J.L. Dussek Variations on Within a Mile of Edinburgh [NLS Mus.C.1.242 (7)] 7.22

Here's a Health to them that's awa

Here's a health to them that's awa, Here's a health to them that's awa, Here's a health to them that were here short syne But cann-a be here the day.

It's gude to me merry and wise, It's gude to be honest and true, It's gude to be aff wi' the auld love Before ye be on wi' the new.

Recorded at the Barnes Collection, Edinburgh, July 2001 Produced and Engineered by Paul Baxter Executive Producer: Kevin Findlan Design and Photography: © Delphian Records Ltd Cover artwork: Edinburgh and Leith from the West by James Skene (1818) reprinted by courtesy of Edinburgh City Libraries. 2002 Delphian Records Ltd 2002 Delphian Records Ltd© Delphian Records Ltd PO Box 17179 Edinburgh EH12 5YD www.delphianrecords.co.uk Tel: 0709 215 7149 Special thanks to the Friends of St Cecilia’s Hall, the University of Edinburgh Faculty of Music, the Russell Collection of Early Keyboard Instruments, Mr John Raymond, Mrs Sheila Barnes, Ms Claire Nelson, And the National Library of Scotland.

John Kitchen at the keyboard of the c.1805 Rochead piano.

D

uring the eighteenth century, Scotland was Scottish air, as Mary Bennett discovered to her disgust in unique among the nations of Europe in Jane Austen's Pride and Prejudice (1813). possessing a folk-song culture that was upheld as Men were not excluded from music making, but their enthusiastically by its upper-classes as it was by the role tended to be rather different from that of their remainder of the population.The Edinburgh poet Allan female companions. Scotsmen were renowned, as the Ramsay (1686-1758), for example, published his song Englishman Edward Topham noted in his account of his collection, the Tea-Table Miscellany (1723) especially for extended stay in Edinburgh in the mid-1770s, for their the many Edinburgh ladies who sat around their tables overwhelming obsession with musical pursuits of all each evening after tea to sing old familiar airs, perhaps types, and an enthusiasm for their native music in with the accompaniment of a guitar. Elsewhere such a particular. As he observed, 'almost every one above the predilection for national music was unimaginable, but common rank of mankind has some knowledge and in Scotland it led to the publication of a huge number of taste in music', and national culture clearly played an national song collections, and later to the evolution of important role in the social life of the Edinburgh literati, many instrumental works that incorporated traditional including a number of the eminent philosophers of the melodies within the latest musical styles. Certain Scottish Enlightenment such as Adam Smith or Henry genres (such as sonatas, rondos, variation sets and even Home, Lord Kames. In his description of the role played orchestral overtures) emerged as ideal vehicles for by men at 'Scotch Dances', Topham is explicit in his medleys or variations on Scottish themes, and their incomprehension of their attitude: popularity expanded well beyond Scotland's borders. By the end of the eighteenth century the inclusion of a

A Scotchman comes into an assembly-room as he would into a field of exercise, dances till he is literally tired,familiar melody within a piece of 'serious' music was

possibly without ever looking at his partner, or almost seen, sometimes resentfully, as a quick route to

knowing who he dances with. In most countries the men popularity.As the English composer and singer Charles

have a partiality for dancing with a woman; but here I have Dibdin commented, music sellers would 'give

frequently seen four gentlemen perform one of these Reels seemingly with the same pleasure and perseverance as they immense sums for whatever is heard at the theatres,

would have done, had they had the most sprightly girl for a not because of their merit, but because they [stood] a chance of being popular'. Popularity was the key to commercial success, and with the rise of the middle classes a new type of market for music began to emerge. More and more families owned a piano and provided their daughters with keyboard tuition, together with vast quantities of sheet music. Often viewed as a passport to a better marriage, the ability to perform on demand was a much-valued skill in a young woman, and nothing pleased the drawing room audience more than the performance of a song or keyboard arrangement of a popular or 'favourite'

partner. . .

The almost universal enjoyment of music by the male population of the city led to the establishment of The Edinburgh Musical Society at the specially built St. Cecilia's Hall in the Niddry Wynd. As numbers were restricted, the opportunity to become a member of the society was eagerly sought and jealously retained 'none were admitted but people of fashion'; women were admitted only on 'ladies nights'; and many of the members also took part in the music making alongside