirmatory of our opinions regarding
the mutability of airs preserved by unwritten tradition alone. Doctor Petrie is speaking of the air " Buachaill Caol
Ditbh," " The Black Slender Boy :" " Of an air so extensively disseminated, and— as usual in such cases— sung
to words differing in character in the various localities where it is known, it should naturally be expected that
there would be a great diversity in the forms which it would assume ; and such I have found to be the fact. So
great indeed are those varieties, that, except in the essential notes and general structure, they have often so little
else in common, that the native of one province would, probably, find it difficult to recognise this popular melody
in the form which it has assumed as sung by the native of another. In such instances, therefore, it will be often
difficult to determine which version of a melody is the most correct one ;
bat
for, though a knowledge of the structure
of Irish tunes, and an acquaintance with the words sung to them, will determine the true rhythm and accents,
still their general sentiment, and the choice of their less important notes, can be determined only by the taste and
judgment ;
and hence, the set of a tune which to one will seem the best, will not be deemed so by another."—P. 20.
1 The Ih-st edition was published in 1S48. 2 Published in 18^3.

IV INTRODUCTION.
The first of these collections by Bunting contained sixty-six Irish airs, " never before published," and was
printed at London by Clementi and Co. in 1796, folio. Bunting's second volume, containing seventy-five additional
Irish airs, (some of them with words by Campbell and others,) and a Dissertation on the Irish Harp, appeared
in 1809, 4to, published by Clementi and Co. His third volume— published by Messrs. Hodges and Smith of Dublin
in 1840—contained upwards of 150 Irish airs, of which more than 120 were then for the first time given to the
public. It contained also a Preface of eleven pages, and a Dissertation of 100, upon the history and practice
of music in Ireland. 1
In the Preface to his Third Collection, Bunting, after speaking of his constant love for Irish music, says
" The occasion which first confirmed the Editor in this partiality for the airs of his native country, was the great
meeting of the Harpers at Belfast in the year 1792. Before this time there had been several similar meetings at
Granard, in the county of Longford, which had excited a surprising degree of interest in Irish music throughout
that part of the country. The meeting at Belfast was, however, better attended than any that had yet taken
place, and its effects were more permanent, for it kindled an enthusiasm throughout the north which burns bright
in some warm and honest hearts to this day. All the best of the old class of Harpers— a race of men then nearly
extinct, and now gone for ever—Dennis Hempson, Artlrar O'Neill, Charles Fanning, and seven others, the least
able of whom has not left his like behind, were present."—P. 3. Aided by O'Neill and the other Harpers, Bunting,
immediately after this meeting, began to form his first Collection. He travelled into the counties of Derry and
Tyrone, and the province of Connaught, where, especially in Connaught, he obtained a great number of excellent
airs. Bunting complains bitterly of the misuse made of the airs in his first Collection, by Sir John Stevenson and
the poet Moore, who altered the airs, and " too often adapted the tune to the words." 2 He tells us that " notwith-
standing the chagrin with which he saw the old national music thus unworthily handled and sent abroad through-
out the whole world in a dress so unlike its native garb," he published his Second Collection, " even though in
doing so he had no other prospect than that of seeing these fruits of his labour caught up as soon as they appeared,
to be sent forth again in similar disguises." 3
It appears that " the violence done by the musical arranger (Sir
John Stevenson) to the airs which he adopted" from this second Collection, is even more frequent than in the case
of the first volume. 4
Bunting's first and second Collections contain the best Irish airs, although in his third there are several very
good ones, and some very curious. Among these last are the " caoinans pr dirges, and airs to which Ossianic
and other old poems are sung," and which Bunting gives as " very ancient"—many hundred years old. He
afterwards endeavours to analyze the structure of Irish airs, and to point out their characteristics ; an attempt
which seems to have been suggested to him by the " Analysis" contained in the late Mr. William Dauney's work
on the National Music of Scotland. Edinburgh, 1838, 4to.
Speaking of his intimacy with the country people from whom he obtained many of the airs, Bunting says
" But this acquaintance with the humours and dispositions of the people, has, he conceives, enabled him to pre-
serve with a fidelity unattainable by any stranger, however sincere and honest in his notation, the pure, racy, old
style and sentiment of every bar and note in his collection." 5 This assertion seems quite untenable ; and for the
simple reason that any musician, native or foreign, who has acquired the power of writing down airs with accu-
racy
—
i.e., note for note, exactly as he bears them sung or played—and who attends carefully to his task, must,
in the nature of things, produce manuscript copies of these airs identical with such as might have been written by
Bunting himself— supposing that Bunting actually possessed that power, which is a very rare one, as every good
musician knows. In such a case, the copies must be precisely the same, unless some of the writers are negligent,
or else disposed wilfully to write clown something different from what they hear sung or played. But we have
something more to say regarding the " unattainable fidelity" claimed for the notation of those Irish airs given in
Bunting's Collections. His biographer 6 says that Bunting not only travelled himself through different parts of
Ireland, but had 4i the provinces travelled by agents qualified to note down the melodies for him, as well as the
original Irish songs to which they were sung." '
Now here we must ask, Who were these " agents?"—how far were they qualified for their task?—and how
far did Bunting trust to their skill and accuracy ? These are important points touching the " unattainable
fidelity" of the notation of the airs in Bunting's Collections. If these " agents" were not all excellent musicians,
and trained to the practice of writing down music from merely hearing it, we can have no faith in the accuracy
of their notation of the airs that were sung or played to them. There is still another point upon which we must
1 It is proper to mention that, in 1814 and 1S1G, the late Mr. George Thomson of Edinburgh, published two folio volumes of Irish airs
with words ; the Symphonies and Accompaniments by Beethoven. That work is now the property of the Messrs. Wood and Co., Edinburgh.
- Buntings Third Collection, Preface, p. 5.
3 Ibid. . * Ibid , p. 6.
5 Ibid., p. 10. ° See Paper on Edward Bunting in Dublin University Magazine for January 1847.
7 Ibid., p. 70.
: :

INTRODUCTION. V
touch, though we do so reluctantly, inasmuch as it involves Bunting's accuracy aud fidelity, as well as the credit
due to his assertions regarding Irish music. His biographer 1 says that Bunting visited Paris in 1815, and adds,
" Here, too, he made intimacies with many of the most eminent musicians, whom he no less delighted by the
beauty of the Irish airs, which he played for them, than he surprised them by the assurance which—with a
Scottish love for his country, superior to any other love—he gravely gave out that the refined harmonies with
which he accompanied them were equally Irish, and contemporaneous with the airs themselves. ' Match me
that !' said Bunting, proudly, to the astonished Frenchmen, as, slapping his thigh, to suit the action to the word,
he rose from the pianoforte, after delighting them with the performance of one of his finest airs."
We cannot see what reason Bunting could have to he proud of a deception so grossly impudent, nor how any
man should pride himself upon the utterance of a deliberate falsehood. Neither can we see that, after such an
exhibition, Bunting has the smallest right to claim credit for any of his assertions regarding Irish music. These
remarks do not impinge upon the praise which we think is justly due to Bunting's industry and enthusiasm,
qualities which enabled him to rescue from oblivion many of the finest melodies of Ireland, and thus to add a
peaceful and beautiful wreath to the honours of his native country. 2 Bunting's harmonization of the Irish
melodies is not marked by artistic skill, and has the fault generally found in arrangements of national music,
viz., a forced adaptation of modern harmony and modulation to aira which, very often, do not admit of these, on
account of their peculiar structure and tonality. We trust that, in Dr. Petrie's forthcoming Collection, the
harmonizers of the airs will keep in view the important fact, that the nature of the tonality ought always to guide
the nature of the harmony; and that, to some national airs, modern harmony is totally inapplicable. For
example, in the singular dance air, " Colonel Irwin," (Bunting's second Collection, page 39,) there is no settled
mode of tonality ;
JmF..
and, therefore, it is not susceptible of any regular harmony, not even a regular bass. 3
I
|
OOKNEUL IREHIN.
—
I I SSsSSSi^
-a • e- EH
^m m& ms^« f^
:—-^ s*
pML&B&^&^^&zm^ r
The peculiar tonality of many of the Irish airs has been altered by different arrangers within the last seventy
years, in order to force them into a union with the modern system of harmony and accompaniment. Conse-
quently, the originality of the airs has been destroyed, and only a bad and heterogeneous compound produced. 4
Bunting's Collections of 1796 and 1809, led the way to the Collection of Irish Melodies, published by Power
of London, the airs selected by Thomas Moore and Sir John Stevenson, Mus. Doc, with words by the former,
and ritornels and pianoforte accompaniments by the latter. This work appeared in ten Parts, folio, with a
1 See the same Magazine, pp. 71, 72.
2 In the Dublin University Magazine for January 1847. there is a portrait of Bunting, with a notice of his Life and Works. From
that memoir it appears that Bunting's father was an Englishman, a native of Derby, and an engineer ; and that his mother was an Irish-
woman. He was born at Armagh in February 1773, and was bred as an organ and pianoforte player. He died at Belfast on 21st December
1813, and was interred in the cemetery of Mount Jerome. His biographer tells us that " Edward Bunting was allowed to be carried to
the grave, and to slumber there, without even the tribute of a newspaper paragraph to do his memory honour ! He was of no party, and
therefore honoured of none. And yet this unhonoured man was the preserver of his country's music," &c. loc. cit., p. 65. In the Number
for April 1852, of the same Magazine, there is a paper headed " Recollections of Moore," in which the neglect shown to the celebrated
Irish poet in his later days at Sloperton Cottage, near Devizes—where he died on 26th March 3 852—and the absence of mourners to attend
his unhonoured funeral, are circumstances bitterly alluded to. But absence of feeling for men of genius in their decay and at their death,
seems to be a trait almost peculiar to Great Britain and Ireland.
3 At the end of this Introduction (No. 5) we give au old Scottish air, much less irregular than the above Irish air, but still so remote
from established modern tonalities as to make it not susceptible of modern harmony. It is in a mode similar to the ancient Mixolydian
mode, or to the ancient Hindu mode of Malava.
* For further observations on this subject, see ".Essay on Musical Composition," by 6. F. Graham. Black, Edin., 183a Pp. 88, 89.
tt passim. Also " Wood's Songs of Scotland," vol. i. p. 164 ; vol. ii. pp. 165, 160 ; vol. iii. pp. 175, 176, 177, 178.
:

VI INTRODUCTION.
Supplement— the first Part was published in 1810. In a preceding page we havo quoted Bunting's complaint
regarding the use and misuse made of his Collections of 1796 and 1809, in Moore's Irish Melodies. It still
remains to be proved that Bunting's Collections contain the only true sets of Irish airs, while certain it is that
Moore's sets, whether rightly or wrongly, have obtained the greater popularity. With regard to Sir John
Stevenson's harmonic arrangements of the Irish melodies, faults exist similar to those which we have alluded to
in Bunting's accompaniments. The poet Moore has done so much to popularize the charming music of Ireland,
that the reader will be glad to peruse, in the following quotations, Moore's opinions regarding that music.
Mr. Power, in the announcement prefixed to the first number of his " Selection of Irish Melodies," gives the
following extract from Moore's letter to Sir John Stevenson, in February 1807, regarding that work :— " I feel very
anxious that a work of this kind should be undertaken. We have too long neglected the only talent for which our
English neighbours ever deigned to allow us any credit. Our national music has never been properly collected ;
and, while the composers of the Continent have enriched their Operas and Sonatas with melodies borrowed from
Ireland, very often without even the honesty of acknowledgment, we have left these treasures in a great degree
unclaimed and fugitive. Thus our airs, like too many of our countrymen, for want of protection at home, have
passed into the service of foreigners. But we are come, I hope, to a better period both of politics and music ; and
how much they are connected, in Ireland at least, appears too plainly in the tone of sorrow and depression which
characterizes most of our early songs. The task which you propose to me, of adapting words to these airs, is by
no means easy. The poet who would follow the various sentiments which they express, must feel and understand
that rapid fluctuation of spirits, that unaccountable mixture of gloom and levity, which compose the character of
my countrymen, and has [have] deeply tinged their music. Even in their liveliest strains we find some melancholy
note intrude, some minor third or flat seventh, which throws its shade as it passes, and makes even mirth interest-
ing. If Burns had been an Irishman, (and I would willingly give up all our claims upon Ossian for him,) his
heart would have been proud of such music, and his genius would have made it immortal. Another difficulty
(which is, however, purely mechanical) arises from the irregular structure of many of these airs, and the lawless
kind of metre which it will in consequence be necessary to adapt to them. In these instances the poet must write
not to the eye but to the ear, and must be content to have his verses of that description which Cicero mentions,
' Quos si cantu spoliaveris mida remanehit oratio.' That beautiful air, ' The Twisting of the Rope,' which has all
the romantic character of the Swiss Eanz des vaches, is one of those wild and sentimental rakes which it will not
be very easy to tie down in sober wedlock with poetry. However, notwithstanding all these difficulties, aud the
very little talent which I can bring to surmount them, the design appears to me so truly national, that I shall feel
much pleasure in giving it all the assistance in my power."
In January 1810, Mooro prefixed to No. III. of his " Irish Melodies" a "Prefatory Letter" to the Marchioness
of Donegal,' from which we here quote some of the most remarkable passages :— " It has often been remarked, and
oftener felt, that our music is the truest of all comments upon our history. The tone of defiance, succeeded by the
languor of despondency—a burst of turbulence dying away into softness— the sorrows of one moment lost in the
levity of the next and all that romantic mixture of mirth and sadness, which is naturally produced by the efforts
of a lively temperament to shake off, or forget, the wrongs which lie upon it ; such are the features of our history
and character, which we find strongly and faithfully reflected in our music ; and there are many airs, which, I
think, it is difficult to listen to without recalling some period or event to which their expression seems peculiarly
applicable Sometimes, when the strain is open and spirited, yet shaded here and there by a mournful recollec-
tion, we can fancy that we behold the brave allies of Montrose 2 marching to the aid of the royal cause, notwith-
standing all the perfidy of Charles and his ministers, and remembering just enough of past sufferings to enhance
the generosity of their present sacrifice.
*' The plaintive melodies of Carolan take us back to the times in which he lived, when our poor countrymen
were driven to worship their God in caves, or to quit for ever the land of their birth, (like the bird that abandons
the nest which human touch has violated ;) and in many a song do we hear the last farewell of the exile mingling
regret for the ties which he leaves at home, with sanguine expectations of the honours that await him abroad
—such honours as were won on the field of Fontenoy, where the valour of Irish Catholics turned the fortune of the
1 The Dowager Marchioness of Donegal, and her sister Miss Godfrey, were great friends of Thomas Moore. Lady Donegal was celebrated
as a painter, a musician, and accomplished in all feminine graces and literary acquirements. Miss Godfrey was a very clever and
sensible lady.
2 " There are some gratifying accounts of the gallantry of these Irish auxiliaries in Tin: complete. History oj the Wars in Scotland, unthr
Montrose, 16G0. See particularly, for the conduct of an Irishman at the battle of Aberdeen, chap. Ti. p. 49: and for a tribute to the bravery
of Colonel O'Kyan, chap. vii. p. 55. Clarendon owns that the Marquis of Montrose was indebted for much of his miraculous success to
this small band of Irish heroes under Macdonnd."

