How to Show Gratitude to a Patron – Nathaniel Demonstrates Best Practice

To the Noblemen and Gentlemen of the Caledonian Hunt

Writes Nathaniel Gow in 1819, at the head of his latest book, The Beauties of Niel Gow.  (His famous father wrote a lot of great tunes, so why not publish the best of them again and get some profit from them?)

The Editor would be wanting in candour and gratitude were he to omit, in presenting this work to the Public, to acknowledge the uniform and marked patronage his Father and Family (himself in particular) have received from the Noblemen and Gentlemen of the Caledonian Hunt, and how much it was owing to their flattering approbation that they were encouraged to make any attempt to add their Compositions to the Stock of National Scottish Music, Composed prior to their time.

It is that approbation which now induces him to offer the present publication under the Title of

THE BEAUTIES OF NIEL GOW

The first piece in a collection often has a special relevance and implies an extra compliment paid to the dedicatee, so here we have Niel Gow’s Lamentation for Jas. Moray Esqr. of Abercarney. A footnote explains,

Mr Moray was the early and kind patron of the Author.  The loss which Society sustained in the Death of that Gentleman was the cause of the production of this truly pathetic and beautiful Air.

We should, of course, remember that ‘pathetic’ meant ‘full of pathos’ and not the derogatory connotations which the word carries today!

When Karen was checking bibliographic details of the collection, she discovered that the Whittaker Library in the Royal Conservatoire of Scotland does actually have a copy of The Beauties of Niel Gow, but not in one of the original editions.  The Whittaker Library has a London reprint by C. Jefferys of 67 Berners Street, distributed by our own  Bayley & Ferguson, of 54 Queen Street Glasgow and 2 Great Marlborough Street, London.  Considering Charles W. Jefferys had been writing and translating lyrics since around 1835, and latterly also publishing light music until about 1880, Niel Gow’s Beauties had been on the go for well over half a century!  It was more recently reprinted in Harrogate by Celtic Music in 1983, and in Pasadena, CA, by Fiddlers Crossing, circa 1990.  His patrons would have been proud…

Published by Authority, in 1792

Karen has been trawling for digitized copies of Gow strathspey publications, eagerly hunting for more ingratiating dedications.  To no avail, so far – she’ll have to go and look at “real” copies of the books that haven’t been digitized! However, that doesn’t mean she didn’t unearth interesting nuggets of information.

In 1792, Niel Gow published his A Third Collection of Strathspey Reels &c for the Piano-forte, Violin and Violoncello.  Dedicated on the title-page to The Marchioness of Tweeddale, there is no additional prefatory commentary on the first page.  But the first interesting fact is that the harp isn’t listed amongst the instruments.  Indeed, a tiny little footnote on p.1 whispers, ‘NB. The small Notes throughtout the Book shows the Chords for the Piano-Forte.’  (Although the piano was gaining popularity, it wasn’t etirely ‘bye-bye harp’, for it was still being mentioned in the Gows’ Complete Repository books.)

And the second interesting thing is this: apparently for the first time, he made a copyright statement at the bottom of the first page:

“The Author thinks proper to mention, that the Tunes which are not Composed by him are Published by Authority of the Different Composers, which has induced him to secure the Book in Stationers Hall According to Act of Parliament.”

And sure enough, Michael Kassler’s index, Music Entries at Stationers’ Hall 1710-1818 shows the book listed there on 7 March 1792.  The amount of music being submitted had started to rise significantly after 1784, and maybe by this time the Gows had decided it was time to jump on the bandwagon.  However, there isn’t another Gow publication listed until 11 January 1800, when Niel’s son Nathaniel submitted Lady Mary Ramsay’s Strathspey, and the Earl of Dalhousie’s Reel. A new medley, danced at the Edinburgh Assembly, etc., etc., Composed by Nathaniel Gow. To which is added, Three favorite Tunes.  Again, on 3 June 1801, Niel Gow’s A Fourth Collection of Strathspey Reels, etc was listed in the Stationers’ Hall book.

The Gows must have submitted their publications somewhat spasmodically.  Maybe the London brother, John, took a whole bundle at once, for Parts 2 and 3 of the Repository along with the 4th and 5th Collection of Strathspeys were all listed in Stationers’ Hall on 6 October 1815.

