Domenico Corri Variations on Loch Erroch Side [NLS MH.e.369] 4.31

his first few years in Scotland being spent in the less If Corri's works of this type–some variation sets, some

prestigious musical centre of Glasgow, before he settled rondos–are less demanding than those by Urbani, the

in Edinburgh in 1784. Both published volumes of Scots distinction is very slight. Corri, formerly a pupil of

songs under their own publishing labels–Corri Nicola Porpora (1686-1768) in Naples, was an

publishing only two, while Urbani's popularity as a a c c o m p l i s h e d c o m p o s e r a n d m o r e ove r a n

singer created the market for his six. Burns was one of entrepreneur with an excellent eye for a business

the many who admired Urbani's abilities as a singer, but opportunity (though little of the acumen required to

he strongly disapproved of Urbani's efforts to make a success of any of his projects). His works were

'harmonize and improve' Scots songs, although it is not dedicated to any specific person, but instead were

clear that Urbani himself considered that he had published with amazing rapidity by his son's company,

'acquired the true national taste'. Corri & Sutherland, in sheet music form.This, together with his high profile in Edinburgh's musical life as

In common with many of their contemporaries, both conductor of the Edinburgh Musical Society, manager

Italians wrote rondos as well as variation sets on of several other enterprises and teacher of keyboard

Scottish airs. Rondo movements had become and singing, guaranteed almost continuous sales for as

increasingly popular from the 1770s onwards, long as the company was in business. Like Urbani, Corri

particularly in Britain, and even the most established had a tendency to ornament the original airs somewhat

composers, such as Mozart and Haydn, included more than many purist Scots would have liked. Unlike

rondos based on popular melodies in their sonatas and Urbani, however, Corri also favoured rhythm-based

symphonies.Audiences loved the episodic structure, in alterations, which distil the essence of the melody or

which the opening melody was revisited up to eight incorporate the famous dotted rhythm known as a

times in the course of the piece, and although originally 'Scotch-snap'. His rondo on The Banks of Doon, better

incorporated in sonatas, many of these movements known as the song 'Ye banks and braes' (perhaps one of

became popular in their own right. Urbani's rondos, the most famous songs for which Burns wrote the

such as that on Sic' a wife asWillie had, were very much in lyrics) is one of Corri's simplest works. Here motifs

the tradition of his contemporaries, but they also derived from the theme are re-worked in the interludes

display his characteristically over-ornamented themes between statements of the melody. Corri, like Ross,

combined with clearly virtuosic passage-work. utilising a shift to the relative minor in the middle of the

Between relatively simplistic re-statements of the work.The variation set on Loch Erroch Side, on the other

theme, Urbani intersperses almost continuous, hand, shows quite a different aspect to Corri's abilities.

dynamically-detailed, rapid chromatic movement, Based on a tune originally composed by the famous

which only occasionally pauses for a brief, quasi- Scottish fiddle player Niel Gow of Dunkeld, Corri (like

improvisatory flourish. Whether the pianistic abilities Urbani) has utilised increasingly rapidly executed scalic

of the young ladies to whom these works are dedicated passages and various combinations of arpeggiated

matched the aspirations of their teacher can only be figures. The extended closing flourish is surprisingly

imagined. virtuosic and seemingly foreign to his otherwise My love she's but a Lassie yet

My love she's but a lassie yet, My love she's but a lassie yet, We'll let her stand a year or twa, She'll no be half sae saucy yet. I rue the day I sought her O, I rue the day I sought her O, Wha gets her needs na say he's woo'd, But he may say he's bought her O.

Come draw a drap o' the best o't yet, Come draw a drap o' the best o't yet: Gae seek for pleasure whare ye will, But here I never misst it yet. We're a' dry wi' drinking o't, We're a' dry wi' drinking o't: The minister kisst the fidler's wife, He could na preach for thinking o't.

Roslin Castle

'Twas in that season of the year, When all things gay and sweet appear, That Colin with the morning ray, Arose and sung his rural lay. Of Nanny's charms the Shepherd sung, The hills and dales with Nanny rung; While Roslin Castle heard the Swain, And echo'd back the chearful strain. Awake, sweet muse! The breathing spring With rapture warms; awake and sing! Awake and join the vocal throng, Who hail the morning with a song; To Nanny raise the chearful lay, O! bid her haste and come away; In sweetest smiles herself adorn, And add new graces to the morn!

O hark, my love! on ev'ry spray, Each feather'd warbler tunes his lay; 'Tis beauty fires the ravish'd throng; And love inspires the melting song: Then let my raptur'd notes arise; For beauty darts from Nanny's eyes: And love my rising bosom warms, And fills my soul with sweet alarms.

O! come my love! Thy Colin's lay With rapture calls, O come away! Come, while the muse this wreath shall twine Around that modest brow of thine; O! hither haste, and with thee bring That beauty blooming like the spring, Those graces that divinely shine, And charm this ravish'd breast of mine!