Thou art gane awa' 3.59

paid professionals. Many Italians, such as Domenico alone) of the Scots songs contained within Johnson's volumes. Although often described as 'lazy' by Burns,Corri (1746-1825) and Pietro Urbani (1749-1816), Clarke's minimalist approach seems rather to have been were among the professional musicians specifically a conscious stance in opposition to that of many of his invited to the city in order to participate in the contemporaries, who not only added opening and concerts, but their activities were not merely closing instrumental phrases to the songs, but arranged restricted to a weekly performance. Each also had an them for large instrumental groupings or with elaborate active life as a teacher of both keyboard and singing, decorations. A statement inserted on the title-page of and their students included both upper-class men and the sixth part of the series (1803), and subsequently women. Relatively few amateur pianists were male reprinted on the title-pages of the earlier volumes reads:although during the eighteenth century the majority of 'In this publication the original simplicity of our Ancient professional pianists were men as the rigours of the National Airs is retained unencumbered with useless travelling virtuoso life were generally considered Accompaniments & graces depriving the hearers of the unsuitable for the gentler sex but singing was an sweet simplicity of their native melodies.' Such extremely popular pastime, and many others played sentiments were common in the latter part of the either the violin or cello.

century, probably because they attempted to preserve the performing traditions of the earlier part of the ne of the most significant figures in the annals of

century, and it would seem that Johnson and Clarke O

Scots song was the Ayrshire-born poet, Robert made a clear decision to present their work in the

Burns (1759-96). Burns ' contribution to the traditional form of their homeland. This idea is

development and redefinition of the repertory is the supported by Burns, who again and again portrays

single most important influence on the profile and Johnson as 'a Patriot for the Music of [his] Country',

availability of these works today, and his sensitive imploring Johnson to 'let us go on correctly; and your

approach to the relationship between poetry and music name shall be immortal'. Johnson, Burns and Clarke

was undoubtedly the primary reason for their were all motivated by patriotic impulse rather than

popularity within his own lifetime. Burns first met commercial gain, and to them this was the only

James Johnson (c.1750-1811), editor of the Scots justifiable approach.

Musical Museum (SMM), during a visit to Edinburgh in 1787. His interest in writing songs had begun as early In June 1796, only a few weeks before his death, Burns

as 1783, when he was only twenty-four, but the wrote to Johnson, 'Your Work is a great one . . . I will

meeting with Johnson was to inspire the composition venture to prophesy, that to future ages your Publication

of many hundreds of songs during the remaining nine with be the text book & standard of Scotish Song &

years of his life. Johnson's collaborator was the Music'. Such a prophecy was well founded; in 1794

composer and musical editor of the SMM, Stephen Burns had already written to Johnson enquiring 'how

Clarke (c.1735-1797). Clarke, a folk-song enthusiast, many, & what are the songs Urbani has borrowed from

was regarded as the best organist of his generation in your Museum', although other letters suggest that

Scotland, yet provided the simplest possible B u r n s h i m s e l f b o r r owe d t h e m u s i c a n d

arrangements (comprising melodies and figured bass 3 Auld baudrans by the ingle sits, An' wi' her loof her face a-washin; But Willie's wife is nae sae trig, She dights her grunzie wi' a hushion; Her walie nieves like midden-creels, Her face wad fyle the Logan-water; Sic a wife as Willie had, I wad na gie a button for her.

Hamilla

Look where my dear Hamilla smiles, Hamilla, heavn'ly charmer! See how with all their arts and wiles, The loves and graces arm her! A blush dwells glowing on her cheek, Fair seat of youthful pleasure! There love in smiling language speaks, There spreads the rosy treasure.

O fairest maid, I own thy power; I gaze, I sigh, and languish; Yet ever, ever will adore, And triumph in my anguish. But ease, O charmer, ease my care, And let my torments move thee; As thou art fairest of the fair, So I the dearest love thee. The Yellow-hair'd Laddie

In April when primroses paint the sweet plain, And summer approaching rejoiceth the swain. The yellow-hair'd laddie wou'd oftentimes go, To wilds and deep glens, where the hawthorn trees

grow.

There under the shade of an old sacred thorn With freedom he sung his loves ev'ning and morn; He sang with so saft and enchanting a sound, That silvans and fairies unseen danc'd around.

The shepherd thus sang,Tho' young Mary be fair, Her beauty is dash'd with a scornfu' proud air; But Susie was handsome, and sweetly could sing, Her breath like the breezes perfum'd in the spring.

That Maddie, in all the gay bloom of her youth, Like the moon was inconstant, and never spoke truth; But Susie was faithful, good humour'd and free, And fair as the goddess who sprung from the sea.

That Mamma's fine daughter, with all her great dow'r, Was awkwardly airy, and frequently sour; Then sighing he wished would parents agree, The witty sweet Susie his mistress might be.