INTRODUCTION. Vl'l
day in favour of the French, and extorted from George the Second that memorable exclamation,— ' Cursed be
the laws which deprive me of such subjects !'
" Though much has been said of the antiquity of our music, it is certain that our finest and most popular airs
are modern ; and perhaps we may look no farther than the last disgraceful century for the origin of most of
those wild and melancholy strains, which were at once the offspring and solace of grief, and which were applied
to the mind as music was formerly to the body, ' decantare loca dolentia.' Mr. Pinkerton is of opinion 1 that
not one of the Scotch popular airs is as old as the middle of the sixteenth century ; and although musical
antiquaries refer us, for some of our melodies, to so early a period as the fifth century, I am persuaded that there
are few of a civilized description (and by this I mean to exclude all the savage ceanans, cries, 3 &c.) which can
claim quite so ancient a date as Mr. Pinkerton allows to the Scotch. But music is not the only subject in which
our taste for antiquity is rather unreasonably indulged, and, however heretical it may be to dissent from these
romantic speculations, I cannot help thinking that it is possible to love our country very zealously, and to feel
deeply interested in her honour and happiness, without believing that Irish was the language 3
spoken in Paradise ;
that our ancestors were kind enough to take the trouble of polishing the Greeks 4 or that Abaris, the Hyper-
;
borean, was a native of the north of Ireland. 6
" By some of these archaeologists, it has been imagined that the Irish were early acquainted with counter-
6 point and they endeavour to support this conjecture by a well-known ;
passage in Giraldus, where he dilates,
with such elaborate praise, upon the beauties of our national minstrelsy. But the terms of this eulogy are too
vague, too deficient in technical accuracy, to prove that even Giraldus himself knew any thing of the artifice of
counter-point. There are many expressions in the Greek and Latin writers which might be cited, with much more
plausibility, to prove that they understood the arrangement of music in parts ;' yet I believe it is conceded in
general by the learned, that, however grand and pathetic the melody of the ancients may have been, it was
reserved for the ingenuity of modern science to transmit ' the light of song' through the variegating prism of
harmony.
" Indeed the irregular scale of the early Irish (in which, as in the music of Scotland, the interval of the fourth
was wanting) must have furnished but wild and refractory subjects to the harmonist. It was only when the
invention of Guido began to be known, and the powers of the harp 8 were enlarged by additional strings, that our
melodies took the sweet character which interests us at present ; and while the Scotch persevered in the old
mutilation of the scale, 9 our music became gradually more amenable to the laws of harmony and counter-point.
" In profiting, however, by the improvement of the moderns, our style still kept its originality sacred from their
refinements ;
and though Carolan had frequent opportunities of hearing the works of Geminiani and other masters,
we but rarely find him sacrificing his native simplicity to ambition of their ornaments, or affectation of their
science. In that curious composition, indeed, called his Concerto, it is evident that he laboured to imitate
Corelli ; and this union of manners, so very dissimilar, produces the same kind of uneasy sensation, which is felt
at a mixture of different styles of architecture. In general, however, the artless flow of our music has preserved
itself free from all tinge of foreign innovation ;
10 and the chief corruptions of which we have to complain arise from
the unskilful performance of our own itinerant musicians, from whom, too frequently, the airs are noted down ;
encumbered by their tasteless decorations, and responsible for all their ignorant anomalies. Though it be
sometimes impossible to trace the original strain, yet in most of them, ' Auri per ramos aura refulget,' 11 the pure
1 " Dissertation, prefixed to the second volume of his Scottish BaUads."
2 " Of which some genuine specimens may be found at the end of Mr. Walker's work upon the Irish Bards. Mr. Bunting has disfigured
his last splendid volume by too many of these barbarous rhapsodies."
3 " See Advertisement to the Transactions of the Gaelic Society of Dublin."
* " O'Halloran, vol. i., part i.. chap, vi." 5 *' Ibid., chap, vii."
6 " It is also supposed, but with as little proof, that they understood the diesis, or inharmonic interval," &c. [This note is too long to
quote.] 7 [Moore gives on this a long note, which it is unnecessary to reproduce.]
8 [Moore has a long note here upon an erroneous quotation by Mr. Beauford from Brompton, in the former's Essay on the Irish Harp,
which is inserted in the Appendix to Walker's Historical Memoirs. Mooro observes, that the compiler of the Dissertation on the Harp,
prefixed to Mr. Bunting's second volume, has adopted the error implicitly.]
3 " The Scotch lay claim to some of our best airs, but there are strong traits of difference between their melodies and ours. They had
formerly the same passiou for robbing us of our Saints; and the learned Dempster was, for this offence, called 'the Saint-stcaler.' I
suppose it was an Irishman, who, by way of reprisal, stole Dempster's beautilul wife from him at Pisa. See this anecdote in the Pinacotheca
of Erythrteus, part i., page 25." [Moore forgot to state, that the Welsh complain of musical robberies on the part of the Irish ]
10 " Among other false refinements of the art, our music (with the exception perhaps of the air called ' Mamma,
Mamma,' and one or
two more of the same ludicrous description) has avoided that puerile mimicry of natural noises, motions, &c, which disgraces so often the
works of even the great Handel himself. D'Alembert ought to have bad better taste than to become the patron of this imitative affectation.
—Discovrs Prttiminaire de VEncyclopedic. The reader may find some good remarks on the subject iu Avison upon Musical Expression ; a
work which, though under the name of Avison, was written, it is said, by L'r Brown."
11 " Virgil, JEneid, lib. 6, v, 204."

Vlll INTRODUCTION.
gold of the melody shines through the ungraceful foliage which surrounds it ; and the most delicate and difficult
duty of a compiler is to endeavour, as much as possible, by retrenching these inelegant superfluities, and collating
the various methods of playing or singing each air, to restore the regularity of its form, and the chaste simplicity
of its character. I must again observe, that, in doubting the antiquity of our music, my scepticism extends but to
those polished specimens of the art, which it is difficult to conceive anterior to the dawn of modern improvement
and that I would by no means invalidate the claims of Ireland to as early a rank in the annals of minstrelsy as
the most zealous antiquary may be inclined to allow her. In addition, indeed, to the power which music must
always have possessed over the minds of a people so ardent and susceptible, the stimulus of persecution was not
wanting to quicken our taste into enthusiasm ; the charms of song were ennobled with the glories of martyrdom
and the Acts against minstrels in the reigns of Henry VIII. and Elizabeth were as successful, I doubt not, in making
my countrymen musicians, as the penal laws have been in keeping them Catholics."
Besides the Collections of Irish Melodies already mentioned, several other works containing Irish airs have
been published in the present century. In the first volume of Doctor William Crotch's " Specimens of various
Styles of Music," he gives a number of Irish airs, from No. 19 to No. 76, both inclusive ;
;
but among these he has
set down as Irish, two airs which are really Scotch, viz., No. 46, My Nannie, 0, and No. 72, Simon Brodie. In
1825, there was published, at Edinburgh, by the late Mr. Robert Purdie, under the title of " The Irish Minstrel,"
a selection from the vocal melodies of Ireland, arranged for the pianoforte by R. A. Smith. The work contained
103 airs, with words by different authors, but for some reason it was suppressed. In 1851, there appeared in
London, (Addison and Hollier : and Leader and Cocks,) " Melodies of All Nations, Arranged for the Pianoforte by
William Hutchins Callcott," among which were 100 Irish airs. Another work, " The Melodies of Ireland, Arranged
for the Pianoforte by John P. Lynch," in six Books, was published in Dublin by S. J. Pigott. It is not dated. The
Collection of " The Ancient Music of Ireland," before mentioned as in course of publication, promises to be the most
extensive of any ;
since Dr. Petrie's private Collection alone is stated to contain about GOO unpublished Irish airs.
It is not our purpose here to enter into an analysis of the tonalities and the peculiarities of structure
of Irish melodies. We shall content ourselves with a few observations, leaving to the accomplished Irishman,
Dr. Petrie, to discuss the subject fully, as he no doubt will do, in his promised " Dissertation on the History,
Antiquity, and Characteristic Structure of Irish Music."
'
Bunting, in his Third Collection, (1840,) page 14, after stating that omissions of the fourth and seventh notes
of the scale are not the true tokens of ancient Irish music, says,— " Now the fact is, that these omissions are not
the true tokens of our national and ancient music. They occur in some airs, not in all ; and yet all are equally
characteristic, all equally Irish ; and some, marked by the uniform presence of both these tones, are the most
Irish, and the most ancient of all. The feature which in truth distinguishes all Irish melody, whether proper to
the defective bagpipe, or suited to the perfect harp, is not the negative omission, but the positive and emphatic
presence of a particular tone ; and this tone is that of the submediant, or major sixth ; in other words, the tone
of E in the scale of G. This it is that stamps the true Scotic character (for we Irish are the original Scoti) on
every bar of the air in which it occurs, so that the moment this tone is heard, we exclaim, ' That is an Irish
melody.' "...." There are many hundred genuine Irish airs, some of them defective in the fourth and
seventh, some supplying the place of the latter by a flat seventh, and others, again, perfect in all their diatonic
intervals ; yet let even an indifferent ear catch the strain of any one of them, whether performed by the best
orchestra, or by the meanest street musician, and it will at once feel thrilled by this searching tone of the
emphatic major sixth ;
and, in that touching and tingling sensation, will recognise the proper voice of the Land
of Song. The Irish school of music is, therefore, not a school of omissions and affected deficiencies, drawing its
examples from the tones of a barbarian bagpipe, but a school of sweet and perfect harmony, proper to a harp of
many strings, and suited, in its intricate and florid character, to cultivated ears and civilized assemblies.
We now proceed to illustrate the peculiar use and application of their grand characteristic in two of our
native airs, the first defective in the fourth and seventh, the second perfect in all its intervals, yet both equally
marked by the recurrence of the emphatic major sixth, which in the subjoined examples is indicated by an
asterisk."— Pp. 14, 15. The two airs given by Mr. Bunting are, "What is that to him ?" and " Kitty Tyrrel." From
the preceding quotation it appears that Bunting claims to have made a now discovery, viz., the " grand and pecu-
liar characteristic" which distinguishes Irish melodies from all others, and which is the emphatic major sixth.
But he should not have omitted to state that in the Preface to the Rev. Mr. M'Douald's Collection of Highland Airs, 2
1 See page 2 of Notice prefixed to the First Part of volume i. of the Petrie Collection of the Ancient Music of Ireland. Dublin. 1853.
2 That volume, published in 17S1, is now very rare. In the Appendix to the third volume of " Wood's Songs of Scotland," pp. 1 75-G-7,
T ve quoted Mr. M'Douald's remarks upon the structure of the Highland airs, and now refer to these remarks.

INTRODUCTION.
the sixth of the scale is very particularly referred to, as a characteristic sound. Mr. M'Donald says, " The sixth
is naturally a soft complaining note." Neither should Mr. Bunting have passed over, as non-existent, Mr. F.
Dun's " Analysis of the Structure of the Music of Scotland j" 1 in which Mr. Dun points out the peculiar effect of
the sixth of the scale not only in Scottish airs, but also in the chants of the Romish Church. Mr Bunting refers
(p. 55 of his third collection) to a passage in Mr. Dauney's work, and therefore must have seen Mr. Dun's
" Analysis," which forms an important part of Mr. Dauney's volume. But Mr. Bunting's pseudo-discovery
regarding the major sixth of the scale, leads to conclusions which he did not contemplate. If the marked occur-
rence of the major sixth of the scale is a sure and characteristic test of genuine Irish melody ; then, by parity
of reasoning, the marked occurrence of that same sixth in the melodies of other nations may be used to prove
these melodies also to be of Irish extraction. Nay, further, the marked occurrence of that sixth in the chants of
the Romish Church, or of the Greek Church, or of the Jewish Synagogues, 2 might be adduced as proof that all
these also were derived from Irish melodies. Or, taking another stand-point, and still harping upon that same
major 6th, it might be asserted that because it often occurs emphatically and effectively in Scottish, Welsh,
Swedish, Danish, Russian, German, French, Italian, and other melodies, therefore the Irish people must have
borrowed the use of the emphatic 6th from some of these melodies. The marked occurrence of the 6th in the
Frankish melody of the ninth century, (No. 1,) or in the German melody of the fifteenth, (No. 2,) does not, surely,
prove either to be of Irish origin. This matter reminds us of honest Captain Fluellen's exposition to Gower :
" There is a river in Macedon ; and there is also, moreover, a river at Monmouth :—and there is salmons in
both."
Bunting, at page 23 of his Third Collection, gives the tuning of the old Irish harp of thirty strings. Beginning
with double C in the bass clef, the strings run up to D in alt, as follows :CDEGABcdeftfgab
c d e If g a b c d e ttf g a b o d. 3 Between E and G of these strings, F is wanting. Bunting says,
" The Irish harp had no string for F sharp, between E and G in the bass, probably because it had no concord in their
scale for that tone, either major or minor ; but this E in the bass, called ' Teadlecthae,' orfalling string, in the natural
key termed 'Leath Glass,' being altered to F natural, a semitone higher when the melody recprired it, and
the sharp F's, through the instrument being previously lowered a semitone, the key was then called ' Teadlea-
guidhe,' the falling string, or high bass key." 4 And he adds: "It will be observed by the musical critic, that
only two major keys, viz., G one sharp, and C natural, were perfect in their diatonic intervals on the Irish harp
but the harpers also made use of two ancient diatonic minor keys, (neither of them perfect according to the
modern scale,) viz., E one sharp, and A natural. They sometimes made use of D natural minor, which was still
more imperfect, though some of their airs were performed in that key, and were thought extremely agreeable by
many persons." 5 Bunting mentions, also, that thirty strings "was the usual number of strings found on all the
harps at the Belfast meeting, in 1792."° Of these strings, f, f, and f might be tuned natural, which would give
a compass of at least three complete octaves in the major scale of C ;
— ;
lx
while, in the first case, the tuning would give
more than three complete octaves in the scale of G major. In the first case, then, we can obtain from these
elements of melody and harmony, only one perfect major scale—viz., that of G major, and no perfect minor scale. 7
In the second case, the only perfect major scale that we can obtain is that of C major ; while we find no perfect
minor scale. In either case, every minor scale obtainable from these two systems of sounds, has its 7th minor,
instead of major as in the modern minor scale ascending. The want of the sensible note, i.e., the 7th rising by a
semitone to the octave of the Tonic, or key-note,— produces a peculiar and ancient Tonality not recognised in
modern melody and harmony. 8 In the first case, where the strings f, f, and f of the old Irish harp are ft, if we
assume G as a tonic, or key-note, we have the perfect major scale of G ascending, or descending, to the extent of
1 See No. I. of Appendix to Mr. William Dauney's " Ancient Scottish Melodies" published in Edinburgh in November 1 8-J8-
2 For various specimens of Jewish chants, see Padre Martini's " Storia della Itfusica. Dissertazione terza, p. 424. Tavola VI."
3 That Bi
is to say, from *-*— — up to /jK - We use the German notation by letters of the alphabet, with the exception
of their H, which is equivalent to our B. * Note, ibid. 5 Note, ibid.
6 Note, ibid.
7 This will be made plain to any pianoforte player who takes three octaves in the scale of G major upon that instrument, tho sounds
of which we. fixed by the wires and tuning. We apeak of a particular hey (G major) taken and adhered to on the pianoforte ;—because,
in this way, the difference between the capabilities of that instrument,—which has a range of semitones throughout its whole compass,
and the capabilities of the old Irish harp, which had no such range of semitones, will be at once and easily made evident.
8 See article " Tonality "in the 7th edition of the Encyclopaedia Britannica.

