r^m^Wn.
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TBE
BEAUTIES OF MELODY;
A COLLXCTION OF TBS MOST POFULAK
AIRS, DUETS, GLEES, &c.
OF THB
MOST ESTEEMED AUTHORS, ANCIENT AND MODERN:
COMPRISING
THOSE OP ARNE, HANDEL, HAYDN, MOZART, WINTER, WEBER, BISHOP,%c.
ALSO A SBI.SCTION or THB SBST AND MOST APPROYBS
IRISH MELODIES;
WITH APPROPRIATE WORDS, WRITTEN EXPRESSLY FOR THEM i
THB
SYMPHONIES AND ACCOMPANIMENTS ENTIRELY NEW,
AKO COMPOSBD FOR THIS WORK. INTERSPERSED WITH MANY OF THB BEAUTIFUL
SCOTCH MELODIES,
SINGING AT THB TBBATRBS, CONCXBTS, &C.
ARRANGED FOR THE VOICE,
WITH
AN ACCOMPANIMSNT FOR THB PIANO-FORTE, *< .
TO WHICB IS PRBFIXBD,
OBSERVATIONS AND INSTRUCTIONS ON MUSIC, PARTICULARLY
VOCAL AND ACCOMPANIMENT.
TBB WMOLB COMPILBD, COMPOSED, SBLBCTBD, AND ARRANOBD, BT
W. H. PLUMSTEAD,
OF THB THBATRE ROVAL, DRURT-LANB.
^ ^oIo«
XaONDON;
PRtNTBD AND SOLD BT
DEAN AND MUNDAY, THREADNEEDLE-STREET.
FRICB 7S. 6d. BOARDS
tiil
TO
JOHN BRAHAM, Esq.
AS THE FIRST SINGER OF THE DAY,
WHOSE POWERS HAVE STOOD THE TEST OF MANY YEARS. AND STILL REMAIN UNRIVALLED,
AND TO WHOM
MANY OF THE PIECES IN THE PRESENT COLLECTION
OWE THEIR POPULARITY,
THIS WORK
IS RESPECTFULLY DEDICATED.
Digitized by the Internet Archive
in 2007 with funding from
IVIicrosoft Corporation
>y/ a?
http://www.archive.org/details/beautiesofmelodyOOplumiala
OBSERVATIONS
Musia
PARTICULARLY VOCAL AND ACCOMPANIMENT.
Music has always ranked high among the Sciences, but has attained an eminence in the present day, far above any other^ As nations have been civilized, so has music been cultivated. Always making a great impression on the feelings, either by rais- ing sublime inspirations, or exciting strong and animating 8enr> sations, it was used in the early ages, as well for religious, as political purposes ; but now it is more subserviant to our domestic habits, forming at once a delightful and innocent recreation. Yet it is still capable of rousing the energies of the soul, both in adoration to the Diety, and in exciting and allaying the most varied passions. The one may be exemplified in the works of Handel, Haydn, Mozart, and many others: who, for instance, can hear the sublime Oratorios of "The Messiah," "The Creation," and '* The Requiem," and not feel elevated by the solemn harmo- nious sounds, uttered with the most beautiful sentiments? The other, our national airs will testify; and, indeed, the original melodies of any country, (particularly those of Scotland and Ireland), produce the utmost enthusiasm on the hearers; — they will either melt the heart to pity and love, or inspire it with the noblest sensations. " The spirit-stirring drum, the ear-piercing fife," and even "the squeaking bagpipes," are instruments capable- of rousing the most supine. Who can behold the march of a
VI OBSERVATIONS ON MUSIC.
regiment, and hear its martial rnusic, without feeling his blood thrill within him, and all his faculties alive to its invigorating sounds ? <i Va O i X A "
But it is in the domestic circle that music gives the greatest plesisure, and where we derive the most advantage from it. It connects families, by affording within themselves a charming source of amusement for leisure hours, which othenvise, perhaps, in the one sex, might be spent in pernicious pursuits : and, were it merely on this consideration, music ought to be introduced, for whenever social enjoyment can be found at home, it will not be sought elsewhere.
To attain a proficiency in any science, a firm foundation ought to be formed ; and as none require it more than music, it is neces- sary to understand its principles before we can expect to profit by our exertions ; these can only be developed by slow and almost imperceptible degrees; for whoever imagines to make a progress by a short cut, will find himself miserably deceived ; it is by la- bour, patience, and perseverance alone, that we can gain the end ; and by attacking the difficulties at the onset, the path, as we proceed, becomes clear and pleasant. In no one pursuit does a master toil under so many disadvantages, as a teacher of music, who is obliged to connive at what he knows can be of no solid advantage to his papih Py an injudicious anxiety on the part of the scholar's friends to hear a song, when it is understood he is receiving instruction, induces him to be impatient, till he is en- abled to gratify them; and the time that ought to have been devoted to the cultivation of the voice, and improvement in the science, is taken up in practising a song, that he may exhibit his astonishing powers, when, perhaps, the preparatory rudiments have not been learned. Having commenced song singing, the pu- pil finds it irksome to return to the *' mere nonsense," as it is ■ceilled, of do, re; and after possessing a sort of half-and-half
OBSEJIVATIONS ON MUSIC.
tU
smattering', he finds out, at last, he has begun at the wrong end* and gives it up in despair. This is an every-day occurrence; and we hope to convince our readers that, however tiresome the following instructions may be at first, yet, by a steady persever- ance, the difficulties will be overcome, and they will reap the \ benefit of their exertions. *
The requisites for singing are, a clear voice, powerful lungs, and a good ear. A bad voice may be improved by judicious cultivation, and the power of the lungs may be increased by practice; but a correct ear is indispensibly necessary. The first attempt mast be to ascertain the compass of the natural voice, and then to form a clear firm tone within its bounds.
We reconmiend the following scale, the notes of which lie within the compass of most voices, whether male or female ; but should it be found too high for some, practice only as far as it can be sung with ease.
Pia. cr >. for. dim. pia.
1
w
"Ty- re
Do
fa
sol
la
P
zd:
si do re
fa sol.
i
m
22:
i
OBSERVATIONS ON Ml'SIC.
321
m
sol
la
-e-
re
do
'O
i
la
sol
fa
:«a:
rni
re
-e-
do.
i
Jiivi ( '>l<ikirj» I'i
■nmn v^u;').!,'
The manner of singing this is, to sound the beginning of each note very soft, gradually increasing it to the full power of the voice, (without straining it), and then equally decreasing it to the same degree of softness on which it was commenced. A plentiful supply of breath should be inhaled, and husbanded up, that it esjcape by degrees, and sufficient be preserved to finish the note firmly. In swelling out the notes, care must be taken not to sing too sharp; and in decreasing, not to get too flat. An instrument is the best guide, till the voice becomes inured by practice to sustain itself. The tone must come from the chest, without any impediment from the throat, teeth, or nose; fhough •they all assist the tone, by the perfection of their formation, jet, by improperly closing the two former, or emitting the sound through the latter, a disagreeable sound will be uttered. The formation of the mouth is another essential point to be attended to, without which the pupil can never give a true utterance to his words, besides injuring his tone by obstructing the free emission of it from the lungs. In sounding the first syllable, do the
OBSP.RVATIONS ON MUSIO
i*
mouth must be opened in an oval form, and kept in that position till it is finished. The next, re, (pronounced ra), the mouth is formed lengthwise, and rather open. The next, mi, {me), the mouth is nearly closed. The next, fa, {faa), is the most open of the whole, the mouth to be as open as possible without distorting the countenance. Sol, {sole), is somewhat similar to cfo, except that the mouth is formed rounder. La, {lad), is like /a, the mouth a little more lengthwise. The last, si, {se), is nearly the same as mi. When the mouth is opened for the pro- nunciation of any syllable, keep it in that position till the note is ended, as the least variation in the form of the mouth will ^^duce another syllable. *
When a firm clear tone is established, the pupil may proceed to cultivate his voice for the execution of divisions, turns, graces, shakes, &c.; all of which, precision and neatness constituting their greatest beauty, require indefatigable practice. The fol- lowing are to be sung very slow at first, and increased by degrees. /
— -^- Exercise on Thirds.
Do re mi rai re do, re &c. fa &c. mi
fa
m
E
sol la
m
g
Si do re
OBSERVATIONS ON MUSIC.
X,'
y^^^^
|
do |
o - |
si |
la |
so |
1 |
fa |
||||
|
' V |
-^ |
n |
||||||||
|
.1. |
■^ |
. w |
||||||||
|
i^<^ |
||||||||||
|
1 — - |
, , ... |
.._— |
Observe that the accent or stress of the voice is laid on the first note of every three. They may sing as above, one syl- lable to each note; but when the voice is capable of performing them quicker, one syllable to each three need only be used; thus,
Do
^5^&^
re - - &c.
— Y— *~
In the following, the accent is laid oh the flrst and third note, but more particularly on the first; though each note must be'
OBSERVATIONS ON MUSIC.
sung even, the slight stress being to denominate the time, and prevent them from being equivocal.
Exercise in Fourths.
m
fc Jjij^SEM^^ JTTji
Do re, &c. re
mi
ffi
i
^SS
1
re
re do.
m
§
— e
|
L^ |
■ - -^ |
|
i — :: — j — |
-^— ^— |
xn
OBSERVATIONS ON MUSIC.
|
*frr |
^^W%^^ |
|
|
re f^ 4 |
do |
■#4 i^» '^i jjj«' ■ si la |
|
a 1 1 1 . 1 , 1 - ^ ' A |
J
|
-V- |
-f- |
— •- |
■~l" |
"1" |
.. > |
1" |
— #— |
— •— |
^T"" |
||
OBSERVATIONS ON MUSIC.
xni
lY-rr
f=f=R=F^
Hhrit-H=f=P
P P-
|
mi |
re |
d |
0 |
||||||||||||
|
' V |
1^ |
1^ |
t |
||||||||||||
|
»!• |
p |
» |
» |
^ |
|||||||||||
|
' |
|||||||||||||||
|
•^ |
_—_ |
» |
LJ |
_ |
^
9 4
^
"• — •-
i
OBSERVATIONS ON MUSIC.
Exercise in Sixths.
fa soi la
.^^
H- P r
Ifpg&ggg
i
SI
do
re do.
i
dzzzf:
D:,I r P r
OBSERVATIONS ON MUSIC.
Exercise in Sevenths.
i«r
• 4 r
f=— F--^
-i — p-
# F F
:tr r rr
i
frr
§
i
OBSBRVATIONS ON MUSIC.
|
f\ . ■ :■ :•_ 1 '" . m . . . ■". „ ■'•■'■ "••r r r |
da — """ •""''s j'^r- ,_," ?i I~-_-
la re do.
^
^
« F-
Exercise in Octaves.
OBSERVATIONS ON MUSIC.
ȴ1K
^iir-CQf%^^
sol
la
^V ' —
• ^* I p! ■ P ■ [- -1
i
I r ■ I f=^
m
^
^
»-y I r ■
si do.
S
m
m
(
OBSERVATIONS ON MUSIC.
The shake may next be attempted, which requires the most, arduous and constant practice of the whole. It is the quick re- petition of two notes, either at the distance of a tone or half- tone. There are some who possess a sort of shake naturally ; but that which is cultivated is most perfect; the former being merely a tremulous motion in the throat, and frequently, only one note gutterally uttered. The best method of attaining the shake, is to begin very slow, and practice till the voice becomes flexible enough to execute the two notes clear and firm without effort; it • may then be practised a little quicker; and so On by degrees, till perfect. It should be begun soft, gradually swelled, and demi- nished again to its original softness. It must be practised on every note within the compass of the voice, and ort each of the seven syllables. The shake is generally finished with a turn, which should be practised wiih it : thus, '"^r^^Ta^fV"^
Minor, or Imlf-tone Shake,
^^^
1^3
(
OBSERVATIONS ON MUSIC.
XIX
MaJ.
Min. Maj.
Maj.
Min.
jhit-7 II Hl—F^^
sol la SI do re mi
^^hTti7 II = ipmra:^
Ma;. Maj. Min. Maj.
Maj.
Maj.
~fll. -^^-*-; - " ^°J
^J\ II II \
mi
■a
re
-e-
do.
J^s^l
^araia
iJ
The turn has a pretty effect on a plain note when used judici- ously : there are two sorts, the common and the inverted.
The Common, marked.
performed.
P
lifjf^
XX
OBSRRVATIONS ON MUSIC.
The best method to acquire the turn, is to practice on every syllable, commencing on the lowest note, and ascending to the highest, within your compass; beginning very slow, and singing every note clear and distinct ; and increase the time by degrees, as you find your voice capable of sustaining itself.
^ LJlPzf^fr EJ=^-^^-fz^=|
_ — F--3-f^ — :: — F s r -p — f — W-- r- i
|
fH*- |
-•• |
__JE |
f |
f", |
f- |
||||||
|
■~T~ |
1 |
1 |
1 |
-(■ |
-r " ■ |
r^icr
^ r i'-F-
^^
lj--:litl
OBSERVATIONS ON MUSIC. XXI
The inverted turn precedes the principal note, by commencing a half-tone below it : thus.
Marked f performed.
fezij M
There are a variety of exercises for improving the flexibility of the voice, which can only be imparted by an experienced master, and no written instructions can convey the mode of executing them ; but a few general observations may be of service. Great attention must be paid to taking breath; for unless a suffi- cient quantity is inspired, and kept in reserve, the notes Mill become weak and faltering; and, instead of a clear succession of notes, a confused jumble of unmeaning sounds will be heard. Never take breath in the middle of a word, or where the sense is closely connected; but after a comma, or the beginning of a line, after a dotted note, or rest, the breath may be taken with propri- ety. Every exercise should be sung slow at first, and gradually increased, till the voice becomes so inured to the passages, that it b impossible to fail. -''"^^^H '
''iiic^i t 1 •■ STYLE
Is next under consideration. To command a good style, the pupil must possess sound sense, a just descrimination, and an attentive observation of the best singers of the age. It is the style of our great singers, that gives them, in a measure, the saperiority over the mass of those who remain at a considerable distance from them in popularity. Let a person possess ever so fine a voice, or ever so brilliant execution, if he has not feeling and taste, he will ever remain but in second-rate estimation to one who has an indifferent voice, with the power of expressino- the various feelings, and entering into all the pathos or energy of
XXIt" OBSERVATIONS ON MUSIC.
his subject; — the one sings to the ear, the other, to the heart; — the one is a mere organ-pipe ; the other is a soul K^hich enters our hearts, and carries us insensibly with it. What has raised Mr. Braham to the high pitch of popularity he at present enjoys, and leaves him no competitor ? It is not his voice, for there are others who possess much sweeter voices: it is his style, his ener- gy, his discrimination. The songs which he excels in, are only outlines, which, in the hands of others, are mere sounds, pos- sessing little to please or admire in them; but, filled up by his exquisite taste and judgment, they become finished productions. Yet we recommend not a downright imitation of Mr. Braham, though there are few who do not imitate him; but a person pos- sessing genius may take an example without following it so closely, that every one may perceive the resemblance. Imitators generally copy the peculiarities, not the excellence, of the original, and thereby betray themselves. A man may build a fabric on a ^certain structure, but may so alter and arrange it, that it may pass, without strict examination, for a design of his own. So ought a good singer found his style on the best basis, but so cover it with judgment, that it may appear the emanatiou of his own ius.
