The Banks o' Doon 2.40

The Banks o' Doon

Ye Banks and braes o' bonie Doon, How can ye bloom sae fresh and fair; How can ye chant, ye little birds, And I sae weary fu' o' care! Thou'll break my heart thou warbling bird, That wantons thro' the flowering thorn: Thou minds me o' departed joys, Departed never to return.

Oft hae I rov'd by bonie Doon, To see the rose and woodbine twine; And ilka bird sang o' it's luve, And fondly sae did I o' mine. Wi' lightsome heart I pu'd a rose, Fu' sweet upon its thorny tree; And my fause luver staw my rose, But ah! he left the thorn wi' me. Busk ye, busk ye

Busk ye, busk ye, my bonny bride; Busk ye, busk ye, my winsome marrow, Busk ye, busk ye, my bonny bride, And let us to the braes of Yarrow. There will we sport and gather dew, Dancing while lav'rocks sing in the morning: There learn frae turtles to prove true; O Bell, ne'er vex me with thy scorning.

To westlin breezes Flora yields, And when the beams are kindly warming, Blythness appears o'er all the fields, And Nature looks more fresh and charming, Learn frae the burns that trace the mead, Tho on their banks the roses blossom, Yet hastily they flow to Tweed, And pour their sweetness in his bosom.

Haste ye, haste ye, my bonny Bell, Haste to my arms, and there I'll guard thee; Wi' free consent my fears repel; I'll wi' my love and care reward thee. Thus sang I saftly to my fair, Who rais'd my hopes with kind relenting O queen of smiles, I ask nae mair, Since now my bonny Bell's consenting. proficient, but rather old-fashioned style. Written in common in the works of later nineteenth-century the early 1790s, this work shows a profound shift to a composers appearing in his music on a regular basis. His new type of compositional approach most likely to have works incorporating Scots airs again include both derived from the influence of a new member of the rondo and variation set formats, one of which, Rosline family. Castle, even introduces a further Scottish air, The Lass of Peatie's Mill, in a 'pot-pourri'. A term that implied a round 1790, following Sutherland's death, the musical composition that was a medley of tunes from family moved to London, where Corri quickly pre-existing sources, the 'pot-pourri' technique was A became established as a music publisher in Soho. particularly common amongst composers of ScotsAmongst his musically talented family was a daughter, influenced keyboard sonatas. In this, as in most other Sophia (1775-c.1828), who made her successful début works of the type, the two melodies are linked by the as a singer at the Hanover Square Rooms on 15 April similarity in their thematic material, providing, in 1791. Another of the performers on that occasion was essence, further possibilities in the variation of the Jan Ladislav Dussek (1760-1812), an eminent pianist of original tune. In contrast the variations on one of Bohemian origin, who, later that summer, undertook a Scotland's most beautiful melodies, Within a mile of recital tour of Scotland in the company of Domenico Edinburgh, display the virtuosic character that Corri so Corri.Two months later the multi-talented Sophia gave wanted to imitate after meeting Dussek in 1791.With her first benefit concert, in which she performed on the four elaborate written-out cadenzas, movement harp, played a piano duet with Dussek, and sang an between an Andante 4/4 and an Allegretto 2/4, and some unspecified 'Scotch song, by Desire'. Just over a year dramatic use of both dynamics and cadential episodes, later the two were married, and in 1794 Dussek went this is Dussek and the instrumental Scottish air at their into partnership with his father-in-law in a music best. publishing business, which was to carry on the tradition of printing the works of family members. Several cotland's national melodies had much more Ssonatas written by Dussek incorporating Scottish airs potential than musicians and audiences alike had at were published by the company, together with a first appreciated. The American politician, Benjamin number of other Scots melodies arranged for solo piano Franklin, writing to the Scottish philosopher Lord or harp. Dussek's compositional skills were extremely Kames in 1765, astutely summed up the effectiveness well developed, many of his works displaying definite of Scots music: Romantic characteristics such as detailed expression markings, frequent modulations to remote keys,

I have sometimes at a Concert attended by a common

deeply chromatic passagework and non-harmonic

Audience plac'd myself so as to see all their Faces, and observ'd no Signs of Pleasure in them during the notes within complex chords.As a composer for piano,

Performance of much that was admir'd by the Performers his own virtuoso technique is influential, many rapid

themselves; while a plain old Scottish Tune, which they scalic passages (some in thirds or octaves), cadential

[the performers] disdain'd and could scarcely be prevail'd episodes and types of pianistic figuration more

upon to play, gave manifest and general Delight.