X INTRODUCTION.
three octaves and four notes, with the three lowest notes of the range C, D, E, G, of indeterminate mode (or key)
in the bass. If, from this range of harp-sounds, we assume D as a Tonic, we find that we cannot complete the
major scale of D, because the 7th from that Tonic is b and not ft. This imperfect scale of D major would be
equivalent to the ancient Myxolydian Mode, or to the Hindu mode of Malava.' E assumed as a Tonic will give
the imperfect minor scale e ftf g a b c d

INTRODUCTION. XI
vcro mea fert opinio, de Hibernis, aut Britamiis potius (quoniani turn cultiores erant) intelligi debet : siquidcm
hodieque magno in pretio apud eas gentes hoc instrumentum esse non ignoramus, immo tamquam insigne regium
ac patrium ab Hibernis usurpatur, qui plurimum eo delectantur, rereasque fides frequentius ei adneetunt. Quod
si ita est, vereque dicitur proavoruiu nostrorum setate in Italiani ab Hibernis derivatarn fuisse, rediisse potius
tamquam postliniinis, quam invectam primum ab iis Sarpam dicendum est : sicut etiam fieri potuit ut quamvis
Sambucce, vel Trigoni appellatione vulgata fuerit apud Gracos, et nostros ; abolita tamen postea sit injuria
tcmporum, ac rursus propter barbarorum commercia, qua? cum Romania intercedebant, in Italiam mutato nomine
redierit. Neque tamen crediderim tanto fidium numero fuisse instructum sicut Harpa triplex nostra, quse non
ita multis ab hinc annis in usu coepit esse," &C. 1 From this passage, we perceive that Doni believed that the
harp had returned from Ireland to Italy, and not that it had originally been brought into Italy from Ireland.
And for this opinion there are many good reasons.
The Spanish ex-Jesuit, Vicente Requeno, in his " Saggj sul ristabilimento dell' arte armonica de' Greet e
Somani C'antori," 2 argues that the ancient Greeks produced upon their lyres many more sounds than those
producible by the open strings alone, which were often few in number ; and
that they did so by stopping the
strings in a particular manner with the fingers of the left hand. 3 Something of the same kind we learn to have
been practised by the ancient Welsh harpers, before their harps received more strings, and other improvements. 4
1
In a paper written by us for the New Edinburgh Beview,' we quoted, on the subject of Greek lyres, a short
passage from Requeno, which we here repeat.— " E' un insigne pregiudizio di Burney e di quanti scrissero della
Greca musica prima di'lui, lo stimare di scarsi suoni le cctre, e le lire di poche corde. I Greci tastarono le corde,
benche i loro stromenti non avessero il manico. . Alcune lire de' Greci ci mostrano, nelle pitture dell' Ercolano,
una tavoletta quadra, per la quale passavano quattro corde, e che, scorrendo per le medesime, alzava o calava il
tuono : in altre lire s' intrecciavano rette le dita per mezzo delle quattro corde, e cosi si tastavano. Altri
stromenti si tastavano in altre maniere." s
In the Harmonieon for July 1833, and in the Musical Library for June 1835, Mr. Donald Walker published
two papers upon the subject of the ancient lyre ; and in the latter of these papers he mentions that Mr. Bonomi
had shewn to him a five-stringed Nubian lyre, in common use among the people of that country, and had stated
that the strings are stopped at various parts by the fingers ; and had, in illustration of this, produced a drawing
of a Nubian playing upon the five-stringed lyre. In Mr. D. Walker's papers, there is not the slightest notice
taken of Requeno's " Saggj," published in 1798, or of the quotation which we gave from them in 1822, although
even that quotation comprehended the same views as those put forth in 1836 by Mr. D. Walker and Mr. Bonomi
regarding the stopping of the strings of the lyre by the fingers.
The original path of Art and Science ran from the East to the West, thence branching off to the South and
to the North. After the lapse of many centuries, these paths reconveyed to the East most of the earlier objects
of art and science under new forms. Thus, music and musical instruments came to Europe from the East, and,
after suffering European modifications, passed back to their first source. The harp, the lute, the guitar, &c, as
well as various wind and pulsatile instruments, originated in Egypt and Syria. The CEoud 7 of the Arabs, and
other Egyptian and Arabian instruments, strung with wire, struck with a quill, and having necks and finger-
boards, were brought into Europe by the Saracens, and gave rise to all instruments of a similar kind used in
Spain, Italy, France, &c. Thus, from the o:oad came the lute, the archlute, the theorbo, and the mandora.
From the hissar came the guitar, and from the tanibura the mandoline and the Neapolitan colascione. About the
close of the thirteenth century, mechanical contrivances of finger-keys and jacks began to be applied to the wires
of those instruments of Eastern origin, and, together with other changes, produced in succession the manichord,
the clavichord, the clavicymbalum, the spinet, the harpsichord; the pianoforte. The qanon, brought from the
East by the Crusaders, under the name of tympanon, or tympanum, had a triangular sound-box, and a great
many wires, some of which were tuned in unison for each note, and all of these were struck with two light
1 " Commentarj de Lyra Barberina, cap. iii." Dated 1 632. See vol. i. p. 20 of Doni's Works, published at Florence in 17C3.
8 In two vols. 8vo. Parma, 1798. 3 Ibid., vol. ii. pp. 424-431. Also vol. i., " Prefazione," p. xxxy, and pp. 337, 338.
4 See John Parry's " Welsh Harper," p. 6. 6 For April 1822, " Memoirs of Music."
15 See Requeno, lib. cit. vol. i. pp. 337, 338.
7 The professional French musician, Monsieur G. A. Villoteau, who made some very interesting researches into the stato of music
in Egypt at the close of the last century, shows how the Spanish laudo, the Italian lento and livlo, and the French Inlh, have been
derived from a corruption of the Arabic al (Eoud,—the noun with the article at,—just as we make one word of Alkvran, the Arabic
al Qor'an, i.e., the Koran. The Gothic word lend, and the German lied, may have some connexion with the Arabic al (Eoitd. See
Gerbert, " De Cantu et Musica Sacra," vol. i. p. 550. We may refer to our notice of the remarkable Hindu lute, the bin, (pronounced
been,) in the New Edinburgh Review for April 1822. pp. 5i3, 524.

Xll INTRODUCTION.
flexible rods, having a knob at one end. This qanon,— the Ks>» of some of the ancient Greek writers on music,
by the application of finger-keys, &c, gave rise to the manichord, the clavichord, and so on, down to the modern
pianoforte. The loud and harsh zamir of the Arabs became, in Europe, the sweet and expressive hautboy.
Referring to what we have said above regarding the return of modified Oriental instruments to their original
source, it is not uninteresting to observe the modern European instruments now common in the East among
British and French invaders and settlers. Harps, guitars, pianofortes, &c, are to be found in the houses of the
wealthier foreigners ;
and, among their military bauds, trumpets, hautboys, clarionets, flutes, cymbals, drums, &c,
all of Oriental origin. Musical historians are generally of opinion, that the use of the how in stringed instruments
was unknown to Eastern musicians in ancient times, and that it originated in Europe ; that the viol, and instru-
ments of that kind, passed from Italy into Greece and Asia Minor, and thence into Persia and Arabia ; and that
the viol has there become the leemangeh roumy. That the rehab, a rude bow-instrument, was long afterwards
brought back into Europe by the Crusaders, and there took the name of rubehbe, and finally became the rustic
violin called rebec. In Russia, the rebec is found under the name of goudolc. It seems difficult to decide that the use
of the bow was not of Oriental origin, for we have been informed by musical friends, who resided long in the East
Indies, that the common sawringas, or syringas of HundQstan, resemble in shape the European violin, about
sixteen or twenty inches long ; that the strings, sometimes four, sometimes five, are of gut, and tuned by 4ths,
and are played with a boio, and stopped on the finger-board in the same manner as those of a violin ; that the
Cashmeerian sawringa is larger, and is rested on the ground by a wooden peg projecting from the sound-box,
and is held and played in the manner of a violoncello. There are other particulars in the construction of this
sawringa— such as steel wires at the sides—which are worthy of notice. Also, the manner of stopping the strings,
and of bowing. 1 M. Villoteau, in his intercourse with Oriental musicians—Greek, Egyptian or Arabian, Ethio-
pian, Armenian, and Syrian—found that they could not sing our European scales, and that their chief difficulty
lay in the last interval between the Gth and 7th of our modern major scale—for example, of C. The succession of
sounds c, d, e, f, g, a, they could sing ; but came to a dead stop when they attempted to sing the b following the a,
and made such grimaces and contortions in their fruitless efforts to sing it, that M. Villoteau could hardly maintain
his gravity. 2 Now it is a fact well known to teachers of singing in Europe, that such a succession of sounds as
f, g, a, b,—in the scale of C major, for instance,— presents great difficulty to their untrained pupils. These incline
to sing the b flat, and not a tone distant from a. In this there is something that deserves the attention of musical
theorists, from its connexion with ancient scales and modes, and with the structure of the early popular music of
all nations. We give the hint to future inquirers. M. Villoteau adds, 3 " Cette note leur paroissoit etre un son
faux et absolument (Stranger a l'ordre diatonique : aussi plusieurs d'entre le plus habiles de ces musiciens, qui
paroissoient prendre quelque plaisir a entendre notre musique militaire ou nos airs de danse (surtout quand le
rhythme, auquel ils sont tres-sensibles, s'y trouvoit fortement marque,) me disoient-ils, lorsque je leur demandois
ce qu'ils en pensoient, que ces airs leur avoient paru assez agreables, mais qti'ils I'auroient ete bien davantage, si le
compositeur qui les avoitfaits, n'y eutpas sans cesse confondu les tons et Us modes, sans moduler posiiivement dans
aucun." The Oriental system of tonality and structure of melody is so different from the modern European
system, that the harmony applicable to the latter is, in general, quite inapplicable to the former. The Eastern
music is truly inharmonic, and we find, accordingly, that not only have the Orientals no harmony of their own,
but they have no perception of ours, and rather dislike it. M. Villoteau tells us : "I knew an Arab who was
passionately fond of the ' Marseillaise,' and who often asked me to play it on the piano ; but when I attempted to
play it with its harmony, he stopped my left hand, saying, ' No, not that air ; the other only.' My bass was to
his ear a second air which prevented him from hearing the Marseillaise. Such is the effect of education upon the
organs of sense." Their music is also overloaded with extravagant embellishments. They ornament even their
songs to such a degree, that M. Villoteau doubts if the most skilful European singer possesses sufficient flexibility
and volubility of voice to imitate them. He adds that the ridiculous example of the Egyptian musicians would be
an excellent antidote to cure European singers of that abuse of the art. All this recalls to us what is recorded
of the lavish employment of ornaments by the ancient Irish Harpers, and what we may hear every day, in some
degree, in the playing of our modern Highland bagpipers. 4
The intimate connexion between Irish and Welsh music and musicians in ancient times, having been asserted
by various writers, it is not out of place here to cast a glance over the ancient and modern state of the music of
Wales. Several Irish writers,—Mr. Bunting among the latest,—insist that the Welsh were instructed in music
1 See paper, " Memoirs of Music," above referred to, p. 525.
2 See his " Itccherches," &c., vol. ii. pp. 46, 47. Paris, 1807. 3 Hid., p. 48.
* See notice of Bagpipe Music in vol. iii. of " Wood's Songs of Scotland," pp. 177, 178.