Few instructions can be given on style; it must be the result of observation, guided by sound sense, adhering strictly to the nature of the melody, and the subject of the words; giving each their proper expression, and unaffectedly uttering both, that they may be understood and felt.
While on this part, we shall include a few hints on the use of ornament. It has become the fashion to attach to any melody, however simple, a number of notes unconnected with it, which are called graces; but, in many instances, they may be termed, rfij-graces. It is the indiscriminate use of these, that the novice ought to avMd. There are many who, possessing flexible voices,
Xxiii OBSERVATIONS ON MUSIC.
seek every opportunity of showing oflf, by running through the whole scale at almost every other bar, and by disjointing the melody and the words, destroy both. Even an apogiatura too often introduced, mars the melody; but judiciously put in, adds greatly to the effect. When the words and melody allow it, a short cadence may be made; but always in character with the air. Nothing is more ridiculous than a bravura run in a subject requiring pathos and feeling; yet how often do we hear it; and sometimes very slovenly executed. There are some who, having a few runs at command, use them indiscriminately at every part wherever their voices will execute them, and frequently the same graces, as they are termed, will be heard half-a-dozen times in the course of a song. This shows, at least, a poor imagina- tion and a scanty store, when they are applied on every occasion; not to mention how they tire the ears of the audience. Another fault singers fedl into, is, that of using a favourite note in the voice, which, whenever an opportunity occurs, they will hold out twice the length the time will admit, and keep one in suspense on an unimportant word, such as, and — to — the — for, &c., thereby delaying some immediate part of the subject, that one has forgot what is was about. The voice should be so practised, that they may all become favourite notes; all clear, equal, and distinct ; all of the same quality ; blended one with the other, like the tones of a fine instrument; all equally under command. The weakest part of the voice should be practised most, to make it as flexible as the other: at the same time, be careful of strcun* ing it by over exertion ; let it be done by degrees ; by a little and often; and, with patience and perseverance, you will bring all your notes equally good, and under your command.
We cannot conclude this part better than by giving the follow- ing extract, from a work entitled, " The Art of Improving the
Voice and Ear :— {*' - , (!jita lo U'jAi
XxiT OBSERVATIONS ON MUSIC.
«* It is an extremely false taste to overload every performance with a profusion of ornament. When a piece has intrinsic merit, or when a singer has a fine voice, ornament, if profuse, has more chance to injure than to add to its eflfect. It is not to be denied, however, that ornament, when judiciously placed, is indispensable to a singer, and will require great care and practice in the acquisition. The following passage from the life of Rossini, by Count Stendthall, strongly illustrates the ideas of this great master upon the point.
" ' On Rossini's arrival at Milan, in 1814, when he was in his twenty-second year, to compose the " Aureliano in Palmira," he became acquainted with Velluti, who was to sing in his opera. Velluti, then in the flower of his youth and talents, and one of the handsomest men of his time, had no small share of vanity, and was fond of displaying and abusing the powers of voice with which nature had gifted him. Before Rossini had an opportunity of hearing this great singer, he had written a cavatina for the character he was to perform. At the first rehearsal, Velluti began to sing, and Rossini was struck with admiration. At the second rehearsal, Velluti began to show his powers of gracing; Rossini found the effect produced just and admirable, and highly ap- plauded the performance. At the third, the simplicity of the cantilena was entirely lost amidst the profusion of the ornaments. At last the great day of the performance arrived. The cavatina and the whole character sustained by Velluti, was received with
rapture : but Rossini scarcely knew what Velluti was singing it
was no longer the music he had composed ; yet still the song of Velluti was full of beauties, and succeeded with the public to admiration. The pride of the young composer was not a little wounded. This opera fell, and it was the soprano alone who had any success. The ardent mind of Rossini at once perceived all the advantages that might be taken of such an event. Not
OBSERVATIOirS ON MUSIC. XXW.
a single suggestion was lost upon him. It was by a lucky chance, we may suppose him to have said to himself, that Velluti disco- yered he had a taste of his own ; but who will say that in the next theatre for which I compose, I may not find some other singer, who, with as great a flexibility of voice, and an equal rage for ornament, may so spoil my music, as not only to render, it contemptible to myself, but tiresome to the public? The dan- ger to which my poor music is exposed, is still more imminent when I reflect upon the great number of different schools for song that exist in Italy. The theatres are filled with performers, who have learned music from some poor provincial professor. This mode of singing violin concertos and variations without end, tends to destroy not only the talent of the singer, but also to vitiate the taste of the public. Every singer will make a point of imi- tating Velluti, without calculating upon tlie relative compass o^ his voice. We shall see no more simple cantilenas. They would appear cold and tasteless. Every thing is about to undergo a change, even to the nature of the voice. Once accustomed to embellish, to overload the cantilena with high-wrought ornaments, and to stifle the works of the composer, they will soon discover that they have lost the habit of sustaining the voice and expand- ing the tones, and consequently the power of executing largo movements. I must therefore lose no time m changing the system I have followed hitherto. I am not myself ignorant of singing: all the world allows me a talent this way. My embellishments shall be in good taste; fori shall at once be able to discover where my singers are strong and where defective, and I will write nothing for them but what they can execute. My mind is made up. I will not leave them room for a single appogiatura. These ornaments, this method of charming the ear, shall form an integral part of my song, and shall all be written down in my ^^^^' 4iai*ittj6 tiM i*iiJ
XXVI. OBSERVATIONS ON Mt/StCi' '^
" Such ought to be the practice of all composers : and no young singer ought ever to attempt a grace that is not set down for him, or which is not pointed out for him by a judicious mastet*. The violation of this rule may procure a momentary applause from a mixed audience; but it will never ensure a lasting reputation, nor lead to establish first-rate excellence in simple execution."
ACCOMPANIMENT.
As the voice is the principal, the accompaniment must be sub- ordinate to it, whether in full orchestra, or only the piano-forte: it is merely to assist and fill up ; therefore it must follow the voice, and be subservient to it on all occasions. The great fault of accompaniests is, that of playing too loud, and overpowering the voice; they make that the most prominent which should b^ in the shade, to show to more advantage what is intended to h& conspicuous. What a singular effect would a picture have, if the artist were to bring his dark colours forward, and leave the light in the back ground; and that which he intended as his principal figure, was to be enveloped in clouds, or overshadowed with trees ? This fault mostly rests with amateurs, who, so that thej;'' can hear themselves play, never study the effect of the whote.' In an orchestra, every eye should be turned to the leader, and the leader must keep his on the singer, and his ears open to all around him. Every piano must be observed, and every fotti; marked, that the effect may be produced which the author in- tended; it is the light and shade which render the whole beauti- ful. Many piano-forte accompaniests also fall into this error; and frequently to show themselves off, sadly discomfort and annoy the singer, by throwing in extraneous ornament. But this is a paltry ambition; because there are many opportunities for such a display, without overpowering and ruining the simplicity that an accompaniment ought to possess. We recollect a laugh-
OBSERVATIONS ON MUSIC. XXTU.
able occurrence which took place at a concert, where both the ein((er and the piano-forte player seemed determined to contest who should make the most noise and show off. The former commenced early to make a grand display of his flexibility of voice; and the other, not be outdone, fallowed with a tfemendotts run from the top to the bottom of the instrument: the one bel- lowed, the other thumped; till the audier.ce expressed their approbation, by a loud roar of laughter; and the player and singer went to loggerheads, each accusing the other as the cause of it.
A judicious accompaniest will always play in a subdued tone, making a distinction wherever it will assist the singer, or add to the effect. In fact, a singer .-is entirely iitt^^e hands of the accompaniest; he can either make him feel confidence, or distress him by not entering into his ideas. There should always be an understanding between them; the singer should previously point Out where he means to take liberties with the time, which may sometimes be done with effect; and where he means to throw in a grace or cadence, that the accompaniment may be accommo- dated to it.
The accompaniment of glees should possess the utmost deli- cacy ; for their beauty lies in the blending together the voices. When there is no regular one written, merely chords should be struck sparingly, to keep the voices in tune, and mark the change of key where it occurs.
In accompanying concerted pieces, that is, pieces in several parts, the eye and ear must be continually on the alert, and strict time adhered to; but should any of the voices fail, or any indecision arise, it is the duty of the accompaniest to direct the attention of the party, at a loss, by playing a little stronger, taking up the passage on the instrument, and marking the time in such a manner that it cannot be misunderstood.
XXVin. OBSERVATIONS ON MUSIC.
These few hints, it is hoped, may prove useful to young prac- titioners; but both experience and practice are necessary to attain readiness and ease, whether as a singer or a player. No pursuit can be gained without some labour, and many imagine that music requires but little; yet there is none, perhaps, that needs so much study, perseverance, and experience, and none that repays us more in the enjoyment, than this delightful iscience.
W. H. P.
52, JUDD-STREET, BRCNSWICK-SQUARE.
THE
BEAUTIES OF MELODY.
All the blue Bonnets are over the Border.
A CELEBRATED SCOTCH SONG, SUNG BY MR. BRAHAM. fVith Spirit.
^5
#• #
jLZ.T» — ZTjF W
-}— =^
fr
8ves.
^^iii^^s
H
# -#
f==^=hT=Mdt=j=t==m
i
1
-+— =h-i — h
rtna:
-=HP-^
UJ:
J-H ^'
i
i
6— ^
'^— N
I
P
^— •
^— ♦
March, march, Et-trick and Te - vi - ot dale. Why, my lads
0
H-~= — y
1 J 1
T-^
•g — W
— h-
^ — b» — h
p^^i^
■4 — # din na ye march, Forward in or - der, March, march.
3S=5t
-! 1 h-
•H 1-
-♦-¥-
I=f
X^f^
m
zr:
pg^Sffrmi
Eskdale and Laddles-dale, All the blue bon-nets are
--{ — ■• — ^^i^- T- 4—
T
-^ — t
i
f — =V
I'j'^j)! ■ nm
x)-ver the bor-der.
Ma-ny a banner spread
? ^
^
■f =t-
MZiZpEI
:ei]
m
u
^^^HiSi^
flutters above your head, Many a crest that is famous in
i
¥
^ =J-
H
ES
crnr:
^
# ^
^:e:
^^a-m
i
sto - ry.
Mount and make ready then,.Sons of the
g
^
^ — =^-
^
y— rg
-=^
fi^f.tfJjTr^
Vr
mountain glen, Fight for your king,and the old Scottish border.
JT?
&
^
-P =T f-
16
ipix^rrrnfff
M arch, march, Et-trick. andTe-vi-ot dale, Why, my lads.
m
4__ j-
rp?:
:*:5=i
=J— ±-=H
— I h-
^ It
— h
Bi
^
:=3E
^
i^gg=a
ia
St
-=] — :-^
din-na ye march, Forward in or - der, March, march.
m:
iciz^s
-=»— ■
pi?
^
m
p — F--^
i
Nt
Eskdale and Liddles-dale, All the blue bon-nets are
i
^
^
^=j:
iV«-«.
m
^^■
^
r?»
fS^
-f — =h
17
*^
^
O-ver the bor-der,
m
*. -«
ig
V=7
f^^T^mm^^
Come from the hills «rhere your hirsels are grazing,Come from the
$
H =^—
'^=f
^4-' y-
rpfl-.» — #
18
glen of the buck and the roe, Come to the crag where the
i
lizizzt
^
3
Sees
r, ... t W,
^—^-^-^-^^35^^^-^^
ii?
rrry--
^^
^i
s-i—s-
^j
1
P^^^^
^r tr— ^T"* — '^-^
beacon is blazing,Come with the buckler, the lance & the bow.
-• •- — i- — ¥
^^
H — L
^*
■#- •*-
^^
f — =t — ^
Trumpets are sounding.
War steeds are bounding ! Stand to your arms, and march in good order ;
England shall many a day,
Tell o'er the bloody fray. When the blue bonnets came over the border. March, march, &c.
The above wurds sing to the latter part of tJictune of the first verse— riz. " Many • bMnoer iipread," &c.
19
'N.^<"».^'X,
When my SouVs Delight.
k FAVORITE SONG, FROM THE OPERA OF " NINA. Lnrghetto.
^
^
gg^
j^^i^nu
t~z±
When my soul's delight a - gain vi-sits these sad sorrowing
^ • ^
■^^-^T
-^-^-=^
I
r/.
?/.
g^^
f ^ — ^
•r »
I
^ — ^ — ^
eyes. Spring's re-turn shall bless the plain, Flow'rs of
|
ry - ■ _„J_. #- _ _J , -:t |
|
'-^ 1^ i 1 A \ 1 r n ^ . |
Pi».
sweetest fragrance rise.
Hark ! bark ! T hear him;
m
# ■•
-I ^
*^«
i
3e
20
^ijiii.
&
■P-1-1
i
i
^^
|
ah |
1 |
no, I'm |
doom'd to mourn, I'm |
doom'd |
to 1 1 1 |
|||||
|
' V |
■ , • |
■ |
_ |
■n I |
||||||
|
• '• |
■ |
•^ -, |
"1 |
IITT |
||||||
|
h * |
• |
J |
- i-a |
\ |
-- JJJI |
|||||
|
° |
.. |
E=3E
f
sg^
I
— •— #
mourn. My soul's de - light will ne'er re-turn. My soul's de-
p
i
f — ^
2^
light will ne'er re-turn.
^
i=i
Tuneful songster of the grove. Know, the voice of him I love, Shall inspire thy little throat With a softer, sweeter note. Hark, &c.