Kassler’s listing ends in 1818, because one of his sources was music impresario William Hawes’ manuscript, ‘A List of Music Entered at Stationers’ Hall, from January 1, 1789, to January 1, 1819′. (see Kassler (2004), vii-xxviii)  And this means that the whole Gow publishing history remains, to date, only partially documented.  The Bass Culture project will amplify it to some extent, but the full story remains to be told in future!

Niel and Nathaniel Gow’s Controlling Influence?

You might wonder why anyone would bother transcribing the old-fashioned, sycophantic dedications that appear at the start of late eighteenth and early nineteenth century national song or dance collections!  However, if you strip away the grovelling, boot-licking protestations of admiration, you’re left with three thoughts.

  1. Patronage was really important!
  2. There was a preoccupation with presenting this repertoire in what was perceived as its original and unadorned simplicity.
  3. At some level there was the idea that one could persuade everyone to adhere to this impossible ideal.

It’s important to understand the context in which collections were compiled, and that’s what this paratextual material essentially reveals.

For example, we share with you here the four dedications offered by Niel and Nathaniel Gow to their Complete Repository of Slow Strathspeys and Dances.  (That was the title of Parts 1, 3 and 4.  Part 2 was Complete Repository of Scots Tunes, Strathspeys, Jigs and Dances).  See how, in Part First, the Gows claimed to be publishing this repertoire ‘free from the Corruption of Whim or Caprice’; by Part Second, they were striving for ‘Conformity in playing these tunes’; and by Part Fourth in 1817, they were expressing satisfaction that they’d achieved their aim of getting everyone to play ‘the same notes of every tune’.  A vain hope, we suggest – especially considering the footnote stating that the “setts” of these tunes were different to anything every published before.  (And remember that the term ‘Amateurs’ was not derogatory at this time – it meant people who could indulge themselves in their love of music without having to be paid money to play it.)

GOW COMPLETE REPOSITORY – DEDICATIONS

[From the 2nd edition, GB-Gu Ca11-y.30, p.1].  Part the First.  “TO HER GRACE the DUTCHESS of GORDON.  The Publishers of the Following Repository of Original Scots Slow Strathspeys and Dances, would be wanting in the Duty they owe to your Grace, were they not to embrace this Opportunity to Acknowledge the very great Obligation they lay under to your Grace, and how much it is owing, to your Grace’s kind patronage, that so great a preference has hitherto been given to the Setts of Scots Strathspeys and Reels published by Niel Gow & Sons.

“In presenting the present to the Public, which is the first time those tunes in the Stile as played by Niel Gow and Sons have been in print, it has been the Object of the Publishers to preserve them for the Amateurs of that Stile of Music in their native Simplicity, and free from the Corruption of Whim or Caprice, and the Publishers humbly hope they will be received by your Grace and their numerous other Friends and the Public at large as a Testimony of their profound Gratitude, and Respect, and we have the Honor to be your Graces much Obliged and Devoted Humble Servants. Niel Gow & Sons.

[At foot of p.1]: “As the Tunes now Published differ more or less from any Sett formerly published the Publishers have entered them in Stationers Hall agreeable to act of Parliament.”

[NB the 3rd edition, ‘corrected and improved by Nath: Gow’, resets the words and modernises ‘Stile’ to ‘Style’, but otherwise the dedication and footnote remain unaltered.]

____________________________________________________________________

And some blatant piracy?  In 1811, Glaswegian Malcolm Keith brought out a very close copy of Gow’s first Complete Repository.  His dedication was more egalitarian – TO THE PUBLIC – but clearly based on Gow, as were the tunes that followed.  If you’re going to steal someone’s thunder, you might as well do it with gusto!  Here’s Keith’s dedication:-

‘TO THE PUBLIC’
The Publisher of the following Repository of Original Scots Slow Strathspeys and Dances, would be wanting in the duty he owes to them and his Friends, were he not to embrace this Opportunity to acknowledge the very great Obligation he lies under for the kind patronage and liberal encouragement he has formerly obtained.
In presenting the present Repository to the Public, it has been the object of the Publisher to preserve them in their original native stile and simplicity free from the corruption of Whim or Caprice; the Publisher therefore humbly hopes that it will be received by his Friends and the Public:
To whom he remains, with the utmost Esteem & Gratitude,
their most Obliged and Obt. Humble Servant
M. KEITH.