INTRODUCTION. xiii
by the Irish. This the Welsh deny. We leave this question to be settled by antiquarians " non nostrum tantas
componere lites." But if the Irish taught music to the Welsh, it appears very clear that neither the Welsh music
nor musical instruments were borrowed from the Irish. 1 For example, the Welsh triple-harp, with three rows of
strings, is a very different instrument from the Irish or the Scoto-Irish harp, with ouly one row of strings. The
triple-harp of the Welsh, said to have been invented in the fourteenth century, had a compass of about five
octaves,—thirty- seven strings in the principal row, played with the right hand, thirty-four strings in the middle
row, for flat and sharp notes, and twenty-seven in the treble or left-hand row. It appears that the Welsh harp
had at first one row of strings, then two, and lastly three. The old Welsh harps have been superseded by the
modern pedal-harp, 3 Edward Jones, the Welsh bard, setting the example of adopting it, and being followed by his
countryman, John Parry. The oldest Irish harp known, is that preserved in the University of Dublin, thirty-
two inches in height, and with places for twenty strings in a single row. The Welsh bell-harp is " so called from
being swung about, by those who play upon it, like a bell. It is about twenty-one inches long. Its strings are
of brass or steel wire, fixed at one end, and stretched across the sound-board by screws fixed at the other end.
It comprehends four octaves; and the strings are struck with the thumbs, the right hand playing the treble, and
the left the bass ; and, in order to draw the sounds the clearer, the thumbs are armed with a little wire-pin." 3
According to Mr. Edward Jones, " the musical instruments anciently used in Wales are as different from those of
other nations as their music and poetry. These instruments are five in number,— the telyn or harp, 4 the crwth,
the pibcorn or pipe," (bagpipe?) "the tabwrdd or tabret, and the corn-buelin, cornet, or bugle-horn. We find that
the telyn or harp was always peculiar to our bards," &c. Mr. Walker, in his " Historical Account of the Irish
Bards," mentions, among the musical instruments used by the Irish, the greamthine cruit, the crwth of the Welsh.
The Welsh crwth is an instrument having six strings, and a finger-board ; and is remarkable on account of its
being played upon with a bote. Sir John Hawkins, in his History of Music, describes the eneth as follows :
" This instrument somewhat resembles a violin, is twenty-two inches in length, and an inch and a half in thick-
ness. It has six strings, supported by a bridge, and is played on with a bow ; the bridge differs from that of a
violin in that it is flat, and not convex on the top ; a circumstance from which it is to be inferred that the strings
are to be struck at the same time, so as to afford a succession of concords." (?) " The bridge is not placed at
right angles with the sides of the instrument, but in an oblique direction ; and, which is further to be remarked
one of the feet of the bridge goes through oue of the sound-holes (which are circular), and rests on the inside of
the back ; the other foot, which is proportionably shorter, resting on the belly before the other sound-hole. Of
the strings, the four first are conducted from the bridge down the finger-board, as those of a violin ; but the fifth
and sixth, which are about an inch longer than the others, leave the small end of the neck about an inch to the
right. The whole six are wound up either by wooden pegs in the form of the letter T, or by iron pins, which are
turned with a wrest, like those of a harp or spinet." . . . . " The instrument above spoken of is now so
little used in Wales, that there is at present but one person in the whole principality who can play on it : his name
is John Morgan, of Newburgh, in the island of Anglesea ;
and, as he is now near sixty years of age, there is reason
to fear that the succession of performers on the cruth is nearly at an end." 5 This passage was published
in 1776.
1 If it be true, as stated by M. Thierry in his History of the Norman Conquest, that, at a remote period, a body of people from the
Eastern extremities of Europe passed through the strait of Dover, and divided themselves into two parties, one of which landed on the
coast of Brittany, and the other on the English coast ; and that, subsequently, a number of the descendants of that party which had settled
in France, lauded in the south of England, and drove the first possessors to the north and west, and across the Irish Sea to the island of
Erin. It seems probable that these refugees carried with them to Ireland their traditional music, and some of their musical instruments.
For some notices of Welsh Music and Harpers, see two interesting little volumes,— " The History of Wales, by a Lady of the Principality.
Shrewsbury, 1833 ;" and " Tales about Wales. London and Edinburgh, 1837." By the same authoress. At p. 47 of the first of these works,
the authoress, speaking of old Welsh airs, says,— " There are two in particular (see the frontispiece) which may be distinguished as th6
' rough-hewn' models of Moore's celebrated Irish Melodies, ' The Legacy,' and the ' Last Rose of Summer.' The former is called ' Barbara
Wen,' the later ' Duy ros Gochiou,' (or ' ' Dau rosyn Cocb,') The two Red Roses.'" These two were among a number of old Welsh airs
collected by the Rev. J. Jenkins amongst the Welsh peasantry.
- Pedals were first applied to harps by Simon of Brussels, about the middle of last century.
3 See " Musical Relics of the Welsh Bards," by Edward Jones. 1784.
4 Pennant believes that the Welsh harp had originally only nine strings in one row ; that next came the second row, and finally the
third. In support of this, he cites a monody on the Welsh bard Sion Eos, written in the fifth century. If the fact in question is really
mentioned in that monody, there cannot be a more authentic proof of the antiquity of the harp, with three rows of strings, among the
bards of Great Britain.
5 A passage in Dr. Burney's " Tour through Germany and the Netherlands," published in 1773, shows strikingly how soon the manner
of using certain musical instruments may become unknown. He saw, in the Ooster Huys, at Antwerp, a great number of wind-instruments,
all made by one maker at Hamburg. " The inhabitants say that it is more than a hundred years since these instruments were used, and
that there is no musician at present in the town who knows how to play on any one of tbem, as they are quite different from those now
in common use. In times when commerce flourished in this city, these instruments used to be played on every day by a band of musicians
who attended the merchants trading to the Hans Towns, in procession to the Exchange," &c. (Vol. i. pp. 41-43.)
—

XIV INTRODUCTION.
The Welsh Bard, John Parry, in his work titled " The Welsh Harper," London and Chester, 1839, mates
some observations on the antiquity of Welsh Music, from which we quote the following passages :
. . . . " One of the strongest arguments that I can adduce in favour of the antiquity of some of the
Welsh melodies, is, that several of our bards, who wrote many centuries ago, directed that certain poems or songs
should be sung to such and such tunes—naming the airs." 1 Mr. Parry quotes from a work by Dr. John David
Rhys, in the 16th century, containing notices of the state of music in Wales at various periods, and the condition
of the Bards and Minstrels ;
2 and then makes the following observations on Irish airs.
" In consequence of some ancient tunes bearing Irish names, Dr. Powell was led into an error when he stated,
in a note on Caradoc, 'that most of the British music was had from the Irish.' To say nothing of the learned
Doctor's bull, he was wofully mistaken. Prince Gruffydd ab Cynan 3 only brought over some of the chief Irish
musicians with him, who joined with the Britons in regulating the art of composition ;
—
and whether the Irish had
kept their music in greater perfection than the North-Wales men or not, the Prince having resided many years
in Ireland, and thereby having imbibed a natural love for the music of the country, he at least thought so, which
occasioned the before-mentioned coDgress. The mention of two keys peculiar to the Irish, in our old books of
music— as ' Y Cywair Gwijddeliej dieithr' (the strange Irish key), and '
Lleddf gywair Gwyddelig' (the flat Irish
key), also of a few tunes, such as ' Y Oainc ddu o'r Werddon' (the black tune from Ireland)— plainly demon-
strate that the rest of the music is British. But what settles the matter, in my opinion, is the following extract
from a very ancient MS.— 'Llyma'r Pedwar mesur ar hugain Cerdd dant, yn ol Rheol Fesur oil, fal y cyfansod-
dwyd mewn Eisteddfod,' &c. &c These are the twenty-four measures of instrumental music, all according to
rule and measure, as they were composed in a congress before many doctors of the science, of Britons and Irish,
curious in that art, in the time of Gruffydd ab Cynan; and were wrote in books by order of loth parties, the
British and Irish, principal and royal of that time, and copied from thence, &c. &c. The character of the truly
Welsh and Irish melodies is very different. The Welsh basses are always very superior to either that [those] of
the Irish or Scottish music, and are what is termed a ground bass, 4 and always moving ; they are not merely
chords struck to harmonize with the melody, but are working and prominent, and generally consisting of note for
note with the treble or melody, but in contrary motion. The admixture, too, of the major and minor keys, the
change of the time, and the frequency of only six bars in a strain, as in ' The rising of the lark,' ' Cream of yellow
ale,' ' The inspired bard,' &c, are peculiar features in Welsh music. There is a boldness in our marches charac-
teristic of the warlike ardour of the Britons, and a toxiching plaintiveness in their laments, while their pastoral airs
are soft and melodious. The Welsh jigs resemble those of the Irish, and very probably both sprung from the same
source; but whether in the Emerald Isle, or amid the Snowdonian mountains, it were a difficult task to ascer-
tain. I am by no means anxious to claim for my counti-y what does not rightly belong to it ; but at the same
time I feel it incumbent on me to protect her from being despoiled of what I most faithfully believe to have been
honafide her own from time immemorial." 5
The possession by the Welsh, at a remote period, of not only the harp and bagpipe, but also of a bowed
instrument,—the crwth,—shews that these people must have made considerable progress in the musical art, even
previous to the sixth century, when the crwth is mentioned by Venantius Honorius Clementianus Fortunatus,
Bishop of Poictiers, who gives it the Latinized name of " Crotta." The crwth was tuned as follows :—The first
string tuned to D on the second string of the modern violin. The second string to D, an octave below, or the open
third string of the violin. The third string to C on the fourth string of the violin ; and
the fourth string to the
octave above that. The fifth string to G on the third string of the violin, and the sixth string to G an octave
lower, or to the open fourth string of the violin. From this tuning, and from the flatness of the bridge, it is
evident that when notes were stopped on the finger-board in the course of a melody, a number of chords must
have been struck by the bow, and a harmony— such as it was— produced, curiously resembling that of the con-
secutive fifths, fourths, octaves, &c, of the earliest known specimens of harmony :—even such as arc seen in
ancient chants of the early Romish Church. 6 Besides the common crwth, the Welsh had a kind of viol with three
strings, called the crwth trithant, and also played with a bow. In the preface to W. C. Grimm's Collection,
" Altdaenische Hendenlieder, Balladen und Marchen, Heidelberg, 1811," will be found some interesting remarks
upon the early poetical and musical intercourse between the Danes and the Welsh ; from which remarks we may
1 Page 3. - Ibid. 3 In the eleventh century.
4 Surely not what ia generally understood by a ground-bass, i.e., the constant repetition of a certain phrase in the bass, from
beginning to end of an air. and upon which phrase a continually changing air is constructed. That was the ground-bass of the seventeenth
century, as practised by T. Merula. H. Purcell, and others —G. F. G. s Idem, pp. 3. 4.
6 See Gerbert. Martini, Burney, Forkel, and other historical writers on music.

INTRODUCTION. XT
infer that the Welsh bards were instructors of the Danish ones, and not the contrary, as has sometimes been
supposed.
Doctor Burney, in his History of Music, 1
says, "Whoever reads the history of the most ancient inhabitants of
this island, the Cambro-Britons, will find innumerable instances of the reverence which they paid to their Poet-
Musicians, the Bards, both'of Pagan and Christian times ;
and songs of very high antiquity have been preserved
in the Welsh language, though not all the tunes to which they were sung. The Harp, with which these songs
used to be accompanied, was in such general favour in Wales, as to be regarded among the possessions necessary
to constitute a gentleman. 2 The most ancient Welsh poetry that is now intelligible was written about the year
1100, and some of the tunes that are preserved in the late Mr. Morris's MS., which were transcribed from the
music-book of William Penllin, the harper in Queen Elizabeth's time, are supposed by Dr. Davics 3 to be coeval
with the verses to which they were sung, when he composed his Grammar and Catalogue of ancient Cambro-British
songs. Unluckily the notation, or tablature, in which these tunes have been written, is so uncommon and difficult
to reduce to modern characters, 4 that though the gravity or acuteness of the several notes can be ascertained,
yet their lengths, or duration, cannot be established with any degree of certainty, by any rule which I have yet
been able to devise ; however, in a future chapter, when National Music becomes the principal subject of discus-
sion, a further investigation of these characters will be attempted." 5
Besides the Greek and Latin, there were
three different species of ancient musical notation—the Welsh (or Celtic) ; the Saxon ; the Lombard. The Celtic
notation was quite peculiar, while the Saxon and the Lombard resembled each other in some respects, and
seemed to have had a common origin. 8
Dr. Burney mentions the Welsh MS. belonging to Richard Morris, Esq., and which is said to have been
" transcribed in the time of Charles the First, by Robert ap Huw, of Bodwigen, in the isle of Anglesea, from
William Penllyn's Book." This William Penllyn was, it appears, one of the successful candidates on the harp, at
the Eisteddfod, or session of the bards and minstrels, appointed in the ninth year of Queen Elizabeth, at Caerwys
in North Wales, where he was elected one of the Chief Bards and Teachers of Instrumental Sonc/." 1 Dr. Burney
gives specimens of that MS., the music in which is ascribed to the eleventh century, a degree of antiquity which
he thinks there are reasons for doubting. 8
The late celebrated Dr. William Crotch, Professor of Music in the University of Oxford, gives a number of
Irish, Scotch, and Welsh airs, in the first volume of his " Specimens." Speaking of Scotch music, he says, in his
Preface, p. 6,
" The Lowland Scotch tunes commence at No. 90 : this music claims a preference over the national
music of every other part of the world ; it raises in the mind the affections of grief and joy, and soothes it into
serenity, more suddenly and more powerfully than any other species of music whatever." This opinion of an
English musician so accomplished as Dr. Crotch, cannot be otherwise than agreeable to every Scotchman. Valeat
quantum. But, although we have a true Scottish love for our national music, and a sincere admiration of its
beauties, wo humbly think that Dr. Crotch's opinion requires some modification ; for it seems to us that some of
the best Irish and Welsh National airs—to seek no further—are, in every respect, equal to any Scottish airs of
which we can boast. And we say this even after reading that passage in Gerald Barry, 9 who tells us that, in his
time, (twelfth century,) " In the opinion of many, however, S.-otland has not only attained to the excellence of
Ireland, but has even, in musical science and ability, far surpassed it, insomuch that it is to that country thej'
now resort as to the genuine source of the art."
With regard to Welsh music, Dr. Crotch says, (Preface, p. 7,) " British and Welsh National music may be
considered as one, since the original British music was, with the inhabitants, driven into Wales. It must be
owned that the regular measure and diatonic scale of the Welsh music is more congenial to English taste in general,
and appears at first more natural to experienced musicians than those of the Irish and Scotch. Welsh music
not only solicits an accompaniment, but being chiefly composed for the harp, is usually found with one ; and,
indeed, in harp tunes, there are often solo passages for the bass as well as for the treble. It often resembles the
scientific music of the seventeenth and eighteenth centuries ; and there is, I believe, no probability that this
degree of refinement was an introduction of later times," &c. Dr. Crotch (p. 8) notices the Welsh minor scale
with the 6th and 7th, both major, and as very different from that of the Irish and Scotch ; but he observes that
the same scale is found in Norwegian tunes which he cites. He says, {ibid.,) " the military music of the Welsh
1 Vol. ii. pp. 351, 352. 2 i ega Watticcc. s In Prof, ad Gram. Brit.
4 " See above, p. 112. where a specimen of this notation is given." 5 That promised chapter Dr. Burney never gave.
6 For specimens of Saxon notation of the teDth century, see Gerbert. " Be Cantu tt Musica Sacra," vol. ii., Plato X.. et si-q ,- and for
specimens of Lombard notation of the ninth century, see the same volume, Plate XIIL
7 Pennant's Tour in North Wales, quoted by Dr. Burney in vol ii. of his History of Music, p. 1 10.
8 Ibid., pp. 111-114. Topogr. Hibern., lib. iii. cap. 2, p. 739.