Echo ! stranger to repose. Oft I tire thee with my woes ; See him i yet for thee he sighs. Echo, yes, for thee he dies. Hark, &c.
* 21
Turn Amanllis.
A MADRIGAL FOR THREE VOICES.
Moderato,
i
i
^m
I
Turn, A-ma-ril-Iis, to thy svrain. Turn, A-ina - ril
•t\}^^\n
-. — ^=F^
Turn, A-ma-ril-lis, to thy swain. Turn, A - ma - ril - lis.
s
IE-.E
P'> f
pe=l
o '
W-^
Turn, A-ma-ril-lis, to thy swain,Turn, A - ma - ril -
i
s
*
P
lis, to thy swain,Turn, A-ma - ril - lis, to thy
iqifzq^
i
^^
i
±Z±
to thy swain. Turn, A-ma - ril - lis. Turn, A-ma - ril - Gs
TT] r r
^^
^-P
li8,Turn,Amar - ril - lis.
i--C5
Turn, A - ma-ril - lis.
^m
I
#-e-j-— ♦
< • j — ^
swain, to thy swain. Thy Damon calls thee back a -gain, Thy
i
>» m
-^
I
#--#
9 — P-
I h>
to thy swain. Thy Da-mon calls thee back a - gain. Thy
^es
i
# • r- r I ^ ^
to thy swain. Thy Damon calls thee back a - gain. Thy
ynr
m
22
4 4 J O •
ti-rUC-^tfJ
Damon calls thee back a - gain. Here is a pretty, pretty.
.^'ri\iO'^\--\UU^
Damon calls thee back a - gain. Here is a pretty, pretty.
■n'Mirfl
i
e^
h* ii»
Da-mon calls thee back a - gain. Here is a pret - ty
m
Ezid
K—S-t-^
i
^m
pretty, pretty, pretty arbour by,WhereApol-lo, Where Apol-lo
N N
^ii
S
m
am
pretty, pretty,pretty arbour by. Where A - pol-lo. Where A-
s:
o rj J I jE*fjU.Jj:
pret - ty ar - hour by. Where A-pol-lo, Where A
^ T I r^iYTT^^^S
Where A - pol - lo. Where A - pol - lo can-not, cannot
^ — ^
^ — ^
pol - lo. Where A - pol - lo. Where A - pol - lo can-not
f — f-
p — ^
F^
m
)^ — ^
pol-lo Where A - pol - lo. Where A - pol-lo can-not
paM
23
i
"T
d"^^
V-^
spy. Where A-poI - lo can-not spy. Here let's sit, and
^
P=^
'M
O » II P' #
^
spy. Where A-pol - lo can-not spy. Here let's sit, and
rir
S IS
^m
m
[^
tx:^
spy. Where A - pol - lo can-not spy. Here let's sit and
finu!
i
—•
whilst I play. Sing to my pipe sing to my pipe, sing to my
wnijQ-iVfu
whilst I play. Sing to my pipe, sing to my pipe, sing to my
i?=F
i^niruun
whilst I play. Sing to my pipe sing to my pipe, sing to my
.cjrjjjuJj:
i
pipe, sing to my pipe, sing to my pipe a rounde
m
i
I
2Z2
^ )^ \^
pipe, sing to my pipe, sing to my pipe sing to my pipe a rounde-
;)••« p. J Tt
K~~K
^m
t
^
1=2
pipe, sing to my pipe, sing to my pipe a rounde-
24
'^m
i
I
i
I
lay, sing to my pipe, sing to my pipe, sing to my
ra:a:FP^g^
3C
lay, sing to my pipe, sing tomy pipe,singto my pipe.
Sg
n
m
*
lay, sing to my pipe.
sing to my pipe.
^m
i
f -4 .
pipe - - - a round - e - lay
i
1 .:•*.•#
^
EGe=e
±Z^ZI±
sing to my pipe a round-e - lay.
Wn) o TStzL
^m
BUS
WTT
sing to my pipe a round - e - lay.
Let me Wander not unseen.
aV¥G BY HISS STEPHENS.
Siciliano.
Handel.
^^^^S^
5^rTJ
murium
00 r
s
Let me
-F-=h
25
^T^TfFF^^
wan-der not unseen. By hedge-row elms, on hillocks green;
TT?
1
■=V=h
There
^
i
^^
#— ^
mr
entoii
^T
p — p-p
^ U**- '[,* I l»~^C" [, I >
k k
the ploughman near at hand. Whistles o'er the furrow'd land,
a=i=='
QJrTTtMTrc
¥~g
#— #
P^
rt~f:J]| r- r-tf-'JUX
There the ploughman near at hand,. Whistles o'er the furrow'd
.^
iffi
4 4 -d.-P-it
4,^4 4 4 d ^
Sym»
land. And the milk-maid
m
i
3=^
^
f
^
4 P M
i
^
26
:f » * # §-m #
:U ka g
^
sing - elh blithe. And the mower whets his scythe, And
p I .J J J 1=3=^
i
# — #
^^
me
p¥^
Utf
k
e - ve-ry shep-herd tells his tale, Un-der the hawthorn in the
rm^GfigT^
grJrtr^
Sym.
f — V — Is
^m
tale, Un - der the haw-thorn in the dale.
=i=p:
Andante Allegro.
Or let the merry bells ring round,
Sm
^^^^^W^^M
s
k — k-
Or let the
m=t=$:
p~:-M p p
f^-f-^
i:zi=J!c=s
m
A-F^4^
±ziz
-^ ' ^
mer-ry bells ring round. And the jo - cund re - becks
m
>-^
1X--
=^^5Q:
M
jjy Ti
sound.
And the jo - cund re -becks
^
g0T^ i\ um^m
youth and ina-ny a maid.
Dancing
:):«, r tfF
■f= — f-
3 3.3
29
|
many a youth and nia - |
ny a maid |
, Dancing in |
the |
|||
|
^ Vtt |
||||||
|
t J.w,. |
i |
A |
||||
|
1... t; - |
L-j |
|
che-quer'd shade. |
Dan |
cing. |
dan - |
■ { |
||||||
|
• |
■ it* ■ |
|||||||||
|
• l.»,. |
i |
f |
||||||||
|
tl |
4 |
^ 4 |
||||||||
|
• |
i |
P^sa
agjjJ
«— ^
k^—
|
• ". ' . |
A |
... |
cine:, dan- |
cina- |
in |
the |
||
|
.. |
||||||||
|
■ |
||||||||
|
' Vrt |
||||||||
|
ft l.il,. |
a |
■ |
||||||
|
tt |
4 |
« |
||||||
|
L- ♦^ |
[f^^^^^^m
chequer'd shade,
To manv a vouth and
S
:p^-t^
^
I
^m
m
ma-ny a maid
Dan-cinff in the
m
##=?
30
3 . 3 , 3 3
Dancing
n~-^
m
^^WTp'^PPm^-w^
te^
F>"r T^:^^7TT"7^
iffli
dan ---._------- cing, dancing
i
f
— ft^-rv-N— fi
^=^=i
i&
E
-f--
1
in the chequer'd shade. m
EE
i
^m
WJM.
P r-'*
AnJunlinit.
31
John Anderson, my Joj John.
H ^
g^^p^d^
m
t
It-*
mi
■ ■ ■ ' 4-\ — ' — I '■'-J — I • L
i
m
^^SJziS!z
■ ■Lj' ■ — U I ■ L
^-^
■^^
e — p-^
« — #
John An-der-son my jo, John, When
35
^^
SBS
« -*«
^
i
^
« •
Na-ture first he - gan. To try her can-ny hand.
^
f :if-i-r p
i=3t=*
t
• > 4
3i=
i^
i=^
^
#=P
John, Her mas- ter work was man. And you a-mangthem
'^^rr-H^
m
J <
ti2
Sip
*:
i
a* John, ,so trig from top to toe. She prov'd to
^SP^^,
^-31
John Anderson, my jo, John, ye were my first conceit, I think nae shame to own, John, I lo'ed ye ear' and late ; They say, ye're turning auld, John, and what tho' it be so? Ye're ay the same kind man to me, John Anderson, my jo. *
John Anderson, my jo, John, when we were first acquaint, '^ Your locks were like the raven, your bonny brow was brent ; Bat now your brow is bald, John, your locks are like the snow. Yet blessings on your frosty pow, John Anderson, my jo.
John Anderson, my jo, John, we clamb the hill thegither. And mony a canty day, John, we've had wi' ane anither ; liow we maun totter down, John, but hand in hand we'll go. And sleep thegither at the foot, John Anderson, my jo.
^
Together let tis range the Fields. * 1
A FAVORITE DUET SUNQ BY MR. BRAUAM AND MISS STEPHENS. Vivace ma non troppo. Dr. Uoyce.
*fe^
BETZI
Cfffr^l
pi|
IX
4-4
4 4-
ass
?
I
&
mmm^
SS&&
I
^
^.
^^^^^.
jQ-gfi'lf.
JJ-J-
^^
^
»
#^ 4^
To-
u
-^
.=^_^
■.—m±
f"Vfrn
-~j— ^^-T^
1^^
gether, To-ge-ther, To-ge-ther let us range
1^
•f==f-F-
Together,
Together,
^2
N— |-N
L^^tti:
^E^
»»
M
£
-=l — F-=H
^_=, ^'
I
e=i
I
the fields.
Im-pearl - ed with the
-^^»
§
nn»:
^
i
-=1 F-^
K
o-ge-ther let us range the fields.
^^
P~r
i^£z^
p-r
^■■,; ■
^Sg
■1 r-1
^
morn - ing dew.
Or view thee
^r'^-^-rrm
as
1 r 1-
Impearled with the morn - ing dew,
^!
si
^
— iZZ:
-^-r
-^-^
i
35
m
-u — k-
zsEzze
1 r 1
fruits the vine-yard yields.
«»
at
,> f-f /I
-p-=t— ^
f
\0 ^ C^
Or the ap - pies clustering
^^
e
^-!-
fi?
i
s
«*
F-^-
I
There in close em-bower'd shades, Ina - per-viou»
O-h
i
P^
?
»
bough, There in close em-bower'd shades, Im - per-vious
m«i
P — P
p — p — p
■^=-^
4—^
S^^*
^ggg^P«i j[«J ^
s
TSTiy
«i=p:^i
-=hH= =V
to the noon-tide ray. By tink - ling rills
««
tS=M.
I
m
-=\ — F — =^
«i
to the noon-tide ray.
on ro - sy
^5
^
-• — 4-
■u^^ —
F-=h-f^
36
tz-viwtwf
riM
£pi
rzK
We'll love - - - - - the sul-try hours a-
l^tp=^
beds,: We'll love ----- the sul-try hours a-
igffig
p—^-p—p-
p~p
t»M
4-4
i
I^H — ^^-f
way. We'll love
the sul - try hours a-
5-«ix^
-f-=^
^^-=^-f-
K
P^Pa,^p
■^ — F-
way,
We'll love
the
3i*
«i
^
F^
# P • g »._«__»_A
l^_j — ^
-8»
=«M-^-p-
I
sSi
-^^-f^-
^ k. t^
way. We'll love -
the sul-try hours h-
Kul-try hours a - way, We'll love
the:
iSttS:
^-j ^J_j ^^-) ^
^1 1 L *jl
37
}|
^ffS-^
'M
■^— F-
— w
!»i
?ay.
the sul - try hours a - way.
^It
«i
p^
«±=5z=±:
s
We'll
i
■Kr
tti
sul -try hours a - way.
the sul-try hows a -
^!i
m
p — p
9 P-
«i:
P — 4—P—4^
Sgm.
p^MfFS
tfCm^'^JJj>
love
the sul-try hours a - way.
g^e^gg
way. We'll lore the sul-try hours a - way.
^^^m
W=p
»
:«i
I
i
T-ri
2itd FetV«.
-prS«.
-Ji^ihuH-mEiip:
To-
iSjizC
SS^
^^
T-r-1
psi
38
fct^
^
-f^^H^
Together, Together,
^^^^^^m
gether, To-ge-ther, To-ge-ther let us range
ei«
*-r
«i:
ge-ther let us range the fields. «i,
^a
"»i:
-^ r 1
•(=-=1 F-
^^
the fields.
i-=h
#-*-#
Iin-pearl - ed with the
f
• r*,
-8?:
«i;
F l-P'
T-f^^-^
|aSE|
a^M
i
1 - r-1-
k-^
Impearled with the morn - ing dew.
gfeauun^.i =T?^
morn - ing dew.
Or view the
31$
«i:
■*-=-
39
«?
JSi:
-F-^
^^
Or the ap - pies clustering
^m
^f w
f
1 r 1
hm k
fruits the vine-yard yields.
M^g
m
^
?
ta
-k9»
i
«t
rvT
^
I
bough. There in close em-bower*d shades, Im - per-vioas
kpT r * I . ifcrtil-h. 5P ^^p^
?
There in close em-bo wer'd shades, Im - per-vious
S!
?
^
«i:
y-g
fepN
^
-^i F— =^-
-J- to the noontide ray,
s«.
By tink-ling
. fc«i
m
P-P
^^m
to the noontide ray. By tinkling rills.
m]T?T7't"ff^
40
i
«&
■1 ro
rills.
-=t-F-
fe±i^
on ro - sy beds. We'll love
1
»»
aif^^
pip
-1 r 1
rir-
^i
on ro - sy beds.
We'll lovft .-,^ I
ImuU^tt
00 P
N I Ni
a^ ^ f ^ I til 'J
• ^ • #
i-— gC^-i >^ N
^^ra
the suUtry hours a - way. We'll love
the sul-try hours a - way.
We'U
[^S
fe
wm
■y=i
£S
«*
«i:
^
*^-^^tt
J
^ 1 r-
f
0-^ F-
the sul - try hours a - way.
the
-»«
5«iif
ktM=±
p^
love
the sul - try hours a-
^¥^i44^H=njnrri
-5^5
— ?> r * ^j
41
P-1 -r-^-
H^-^-^
K
-=V-f^-^
sul - try hours a - way.
By tinkling rills, I
«»
'pfg
I
ai:
Jtr^n^
^~^T F-
fct
ktzb:i^r*ii
way.
the sul-try hours away.
By tinkling
a!
i
C^r fiJD
«»:
^^
P^
a
— 9^--
^ii."'i-
w^-H4-i\r ' '\ '^
On ro - sy beds.
We'll lore
sl
m
«i=to
-f— =h
r(» p
m
.i^_f^
Erf#
I
rills.