__________________________________________________________________

[From the 2nd edition, GB-Gu Ca11-y.30, p.1].  Part the Second.  “To Her Grace the Duchess of Buccleugh.  With the greatest deference and respect, we lay this Second Volume of our Repository before your Grace and the public.

“The ORIGINAL SCOTS STRATHSPEYS, REELS, and JIGS, of which this Collection Consist, are brought forward with a view, to serve as a STANDARD of those NATIONAL TUNES and DANCES; for, we Cannot avoid mentioning, that in every part of SCOTLAND where we have occasionally been, and from every observation we were able to make, have not ONCE met with TWO PROFESSIONAL MUSICIANS who play the SAME notes of ANY tune!  This being the Cace [sic], the Standard now proposed, will we hope, appear abundantly apparent; and that a CONFORMITY in playing those tunes, may with great propriety be adopted.  We are encouraged to entertain this idea, from the favourable reception which our former publications have been received by the Public, whose approprobation, with that of your GRACE we shall always esteem, and be proud of acknowledge. [sic]

“In the hope, that our efforts to add to the Stock of NATIONAL MUSIC, will have a happy tendency, we send this Collection forth into the world; & will deem ourselves highly gratified to hear, that it meets with approving reception.

“We have the honour to be with profound respect, your Grace’s most obedient, much obliged, and very humble Servants.  Niel Gow & Sons.”

[At foot of p.1]: “As the Tunes now Published differ more or less from any Sett formerly published the Publishers have entered them in Stationers Hall agreeable to Act of Parliament.”

[NB the 3rd edition, ‘corrected and improved by Nath: Gow’, resets the words, corrects ‘proud of’ to ‘proud to’ and ‘honour’ to ‘honor’, but otherwise the dedication and footnote remain unaltered.]

[From the 2nd edition, GB-Gu Ca11-y.30, p.1].  Part the Third.  “To the Right Honourable THE COUNTESS of LOUDON and MOIRA.  This THIRD PART of the REPOSITORY of Scotch STRATHSPEYS, REELS, and JIGS, is humbly inscribed by the Publishers, as the only token in their power whereby to acknowledge the high estimation in which they hold the Patronage and good wishes of your Ladyshire,    AS they are proud to acknowledge the no-less distinguished Patronage and generous kindness at an early period conferred on their family by your late worthy illustrious Father, Enhanc’d as all these considerations are by your connection with a Nobleman the boast of his profession, who since his arrival in this Country have been most assiduously attentive to its welfare, and shewn a great particularity to its music.

“In giving this our Complete Repository to the Public it was our wish to conciliate and procure a conformity in the stile and manner of playing those National tunes and Dances, Having succeeded so far by our two first parts as to obtain the approbation of Amateurs, as well as of professional Musicians, WE now venture to submit to the Public this our third part of the Complete Repository, and we humbly trust our Endeavours to conciliate an uniformity in playing those tunes will soon be Established in every part of the Island.

“We have the honour to be with profound respect, your Ladyships much obliged, and devoted humble Servants.  Niel Gow & Son’s [sic]”

[At foot of p.1]: “As the Tunes now Published differ more or less from any Sett formerly published the Publishers have entered them in Stationers Hall agreeable to Act of Parliament.”

[NB the 3rd edition, ‘corrected and improved by Nath: Gow’, resets the words, and corrects ‘Son’s’ to ‘Sons’, but otherwise the dedication and footnote remain unaltered.]

[From the IMSLP 1st edition, GB-Gu Ca11-y.30, p.1].  Part Fourth.  TO THE NOBILITY AND GENTRY of SCOTLAND.  The Publishers of the FOURTH Part of the REPOSITORY of ORIGINAL SCOTS SLOW STRATHSPEYS and DANCES would be wanting in their respect to the NOBILITY and GENTRY, were they to omit the present opportunity of acknowledging their obligations to them for the very great encouragement the three former parts of the Repository met with, and of expressing their satisfaction on their Original Aim being obtained, namely, that of conformity being observed throughout the Island, by Amateurs, as well as Professional People, playing the same notes of every tune, without the confusion which prevailed previous to the appearance of the Repository, they trust that the present will be found in every respect equal to the former and hope to be gratified in seeing it favorably received.  [Signed] for Niel Gow & Sons [Nath Gow’s signature here]

[At foot of p.1]: “As the Sets of the old Tunes here given differ from those formerly published, and as this 4th Part not only contain many Ancient Airs that never before appeared but also a number of new Tunes Composed purposely for this work. – The Book is therefore entered in Stationers’ Hall agreeable to Act of Parliament.”