XVI INTRODUCTION.
'
seems superior to that of any other nation ;" and Bunting alludes to the peculiar character of the music per-
formed by the Welsh harper who came to the meeting at Belfast, in Ireland, in July 1 792, in these words :
" The Irish harpers were succeeded by a Welshman, (Williams,) whose execution was very great. The contrast
between the sweet, expressive tones of the Irish instrument, and the bold, martial ones of the Welsh, had a
pleasing effect, as marking the difference of character between the two nations." 1
Until of late years, it was not supposed that there existed, in the thirteenth and fourteenth centuries, any
vocal music in parts, differing in nature and construction from the simple ecclesiastical music of that time, which
was formed by a number of voices singing notes of equal length, and making an uninterrupted succession of
fifths, fourths, and octaves, such as are found in the examples given by Guido d'Arezzo in the eleventh century,
and his successors. But the discovery of manuscripts containing verses and music of the thirteenth century, by
Adam de la Hale, threw a new light upon the ancient history of the art of musical composition. These manu-
scripts exist in the Imperial Library at Paris, Nos. 65 and C6, (fonds de Cange,) and 2736, (fonds de La Valliere,)
and contain a number of songs, several motets, and a comic opera,—words and music by Adam de la Hale, a
poet and musician, born at Arras about a.d. 1240, and who was named, from his deformity, " Le Bossu d'Arras,"
—the Hunchback of Arras. The songs are for three voices, and, although the harmony is rude, containing
consecutive fifths and octaves, still it shews an advance beyond the old ecclesiastical harmony above-mentioned,
which no civilized modern ears could tolerate. The motets are composed of the plain-chant of an anthem, or of a
hymn, put in the bass with Latin words, and upon which one or two other voices make a florid counterpoint.
The taste of that period is curiously shewn by these upper voices singing French words of love-songs. The
comic opera of Adam de la Hale is the oldest in existence, and is entitled, " Li gieus de Robin et de Marion,"
i.e., Le jeu de Robin et de Marion. In 1822, the Bibliophilist Society of Paris printed twenty copies of it for
their own use, in 8vo, pp. 100. At the end of this Introduction, we give (No. 4) the melody of an air sung by
Robin in that opera, to the words, J'ai encore i tel paste qui n'est mie de Jaste, &c. We give also (No. 3) one of
the songs for three voices by Adam de la Hale, translated into modern notation by the Chevalier A. Krezschmer,
War-Minister to the King of Prussia, at Anclam, in Pomerania, and a distinguished amateur of music. Besides
collections of German songs and romances, published by Peters of Leipsig, he is the author of a curious work
entitled " Ideen zu einer Theorie der Musilc ; Stralsund, Lcefiier, 1833, 4to," in which he gives some new ideas
upon the constitution of tonalities. The indeterminate tonality of Adam de la Hale's three-part song, and its
close upon C major, while it seems to begin in D minor, are worthy of remark. The original manuscript appears
to have had the music a fourth below the pitch of the Chevalier Krezschmer's version. The song sung by Robin
(No. 2) is a favourable specimen of ancient French melody ; and we doubt if anything so regular and pleasing
can be shewn among the national airs of Britain or Ireland as far back as the year 1285, the supposed date of
Adam de la Hale's opera. There is a very pretty Welsh air, " Mwynen Gwynedd,"— "The Sweet Melody of North
Wales," 2 said by Dr. J. David Rhys (in 1592) to be as old as the seventh century, but no manuscript of the air
of that date is forthcoming. The air, as it stands in Parry's book, is probably about 1000 years younger than
the date given to it by Dr. Rhys.
The oldest authentic specimen of rhythmical music, and of song-poetry of the middle ages, was found in a
manuscript which had formerly belonged to the Church of Saint Martial of Limoges, and now in the Imperial
Library at Paris, No. 1154, folio 13G. This curious specimen is a song composed by Angelbert, a Frank soldier,
who was one of the combatants in the bloody and disastrous battle of Fontenai, fought on the 25th June 841, by
the contending brothers of the French royal family, Lothaire, Louis, and Charles, sons of Louis-le-De'bonnaire. 3
1 Page 64 of Bunting's third volume. 2 See p. 70 of John Parry's " "Welsh Harper."
3 After the death of Louisde-Dobonnaire, in 840, his son Lothaire set up pretensions which were resisted by his brothers, Louis of
Bavaria and Charles the Bald. Next year, 841, Lothaire joined his nephew, Pepin II. of Acpiitaine, against Louis and Charles, and gave
battle to them on the 25th June at the village of Fontenay, inow Fontenaille,) a few miles from Auxerre. We here translate Sismondi's
account of the combat :— " The next morning (25th June) at daybreak, the two brothers took post on the summit of the hill of Alouettes,
which overlooked the camp of Lothaire, and then waited for the hour appointed. The combat began at three different points. Lothaire
commanded at the place called Brittes, or Bretignelles, and was attacked there by Louis the German. We do not know the names of
Lothaire's lieutenants who commanded at Fagit, or le Fay, and at Solennat, or Coulenne. The former of these was attacked by Charles
tho Bald, the latter by Count Nsthard,—who has written the only good history of that unhappy period,—and by Count Adelhard. No
combat since 'the origin of the monarchy had been so obstinate. None caused more bloodshed, or was more disastrous to France, The
armies being nearly equal in numbers, and equal in courage, neither could submit to yield the victory. At last victory remained with the
two younger brothers, but it had been so dearly purchased that they were unable to gather its fruits. In general, the historians of that
epoch do not tell us the number of the dead ; in fact there was so little order in the armies, that the generals themselves could never
know the amount of loss. Only one contemporary writer, but an Italian, states the loss of Lothaire and Pepin at forty thousand men
and this calculation ought to be looked upon as the most exaggerated of those which were current regarding the consequences of that
hattle. However, the annalist of Metz was the first to say,—and almost all those who followed have repeated,—that the massacre of the
French on that day brought to an end their military power, and left them unable to arrest the ravages of the Normans, the Saracens, and
—
;

INTRODUCTION. XVU
In 1738, the Abbe Jean le Boeuf published the words of that song, in his " Becueil da phtsieurs fonts pour servir
d'eclaircissementa I'histoire de France et de supplement a la notice des Gaides" (vol. i. p. 164,) but he was not able
to decipher the music, which remained undeciphered until 1844, when it was put into modern notation, and pub-
lished by F. J. Fetis, Chapel-Master to the King of Belgium, and Director of the Conservatory at Brussels. The
first stauzas are as follows, in the Latin of the ninth century.
" Aurora cam primo mane
Tetram noctem dividens
Sabbatum non illud fuit,
Sed Saturni dolium
De fraterna rupta pace
Gaudet Daemon impius.
" Bella clamant hinc et inde,
Pugna gravis oritur,
Frater fratri mortem parat.
Nepoti avunculus
Filius nee patri suo
Exhibet quod meruit."
The music is given (No. 1) at the end of the Introduction to this volume. 1 Fetis makes the following observations
on this song and its music. We translate from the French : " The example which we have just seen of a melody
taking its rhythm from the poetry, is not the only one found in the manuscript whence I have extracted it ; we
see there also a lamentation on the death of Charles the Bald (Planctns Karoli) composed in the ninth century,
and noted in the Saxon manner ; a singular piece, the existence of which has been unknown to all historians ;
the complaint of the Abbe Hugues, of the same time, and also noted ;—the song of Godeschalch ;_the complaint
of Lazarus, by Paulin ;—the song of Duke Henry, by the same ;—and, which is perhaps of still greater historical
iuterest, we find there, also noted, the melody of the anapajstie verses that occur in the first book of the philoso-
phical consolation of Boethius :
—
stelliferi conditor orbis, &c,
and the song of the seventh ode of the fourth book of the same work :
JJella (puis quinis operatns annis
Ultor Atrides, Sc.
Who knows if the measured melody of the first of these pieces in which the minister of Theodoric deplored in his
prison the miseries of human condition, is not that which he himself composed, and if we have not in these chants
precious remains of the music of Italy under the domination of the Goths 2 Howsoever that may be, all the
pieces which I have cited, as well as an erotic song in Latin and noted, which is found in another manuscript of
St. Martial of Limoges, (No. 1118 of the Royal Library at Paris,) furnish indubitable proofs of the existence in the
ninth and tenth centuries of a measured and rhythmical chant, and probably popular, which was essentially
different from the church chant in notes of equal length.
" If an opinion contrary to the existence of such a music in those remote times has been established among
all musical historians, it is because these writers, not finding in all the treatises on music anterior to the twelfth
century anything but works relative to the ecclesiastical chant, could not suspect that there was another kind of
music that had not been mentioned. All the works of that kind that Gerbert gathered for the two first volumes
of his collection, 2 were written by monks or abbes who, from their profession, could not write on anything but
plain-chant. What happened in consequence ? Doubt was thrown upon the identity of an author who spoke of
measured music at a time when all others treated only of plain-chant. That author is Franco of Cologne, a school-
master of Liege, who wrote as early as 1055, and who was still alive in 1083. Both Kiesewetter and Winterfeld
the Bretons. We may judge what bail become of the free population of an empire which extended from the Baltic to the Ebro, and
from the Krapack mountains to the Sea of Qasoony. or to the extremity of Italy, when the loss of forty thousand men sufficed to
annihilate its military strength."—See " Iilstoire des Francais, par J. C. h. Simonde de Sismondi," vol. iii. pp. 64-66, edition of 1821.
We have omitted his references to authorities, which he gives in footnotes.
1 Some years ago, a writer in the Quarterly Musical Review (London) mentioned his having discovered in the British Museum a
manuscript, dated a.d. 1060, containing Arabic love-songs, hymns, Sic, set to music. He stated, that the manuscript shows the existence
of a rude kind of counterpoint among the Arabians of that period. If that manuscript contained genuine Arabic melodies and harmonies,
it is a pity that so great a curiosity was not translated and published entire.
2 " Scriptures ccckslastici de musicd sacra putisslmum" &c., 1784, 3 vols. 4to.
b
—
—

TiVlll
INTRODUCTION.
do not believe that the schoolmaster of Liege was the same as the author of the most ancient treatises that have
reached us upon measured music and regular harmony. This was also the opinion of Perne, who believed that
Franco of Cologne must have written at the end of the twelfth century, or at the beginning of the next. His notes
prove that he, as well as Winterfeld and Kiesewetter, thought it impossible that in the short space between the
date of the works of Guido of Arezzo, the system of measured music expounded by Franco could have been estab-
lished ; for the latter does not claim its invention, but speaks of it as a thing known before his time. It was so
in fact, and for a long time, for the basis of the system of measured music is not found in the form of the notation,
but in the division of the time. But we have seen that if the time was divided only in an equal and absolute
manner in the ecclesiastical chant, it was not so in the secular chant, and that one of the melodic characters of the
latter consisted in the relation of the modifications of time. As to the manner of representing these modifications
by signs, it may have been different in kind in the middle ages, before the time when Franco and tiuido wrote.
But if reflection had been bestowed upon the examples of an instrumental music of the Cambro- Britons, (the
Welsh,) furnished by Burney and Walker,—a music anterior to the eleventh century,— conviction would have
followed, that all the divisions of musical time were already known, practised, and represented by signs, before
Franco wrote. To indicate with precision the epoch in which the modifications of the Lombard notation applied
to secular music, gave place to the system of measured notation shown by Franco, would be impossible in
the absence of authentic documents. However, it seems to me probable that such transformation took place, at
the latest, about the second half of the tenth century, in some particular school of Germany, and that thence it
spread through Europe with so much the more slowness and difficulty, that the greater number of music-schools
had for their object ecclesiastical chant, in which diversity of values of time was not admitted. It must not be
forgotten, in examining what regards notation, that we cannot establish for the middle ages any general rule from
the contents of a treatise on the art, or from the age of a manuscript ; because, as I have said, at that time
when communications were difficult, there were as many systems as schools. In one place people were in a
path of advancement, in another place they seemed to be ignorant of everything that had been done for more
than a century. And, to mention one of the most remarkable facts among those which occur to me, is it not
singular that at the very time when the Lombard notation, modified by lines, was in use in the greater part of
Italy, Guido of Arezzo seems not to have known any other than that of Pope Gregory, applied to the same system
of lines, which was of no use to him ?"
Having now finished, for the present, our observations upon the National Music of Ireland and of Wales
both of which are more or less related to the National Music of Scotland 1— and having also touched upon certain
musical antiquities connected with popular Melody and Harmony and musical instruments, we find that the space
allowed for this Introduction will not permit us to fulfil our intention 2 of adding a good many observations upon
certain modern opinions regarding Melody and Harmony, and upon the ^Esthetics, or Metaphysics, of Music.
Therefore, we can only advert here to these subjects very briefly. In the first place, we consider all those musi-
cians and writers on music, who maintain the doctrine of the inferiority and insignificance of Melody as compared
with the superiority and importance of Harmony, 3 4
to be radically wrong in their opinions ; inasmuch as the
primary and most important element of Music as a fine art—as an expressive art— as an art affecting the deepest,
purest, and tenderest of human feelings— is Melody. The secondary and more artificial power of music over our
feelings, exists in Harmony. Melody is quite independent of Harmony. Harmony cannot exist in purity and
perfection, without the aid of Melody pervading the different parts (for voices or instruments) of which Harmony
is composed. 6 In the best works of the three greatest modern German composers of music—Haydn, Mozart,
Beethoven—there is a happy union of beautiful and expressive melody with consummately skilful harmony.
Among certain musicians and writers on music— especially in Germany—there has been a tendency to carry imita-
1 Our observations upon Scottish National Music will be found in the three volumes of Wood's Songs of Scotland—in the volume of
Wood's Melodies of Scotland without Words—and in the volume of Wood's Vance Music of Scotland— all recently published.
2 Vide supra, p. x of this Introduction.
3 In Germany, this strange doctrine has been maintained.
4 Among many astounding opinions of German philosophers, the one affirming that " Nothing is Everything, and Everything is
Nothing," so amazed an able German philosopher, that he declared that when he first heard it " he did not know whether he was
standing on his head or his heels." We do not say ex uno disce omnes, but we say ex uno disce multos.
5 Of course we speak of harmony as constituted by harmonic successions of various chords, and not of any single harmonic combination
of sounds.
—