On ro - sy beds. We'll love
m^iif-^\Uf^\W^
4-4-^-4-
t^sP- f> ifFrrTrf^frriP' Ffff
ir:^
i
a
ggj^^iHg^z;^
i^#-i =31
Vw/ ^-/
iJrljjlJWfjJi^
^«i
I§t
fi
We'll love - - - the
*«
3:zv:
i^^-W
i^5s
z^=P:^^^^^^±t±
We'll love
the
JJ?«
-d--*^— ^
'-^M"
K^
-Trn^-
!3|33
■ ■■ — ^ ■ — t—ff ICJ — ^MH — ibU — "H — *■
sill - try hours a - way. We'll love - - - the i
HFSgg^iT-pf-^
i
:«i:
-=1— F-
£fgpffF|n
-=H^
ens?
Sglcji
sul-try hours a - way. We'll love
the
^
^. •v
43
«:
m
sul-try hours a - way
j^»
m
s —
-T f=^-^
sultry hours a-way.
^S
^Sipiipiipi
«»
P
«i:
By tinkling rills h^
-F-^^-
^m
3EE
By tinkling
By tinkling rills
By tinkling
^E
«a=^=^
:3z£±ra:
|P^P
PLH
S
We'll love
the
rills. We'll love - - - the
3ii5
«i:
We'll love
.As (t
H=^
^
is
cm^^M
a^
-*
44
8ul-try hours a-way, the sul-try hours
««
M h-
1=^
«t
^ #
b^ I ii*'
m.
sul-try hours a-way, the sul-try hours
Nt
]E=i=X
^t
I
Uta
e-^
-ev
■«ft^
i^^^^s^^
«t±:^
I
44
way.
^^ _ ''
isSig
PS
N- -
g
igi##
Wit^
aZkm^
:*
I I I I I
^ttgtfi£
I
^
g%gR^B
IBt
1^-
^
s^
-i— Nn
^^m
-4^-— 4^-
^j^^^^^
:'(() 'iiu
m^^\-rH-r^
n
P
iwji i'i'
&enlle Youths ah ! tell me why, '■ |
i SUNO BY MISS STEPHENS IN LOVE IN A VILLAGE.
Largo. Arne.
:-p|i|3
^2
ilE
^1
-W-T-
fm
Mfji.j^[ijjj;n
Gentle youth, ah ! tell me why, j
mirr-.W^m \^m
m^^m^^m
Still you force me thus to fly; Cease, oh ! cease, to
S«
^S
«i:
J5^
f
■ftft
d
p«^ffj«fe|
per - se - vfcie. Speak not what I must not
EBSfrc* r '^^
Ig
8«
■^
/'-N
s
»i:i=^
f— F-
hear, Speak not what I must not hear.
mu
m
^Mfe^AH^^
^e
-*-^^-
To my heart its ease re - store. Go, and ne - ver
^«ii
m
^^
^
jg&^farj^rf^^^
see me more. To my heart its ease re-store.
aB
SeI
• — *—*
nt
i
Go, and ne - ver see me more. Go, and
^
eElEZK
lil
•7
ne - ver see me more.
3^5
rir r'rrfiri
«i:
^S
^
i
48
c Still in Hopes to get the better. \.
SUNG BY MR. PYNE IN LOVE IN A VILLAGE. y
Allftih. Arne
WUi\i!0^^^^.
— 't-
is
sg^
p~^
m 0 • 0
P-0-
P~=-
is;
F-
D^b f '
0-^
t±^
h- h- h
Jg^SS:
\Y\fWT~W—^..\ t~^ P ^yTT-f
fCirrrtt
■1^
n
gftf^^^^^
Still in hopes to get the bet-ter Of my stubborn
^i^
^
Nt
4d
# r
E^iPS
iM
flarue I try ; Still in hopes to get the bet-ter Of my
EfcztJ
^
^-:r-|^-^
-=^-
gg
p^
>T-
fr--^
fc3
c-mrrt!^
stubborn flame I try ; Swear this mo-ment to for-get her.
t-t: — P-
m
b#
fT^ifc Lpgj
i^afej^EfeNpi^
|
Ar |
id the next my oath de |
-nj |
r, my oath de - |
ny |
, my oath de- |
||||
|
' V |
• ■ |
1 |
1 |
||||||
|
• I. |
9 W |
f |
f |
||||||
|
5 |
• ^ |
»■ r-" |
■J |
. ■■" 1" - |
|||||
|
1 ^ |
(* |
LJ |
r"* |
a
i
i
^t
e:ii:
Jl* ^ f
-nn
Now pre-par'd with
tfah^-ftj
1^^
f~fmTt?T-r f r r
scorn to treat her, Ev'ry charm in thought I brave, Ev'ry
iijjrrp"J
itzz^
p
^
50
I
i
c\
m — y
^^
*
charm in thuught I brave ; Then re-laps-ing fly to meet her
i^^
4^_i._
^
L«' U t^ U— t;r
^=i
And con-fess my-self her slave ; Then re-laps-ing fly to
CrfrT-fTTTr^gsp
I
*_._-.
meet her. And con-fesg my -self her slave. And con-
a.-f f r IW^TT^M
i
— h
3^S^
i=F
'^ ^ ' u
fess my -self her slave. And con-fess my-self her
slave.
m.
^
51
a
S#g5g
When Time was enlnnning.
CAU.COTT.
^35
g
•--#
P§^
M-^p # F
When time was entwining the gar-land of yearSjWhich to
fes
^
43^
mui
^ • — •
When time was entwining the gar-land of years,Which to]
^55
^
b ^ 4 \ 4 4 t
When time was entwining the gar-land of years,Which to
ro.br- #
s
lEi-ip:
±±z^
SI.. SI
crown my be - lov-ed was giv'n.
fc^
■'s*.«
P
« 0 #
crown my be - Ioy - ed was giv'n.
i
3±
l^^
-— ^
1 f
crown my be - lov - ed was giv'n, Thougli some of Ihe
62
sul - lied with
I
pai
fe— F-^
f"-
Though some of the leaves might be sui-lied with
^^
^
e-~i.
^ES
leaves might be sul-lied with tears
with
f I b,# ■ . p r
^
-f^— f-
tears,
the flow'rs were all
^7\Trm^
¥'^ L C'^-
tear8> Yet the flow'rs were all gather'd the flow'rs were all
k^.i. P r. f I f • r rr^^^
b t l^ U
jg .' I
tears. Yet the flow'rs were all gather'd in heav'n.
±-£rGte
i
^
^
gather'd in heav'n
in heav'n - - the
^^
gather'd in heav'n, in heav'n
the
m
i
TT-ff
ifcii
^
TTTT
heav'n were all gather'd in heav'n - - the
od
fc — —fvi^t^i
i
^mmm^^m
flow'rs were all ga-lher'd in heav'n And long may this
kx
h
4*4/9
^^t
yi.,-.#p -lip
5c:zs
flow'rs were all ga-ther'd in heav'n. And long may this
m
—i
i
i
tktzzt
— @-~F
^
lf~9
-F F-
flow'rs were all ga-tber'd in heav'n.
i ■^etf- ,w*^
Uii*
gar-land be sweet to the eye.
kzi
4^-P^
WZl^M^^
# — ^
'^ ^ 'li
gar-land be sweet to the eye.
^
^^i
P_* — e
H=-^
-k^
gar-land
to the eye. May its vtrduro for
'i
^^
-F-f^
#---#
May its ver - dure for e - ver be
i
PE
-F-H=-
4L.
May its ver-dure for e - ver be
m
t-~U-='-H-^
e-ver be new
b«
54
new, May its ver - dure for c - ver be new. Young
frzK
i
^»
n±:z±z±±=lzz
tzttiztiz:^
new. May its ver - dure for e - ver be new. Young
Efe
• * It
^
# — P-
yv
new. May its ver - dure for e - ver be new. Young
i
hFTO
j5^-^
^---^
¥=^
Love shall en-rich it with ma -ny a sigh j
^
n
1 1 > • *
^
♦iTT
Love shall en-rich it with ma-ny a sigh ; And Pi - ty shall
m£
m^
b 4 -4 — #
Love shall en-rich it with n»a-ny a sigh ; And Pi - ty shall
e— ^
© — =-
-f'-F-
Young Love
S
W=H^
•f^— f^-
nurse it with dew ;
Young Love shall en -
s^
iiii^
nurse it with dew ;
Young Love shall en-
55
i
-e — ^-
m
And Pi - ty shall
iraE
A-Z I F~7 tzgfe
i
g
rich it with ma - ny a sigh ', And Pi - ty shall ).
m^tr t : \T axtt:^m
rich it with ma - ny a sigh ; And Pi - ty shall
^
t
# — ^•
nurse it with dew, shall nurse it, shall nurse it. And
3
p\ P P 0
f
nurse it with dew, shall nurse it, shall nurse it. And
ffi5
m
P — P
nurse it with dew ---------- And
b.^«.#:
^
i
s
Pi - ty shall nurse it with dew.
^
^s
Pi - ty shall nurse it with dew.
^r : r i rfirm
Pi - ty shall nurse it with dew.
56
Heroes when with Ghry burning.
I
A Tempa di Guvotlu.
Handel.
— rqr^
ffltt-rft^M^
;>:, .rflJJ:
^
f— y— f
^
tt:!
^d ^ d
4-'
m
£f^
^
J
i
-&~t
^
:i=*
t-
|
li.'.— — - |
— H«-«)£6 |
wb«H with glo - fy |
l>ur« - -mg alt ittekr ' |
|
i!.l» - |
|||
|
rli - |
■ |
||
|
h |
|||
|
■ -d |
L J |
.57
^
f^=§f=^=^
-\—
toil with plea-sure bear.
^
tt!J:i£la
^^
>.fl» F r—P
iF ^' J
^
g
And be-lieve to love re-turning lau-rel
I
#~^
ijiiig
|
wreaths be-neath their care. |
..,:::::. '.i |
|||||||
|
_i |
-r ' |
P-f |
P a. |
|||||
|
f}' ■ I |
^ |
r |
~4 |
-J — 1 — |
-L- |
^ |
||
|
b |
^ « |
' |
— i-- |
f^
-h-T^I— t:
t
Tpfr-...fr.T^,\
{
i
^•
:=r
|
He-roes when with glo-ry |
burning all their |
||||||
|
'V |
[^ |
m |
|||||
|
• J. |
9 |
■ |
■ |
T |
|||
|
h |
c |
||||||
|
■ |
I
-^t
^f=l
m
toil with pleasure bear, And believe to love relurn-ing
m
:*-
^M-J^
...r e
w
-0~
58
si
*
|
to love re-turn-ing lau - rel vreaths |
be-ne |
alli |
their care. |
||||||||
|
' V |
■ |
^ |
f |
Li: |
|||||||
|
• ''h ■ |
■ |
„ ,. L |
f |
||||||||
|
c |
|||||||||||
|
k |
— |
* vir Pf.i-p-F^^
i
s
P=i[
^^
He-roes
t #» • ■_
feig
=i?
^
S
|
when with glo-ry |
3urn-ing all their |
toil with pleasure • |
be |
ar, |
||
|
' V |
f |
|||||
|
. 1. |
■ |
- p*. |
||||
|
h |
1 |
_J |
^ |
|||
|
|
i
iS
e^
^ U ^ 4^
^
4—4
And be - lieve to love re-turn-ing laa-rel wreaths beneath I heir
a
t
i
^— F
TCfif "^CfltTjgf?^
*
And be - lieve to love re-
^^^^^^m
59
|
-Q ' |
— |
, .. |
|||||||||||||
|
/i b < J |
P |
f |
|||||||||||||
|
(\i * |
' |
||||||||||||||
|
y.y - « |
^ |
1 |
4 |
a |
• |
i |
i |
||||||||
|
4/ turnin, |
^ lau-rel wreaths be-iieath their care. |
be- |
^V ■#
3
i
iH-^
g
luTErr]
^— 1(
ncath their care.
And be - lieve to love re-turn-ing
m
tofrjrirh^
n
f!\
i
T~y
I
fi
cr — ^
m
lau-rel wreaths, lau-rel wreaths beneath their care.
r TjiFr-r.i
;): r fr r J
I:
War to
60
^^^i^^
har-dy deeds in-vites,
z:e±3:
War to »
mm
FFFPF^^
^
^ ^4 ^ a^irg
3U-^-*
a <
har-dy deeds in - vites. Love the danger well requites. Lore the
^rN^T^ft^'^ I r r ritTTf
daa-ger weli re-quites.
Love the
lgN=#
3
:«:
mEtoa
^
■^— -pr-v--^ri«^-^% jger, War to
r-r-^
±=3t
61
gpf£]ffffrn:tt
H P ^ ^
|
har-dy deed |
s in |
- vites. |
itfp |
P »■ 1 |
Lore the | f- m. . 8 ^ > |
|
|
-yr^d |
J |
y |
^^-^ |
gTjij ^- c'r^^
dan-ger \reil ro-quite!«, War to har-dy deeds in- vites.
e
^
U^fr^tl-^
e
^
# * #
Adtiglu,
I
ii-'^=#
|
Leve |
the |
||||||||||
|
^v |
• |
. |
..... . ^ |
||||||||
|
•.J. |
a |
■ |
f |
||||||||
|
h |
A |
d |
hr '" |
||||||||
|
4 |
i |
1 |
rci |
||||||||
|
,-- H. |
■— |
4 |
■- |
i |
i
J
./4 Tempo.
^
^^=^=^
^
dao - gw well re - quites.
''V
^F=Ff
£
:£
*
N— 1 — ^
16
i
l2i:i=3
-gj I J I — r — rr-TT »j » ^9-1^
±=tf=±:=i=z!^
Z:i-LJ--Lzz-z=3lz=j:^=J£ES^EgE
6-2
i^^^^H^rrfj^
-e — I-
p
He-roes
|
^ ' HI [JJij j^i J 1 |
^} J j u
Efetft
|
when with g!o - ry |
burn-ing all their |
toil with pleasure |
|
'V |
||
|
1 1. ■ |
■ |
I |
|
h |
||
|
' |
s
rTj 1
Z3t
|
bear. And be-liei |
re i |
0 love |
re-turn |
-ing |
la |
u re |
wreaths be- |
|||||||
|
'V |
., |
• |
||||||||||||
|
• J* . |
1 |
t |
^ |
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|
h |
i |
4 |
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|
■— W 0 |
J |
1 — J |
U .|_ |
s
^^^
neath their care, lau - rel wreaths be-neath their care.