It’s worth noting that Nathaniel Gow was riding the same “conformity” hobby-horse with his Vocal Melodies of Scotland collection, too, with the first page talking of aiming for ‘Conformity in the playing of these Beautiful Simple Airs’.  Paradoxically, a rather fussy version of the Flowers of the Forest appears immediately underneath these words!

 

Discussion Hots Up

We’re gratified to find that our observations about these fiddle collections are attracting interest!

Sometimes little tiny discoveries come like a ray of sunshine into the routine entering of data into our mega-spreadsheet.  For example, today we found a new source of information that sheds light on the selling activities of our music vendors.  Andrew Rochead, who reissued Robert Petrie’s first Collection of Strathspey Reels and Country Dances, also made and sold square pianos – there are two examples in the University of Edinburgh’s Musical Instrument Museums. There’s a useful database to take note of!

But it gets better.  In 1808, Niel Gow edited and reissued Petrie’s Second Collection.  Muir Wood reissued Petrie’s Third Collection the same year. And Rochead reissued the first collection circa 1809, according to the University of Glasgow’s Special Collections cataloguers.  Or was it? What’s the betting it was 1808, prompting Gow and Rochead to rush forth and get their share of what was obviously hot property?

Ronnie Gibson, doctoral researcher at the University of Aberdeen, tells us that, “Nath Gow judged him the best at competition in 1822 held in conjunction with George IV’s visit to Scotland, so he must’ve been at least ok!”

Petrie lived 1767-1830, so he was in his mid-forties at that competition.  Thankfully musicians remain at the top of their professions for longer than sportspeople!

The question was raised about copyright – had the copyright expired? Well … no, it hadn’t.  Existing legislation provided for 14 years after publication, or 28 if the author was still alive after 14.  So – let’s do our calculations!

  • Book 1 – 1790-1804; Petrie lived on so he got another 14 years copyright
  • Book 2 – 1795-1809; Petrie’s still alive so …
  • Book 3 – 1800-1814; Petrie’s barely 40
  • Book 4 – 1805-1819; Petrie’s still around – and has that competition to play in yet!

One wonders what Petrie got out of these reprinted publications. Here’s hoping he got something.

Live Illustrations at Musica Scotica

MUSICA SCOTICA NINTH ANNUAL  CONFERENCE

Aaron Macgregor played …

The Bass culture team took the first session at last weekend’s Musica Scotica conference in Aberdeen. David began by talking about ‘The urbanisation of Niel Gow’s music’.  Live illustrations went down a treat with the delegates!

Next, Barnaby talked about ‘The Campbell Canntaireachd Manuscripts of Pibroch (c.1782-c.1819): interpreting a ‘cloud of witnesses”.  Singing from Campbell’s unique canntaireachd notation, Barnaby made creative use of the audience by inviting them to hum the drone as accompaniment.  It’s fair to say that the drone was vigorously supportive!

A Cloud of Witnesses (Hebrews 11)

 

 

 

Low cloud over Aberdeen (image from Aberdeen STV)

 

 

Finally, Karen spoke about ‘Scottish airs in London dress: vocal airs and dance tunes in three 18th-century London collections’.  Whilst she struggled to find a way of getting live music into her talk, which was essentially about bibliographical detective work on some Scottish music from London’s publishing quarter in and around St Paul’s Churchyard, Mother Nature herself came to the rescue, adding to the ambience by illustrating the mists of time with a dense and almost tangible ‘haar’ over the north-east coast!

Eighteenth Century Pirates At Work

Our research friend Ronnie Gibson has alerted us to a London edition of Niel Gow’s A Collection of Strathspey Reels, pirated by publisher Boag.  It’s available online through Google Books, here.  I thought it might be informative to compare it with an original edition.

Original:-

Gow Collection Strathspey Reels 1784 snip

And Boag’s pirated edition (note that he couldn’t even get the spelling of Gow’s Christian name right!):-

Gow Collection Strathspey Reels Boag pirated version snip