INTRODUCTION. XIX
tive or descriptive music very far beyond its true limits. In a former work, 1 we have pointed out how far musical
imitation can extend consistently with the true nature of music as a fine art. With regard to the ^Esthetics of
music, we have only to remark that the term ^Esthetics 2 was introduced by German metaphysical writers, about
a century ago, to express The Theory of the Beautiful, or, The Philosophy of the Fine Arts ; that that is the meaning
attached to the term ^Esthetics by the best modern authorities, German, French, Italian, and English ; and that
the result of all which has been written upon ^Esthetics is to leave the true knowledge of the subject just where it
was a hundred years ago; while the use of the term has had no real influence whatsoever upon the advancement
of any of the fine arts ;
the origin and advancement of these not depending upon any metaphysical terms or theories,
but upon the active and energetic workings of men of genius only—each in his own province of art. ^Esthetics can
only comprehend, at any given time, the conditions of an art as known and generally received ; but can never
explain, a priori, the inner foundations of art in the human mind and in human sensibility the impenetrable
ultimate causes of that pleasure or displeasure which objects of art may produce upon our bodily sensations
and our mental perceptions.
GEORGE FARQUHAR GRAHAM.
No. I,
Melody of Ninth Century. Song on the Battle op Fontenai, Fought June 25, a.d. 841.
jfe^
m
Au - ro cum pn - mo ma te tram noc tern
i
EE* m
vi - dens, Sab - ba - turn non il lud fu
i s m=r^ s s m.
Sa - tur
jE^mm
do De fra - ter
2=3 jfeNd=^
rup - ta pa gau det Dae
No. 2, z
I
i 3
W3E:i
German Melody, 3 early jn Fifteenth Century.
s
Es ist ein alt ge - sproch - ner Rath, &c.
=E
:-t
1 "Essay on the Theory and Practice of Musical Composition." Edinburgh: Adam & Charles Black. 3 638. Among the many
instances of pseudo-imitative music that we have seen, there is a composition for the harpsichord by F. J. FreystTidler, published at Vienna
in 1791, which he called " La Matinee, le Midi, et le Soir du Printemps," and in which he attempted to imitate, by music, many things
beyond the powers of that art. We mention this compo=ition particularly, because, from several passages in it, we think that it suggested
to Beethoven his Pastoral Symphony. Freystwller introduces the notes of the quail and of the cuckoo, &c—a German peasants' dance ;
and, in No. 7, The Herdsman's Seng, a passage note for note the same as that introduced by Beethoven in his " Song of the Shepherds,"
in 6.
In German 2lcftnctif, from the Greek altrfaffis'
:;
° :
3 Written here an octave higher than the original.

XX INTRODUCTION.
JL— 1
g>—
1
PJ
J—
P—
/F—
' r> f
fjPS ^T —
No. 3. Im^fe
J
\
:
1 1
1
P J J A J J J—[-
"
a
P ^r^— --4-
v-t
P~ ~p i n—-
Fbench Melody of Thirteenth Century. 1 Adam de la Hale.
^m^$^£gm 33E
Song fok Three Voices, Composed by Adam de la Hale.
f
i
J J_
~^-f-4 :z^-1- :
Bzrre=E
*^=*
No. 4. |ee e? m *==t
J-pi—u
Taut
|^
con
^
je vrai na me -
^
rai
SI P^=r—
^
^^S^^^^^
I
£i=?
eI
£
^e^z^^^^;
trui que vous je n'en par ti
as w *
' Lett
^zz
nevek ceueltie dishonouii bewtie.''—Page 227 of Me. Dauney's Woek.
^f^fECS fcc =g£ £@ £^ ^
* Translated from the original notation, and written an octave higher.
-

A baby was sleeping,
Ah !
INDEX
THE SONGS OF IRELAND WITHOUT WORDS.
Sheelah, thou'rt my darling,
Aileen Aroon,
Aileen Aroon, (Second Version,)
Air an m-baile so ta cuilfhionn,
Alas ! for poor Teddy Macshane,
A little hour before day,
Alley Croker,
A lovely lass to a friar came,
And doth not a meeting like this,
An deladoir, .
Andrew Carey,
An graidheoir duilteach,
An londubh agus an cheirseach,
Arrah, my dear Eveleen,
As a beam o'er the face of the waters i
A sailor loved a farmer's daughter,
As slow our ship,
As vanquish'd Erin, .
At the mid hour of night,
Avenging and bright,
Barney Brallaghan, .
Believe me, if all those endearing yoimg
charms, 17
Billy o' Rorke is the Bouchal,
Blind Mary, .
Bob and Joan,
Buy broom besoms,
By that lake, whose gloomy shore,
By the Feal's wave benighted.
By the hope within us springing,
Captain Magan,
Captain O'Kain,
Cardan's receipt,
Cardan's receipt, (Second Version,)
Castle O'Neil,
Castle Tirowen,
Cean Dubh Delish,
Ciste sa stor, .
Come o'er the sea,
Come, rest in this bosom,
Come, send round the wine, .
Contae Xir Eoghain, .
Coolon das,
TAGE PAGE
G Coulin, 6
114 Crooghan a Venee, 112
61 Cruiskeen Lawn, 5
155 Cruiskeen Lawn, (Second Vcr sion,) . 153
100 Cuan milis an challaidh, 98
86 Cuishlih ma chree, 38
60 Cummilum, 44
13 Cummilum, (Second Version,) 155
113
16 Daniel the worthy, 68
136 Dear harp of Erin, 68
67 Dear harp of my country ! 89
46 Dennis Brulgruddery, 58
108 Dennis, don't be threatening, 24
19 Dermott, 25
> may glow, 141 Derry Down, . 58
72 Derry Down, (Second Version, ) .155
2 Desmond's song, 32
39 Down in the valley come meet me to-night, 94
48 Drimen Duff, 82
.
' 71
112 Drink of this cup, 106
Drink to her, 91
76 Drops of brandy, 155
Erin go bragh, 8
108 Erin, oh! Erin, 137
38 Erin ! the tear and the smile, 61
146
Eveleen's bower, 24
21
32 Fagne a Ballagh, 139
116 Fairest ! put on awhile, 44
Fanny Power, 68
64 Farewell ! but, whenever you welcome the hour, 3
110 Farewell, Eamon, 140
40 Farewell to the mountains, 69
154 Father Quin, . 74
75 Fill the bumper fair ! 38
59 Fly not yet, 'tis just the hour, 11
130 Forget not the field, 105
140 From this hour the pledge is g iven, . . 138
38
13 Gage Fane, 147
135 Gamba Ora, . 70
101 Garryowen, 57
104 Good omens, . 149

XKU INDEX TO THE SONGS OF IRELAND WITHOUT WORDS.
Go to the devil and shake yourself,
Go -where glory waits thee,
Gramachree, .
Has sorrow thy young days shaded ?
Heigh ho ! my Jackey, .
How dear to me the hour when day-light dies.
How oft has the Benshee cried
How sweet the answer echo makes,
Huish the cat,
I'd mourn the hopes that leave me,
I do not incline,
If sadly thinking,
If the sea were ink,
If thou'lt be mine,
111 omens,
I love you above all the rest,
I'm the boy for bewitching them,
In the morning of life,
In this village there lives a fair maid
In yonder valley there dwelt alone,
I once had a true-love,
I sat in the vale,
I saw from the beach,
It is not in thy power, fair maid,
It is not the tear, at this moment shed
I've a secret to tell tbee,
I wish I was by that dim lake,
I wish I was on yonder hill, .
I would rather than Ireland, .
John O'Reilly the Active,
Kate Kearney,
Killdroughalt Fair,
Kitty Nowlan,
Kitty O'Hara,
Kitty cf Oulart,
Kitty Tyrrel, .
Lady Maisterton,
Larry Grogan,
Lay his sword by his side,
Lesbia has a beaming eye,
Let Erin remember the days of old,
Like the bright lamp,
Lough Sheeling,
Love's young dream, .
Luggelaw,
Macfarlane's lamentation,
Maidin bhog avibhinn,
Maid of the valley,
Mary with the fair locks,
Matthew Briggs,
Michael Hoy, ...
Miss Molly,
Moll Roe in the morning,
Moll Roone, .
Molly Astore,
Molly Macalpin,
Molly, my dear,
!
PAGE
37
118
114
60
91
119
43
42
76
33
30
102
81
93
36
28
120
26
100
7
30
87
66
65
4
27
89
89
115
134
117
12
127
144
102
56
94
15
81
26
7
137
13
132
142
52
10
118
99
90
90
66
111
3
114
47
48
Murphy Delany,
My dear, stay with me,
My gentle harp
! !
My lodging is on the cold ground,
My love and treasure,
Nancy Vernon,
Nay, tell me not, dear
New Langolee,
Night closed around,
Ni mian Horn,
Noch bonin shin doe,
No, not more welcome,
Nora Creina, .
Noran Kitsa, .
Now winter is gone,
O'Connor's Lament, .
O'Donohue's mistress,
Of all the fair months,
Oh ! Arranmore, loved Arranmore,
Oh, banquet not
Oh ! blame not the bard,
Oh ! breathe not his name,
Oh ! doubt me not,
Oh ! for the swords of former time,
Oh ! had we some bright little Isle,
Oh ! haste, and leave this sacred Isle,
Oh ! southern breeze,
Oh ! the days are gone,
Oh ! the sight entrancing !
Oh ! think not my spirits are always
Oh ! 'tis sweet to think,
Oh ! weep for the hour,
Oh ! where has the exile his home ?
Oh ! where's the slave ?
Oh ! ye dead !
leave me to my sorrow
! Maebhi gheal !
One bumper at parting !
One night in my youth,
Oonagh,
Patrick, fly from me,
Open the door,
Open the door softly,
! white Maive,
Paddy Carey,
Paddy O'Carrol,
Paddy O'Rafferty,
Paddy's resource,
Paddy Snap, .
Paddy Whack,
Paddy Whack, (Second Version,)
Pease upon a trencher,
Peggy Bawn,
Petticoat loose,
Pittatoughty,
Planxty Carolan,
Planxty Conner,
Planxty Drury,
Planxty Irwine,
Planxty Johnston,
as light,

INDEX TO THE SONGS OP IRELAND WITHOUT WORDS. XX111
TAGB PAGH
Planxty Kelly, 11 The bold Dragoon, (Second Version,) 166
Planxty Kelly, (Second Version,) 154 The bottle of punch, . 107
Planxty O'Reilly, 97 The Boyne Water, 39
Planxty Sudley, 2 The Boyne Water, (Second Version,) 154
Plough tune, 126 The boys of Kilkenny, 14
The brown Irish girl, 21
Quick ! we have but a second, 54 The brown maid, 45
The brown thorn, 98
Remember thee ! 59 The captivating youth, 122
Remember the glories of Brien the Br ive, . 47 The cobbler of Castleberry, 148
Renardine, . 138 The Coina, or dirge, . 29
Bich and rare were the gems she won !, . 8 The county Tyrone, . 101
Rich and rare were the gems she wor :, (Second
Version,) . . .
Robin Adair,
Bory O'More,
153
61
149
The cuckoo, .
The dandie, O !
The dangling beams,
The darling, ....
49
20
93
109
Rose Connolly, 142 The dear black maid, 43
Sail on, sail on,
Saint Patrick was a gentleman,
Savournah Deelish,
73
23
8
The dear Irish boy,
The deserter's meditations,
The deserter's meditations, (Second Version,)
The dirge, ....
129
102
156
43
Scarfuint na Gompanach, 150 The dirge of Carolan, 118
Shall the harp then be silent ? 52 The dream of those day9, 28
Sheela na guira, 53 The fair-haired child, . 58
She is far from the land, 82 The fair maid of Wicklow, 118
Shepherds, I have lost my love, 18 The fair woman, 65
She sung of love,
Shule Aroon, .
130
89
The Fairy- Queen,
The foggy dew,
116
no
Silence is in our festal halls, . 133 The fortune-teller, 94
Silent, oh Moyle ! be the roar of thy ivater, 19 The fox's sleep, 9
Sing, sing—music was given, 88 The gentle maiden, 16
Sing, sweet harp, 51 The girl I left behind me, 2
Sin sios agus suas liom, 154 The girl I left behind me, (Second Version,) 153
Sios agus sios liom, 18 The green woods of Truigha, . 133
Sly Patrick, . 60 The groves of Blarney, 1
Soft mild morning, 10 The harp that once through Tara's halls, 114
Song of Innisfail, 12 The hermit of Killarney, 92
Song of the battle-eve, 5 The humming of the Ban, 73
Speic Gailleanac, 86 The humours of Ballamaguiry, 88
St. Patrick's day in the morning, 44 The humours of Glen, 48
St. Senanus and the lady, 98 The humours of Listivain, 52
Stafford's receipt for whiskey, 40 The Irish peasant, 30
Strike the gay harp ! 20 The Irish washerwoman, 46
42
Sublime was the warning, 31 The lamentation of Aughrim, 105
Sunday morning, 146 The lass that wears green, 28
Sweet Innisfallen, 122 The legacy, ....
Sweet Isle, 126 The little and great mountain, 128
Sweet Portaferry, 98 The little harvest-rose, 26
The little pot, 143
Take back the virgin page, 25 The market-stake, i 80
Thady, you gander, 14 The meeting of the waters, 14
Thamama Hulla, 137 The minstrel-boy, 4
Thamama Hulla, (Second Version,) 156 The moon dimm'd her beams, 50
The Angel's whisper, 6 The Moreen. . 4
The Arethusa, 66 The mountain sprite, . 7
The Armagh night-cap, 79 The Munster man, 130
The banks of Banna, . 18 The night dance, 20
The banks of the Shannon, 136 The old head of Denis, 14
The beardless boy, 74 The old Langolee, 88
The blackbird and the hen, 108 The old woman, 132
The black-haired girl, 83 The parallel, .... 115
The black joke, .
' 31 The parting of friends, 150
The bold Dragoon, 80 The pearl of the white breast, 122