■IV--C3
^a
'^m
t5i=*
^
Dal Segno.
63
.— h^
?piniB maasai saiBiL®iDiiiaa^
N0.i*
Harkf I hear the OcearCs whelming Sweep.
THE WORDS WRm'EN BY WILLIAM LEMAN REDE. Andantino espresnco. [Air— Low;'« young Dream.
^^rtfirf rr^-^
t
fe
I
m
^gp^ X
^terfgfcj;
-^M^klb
-^
rP ^- > *
g
T3G:
s
^
i
Hark! I hear the o-cean's whelming sweep. The loud winds
f^-^-
TI^rf-jn^^L
m
*^-^- r 1
■^— r
f
^S
64
dd— -r — -^^—^
^ffrfnmm
roar, Fare-thee-well, my love, I brave the deep,We meet no
3t
rJETivinn
#- — F-^
t
^—
izn
I
^-^
• . ■■
^:
i:.!-__ii3[
more. Deep glooms the night a-cross the land and darkly
cres. f.
:i±
-p-^h
gS
-^=l-'€-
^
i—
"i-
■I ~ — — zj^L U r 1^4
#. -^^
f — iH
-=^-
^H--^-
;^
:e
N — ;■
^
^zzfiz
lours the skies. Coldly blows the wind and cold's the hand that
^ ^jf!=jr^rhi^^
I
rinf.
m
t&
-H — F — *h
i^""J— H-dsiJll:
m
in mine lies. And the on-Iy lights up - on the strand Are
iig
Ei
m
p—^
mBSi
I
-f-^
-'^-ih^
^^
--f^-^-
4^ — 4-^-4-^
those lov'd eye».
i
w^
■:^
^^
f
i
When my bark across the foamy \mue
Shall fty frojn thee, — When those dear bli»ecyes no longer shine
Life's light to me,-^' This heart thy smiles first taught to glow.
Will bid emotion ceaise^ And I, from ills and griefs below.
Find one release, Wlen these eyes that Tong have wept in woe, ^ Shall close in peace.
m
No.H.
Could the Voice that I lov'd wake again to this Ear,
THE WORDS WRITTEN BY WILLIAM LEMAN REDE.
[Aia~SAe vt far from the Land.
n^s
fe
t
^M I f - < ^
■-F-^
i
^=Sf
kk
■r 1-r-
Could the
eis
^i^itf ctf I r M[
Wr
fe
p:^
i
feii:
i
F5
EX
voice that I lov'd wake a - gain to this ear, AH its
fet
^^m
^^3
&f
^^^^^^m
rap - tu - rous ine - lo - dy breath - iiig
■^^
^3
^m
^-t-j
^=4
^
^1
■=\ —
SE
fEars:
^A4=^
^
then might for-get all the sor-rows that here Round this
mm-i-1-Jim
:y.h . r r~T
^
m
±iE
id^toiisw
^
*S K
WgM.
4 4
de - 80 - late heart are en - wreath - ing.
I
^S=f
^MMb
t-^
r?
i
^
s
p^
68
rinf.
i
m . m
■d =^
s^i^^^^
m
=tt;
k
i
1^—
Could the eyes on vhose light it was rapture to gaze, feinJ u Shed on me their Iustrou» splendor.
Beam again, like the moon on the streamlet, their rays. All gloving, yet meltingly tender, —
Could the lips that were brighter than rosebuds in hue, , When the dews of the morning weep o'er them, ' Melt once more to my own, or be bright to my view.
As when first my heart learnt to adore them, —
I again might be blesa'd ; but cold in the tomb Lie those charms, with my Julia sleeping ;
And lonely I wander in silence and gloom, To moisten her grave with my weeping.
The winds whistle over the grass at her head. And wild roses around it are springing,
As still, though the <|ueen of their beauty lies dead. To Ihe mem'ry of loveliness clinging.
•i
m-
..-^^f>-- _^— ^-
Ye Woods and ye Mountains unknonm ^n ISlegp.
COMPOSED BY WILLIAM JACKSON, OF EXBTER. Larghetta.
■u ,
^^
^S
4 4 4\^
-w—it
Ye woods and ye mountains anknown,6eneath 'whose dark
^mm
^-^^UU4
^4<¥e woods and ye mountains unknown.
. ..^^_^4tfS-£ wu<Kis aiiu ye iuuuiii>aiiii» uiikiiuwu.
v¥s woods and ye mountains unknown^Beneath whose dark
_i—
M
FP=i
^P=P
w
■f=— F-
^
kib:
sha-dows I stray.
To the breast of my
m
§
^-f^
zm
M-^
Beneath whose dark sha - dows I stray.
^g^
# •■ # -|-»^^
#-r
shadows I stray, be - neath whose dark sha-dows I
• ,m\ ii
^^
rO
t
-f^-f^-
charmer a - - lone.
These
i
i
P-P-
VZ'OS.
« — F-f^
#—- •
IZjI
To the breast of my char-mer a - lone.
^^^^ili
:^
stray. To the. breast of my char-mer a - lone.
m
^
b Wm P
zrz
^fc-r
^-#
sighs, these sighs, these sighs bid sweet E-cho con-
4fe=f=f
* # I*
^
These sighs, these sighs bid sweet £-cho con-
SB
i
iP=t3
f^-^
* « 'w
These sighs, these sighs bid sweet E • cho con-
^m
jda
WOJL
^
ffi:
4 4 4 »•
m
rey. Wher - e - ver he pen-sive - ly leans, Wher* \,
^m
■^-r-
tn
vey.
Wher-
®E
vey.
i
^rr:<rr:
sS
Wher-
71
^iHTTTflgt^^^^pi^l
e - ver he pen-sive - ly leans. By foun-tain on
m
4 4 U
»
4 #
e - ver be pen-sive - ly leans. By foun ■< tain oa
3^
# P-
I^Tt^^J-^
e - ver he pen - sive - ly leans. By foun - tain on
^r^'^jisteg^
bill or in grove.
His heart will explain what she
i
p^
« — #
^*±:±rJ^±hid
hill or in grove, his heart
will explain what she
mi
m
i
s
-f-F-^
bill or in grove.
His heart will explain what she
i
W^=^
^
6^
f—P
e— #
nrs
i___^
meanSjHis heart will explain what she means,who sings both from
I
S-P*
-; — F-
-f^-f^
^
^-L^W^
means, His heart wifl explain what she means,
Who
i^^
^Bm
-f-f-
means.
What she means.
Who
72
i¥:?:*TJl
p^
±t
P^-
sorrow from sorrow and love,who sings both from sorrow St. love.
^^^
sings both from sorrow&lo\v,whQ sings botbfrom sorrow & love.
m
m
inrT
«=?
sings both from eorrow&love,who sings both from sorrow & love.
s^a
m^
J J J I d =31
miZM
More soft than the nightingale's song, O waft the sad
r iuL^^
More soft than the nightingale's song,
S^
P- 0-
fFF^M^
?=:F
i
More soft than the nightingale's song, O waft the sad
^
-F — -F-
^
sound to her ear.
And say tho' di-
b r r
i
aL^j. : y-ri<
O waft the sad sound to her ear.
K
Ie^
ie:=ii
i
-&
-I— r— -
sound to her ear, O waft the sad sound lo her
^^m
■4
7T"y
vi - ded so long.
i
^-— F F-
-r^
#
Tlie
idrrt
And say tho* di - vi - ded so long,
m^f^=^^mf^^
car. And say the' di - vi - ded so long.
^pcrf
m
b Fm P
W^
WT
friend of his bo-som, the friend of his bo-som is
^^^^^^m
the friend, the friend of his bo - som is
i
^
-F-f^
32
s s s
The friend the friend of his bo - som is
^^m
WZJE
ItUt
cni
m
±ii:\=f
near. Then tell him what years of de - light. Then
^m
ISIZS
air*
S S \ d U^
near. Then tell him what years of de - light. Then
^
^^
1
* ■ ■ •
CT
near
Then tell him what years of de - light. Then
h /]■■-] 1
74
i
fca
m
4-4 4
■^
i — ^^
telt him what a - get of pain, what a - ges what
5fe%
i="i J ^
=««
tell him what a > ges of pain, what a - ges what
ms:
rr Fir r n^t^-f
tell him what a - ges of pain, what a - ges what
Pi
P~r
I
-^-r-
a - ges of pain
in
I felt while I iiv'd in his
PS
^Pl
SA
*=^
a - ges of pain I felt
S!
m
i
while I livM in his
P—^
?==P
-f^-=h
a - ges of pain
I felt while I Iiv'd in his
J
fcfi
m
t
t=±
*_^_i
&—4--
!=XSt
— k-
sight, I feel till I see him a - gain, what a - ges of
a
^^-!=t
m
F-
-f=-f^
«
sight, I feel till I see him a -gain.
what
^
if#
#-^
-f-H^-=h
^
sight.
I feci till I see him a-gain.
7o
i
fcF=?:
-4—4 — 4
te
H=-f^
att:
p
pain, what a • ges of pain
S
•\j—
I feel till I
¥=^
-F-F
S
ara
MZZ
a - ges what a - ges of pain
I feel till 1
yUrlL
JCZMZZZMZI^S
■f^-F
what a - ges of pain
I feel till I
'iJ
:fciE
^
a:
see him a - gain.
i
w^'^M
see him a - gain.
^
i^
see him a • gain.
-\
76
No Flower that Blows.
SUNG BY MISS STEPHENS, IN SELIMA AND AZOR,
HJoJerato.
LiNLKY.
8«-
^m
p—^
u
like this rose. No flow'r that blows is
:sM:
^mm^^^
-f — p-
T7
-S?
c?^-y
SzS
"> t»».
^EE^
3?=:
like is like this rose. Or scat - ters such per-
|
iiit:-p= ±=^^—^~^^^-p:: |
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fume,
or scat-ters such per-fume.
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No fiow'r that blows is like this like this
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is like is
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rose. Up - |
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rose, Dear pledge to prove a pa - rent's love, a
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in my heart, live henceforth in my heart. No flow'r that
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blows is like is like this rose, " ~ -No flow'r that
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blows, is like is like this rose.
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80
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i* ■ ■ Helen. A BALLAD. |
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THE woRi: |
is WWTTEN BY WILLIAM LEMAN REDE. [Am— rA« nueting <J the |
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— ' — — ~— '-■ — ■# J ' ■ J »--
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gal • lop'd in ha&te o'er the gUde« And his
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steed and his mas - tcr were gai - ly ar -
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ray'd, And bright was his form.
And
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biythe xnaa his air. Id his bat was seen flowing the
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gift of his fair. In his hat was seen flowing the
tti^
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83
rituril.
And tl«lleD Knik'd out from her window that night. And he wav'd his gay plumes, when the maid was in nighl, Clapping spurs to his steed, swiftly onward he prest. In a moment he folded the fair to bis breast.
And lip meeting lip, there as mutely they clung, Their eyes' glowing rapture spoke more than the t«>ng«ie ; While her breath panting quickly in sighs only spoke. The echoes of rapture his presence awoke.
^
The morning beam'd brightly, the cavalier's steed Flew lightly along the dew-spangled mead ; But never again came that knight, and no more Wears the maiden the smile which that ev'ning she wore.
She weeps not, bat looks from her lattice all day. On the road where the cavalier wended his way ; In vain her heart throbs, or her bosom may burn. That knight and those blisses will never return.
*-.
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64
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Under tJie Greenwood Tree,
~| Andante.
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Dr. Arne.
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Under the greenwood tree.Who loves to lie with ine.
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And tune his merry note liis mer-ry mer-ry
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hi-lher, Come hither, come hither, come
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greenwood tree, Who loves to lie with me,
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tune his merry note. Unto the sweet bird's throat ? And
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hitber,come hither,come hither,come hither come hither,come
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hitber, come hither.
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No. WW.
Oh I come to the Tomb,
THE WORDS WRIT! EN BY MISS MARY LEMAN REDE.
[Air— -OA/ breathe not his Nanu^^
Andante.
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come to the tomb,where this form Bhail be laid. Where no
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woes shall mo-lest it, no cold ones ap-braid. And
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give, fond-Iy give^ there a ,'w&i'in tear or twOj,; For the
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heart that has shed more than mil - lions for you.
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Gild my tomb with the smile that in life I ador'd. Which often has life to my bosom restor'd ; But, oh ! let its sunbeam be blended with dew. As my last look will be when it lingers on you.
Then turn to the world, to its shadow or glare. And ask, has it got such a friend for you there, — So fondly adoring, so ardently true, — So madly devoted, as I was to you ?
Then come to the tomb where these relics recline. The spirit has fled, but despise not the shrine. And remember that nothing but death could subdue The light of that shrine that burn'd only for you.
^1-
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Fair Clora.
A DUET FOR TWO VOICES.
Dr. Havdn.
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As I saw fair Clo ---_-.. la
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scend - ing from his tow'r. To court
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scend - ing from his tow'r. To court her
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her in a sil - ver show'r. The
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wan - ton snow flew to her breast as lit-tle lit - tie «
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birds in - to their nest. But be-ing o'ercoine with
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birds in - to their nest. But be-ing o'ercbme with
^^iiig^gS
^whiteness there, for grief dissolv'd' for grief dis-solv'd in- *
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'.'., whiteness there, for grief dis-solv'd, for grief dis-solv'd in
to a tear. Thence fall - ing
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gar - ments hem, to deck
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To deck
gar-ments hem.
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to ber breast as lit-tle lit-tle birds in - to tbeir nest.
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snow flew to her breast as little birds in - to their n^st.
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But be-ing overcome with whiteness there, for grief dis> /
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solv'd for grief dis-solv'd in - to a tear.
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soU'd, for grief dissolved io - to a tear.
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100
Green grow the JRcishes, , O !
Vivace ma non troppo.
.wl> "bh;* TcJ ^-rradt tizya^lldw ifJhr 3moj<xd'o X"
There's
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Iff J tt»4yn jJiil'f/ dii-''' •^fmt.-jit'o j^ai-dtt tu'\
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pas-ses O, What sig-ni-fies the life o' man An'
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101
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'twere not for the las - ses, O ! Green grow the
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rash - es, O, Green grow the rash - es O, The
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sweetest hours that e'er I spent Were spent amang the
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102
lasseSfO !
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i
The -warry race may riches chase. An' riches still may flee them, O !
An' tbo' at last they catch *em fast. Their hearts can ne'er enjoy them, O !