XXIV INDEX TO THE SONGS OP IRELAND WITHOUT WORDS.
The pleasant rocks, ... PAGE
96
The pretty girl milking her cow,
132
The pretty girl of Derby, ! . - 24
The priest in his boots,
The Prince's day,
103
44
The Princess Royal, . 66
The rakes of Mallow, . 92
The red fox, . 7
The rejected lover,
The rocking of the cradle,
The rose-tree,
The shamrock,
The sixpence,
The snowy-breasted pearl,
The song of O'Ruark,
The song of sorrow,
The song of the woods,
46
87
33
13
4
123
132
54
The sprig of shillela, . 31
The summer is coming,
8
The thread-bare coat,
104
The time I've lost in wooing.
95
The tree in the wood,
124
The twisting of the rope,
119
The valley lay smiling before me, 132
The wandering bard, . 97
The wedding of Ballyporeen,
The wheelwright,
The wine-cup is circling,
The winnowing sheet,
The wood hill,
The wounded Hussar,
The wren,
The yellow horse,
The young man's dream,
The young May moon,
Thee, thee, only thee,
There are moments of bliss,
There are sounds of mirth,
36
34
136
90
93
94
110
42
125
141
20
80
79
103
There is not in this wide worl 1 a vail 3y so svfeet, 14
They know not my heart,
They may rail at this life,
This earth is the planet,
Though dark are our sorrows,
Tho' the last glimpse of Erin,
Though humble the banquet, .
Through grief and through danger,
Thy fair bosom,
'Tis believed that this harp, .
'Tis gone, and for ever,
'Tis the last rose of summer, .
To ladies' eyes a round, boy, .
Tu fein sine fein,
'Twas one of those dreams,
Uair bheag roimh Id,
War song,
We brought the summer with us,
Weep on, weep on, .
We may roam through this world.
Were I a clerk,
What the bee is to the floweret,
When daylight was yet sleeping,
When war was heard,
Whene'er I see those smiling eyes,
When first I met thee,
When he who adores thee,
When in death I shall calm recline,
When through life unblest we rove,
While gazing on the moon's light,
While history's muse,
Wreath the bowl,
Ye friendly stars that rule the night,
Yellow Wat and the fox,
You remember Ellen,
Young Terence M'Donough, .
Yourself along with me,
PAOB
104
72
72
44
6
140
30
124
147
8
1
139
62
36
60
47
135
54
57
112
125
36
92
74
32
9
42
18
85
55
145
70
84
112
50
62

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THE SOJSGS OF IRELAND WITHOUT WORDS. 1&
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16 THE SONGS OF IRELAND WITHOUT WORDS.
MoDERATO
ED
EsPRESSirO.
AND DOTH NOT A MEETING LIKE THIS.
Et ^w*m
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THE GENTLE MAIDEN.
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con
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THE SONGS OP IRELAND WITHOUT WORDS.
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BELIEVE ME, IF ALL THOSE ENDEARING YOUNG CHARMS.
MY LODGING IS ON THE COLD GKOUND.
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13 THE SONGS OF IRELAND WITHOUT WORDS.
iti^m^^mm^M
OH ! WHERE'S THE SLAVE ?
Con
SpiRITO.
m
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f
g3ftiB"5i|=J£
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WHEN THROUGH LIFE UNBLEST WE ROVE.
SHEPHERDS, I HAVE LOST MY LOVE. THE BANKS OF BANNA.
^^^#^^1
A NDA NTE
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Gusto.
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1 For another Version of this Air, see Appendix. *^W

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THE SONGS OF IRELAND WITHOUT WORDS. 19
m
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20 THE SONGS OF IRELAND WITHOUT WOItDS.
Allegretto
ed
Animato.
I. *
P
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-^h -| 1 ?
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SpiRITO.
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THE YOUNG MAY MOON. THE DANDY 01
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THE NIGHT DANCE.
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THE SONGS OF IRELAND WITHOUT WORDS. 21
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BY THAT LAKE, WHOSE GLOOMY SHOBE. THE BROWN IRISH GIRT,.
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22 THE SONGS OF IRELAND WITHOUT WORDS.
T^—J—r
ai5=B i
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—
PLANXTY DEURY.
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SAINT PATEICK WAS A GENTLEMAN.
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24
THE PRETTY GIRL OP DERBY, O
AxDANTlXO.
W=^
m •v$—
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THE SONGS OF IRELAND WITHOUT WORDS.
, OH
P
eittgs -=i-
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FOR THE HOUR.
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EVELEEN S BOWER.
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THE SONGS OF IRELAND WITHOUT WORDS. 25
t—
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26 THE SONGS OF IRELAND WITHOUT WOEDS.
MODEKATO
ED
Apfkttcoso.
IN THE MOKNING OF LIFE.
=±f-f—
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THE LITTLE HARVEST-ROSE.
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Allegretto. <
FS
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LESBIA HAS A BEAMING EYE.
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7-^ J »-# f— .
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KORA CRE1NA.
m-\=5-\=m -d «h

m
m=B• •
THE SONGS OF IRELAND WITHOUT WORDS. 27
m^^^m^m^^s^
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28
Andante
CON
DOLOHE.
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THE SONGS OF IRELAND WITHOUT WORDS.
THE DREAM OF THOSE DAYS. I LOVE YOU ABOVE ALL THE REST.
Spilppiplg
V
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Allegretto
ED
Animato.
e£
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ONE NIGHT IN MY YOUTH.
?
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THE LAS8 THAT WEARS GREEN.
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Affettuoso.
THE SONGS OF IRELAND WITHOUT WORDS. 2.9
T==i=W=£* J£=FW :£=fc|fefc* —m — m— -i— *i— =i—
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30 THE SONGS OF ICELAND WITHOUT WORDS.
Allegretto
ed
Animato.
I DO NOT INCLINE.
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mf
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THE SONGS OF IRELAND WITHOUT WORDS. 31
t ra
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THE BLACK JOKE. THE SPRIG OP SHU.LELA.
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32 THE SONGS OF IRELAND WITHOUT WORDS.
BY THE FEAL'S WAVE BENIGHTED.
O LEAVE ME TO MY SOBKO'W. Desmond s poko.
AxDANTIXO
Affettuoso. p.i
w
m/
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Andante
NON
Troppo.
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WHEN FIKST I MET THEE.
a—H-^ a—
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ip: i
O PATBICK, FI.Y FKOM ME.
-*—»-
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i

1
THE SONGS OP IRELAND WITHOUT WORDS. 33
mfefe^S^SrasE
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34 THE SONGS OF IRELAND WITHOUT WORDS.
Allegretto
scherzando.
THE WEDDING- OF BALLYPOEEEN.
fa §1fc ^fep f • f— £—f^J^-ft
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THE SONGS OF IRELAND WITHOUT WOKDS. 35
Bm^^Mm^AkdS=
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Allegretto. *
m
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fei=B
f
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PLANXTY CONNEK.
mmm^Mmi^w$^
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MoDKUATO.
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— F—FF
THE SONGS OF IRELAND WITHOUT VVOEDS.
WHEN DAYLIGHT WAS YET SLEEPING.
*B=
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PADDY 8 RESOURCE.
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non Titopro.
1-— y— Ei«Pt
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'TWAS ONE OF THOSE DREAMS. THE SONG OF THE WOODS.
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THE SONGS OF IRELAND WITHOUT WOKDS. 37
fe kk£&
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GO TO THE DEVIL AND SHAKE YOUESELF.
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38
Allegretto
Spiritoso.
THE SONGS OF IRELAND WITHOUT WORDS.
FILL THE BUMPER FAIR
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mf
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COME O'ER THE SEA.
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THE SONGS OF IRELAND WITHOUT WORDS. 39
nrr
k-l=±^=B=^^a==bp=1=1
S^3^fe
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Andante
cos
ESPRESSIONE.
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AS VANQUISH!) ERIN.
m^tm^m
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THE BOYNE WATER.
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rf
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40 THE SONGS OF JKELAND WITHOUT AVOEDS.
Affettuoso.
CAEOLAN'S KECEIPT. 1
ffi • m =^
STAFFORD S RECEIPT FOR WIII3KEY.
Andante
p
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1 Another Version of this Air will be found in the Appendix-
f

A LLEGRETTO.
THE SONGS OF IRELAND WITHOUT WORDS. 41
PLANXTY JOHNSTON.
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r^Ezzti^m
*q^5 EE*ffi=fiE$
W^^^H
3E33:l^i^d-^i^iiiiii
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42 THE SONGS OF IRELAND WITHOUT WORDS.
MoDERATO.
mP
HOW SWEET THE ANSWER ECHO MAKES.
rr
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THE WREX.
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THE LEGACY.
Allegretto. (iii
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BES^E #
JUi^HZg-
—
0—0- -Pfrr
7^~
^ =fec!£^i
q=^= —«—
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g_e g_.
j0.—-__ #
^^lJ^
* r-*F i :l-±

i
i
giEii^ipg
--l-r-r
a^ :'
THE SONGS OF IRELAND WITHOUT WORDS. 43
-H-—3:
r > /J
^=f=S-=i^g=rf3r'
X—V- =tfc^^Ff==if ca-pniz:^ $=t2=
i Hh
fe-
IZ t= P^Fr-
JT]
=*=*:
=«=^fc
HOW OFT HAS THE BENSHEE CE1ED
THE DIRGE. THE DEAR BLACK MAID.
Largo
E
SOLEXNE.
w^^mm. :^=q=
EE^iEE
:pi=»^=
^t-
3FE3 j^ J J_J3U_L^ria-S3
E3=3=I=E EEE :e
:tz;
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ps^r *——
HI
d
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mf r r -
-.-J3-
E5EE|=pg±EE^Ei^
E
HF
E^EE^_-
... •
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12-
-P-h -p
ru
J DTji^i, -£-»—. a.
-0—g-g^^p
—
-i-
m

44 THE SONGS OF IRELAND WITHOUT WORDS.
MoPERATO.
FAIREST !
PUT
ON AWHILEJ
3E
beHi j^=j^=j^=F=jgq=j^=r^
.^^i^i^lftiiSiii^g
^EEEexx^^^m* r.
THE PRINCE S DAY.
CON
Sl'IJUTO.
-*--#
t — ft
inf
-^g=F
THOUGH DARK ARE OUR SORROWS.
¥
-I V #V-*-^ tfr*-"
—
f-
BT. PATRICK S DAY.
3=33
*=*:
qc*3=t= H=^
H—3:
3=F g@i^i^^iiigj^ife^=g
ai *=S
1 For another Version of Lhi* Air, dec Apportdix.

THE SONGS OF IRELAND WITHOUT WOKDS. 45
^^MMhss^
ia=E
^MU^MM~-A=n=t^^^4 pg^ -»-3
^^j^ eIe^e^e :
Andante
ff
£beme!e
r
TjKZ
OH !
BREATHE
mM
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NOT HIS NAME.
-J--I-M-
:J^, SiS^s
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,L__a
f
:?=*:
£3EEE=E
:^E=E:
i-'JaiF^
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I SSsfea 4—1-
SUpi ?
: 33=
p
F=
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EEE
"I
£^
THE BROWN MAID.
:pzp:
-•"Mi&p:
fcfcp^Ei;
m.X.m.Z—m—
-

46 THE SONGS OF IRELAND WITHOUT WORDS.
Allegro
THE IRISH WASHERWOMAN.
m^mzzmzmzg^^^m
mf
^rn^mk ^TF-^tt
IeS£R5=&^S5ES^
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Al.I.EOKETTO
QUABI
Andantiko.
as
r^T= ^-
-e—(i-
THE REJECTED LOVER.
^L^^aa
3fE£
*
r~r
J^—-U_
^EeEFSF^ ^sii
i
"-F
AN GKA1DHEOIR DUILTEACH.
i^B

$=*
p
THE SONGS OF IRELAND WITHOUT mWORDS. 47
-H-
MzM=Mz
—&-
— i
i
—
ei fet^?
^=3:
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J*=£Ej=^ =£=±
Maestoso
e
Risoluto.
— /-
33?
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ifefc
&dim.
SEES
»/
fcfc^J
rcr^fTf ;gi£^ #- •
!i=P^^I!|p^pg
REMEMBER THE GLORIES OF BRIEN THE BRAVE. MOI.LT MACALPIN.
fe=
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lSeEgjp=F=gl^
^t I
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*=£
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rn^a
m jjFS— • —•—*-*— & L -^f J—^H 1
J
-
*V*- -ST.
£=£
3Em

48 THE SONGS OF IRELAND WITHOUT WORDS.
Lento.
' y=d
T~P _ ;
pi£@
THE HUMOURS OF GLEN.
-0- m-0~j~0- -0- -i -»- -•- r -0-0- -"irt-M--*-
WE& S=^=5 j£
tff
r*—fr"~T
c ^ [
3EH qrt
iz=?; ^ :3d
n=F= m"
' >
T~ =q rt==fc^Jd=i:=Eftj-'-f—
£P?=
m/
V
-»—-+-•-3=^
s^s
P* I SI |M=f ^ d - S3
Oh J^J:
Largo
EsrKEssivo.
v-*
mr*^f:
^m
?
BiEl
*±
5
-"1
-34 ^: #
ifefe
S * 3=§
P
-+ -it -3-
*^~#- ^=3=8
AT THE MID HOUR OF NIGHT. MOLLY, MY DEAR !
:M=i:
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dz4zz^a_db^*=g^3cEM Sir*
I 1/ I 1
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f±=ff=*c n^
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"7

i^=*
THE SONGS OF IRELAND WITHOUT WORDS. 49
-0—P-
T=*
ft^- -^
?
S3
£
n i^iglil =f
^= £~*: SE
p
±2 -*-*-
*=fc=t=:
A LI.EGEETTO.
S
a;
t
U^
THE CUCKOO.
^ r?
WEB g^S &il=in^ifiife
^8 m~—w-j-^-*-'
-t~7 d ; l- a— ;
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3^=3=^=
^= i L tEf
J3=L
-? fd
r^r^.
^t
m
:»

50 THE SONGS OF IRELAND WITHOUT WORDS.
Lento.
Fl'i"
:e
w=^m
THE MOON DIMM'D HER BEAMS. YOUNG TERENCE Sl'cONOUGH.
VHfi—
V-
^PgigEp
=I=p
ens ^ i^fl J2-
fe^l *=* ijii=ip=g=i^^=pi
e?f :g=
i ri
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j -^-*— fc
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ATL_i Ji—H -s>-
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LBF*

A
D-i
Larghetto
espeessivo.
r
B=*
ft.
THE SONGS OF IRELAND WITHOUT WORDS. 51
=c=
r r
tzjtz*
:p
:*S=S21= 3 L-| o g—-•_—
r i r r^- *
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SING, SWEET HAKP.
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J3 J J J J J .
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JJ_J_J • t
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. I .Mill I11IIB MB .^7\ ^
- I
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i 5 I j H is P3 r—
g ^-»^0——fI—*—a . „ =g—-^- -
s
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|—L-r- L r
-F=3»-
-«pj -.-«
—
—
E^EEfel
-—
F=i=F=l
f ^r*-f 3

52 THE SONGS OF IRELAND WITHOUT WOKDS.
Adagio
e
SOLEUNE.
P S
m
If
B*
Alleoeetto
Splritoso.
SHALL THE HARP THEN BE SILENT ?
macfarlane's lamentation.
P^^iPj=^=^iPp|p
>-k
v
m ead^fefeiipg
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fAHfZ F^
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pan
THE HUMOURS OF LISTIVAIN.
ff
f^ f
E SS3 ±tt £3 *=*z
33QE
•-*-
r
m £E5
B^E 'mm m ^
—

K
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PE
MoDERATO.
ei :*rj:
E
£ *
-f 8— ^^^
THE SONGS OF IRELAND WITHOUT WORDS. 53
^—
p=^iS z*-M=t
OH !
t
/
1=^
g-f- ^f
p=p=c->-=p=p' ^
HAD WE SOME BKIGHT LITTLE ISLE.
w^=^i j=Jiz
3=fet U
*=F=8
P
BHEELA NA GUIKA.
Hf .''>
.
" (9—

54 THE SONGS OF IRELAND WITHOUT WORDS.
Larghetto
doloroso.
ad^l
H
^— P- P^
%&
Allegretto
ed
Animato.
^S
WEEP OK, WEEP ON.
i
3: :-rB^E: lAu J3 J .
i^§
rr
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f=t=
LfijJU jLQ.
-
THE SOXG OF SORROW.
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r=£r ±t =S=f
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:bLiii I^^H^Igiipi
1
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QUICK !
WE
HAVE BUT A SECOND.
2£
— '
PADDY SNAP.
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p^ I 0—0-M-0- ^Sfe
'.. -r* "rt^f—
m/
eis £=-3
f=F=f:
f=p
r -'—^ f-T-—l- F p- ^
I

THE SONGS OF IRELAND WITHOUT WORDS.
f^=^^fkm^mim^m
mf
&=&=&:
p=f=f
MoDERATO
ED
ExERGICO.
_\_ _*_
WHILE HISTOKY'S MUSE.i
^R=^ gfe^ -—« 1
P
0: Mt=i
— 0-0— E_ _ ,
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cfc=*
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i «-
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a^^fei^^^^jiHlp^ip^i
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j£=£ =
1 See Appendix for another Version of thia Air.
?

56 THE SONGS OF IRELAND WITHOUT WORDS.
Andante
con
Esfressjone.
i
OH !
BLAME
NOT THE BAED.
i^^gffPP^
sHHi
m :a=a: ^m
es
£
U. JJ 1
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SB
jL 1
SEEf =P=«:
KITTY TYFREL.
=» =£ ^=
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i -©-
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BE i 7Q~
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£=*=
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p- •—
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lilf:
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#
-

Allegretto
scherzando.
I
THE SONGS OF IRELAND WITHOUT WORDS. 57
WE MAY EOAM THROUGH THIS WORLD.
^^msn^^MlS
GARRY-OWEN.
ee3
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¥=*-
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5S THE SONGS OF IRELAND 'WITHOUT WORDS.
A LLEGEETTO
GlOCOSO.
fc#=P=
#£See£
m/
at g^3--
DEBKY DOWN. 1
:t=P= ^^ mmz
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BE J_JU ^g :£^: ^
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ei £az
5=§==J ifeg -0-4-
MODERATO.
ms.
B^^
NQW WINTER IS GONE.
i=a=q =S^ 3E
BE5 EE
V
J: :g: .* J
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jt=j0t
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DEXN18 BRULGEEDDEEY.
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-0—0-
4^L.
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m=jn^0&m=tp ta:
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THE FAIR-HA1KED CHILD.
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FT ij >
^=3 #=P=
r f
p=£-^$f
=£0
gE^^^g
b- SEE :i=tei
1 Soe Appendix for another Version of this Air.

S£
THE SONGS OF IRELAND WITHOUT WORDS. 59
-i*—-*-
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BE q^: E^^=
F^F e|e__I
n * iff 7 Ml" "T
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And ante
NON TroPPO.
_£
REMEMBER THEE !
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£
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CASTLE TIR01VEN.
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- • -•- -3-
1
CJ

GO THE SONGS OF IRELAND WITHOUT WORDS.
Andantino
Affettuoso.
HAS SOEEOW THY YOUNG DAYS SHADED ?
a*S E 0—-.-
SLY PATRICK.
^ Sf £stt± .0-1—g-
mf
m-- s =N
fc±=2:
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B$ ^5E=^g=il^S=dE3=
Lento
ma
AxiMATO.
« 1
—
dim.
SfelSeE^,
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A LITTLE HOUR BEFOEE DAY.
e^^g^g^
UAIE BHEAG EOIMH LA.
d—I—
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3: --JS n w r rtr '^r
£^fe ^s ^
I
Wfce^t*

THE SONGS OF IRELAND WITHOUT WORDS. Gl
fe=^=y=g LJ_ # _#_T_ t__^=«=p_|
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r r^=*r*t r /-^
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KOEIN ADAIK.
Lento.
EEIN ! THE
TEAE AND THE SMILE.
eS j 1S_
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3=1=3=3=5^
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a— 1_
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BEE t pf r-Tr
I For another Version of this Air, sec Appendix.

62 THE SONGS OF IRELAND WITHOUT WORDS.
TETTICOAT LOOSE.
Allegro
Spiritoso.
YOUESELF ALONG WITH ME.
pl^ll^pE£E=J^p —
^g^l
S=si=g
-£=F = Mjf^- H:—
-*—. »
^
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I
Allegretto
Spiritoso.
;M=*
«^—
h
i 2
bibs
•3
£
MEg:
fek=Z=E=f=^=»=
&
B^F^SE
THE SONGS OF IRELAND WITHOUT WORDS. 63
MURPHY DELANY.
J^£eEe=E |=£EeI
3=;
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?
—
±E=E^=&q •—»-#-
P==t :
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#—— #-
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:££
5S S^ ^^
• •+
i-=PZt
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04 THE SONGS OF IRELAND WITHOUT WORDS.
MoDEKATO.
-"—— =f
—
OH, BANQUET NOT
v-f—v TVFq
!
PLANXTY niWINE.
Bj i^^p=ii=E eg
F*^ 3=
g^S^^
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gg^rf-r^ r?3i fc*fS
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r
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gJ^=^=Pg^gg
Allegretto.
c
CAPTAIN MAGAN.
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fe
¥
Ig MI
s^^g^feii^i^^
=r==r
F-J=» 1 =
^^^g^^-E^^i
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r- m

THE SONGS OF IRELAND WITHOUT WORDS. 65
^gSiBpiggEB :^|g|||^^|
f=f ^ ±=t£
r
MODKKATO.
IT IS NOT IN THY POWER, FAIR MAID.
#*=#ta^^l
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§FH=1:
fe> :fc=^s:
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THE PA lit WOMAN,
5=B=^
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T^= u

66 THE SONGS OF IRELAND WITHOUT WORDS.
MotlF.RATO.
*fe
MODF.RATO
ED
Enkkoico.
Jbmf^m^Mmmim^-
I SAW FROM THE BEACH.
p
-J_J-4_j
:.5WT±
miss Mor.i.r.
*p3 £^£fE|E£E*i i
fcfEEfe £=#
^^^#^i
THE PRINCESS ROYAL.
THE ARETIIU8A.
I Si
mf
i=
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4^=1=^=14=
IlgSai^g
P f
£l ^a^fe^M^^i
ft=E5 ste^^^te
^--
m^i£+i=
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L
!

-a~
THE SONGS OF IRELAND WITHOUT WORDS. 07
3=* d=
s^asB^^spB
^
^^^^^i rrfr
r r
3S
Allegretto
Buiierzaxdo.
3 eH^:=iz=^:
=l=t=
ANDREW CAREY.
m^ggm
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til H»-
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«— ^—^—a-^* ^—U—i ^ «— .—— 1
9%-s^ Ep^i^#:d£! l=|i :i==

68 THE SONGS OF IRELAND WITHOUT WORDS.
MODEKATO.
BE
DEAR HARP OF ERIN.
„.. - •, L-TT
i
IlJ3±J. ; \ T t t
E£=eS
jlB-u-J- -J3-=t—J3
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= jh «-T-i-^-#
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J. J, ± -^ dim. -—
£=f=zS SEES -©-
FANNY POWER.
j^gggl^ilggi^
p >rn i JJ > J ^ n
1>AN1EL THE WORTHY.
1
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THE SONGS OF IKELAND WITHOUT WOKDS. 6.9
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THE SONGS OF IRELAND WITHOUT WOKDS. 71
BILLY 0' ROEKE IS THE BOUCHAL.
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72 THE SONGS OF IRELAND WITHOUT WORDS.
THIS KAKTI1 IS Tim PLANET.
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74 THE SONGS OF IRELAND WITHOUT WORDS.
Alleguetto. <
THE BEARDLESS BOY.
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THE SONGS OF IRELAND WITHOUT WORDS. 75
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76 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OP IRELAND WITHOUT WORDS. 77
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73 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WORDS. 79
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80 THE SONGS OP IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WORDS. 81
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82 THE SONGS OP IRELAND WITHOUT WORDS.
Largiietto
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THE SONGS OF IRELAND WITHOUT WORDS. 83
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THE SONGS OF IRELAND WITHOUT WORDS. 85
WHILE GAZING ON THE MOON'S LIGHT.
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86 THE SONGS OF IRELAND WITHOUT WORDS.
Largo
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88 THE SONGS OF IRELAND WITHOUT WOKDS.
THE OLD LANGOLEE.
A LLEGRETTO
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90 THE SONGS OF IRELAND WITHOUT WORDS.
Allegretto i
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92 THE SONGS OF IRELAND WITHOUT WORDS.
Animato.
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THE BAKES OF MALLOW.
Bifits ££ 111
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THE SONGS OF IRELAND WITHOUT WORDS. 93
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IF THOU'LT BE MINE.
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94 THE SONGS OF IRELAND WITHOUT WORDS.
DOWN IN THE VALLEY COME MEET ME TO-NIGHT.
W
THE FORTUNE-TELLER. Ol'EN THE DOOR SOFTLY.
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THE SONGS OF IRELAND WITHOUT WORDS. 95
MY DEAE, STAY WITH ME.
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96 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WORDS. 97
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98 THE SONGS OF IRELAND WITHOUT WORDS.
THE BROWN THORN.
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THE SONGS OF IRELAND WITHOUT W011DS. 99
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THE SONGS OF IRELAND WITHOUT WORDS.
THE SWORDS OF FORMER TIME
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THE SONGS OF IRELAND WITHOUT VVOEDS. 101
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102 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WORDS. 103
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104 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WOEDS. 105
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106 THE SONGS OF IRELAND WITHOUT WORDS
A LT.EGltETTO
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103 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WORDS. 10.9
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112 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OP IRELAND WITHOUT WORDS. 113
A LOVELY LASS TO A FEIAE CAME.
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114 THE SONGS OF IRELAND WITHOUT WORDS.
HOLLY ASTORE.
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THE SONGS OF IRELAND WITHOUT WORDS. 115
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116 THE SONGS OP IRELAND WITHOUT WORDS.
Maestoso.
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THE SONGS OF IRELAND WITHOUT WORDS. 117
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118 THE SONGS OF IRELAND WITHOUT WORDS.
Lento
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THE SONGS OF IRELAND WITHOUT WORDS. 119
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120 THE SONGS OF IRELAND WITHOUT WORDS.
Allegretto
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THE SONGS OP IRELAND WITHOUT WORDS. 121
PADDY CAREY.
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122 THE SONGS OF IRELAND WITHOUT WORDS.
MoDERATO
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THE SONGS OP IRELAND WITHOUT WORDS. 123
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124 THE SONGS OP IRELAND WITHOUT WORDS.
Lakqo
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THE SONGS OP IRELAND WITHOUT WOEDS. 125
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126
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THE SONGS OF IRELAND WITHOUT WORDS.
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128 THE SONGS OP IRELAND WITHOUT WORDS.
O IJONOHUE 3 MISTItESB.
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THE SONGS OF IRELAND WITHOUT WOUDS. 129
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130
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THE SONGS OF IRELAND WITHOUT WORDS.
SHE SUNG OF LOVE.
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132 THE SONUS OF IRELAND WITHOUT WORDS.
THE VALLEY LAY SMILING BEFORE ME.
THE SONG OF o'liUARK. THE PUETTY OJHL MILKING HF.It COW.
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THE SONGS OF IRELAND WITHOUT WORDS. 133
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134 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WORDS. 135
COME, SEND BOUND THE WINE.
WE DROUGHT THE BU1IMEK WITH US.
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136 THE SONGS OF IRELAND WITHOUT WORDS.
1
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THE SONGS OF IRELAND WITHOUT WORDS. 137
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138 THE SONGS OF IEELAND WITHOUT WORDS.
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140 THE SONGS OF IRELAND WITHOUT WORDS.
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142 THE SONGS OF IRELAND WITHOUT WORDS.
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THE SONGS OF IRELAND WITHOUT WORDS. 143
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144 THE SONGS OT IRELAND WITHOUT WORDS.
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HIE SONGS OF IRELAND WITHOUT WORDS. 145
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THE SONGS OF IRELAND WITHOUT WORDS. 149
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oppression of the Danes, and were forced to conceal themselves in caverns and sequestered places."
Bunting's " Collection of Ancient Irish Music," vol. i.
—
See Preface to

APPENDIX

APPENDIX
CONTAINING
SECOND VERSIONS OF SOME OF THE MELODIES INSERTED IN THIS COLLECTION.
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