Chos. Green grow, &c.
Bargi*e me a canny hour at e'en. My arms about my dearie, O !
An' warl'y cares an' warl'y men
May a' gae tapsailteerie, O. ' " "'
Chos, Green grow, &c.
For you sae douse ye sneer at this, Ye're nought but senseless asses, O !
The wisest man the warl' e'er saw. He dearly lov'd the lasses, O.
Cho$. Green grow, &c.*^ —
4iu«wi U-.
Auld Nature swears,, the lovely dears' Her noblest work she classes, O !. .^
Her 'prentice ban' she Iry'd on man,^ An' tb«n she made the lasses, O.
CA(v. Green grow, &c.
103
NO. rr*
^7<r~^
>i .^^ni'^iiif odi uiMii O/I
OA / never more.
THE wSSDS -WRITTEN BY WILI JAM LEMAN REDE.
-v^— ';
fVith Feeling. ±
[Air — The Harp that once.
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ne-Tcr more up-on this heart The sun of joy will glow.
104
b . I 'p • > f P w'Zpi
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fc*
No more the pitying tear shall start For mine or other's woe.
■jgK^ IP* • 'f^—' p. -»-,— I . •
— -The source of smiles and tears is dry. And feel-ing%
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s
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^=f=F=F=5=
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font is o'er, There's no-thing now can meet my eye <5n
105
^^sf+fntnEm
The blandishments of life that lit
My hopes when youth was wild. Have vanished ; would they'd lingerVl yet,
And I was still a child ! Oh ! for those happy hours of peace.
When trifles gave delight, Ere Sorrow bid those raptures cease,
Or Malice brought h€r blight.
Those joys I never more must know.
But mem'ry pictures yet The blisses that I must forego, ^ But never can forget.
~tHope flutters still within Us dm.
And cools my burning brain ; mUn dreams my bosom still will barn,— ~~- '—UMid echo joy again.
'iW-ain L>
i
fn.'ii yiiii.uU
106
O! who has seen the Miller s Wife ? ^'*
A aLES FOR THREE VOICES.
. Moderato.
Rkevb.
m
t
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F-M--
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O, who has seen the iniHer's wife ? I, I, I,
U
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I, I.
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and kindled up new strife, and kindled up new strife,
and kindled up new strife, and kindled up new strife.
I
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and kin-died up new strife, and kindled up new strife ; A
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shilling from her palm I took Ere on the cross lines I could
io/
I, 1. I, in
P
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Who has the tanner's daughter seen^ I, I, in
m
^
look.
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'»s.tH«i* - «iU *a l»il <fHi* cloit-/
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quest of her have been, in quest of her have been,
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quest of her have been, in quest of her have been ; But
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But as the tanner -was^within^ •'twas hard to
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But a3 the tanner was witbin/twas hard to
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whole skin. But as the tanner was within 'twas hard to
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'scape him in whole skin, 'Twas hard to 'scape him in
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'scape him in whole skin, 'Twas hard to 'scape him in
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whole skin.
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whole skin. From ev'- ry place con-demn'd to
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whole ' skin.
From ev'- ry place cen-demn'd to
s
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109
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These branches form our
i
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roam, In ev'ry place we seek a home,These branches form our b i K- M ... 1— « X h
m
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dff
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roam. In ev'-ry place we seek a home.These branches form our
ts±im
m
p — ^
m
Summer roof. By thick grown leaves made weather proof. In
Summer roof. By thick grown leaves made weather proof. In
m
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Summer roof. By thick grown leaves made weather proof. In
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t±
t
BZieZK
shel'tring nooks and l^ollow ways. We cheerly pass our Winter ! 1 St — I h 1 P N-
3
sheVtring nooks and hollow ways. We cheerly pass our Winter
F~y
^^^m
i_.
shel'tring nooks and bol-low ways. We cheerly pass our Winter
110
^
cca [irrr-i^
r^tTw
^ U L-
days. Come cir-cle round the gipsies' fire. Come cir-cle round
i
m
days.
Come cir-cle round
m
-F-=h
■zziyri
days.
' ' ^ ,,r—
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the gipsies' fire, Come cir-cle round the gipsies' fire. Our songs
the gipsies' fire. Come cir-cle round the gipsies' fire. Our songs
m
^^^
w — w
gr~g
Come cir'cle round the gipsies' fire, Our songs
^s
a
y-f-Cteing^
— t^— 1_
our sto-ries ne - ver tire. Our songs our sto-ries ne - ver
^
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our sto - ries ne - ver lire. Our songs our stories ne - ver
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our sto - ries ne - ver tire. Our songs our stories ne - ver
Ill
tire. ne-ver tire. Come stain your cheek with nirt or
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tire. ne - ver tire.
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tire. ne - ver tire.
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berry, Come stain your cheek with nut or berry, Come stain your
i
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Come stain your cheek with nut or berry,Come slaiii your
^t:
M
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Come stain your
^uita^^
w—^
WZSL
k-^
cheek with nut or ber-ry. You'll find the gipsies' life is rnerry,
cheek with nut or berry. You'll find the gipsies' life is merry.
nrf-f-tf-ftf-H
fe=K=Br
check with nut or ber-ry. You'll find the gipsies' life is merry.
112
You'll find the gipsies merry, merry, merry. You'll find the gipsies
,m
=iElA^jZC^g=:faE±|3=jij^
You'll find the gipsies merry, merry, merry. You'll find the gipsies
3E
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You'll find the gipsies merry, mer-ry, merry, You'll find the gipsies
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merry, merry, merry, You'll find the gipsies' life is mer-ry.
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merry, merry, merry. You'll find the gip-sies' life is merry.
315
rzrr7~g
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merry, merry, merry, You'll find the gipsies' life is mer-ry.
^
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Come stain your cheek with nut oi ber-ry, You'.l di d the gipsies*
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Come stain your cheek with nut or ber-ry, Y.- 'II find the gipsies'
'HP
E
Come
Come • -,,^,
113
ii=6^p^iippgp
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k--E=^Kl
life is merfy. Come stain your cheek with nut and ber - ry
^P
life is merry.
1
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Come stain your cheek wilh nut or ber - ry, Come stain your
. ft
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Come stain your cheek with nut or ber-ry. Come slain your
BE
M
Come stain your
JT^E^^K^^^^Eligp
cheek with nut or ber-ry. You'll find the gipsies' life is merry.
III
WZnj.ZMZZMZ'JfZI
--b — ^ — ^
zreiie
p—p-
^— i^
^m
cheek with nut or berry, You'll find the gipsies' life is merry.
^^^^m^
cheek with nut or ber-ry. You'll find the gipsies' life is merry.
114
^m
-^-»-Mr
■6*-<-
i
^
You'll find the gipsies merry, merry, merry. You'll find the gipsies
gET ^ #
ezzi:
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i
You'll find the gipsies merry, merry, merry, You'll find the gipsies
^^
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You'll find the gipsies merry, mer-ry, merry. You'll find the gipsies
r-rt
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f — ^ — ^ — p — ^—p — ^
k — k
mer-ry, met - ry, mer - ry, You'll find the gip-sies* life is
^^^^^^^^4^U-^
mer-ry, mer-ry, mer-ry. You'll find the gip-sies' life is
1 irz.¥r-y. — ¥ — > . _:
y — y~"y ».: # -»— g
]¥ \¥ }^ \^ ■ j^
mer-ry, mer - ry, mer-ry, You'll find the gipsies' life is
^^
mer-ry.
m0s-
mer-ry.
^^
mer-ry.
THE WORDS WRnTEN BY WILLIAM LEMAN REDE. Solemn. _ [Air — Rich and rare were the Gems she wwre.
S:
I
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Deep o'er Al - va's
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tow - er falls The gloom of night, the an - cient
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walls Are dark as death ; the sen - try's care
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si - lent all. For death is theie,The last of Al - va's
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Alva ! peace is not for thee. Thy splendid turrets yonder see. Thy wide domains are fair to view ; Thou hast no child to give them to ; And thou art old, and sorrow here. With none to dry thy bitter tear.
False thou wert in love, and now Thou reap'st the guerdon of thy vow j Days shall rise, and suns shall glow. But pleasure thou wilt never know; More wretched than thy meanest slave. Thy only hope is in the grave.
118
Let us haste to Kelvin Grove, honny Lassie, O !
A FAVORITE SCOTCH BALLAD, INTRODUCED BY Mb. BRAHAM, IN GUY MANNERING.
feEE^33BS
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Let us haste to Kelvin
(fc fr -f ±.
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119
m
trf|-hznsT±:
w~~w
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grove bon-ny lassie, 0! Through its ma-zes let us rove,
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bon-ny lassie, O ! Where the rose in all its pridePaints the
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35
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hollow dingle side, Where ihe midnight fairies glide, bonny
fi
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120
lassie, 0! We will wander to the mill, bonny lassie,0. To the
fe-
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w
p—p-
■^ZWZ^-JL.
i
cove beside the rill, bonny lassie,0,Where the glens rebound the
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call Of the lof-ty water-fall. Thro' the mountain's rocky
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121
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ball, bon-ny las-sie, O ! Thro' the mountain's rocky ball
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bon-ny las-sie, O.
Then we'll up to yonder glade, bonny lassie, O ',
Where so oft beneath the shade, bonny lassie, O ! With the songsters in the grove, we have told our tale of love.
And have sportive garlands wove, bonny lassie, O !
Ah I I soon must bid adieu, bonny lassie 0 !
To this fairy scene and you, bonny lassie, O ! To the streamlet winding clear, to the fragrant scented bri'r
E'en to thee of all most dear, bonny lassie, O !
For the frowns of fortune lour, bonny lassie, O ! On thy lover at this hour, bonny lassie, O !
Ere the golden orb of day wake the warblers on the spray, '-'^ t From this land I must away, bonny lassie, O ! | I
And when on a distant shore, bonny lassie, O ! /
Should I fall midst battle's roar, bonny lassie, O ! '
Wilt thou, Julia, when you hear of thy lover on his bier. To his mem'ry drop a tear, bonny lassie, O !
122
N0,'F3EI.
' In Griefs and in Dangers.
THE WORDS WRITIEN BY WILLIAM LEMAN REDE.
[Air— TAe last Rose of Summer.
■-rrShi-^
^
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I N griefs and in dangers. At land and at.
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123
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sea. Midst pleasures and strangers. My soul vas
««
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ms.
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with thee. Whilst thou with thy kindred. At peace
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and at home. Taught thy fan-cy to wan-d«r
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Thy wish - es to roam.
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Whilst I sufFer'd capture,
WrongM wounded, oppress'd. Thy heart beat with rapture
To Netherville's breast. In my wants and my sorrows,
I fear'd thou should'st mourn ; And my heart was distressed
Lest thine should be torn.
The' false friends have decried thee,
I join not their hate ; Tho* the world may deride thee,
I pity thy fate, I know thou hast wrong'd me —
Will ne'er be my own ; But I feel that I love thee,
And love thee alone !
126
O Loffie O' Buchan.
A FAVORITE SCOTCH AIR, ARRANGED AS A DUET.
Grazioso.
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Lo-gie O' Buehan, O Lo-gie the laird.They've taen a-wa'
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Lo-gie O' Buehan, O Lo-gie the laird,They'vetaen a-wa'
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126
E
S
t
Jamie lliat delv'd in the yard. Wlia play'd on the pipe
i^S^i^
Jamie that dehM in the yard. Wha play d ©n the pipe
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and the vi-ol sae sma' They've taen a-wa' Ja-mie the
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and the vi-ol sae sma' They've taen a-wa' Ja-mie the
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flow'r o' them a' He said. Think na lang, lassie, tho'
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flow'r o' them a*. He said, Think na lang, lassie, tho'
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127
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I gang a - wa* For I'll come & see you in spite of them
f ^ i h J ''J.T
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I gang a - wa' For I'll come & see you in spite of them
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Sandy has onsen, has gear, and has kye,
A house and a haddin, and siller forby ;
But Pd tak' my ain lad vi' his staff in his hand.
Before I'd hae him vi' his houses and land.
He said, ' Think na lang, lassie,' &c.
My daddy looks sulky, my minny looks sour, They frown upon Jamie because he is poor ; Tho' I like them as weel as a daughter should do. They're nae half sae dear to me, Jamie, as you. He said, &c.
I sit on my creepie and spin at my wheel. And think on the laddie that likes me sae weel ; He had but ae saxpence, he brak' it in twa. And he gied me the ha'f o't when he gaed awa'. Then haste ye back, Jamie, and bide na' awa*, Then haste ye back, Jamie, and bide na'awa'. The simmer is coming, cauld winter's awa'. And ye'll come and see me in spite o' them a'.
128
The Rose had been wasKd.
Larghetto,
Webbe,
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The rose had been washM just wash'd in a
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show'r that Ma - ry to An-na con - vey'd. The plen-ti-ful
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129
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moisture encumber'd the flow'r & weigh'd down its beautiful
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head. The cup was all fill'd and the leaves were all wet,
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And it seciii'dto a fan-ci - ful view. To weep for the
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buds it had left with regret On the flourishing bushwhere it
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grew.
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I has - ti - ly seiz'd it, Un-fit as it was
Minore.
131
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for a nosegay so dripping and drown'd. And swinging it
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rudely, too rudely, a - las ! I snapp'd it ! it fell to the
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And such, 1 exclaim'd is the
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{ pi-ti-less p«it some act by the de - li-cate mind^ Re-
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132
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sor-row re - sign'd. This e - le-gant rose had I sba-ken it
SS-H
less. Might have blooin'd with its owner a - while ; And the
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tear that is vrip'd with a lit - tie address. May be fol-low'd
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per-haps with ' a smile
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63
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■#■'■■#■
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No. Vrm. When the Dave left tfte Ark.
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
Lmrghetto.
[Air — Believe me if all those, tfc
^
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When the
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dove lel't Ihe ark o'er the wa-ler-wheImM world, To flutter her
jEE^S^
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135
M
5=5zi
s
r-is—s:
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tremulous vav.
How soon she return'd, for the
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blue wave had curl'd O'er all and de - nied her a spray.
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It is thus when my flight for a moment I mark. Dear
I
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136
■^T — ^•
source of my plea-sures, from thee.
^1
I re-
i^
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3
53^J
-^7 =? -=h
^
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P
w^T^m
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turn to thy breast as the dove to the ark. For the
s
i
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S;
^
^-^ — P-T-N
m
^ — =i — ^.
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world holds no o - ther for
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^
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137
i
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m
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1
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f
s
i
ih-r
—I — u
^
i
§
Bui the dove at last fled to the grove's sylvan shade.
Forsaking the ark j'ou will say ; But was it not Nature whose call she obey'd ;
And how could the flutt'rer stay ? I shall yet quit this breast, where each warm virtue springs.
That to me ev'ry pleasure has giv'n ; But, oh ! it will be on eternity's wings—
I shall fly from your bosom to heav'n.
138
I^ist May a hraw Wooer cam' down the lang Glen.
A FAVOIIITE SCOTCH SONG. THE WORDS WRITTEN BY ROBERT BURNS. Liteltf.
mmm^m^
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|
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|
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May, a braw wooer cam' down the lang glen,And sair v'l' his
m
i^^ri^?^
139
love he did deave me I said there was no-thing I
^^^m
mi
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^m
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4 -4 ha - ted liice men. The deuce gae wi' him to be-lieve me
-• ^
f~F
<s\
m:
M ^
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g^ps^
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I
believe me. The deuce gae wi' him to be - lieve me h-T — !
i
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^
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140
i;-:::
He spak o' the darts in my bonnie black e'en.
And vow'd for my love he was dying ; 1 said he mighl die when he liked for Jean.
The lord forgi'e me for lying, for lying.
The lord forgi'e me for lying.
A weel stocked mailin, himsel' for the laird, And marriage aff hand were his proffers ;
I never loot on that I kend it or car'd,
But thought I might hae waur offers, waur offers. But thought I might hae waur offers.
But what wad ye think ? in a fortnight or less. The de'il tak' his taste to gae near her.
He up the lang loan to my black cousin Bess ;
Guess ye how, the jad ! I could bear her, could bear Guess ye how, the jad ! I could bear her.
But a' the niest week, as I petted wi' care,
I gaed to the tryste o' Dalgariiock, And wha but my fine fickle lover was there :
I glowr'd as I'd seen a warlock, a warlock,
I glowr'd as I'd seen a warlock.
But owre my left shouther I ga'e him a blink, Leest neebours might say I was saucy :
My wooer he caper'd as he'd been in drink. And vow'd I was his dear lassie, dear lassie.
And vow'd I was his dear lassie.
I spier'd for my cousin fu' coulhy and sweet.
If she had recover'd her hearing. And how her new shoon fit her auld shachl't feet ;
But heav'ns ! how he fell a-swearing, a-swearing,
But, heav'ns ! how he fell a-swearing.
He begg'd for gude-sake ! I wad be his wife.
Or else I wad kill him wi' sorrow : So e'en to preserve the poor body in life,
I think I maun wed him to-morrow, to-morrow,
I think I maun wed him to-morrow.
her
i4i
TsUciX.
Forgive the Muse tJiat slumbered.
THE WORDS WRHTEN BY MISS M. LEMAN REDE. Allegretto. [Air— /'(( mourn the hopes tfe.
m.
5
^^
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^^^
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For - give the mase that slurn-ber'd Up-on tliy dear lliy
g^z^-F— frz^l^^
^
142
i
^
na - tal day. Nor think that 'tis un-nuin-ber'd a-
>8tt-
H^^iim^
mong the first that claim her lay, And though she
S£
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fen-p4
^ ^ • ^
^
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wants the fragrance of glow-ing fancy's beam di-vine, Af-
f=^=|C
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^^iks
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fection's flow'rs of fragrance, A-ronnd her humble harp en-
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^
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twine.
^saiftpaj^p^ps
ii^^p^i
^^M
j^sp
( *S.UPt-M4ti
Those flowers have been shaded
fiy cypress boughs from sunny skies. Yet still they bloom unfaded,
Though adverse winds around them rise. Though sorrow's tears oft dew them.
Bright joy shall shake them off to-day. As thou, if thou couldst view them
With smiles would kiss them all away.
144
The Banks of the Yarrow.
A FAVORITE GLEE.
Moderate.
Dh. Callcott.
'-»»nB
i
WZIf.
i
Jti_*
# — ^
5=^^*1^
P g
i
While the moon-beams all bright give a lus - tre to
^^■^-f> b-T 1 1 l-T S ^
mW
m
i
4-^^^v-^
e — 4 , 4
While the moon-beams all bright give a lus - tre to
^5i^
^tti^gipipp^-fp^
4 — • 4
While the moon-beams all bright give a lus - tre to ;
i
9»--i
i
^=3
:«i
g — r
•^'-f-
night, I'll weep on his dwell - ing so narrow. And
^
■ai- ,1 J I J. J J I'
^
4-^-4
night, I'll weep on his dwell - ing so narrow. And
■ttS
i
^
K=3t8
night, I'll weep on his dwell - ing so narrow, And
145
r-^^?
n^0 0 0
f
^r— ^
^i H
fc
high o'er his grave, the wil - low trees wave, Who died
^
i
—4
P-z — ^
S
^
tjo ^\S
hiijh o'er his grave, the wii-low trees wave, AVho died
^^^
P ■§"
P P-
e
high o'er his grave, the fiW - low trees wave. Who died
PX[.\\ iJi^^-f^i^ip
on the banks of the Yar - row. 'Twas un - der
rif'tpN \hum
4 #
on the banks of the Yar -row. 'Twas un-der
^5ifcJ-hy-i
^m
lai
WZ-X.
4 — ^ '11-
on the banks of the Yar-row. TTwas. un - der
I
A
^
tti:
^
I
MZrOE
this shade, hand in hand as we strayed, 'Twas
i
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a
«i:
t^izijt;^
this shade, hand in hand as we stray'd, 'Twas
aiofoff
-^
I
fcterfe
:«
this shade, in hand as we slray'd, 'Twas
\4C>
m
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* f i
^^
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±=^iSi
i
un - der this shade hand in hand as we stray 'd*
j|tt^ -; I III ^ 1^1- ■>>
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un - der this shade hand in hand as we struy'd
SiSft
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m
4 4
un - der this shade in hand as we stray'd.
MiirtfpZii:!
i
rr»
fSi?
he fell by the flight of an ai - row. And fast from
:«?:
la
TrFrEg
f
s
#-^^-#
^5
he fell by the flighj of an ar - row. And fast froifi
^ ^ — '
^
jcr
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lZ3t
i
-s-rf
^:
he fell by the flight of an ar - row. And fast from
P
WfTT'f
N-br
f
4 #
*-!#
the wound his blood stain'd the ground,Who died on thQ
i
«?
Jji:
^
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e #
4^4-
the wound his blood stain'd the ground,Who died on the
.^^^1=^
^
the wound bis blood stain'd the ground, Who died on the
147
.-^s5
ttt
-*-r
S
-fs-
-F-^
m
banks of the Yar-row, Who died on the banks of
S
h— Nt — \
4 \.4
±i±±t±bk
3iH
banks of the Yar-row, Who died on the banks of
m
m
Ui;
i •.-*
banks of the Yar-row. Who died on the banks of
i
±
315
s
the Yar - row.
i
flS:
» »
i:
Ihe Yar - row.
148
No. X.
All Venice look'd gay at the Bridal,
THE WORDS WRITTEN BY MISS M. LEMAN REDE. Allegretto. [Air — Hm Sorrow thy young Days thaded
}n-r
St~s-
i
te^
m
:mz:m
I
bri-dal. And joy sat on ev' ry brow. When love led his
r»gpj T I p pfrf
•#— ^-
g=
149
bosom's young i - dol. To breathe to bright Hy-men her
zzjtir
^^
^-"-^3
f
-P- m-P
t±
i
w*
¥iJ npi
i
P — P
k — ^
vow.
The beau-ti - ful sis-ters at- tend-ed, Like
rj.\\\^\-^^
jEi P' p.:^
■r-?
t^E^^^^^^
^^P
(uro ni«iJ Inn; nioiyifi-i? N
i
fe^
*' *
i
nymphs on a god-dess a - bove. And hope and de
^^
^
P^^
150 -S — sT--
J J ^
i
t
light were blend - ed. As they view'd her with looks of
Vet she was the brightest of any
Where all beside were bright ; She rose 'mid the beautiful many
A creature of tenderer light ; For the softness, almost like sadness.
That shadow 'd her brow serene. Was sweeter than all the gladness.
That in other eyes were seen. The bridegroom and train came lightly.
Each his hat and plume in hand ; And never did bliss beam more brightly
Than it did in that noble band. Now band in band to the altar.
The young pair advance up the aisle ; But her step was seen to falter,
And her check to lose its smile. A terror seem'd o'er her to hover, > In sighs quick, and low came her breath. When just at the altar her lover
Caught her cold to his bosom in death. Oh ! he gaz'd on his bosom's young idol
With anguish too wild for a tear. And the flowers that were culi'd for her bridal.
Were silently strewn on hei bier
151
Though all may foryet thee,
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
Allegretto.
(
[Air— W^w he who adores tkce.
m
p — P-
^
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^
i
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TSt:;^
»W * ^^-^^r^ 4 . ^
8
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Though all may for-
f-r'^^'^/iijjj.-ti-^i
^"^Tg
m
M -#-
^cqjjiJTmii^
152
153
■r — F
^
P^g¥3:
night There is one who bat shared m thy
^ *« ,
— ^e 1 — I r 1 3 — ^ ! ^
I
14^5 ■ =
^^^S^^^
8or - rows a - lone, Who saw. not the tjrave of thy
^=s
s
*=tt
■xf-
■^
m
-f=-f^-
-r-p-i
PS
iffli
I
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rest; But who sa-crecj-ly ho-nors thespi-rit that's
P
S
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S£
B
-F-#-
^
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■# — F-
-9 F-
^m
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154
■^-4-
'^i
m
flown. And its shrine is hid deep in her breast.
m
^
e—
^
g<l*tfy*^j=ii
1
m
^
m^
■Xfl
i^
U:
^^
She remembers thy sighs as they breath'd on her ear.
In the accents of sorrow and pain ; And feels that thy sufF'rings have made thee more deai
Than any will e'er be again. She would have thee once more with the waste of thy voe.
With feelings of fondness and pride. But since that is a thought she must ever forego.
She would joy to lay down by thy side.
Then though all may forget thee, who once in the glow
Of thy fortune press'd round with delight ; Though the grave is forgot where they saw thee laid low.
And bade thee for ever good night. That one who for thee could resign ev'ry dream.
That from youth and ambition arise. Will still think on thee here, as her life's dearest beam,
And her beacon of worlds in the skies.
155
* Had J a Cave oh some wild distant Shore.
A DUET.
THE WORDS WRirrEN BY ROBERT BURNS Andante espressivo.
^m^m^^
rm=
^m
#-=ii^
-4
iS
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.igrgzi' ;g: i
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Oh ! had I a cave on some wild dis - tant
j^ - II i I i J
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1=:;
Oh ! had I a cave on some wild dis - tant
^^.
4-T 1 1-
!-t— I 1-
^
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ipzzpzrz:^.
^
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shore. Where the winds howl to the waves dashing roar.
S 1 —
1
$
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shore. Where the winds howl to the waves' dashing roar.
i
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Wo'U I ii^-'\i i ill!
I
1
^ '* I I 1'^
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F=F=^
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There would I weep my woes, There seek my lost re-pose.
grm
53-
SII
^T^JTJ
« — •— #
K^zza
There would I weep my woes. There seek my lost re-pose.
1^
-• —
-F-F-
F •_ F »-
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a=f:
5^
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157
p=^
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sfc
1
Till grief my eyes should close. Ne'er to wake more.
^ 1>
^^
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^4 '*4-\—4^ — 4
Till grief my eyes should close. Ne'er to wake more.
Pi^g^g^^a
i^pjin^
1
Falsest of woman kind, canst thou declare. All thy fond plighted vows fleeting as air.
To thy new lover hie.
Laugh o*er thy perjury.
Then in thy bosom try
What peace is there
^\
158
The Lover s Lute.
THE WORDS WRITIEN BY MISS M. LEJVIAN REDE. fruh Expression. [Air— TAe Minstrtl Boy
■^ 6 -4-^
E
^
^^
'■¥■
g
^W^Wf
r 1 1 1 1 r h«ui
I
i^^—'^frtta
S-FTTT
i=a=xi*
* —
Her lo-ver's lute that so of-ten woke With
^^^^B^^^M
4^^ 44-d-^^i- Mi-
ffi
lg^
159
^
f
I
WT.:
te±==*=±±:izz^
thrilling tones to hail her. Met Emma's eje uii
^^WV
■H-^ !-+■
IJ2. p_
Jt±:
-^-¥
m
p ». p
s^iaa
?
tun'd and broke. And it turn'd her pale cheek pa - ler.
i
i
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^-r-
.liC.
Harp of love ! she soft - ly sigh'd.
■ W, f=^-jB F=R m pa =■
35i
160
^^^^^^^^
Thy mas - ter light - ly
flies
thee,
=Sl-T1. ffl.HH^'
w
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■J53i
3t
i
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f
J-T-J '^~4^
His heart beats high to war- like pride. Mine on - ly
a.
EI
i
i
jji^
1
rrg
lives to prize thee.
fe^
^
^
se^
ia
-I — I-
m
THF
^-TT-^
P^7f=i?5
^gS
^-fcF^i^ r
f
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Bot yet again, , as ho oft before,
She heard its notes so tender, When her warrior-youth return*d once more,
His country's best defender. And sung — " How well is he repaid.
Who from toil of war returning. Beholds in eyes like thine, sweet maid.
Love's brightest, warmest welcome burning. *
1«1
¥
lake, oh ! take those Lips away.
' "^' A FAVORITE CANZONET.
IJ Allegro Molto
1^ ^^^
#-rr.'grfi&'fr^
Wm. JacJaon. h
W-^
#T
Take, oh ! take those lips a - way. That so sweet -Jy
kr
l^^rcrriCf^fj
i
N-f=
i;-J-J4--
Take, oh I take those lips, a - way, That so sweet - ly
*=^J
^EiXZZM.
±b^
rniryrtrn^
f— f=-
^ were focswofn. Take, oh ! t^ke those lips a - way.
^fe
-♦v
were forsworn
And thijse eyt^s the
^
fcfc
TIVE
nnc
fw+fccr-foy-
p^f^
162
I
m
^
And those eyes the breaks of day. Lights that do mis-
7fr>r»J
^
r-# — ^
p?*
breaks of day, the breaks of day. Lights that do mis-
TTT
P^^^
^m
?
P-p
t^
±t
^^J'ffiE
m
P~ m, P
^~-M
lead the morn,Iiights that do mis-lead, mis-lead the morn.
i
T¥--p
s^
i:
^^
?zf:if
^-^
=¥
lead the morfi,Lights that do mis-lead, mislead the morn.
SO
##Hb
^m
hL
±±
^
?E?=;f
^
Hr
f
f
Take, oh ! take those lips a - way. But my kis - ses ■\) — I P-. ^ "^ ^
te
Take, oh ! take those lips a - way.
bring a - gain. Seals of love, seals of love, but
* But my kis - ses bring a -gain. Seals of love, but
SE
^ziriEeee
es^
# — p — p-
±fc
¥
seal'd in vain. Take, oh ! take those lips a - way,
-/-fir
F-~P
^
m
■a^
seal'd in, vain. Take, oh ! take those lips a - way.
^^E^^^^
feg^
i
I
ii
f±±
But my kis - ses bring a - gain.
Q)^i^ ^
^^
But my kis - 8«s
^^
=3^^=?=
» » #
f
i
Hi
164
HS^
-4-^-
Take, oh ! take those lips .a -way.
!"!:[•/] I J. JL-j^J^Iil
bringa-gjkin. Take, oh! take those lips a - way, ^i"- j
es
mtm ^ m^g
f-^
H-
'r^Tfzi :- r I ,
J. L...
'.:^^±r" f
^
FfFf
f
s
-i^
Take, oh ! take those lips a - way But my kis - ses
fclZIS
i^
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i
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Take, oh ! take those lips a - way.
But my
^
#### 'MMMMZ~W-¥
=±idC.
\
^m
S
-^
I
I
^4 •j g
~t»r^. a- -- gain. But jmy! kis r ses bring a - gain, j
f'[\0\rj0m
- kis - ses bring a - gain. Bring oh ! bring again, Sealtf
S
P
-g-t?-
b
165
fefe^
^^^#£t
Seals of love, but seal'd in vain, in
T^Cm 0 ft*
F^
I
t±±
seals of love, bat seal'd in vain, but seal'd in vain, io
^^^^^P^B
^^gl
rain, m vain.
i
i
y • J d
vain, in vain.
,^^^
_ /
166
No. xwau
No more shall I seek in the red Field of Danger.
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
With Expression.
[Air — 'Tis gone and for ever.
P^WW^^
^^mmm
No
S^gili^ai
Pi
^
i^s^
=^^Si^
more shall I seek in the red field of dan ger, The
^^^^^^^^
m
#■ . #
-^—:z-P zr-P—^-p—i
£
£
167
^^jTm^
-J—J--
plian-tom of ho - nor the hopes that be-tray ; 1 will
^S^
jrrn
^=i
-t-^
^E
<t ^ * ^ # ft
^I.M >-U
J .. Jl !■ J
g-HH^Jr^t^
roam like a pil - grim, and ask of the stran-ger. The
p-^ f^r ffUUa rj f3i
^^^nfHf^^
-^ — r
crostand the cnp that vill serve foi the day
For
^^^m^^^m
WM"
W=f^
1 *— i 31
— »-- ^ 4
i
168
I how have. I found all my dar-ings re-cprd-ed. And
nn-y-'f—^^
^-5-
P^^^^ft
how have my life-wounds and love^ been re- ward -ed. And
'^^^f^
T5"
i
■M
S
1^1.
m
^zaE
— ^ —
^^^
KHJ^
where is that one, who had she' bttt ap-plaud-ed. Had
B^^^^
mm
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^-^p
169
m
i
brighten'd in-gra - ti - tude's dreari-est way.
f»5£f?^=»
•»*•
m
— +-
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i
-^ ^ J
^^
#-#
■^
if^'-^JJJI ^_|
^t-i<-^
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±1-3-^
^
£
^--^
i
That chosen of all — that best beam of my glory.
Who promis'd to hght me to heaven's own shrme. Has thrown the first blight on the dawn of my story.
And wilher'd the wreath that she taught me to twine Oh I vain was the hope that she kindled so brightly,"^" And which rose 'mid the stars that watch'd over me nightly She has cast off the chain that but fetter'd her lightly. And left all its weight and its cbillness on me.
No matter ! when years shall have sadden'd her spirits.
And taught her how false is the flatterer's breath. Sad, deserted, declining, she'll think of my merits.
She'll seek me, perhaps, — she must seek me in death ! She will ask- they will tell her, when hope from life parted. One heart-burst escap'd, and one burning tear started. Then silent and lone, I went forth broken hearted. To seek some lone spot that might serve for a grave
4
170
•^ ^ 1 love to oatch thy radiant Smile,
THE WORDS WRTITEN BY MISS M. LEMAN REDE.
iiM^^i^l^^z^ilz^l^:^^
-I - H =— f— I -—\
- -^■,■•1-
KU \ I . fTV^r'^^^^
3E^
m
F-^
•r -i r-
^3^^^
I love to catch thy
^^^^^B^m
^^
^
tcf
1
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171
ra - diant smile. It speaks of so much sweetness.
i^^^^sg^g
3£
f 1 d -^
m ^ m ^
#_s_^
?
!=iC5s=:
JEzzma
Ob ! let it lin - ger yet a - while. Nor mock me
m
n±
^.
9 ^■
m — =^.
f — =^-
i— .
with its fleetness. There is no air which thou caubt
i
S m-
-©--
^^^^^'jr^^^^^w-^
31
jt±±
P^PFP=J-^^^:
/
172
^
^F^=f=^
i
i
P — H-^F-^^^
wear, That bears not pleasure to me ; But most I prize The
EM
Uzst^
f_1 4 1
»• f 1
p 1 p 1
f
=«:
J
*!S
V=?^
§
^^ffiap^s^l
The rosy hour of dawning light.
Which dewy gems encluster. Boasts not a beam sp warm, so bright. As that dear eye's own lustre.
Like some fleet ray.
That breaks away From clouds of fleecy whiteness.
The beam that hid
Beneath thy lid. Breaks forth all warmth and brightness.
173
Ye Streams that round my Prison creep.
A FAVORITE SONQ, SUNG PY MISS TOVEY IN TUB REVIVED OPERA OF LODOISKA.
Sempre Piano. —
(^Mvr-^=S
s-
P-^-
JCZM
&
m^^^
W
1
'"15"
^
_L- J--T-»
MU^a-^
i<— i »
Yb streams that round my pri - son
^m
^}
174
-^ — d
-T-9-
^
creep, If on your mos - sy bank you see my
3E
•J « r
ipS^^^^^
gal - lant lo - ver you see my lo - ver stand and
E
anc
^-r
^
:a--^-p— Ifrrg
i^
^^^
»■ r 1-
-J^-f r . ;•
weep. Oh ! mur - mur
oh ! mur - mur.
oh!
m^^m^^m
|
mur - mur |
this com - mand from me |
, Thy mis |
- tress |
||||||
|
' V |
|||||||||
|
« J. |
■' |
• r |
|||||||
|
h |
^ 4 |
r |
r |
||||||
|
l^ M |
i |
||||||||
|
4 • |
J |
^^^E^i
aza
bids thee haste away, thy mistress bids thee haste a-way a - ^
^— #■■
g
J75
mit:£hl^
^:pg:p=t^
way
And shun the broad - ey'd
SZ^"PT:^
watch - ful day.
|
i^— — ra^--- FJV-"'-V r — |
3i
^S
♦~:r
§
F=3I
Ye gales, that love with me to sigh. If, in your breezy flight, you see
My dear Floreski lingering nigh. Oh ! whisper this command from me.
Thy mistress bids thee haste away.
And shun the broad-ey'd, watchful day.
176
4
We^ who waruTrinff Arabs are.
A FAVORITE GLEE.
Allegretto
i
j
Stephen Storace. i^
1N-T
E
fs=p
W-
T-^W-^
We, who wand'ring A - rabs are. Fly from
^
I
^^
•— i
We, who wand'ring A - rabs are. Fly from
iJf^f^-4
1-=^
\-^—4-
We, who wand'ring A - rabs are. Fly from
i
±X
r-H-
f p ^
sorrow, laugh at care. We, who wond'ring A - rabs
i
^:i!!^
g^u^r-^utg
sorrow, laugh at care, We, who wand'ring A -rabs
g^r^i J 1 p ri^^Fri
forrow, laugh at care. We, who wand'ring A-rabs
177
'^^
■^5i| N-
±t£
iS9±zt
^
ps
are. Fly from sor-row laugh at care, let the ;
^EP
1^
3
-§ — r
^
^i *
are. Fly from sor-row laugh at care, let the
^
S
m
L p d • <
ore. Fly from sor-row, laugh at care, let the
notes of love re - sound, and the ru - by cup go
M~»-JJ %[ P jJ~%
^:
a==«9
notes of love re - sound, and the ru - by cup go
^t
p. ^
f:
I
^S=|
notes of love re - sound, and the ru-byjjjcup go
rpTrrrfrif=ffp^
round. Whilst the gale its fra-grauce brings, and the
S
±
^
e-^
^m*^
M
round. Whilst the gale its fr?^-grance brings, and tlie
^fc
i
round
178
!rf"-T^
Sum - mer flow - ret springs, Let the notes of love re - j
^i^
*:
#■-
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Sum - mer flow - ret springs. Let the notes of love re - \
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sound, And the ru - by cup go round, While the gale its 1
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fragrance brings, and the Summer flowret springs. We, who
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fragrance brings, and the Sum-mer flowret springs. We, who
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179
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waixd'riug A - rabs are. Fly from sor-row, fly from
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wand'ring A - raibs are. Fly from sor-row, fly from
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wand'ring A - rabs are. Fly from sor - row, fly from ^ ^ P ^U 15»
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care. We, wLo wand'ring A - rabs are. Fly from
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care. We, who wand'ring A - rabs are. Fly from
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sor-row, fly from care. Who can tell to-mor-row's
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doom. If the rose of life shall bloom, Or, be-
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morrow's doom. If the rose of life shall bloom. Or, be-
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neath the blightning shade. Droop un - time-ly pine and
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181
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sorrov , laugh at care. We, who wand'ring A - rabs
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sorrow, laugh at care. We, who wand'ring A-rabs
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sorrow, laugh at care. We, who wand'ring A-r^s
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fly from care, fly from sor-row, fly from care.
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fly fix)m care, fly from sor-row, fly from care.
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fly from care, fly from sor-row, fly from care.
182
No. XiV*
On the dark lonely Strand.
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
With melancholy Feeling.
[Air — At the mid Hour <tf Night.
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^ See a lorn fi - gure stand,Who watches yon lone - ly
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cave. Tho' night shadows hang o'er her,Wmd8 whistle and-
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billows boom. And her children de-plore her. She wanders a
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mid the gloom. She weeps not, she sighs not, but ga - zes
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sad-ly on his tomb.
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Oh ! that breast calmly sleeps, ^' That once was warm as her own, -' ■
Ami the loathsome worm creeps
Thi'ough the heart that was her's alone ; And the bright eye is clouded, -p^-— -j ^ -Whose beam was her guiding light,^—^.^
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And those smiles now are shrouded. That made every beam more bright, All fleeted, all perished, and left her in darkness and night
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r| Farewell, Ihou Stream that winding Flows.
THE WORDS WRITTEN BY ROBERT BURNS Larghetto.
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Fare-well, thou stream, that wind - ing flows, A
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round E - li - za's dwell - ing ; O mem'ry spare the
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cm - el throes With - in my bo - som swell-ing.
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Ian - guish. To feel a fire in ev' - ry vein. Nor
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dare dis - close my an - guish.
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Love's veriest wretch, unseen, unknown,
I fain my griefs would cover ; The bursting sigh, th' unweeting groan.
Betray the hapless lover. I know thou doom'st me to despair.
Nor wilt, nor can'st, relieve me j But, oh ! Eliza, hear one pray'r —
For pity's sake, forgive me !
The music of thy voice I heard.
Nor wish whilst it enslavM me ; I saw thine eyes, yet nothing fear'd.
Till fears no more had sav'd me : Th' unwary sailor thus aghast.
The wheeling torrent viewing. Mid circling horrors sinks at last.
In overwhelming ruin.
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Blow, bloWf ihou Winter^s Wind.
A POPULAR SONG, SUNO BT MR. BRAHAM, IN SHAKSPEARE's
PLAY, OF THG MERRY WIVES OF WINDSOR.
Andante.
Dr. Arne;;
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wind. Thou art not so un-kind, thou art not so un-
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kind as nieui's in - gra - - ti - tude. Thy tooth is
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not so keen> be-cause thou art not seen, thy
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tooth is not so keen, because thou art not seen, Al-
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tho' thy breath be rude, al-tho' thy breath be rude - Al-
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the', thy breath Ibe rude.
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Freeze, freeze thou bitter sky, I'hou dost not bite so nigh
As benefits forgot ; Though thou the waters warp, Thy sting is not so sharp,
As friends remembci'd not.
191
Tlie Masquerade.
THE WORDS WRITTEN BY W. LEAIAN REDE.
Litiely.
Air — C'est I'Amour.
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Here let song, jest, dance and whim. Light-en all our
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192
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glances, Joy fills her goblet to the brim, Pleasure'j train ad-
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vances. Lightly the fai - ry footstep steals, Where mus.ic'^
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ma-gic straius be-gin. Whilst vi-zors like the lamp con-ceals
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193
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The rap'rous flame that burns within. Then oh ! seize an
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hour. All beaming in bliss like this. Whilst bliss is in our
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power Let's taste the pow'r of bliss. Gai-ljr,.at the masqus-
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194
rade Y'outhful bosoms beat. Lightly as the movements
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made By beauty's bounding feet.
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Why should age reprove our mirth,
Or cynics chide our gladness. When pleasure's sun has set on earth,
*Tis time enough for sadnes'. Scholars may pore o'er midnight lamp.
Darkly they gleam to those above. Why should their frowns our pleasure's damp ;
Let them seek lore whilst we seek love. For learning sheds no gleam
To those who read but eyes. And Ovid's softest theme
Is not so soft as sighs. Gaily, &c.
195
i-
Whereas the Heart so cold.
THE WORDS WRiriEN BY MISS M. LEMAN REDE. Larghetto.
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cold. Thy harp could not a - wak - en.
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hear thy sto - ry told, Nor feel its pul-ses shakeu.
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When a - mid the strings. Thy magic fingers straying, If
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