Template:Featured Tune: Difference between revisions

Revision as of 06:04, 14 April 2019

Lady Sutherland, age seventeen, by George Romney

According to W.B. Laybourn (Köhler's Violin Repository, Book 1, 1881) the reel was composed by George Jenkins, a dancing master in London who may or may not have been of Scottish birth. Several writers have pointed out that many of his compositions seem to lack a genuine Scottish idiom. However, Robert Petrie ascribed the composition to Daniel Dow in his Third Collection of Strathspey Reels (1802, p. 24).

On the death of the 18th Earl of Sutherland, William Gordon, without male issue, the title passed to his daughter Elizabeth (1765-1839). She became the 19th Countess of Sutherland only a few weeks after her first birthday, in 1766. She married an Englishman, George Granville Leveson-Gower, Marquis of Stafford, in September, 1785, and later became Duchess when Stafford was created Duke of Sutherland in 1833. Elizabeth was a distinguished artist and painter. Their reputation has been marred by their ill-treatment of tenants in the matter of the Highland clearances, initiated to "improve" their estates by displacing people in favour of sheep. She is said to have pursued the depopulation of her lands with "vigour and cruel thoroughness," so that "her name is still reviled in many homes with Highland connections across the world today." Karl Marx wrote an article condemning her practices, entitled "The Duchess of Sutherland and Slavery" (The People's Paper, March 12, 1853). Artist George Romney painted her portrait in 1782, at age seventeen, three years before she married Leveson-Gower. [George Romney also painted a number of paintings of Emma Hart, Lady Hamilton, for whom see the alternate title of "Countess of Sutherland"].

See also the related Irish reels "Tansey's Favourite (1)," "Bloom of Youth (The)," "Dr. Taylor," "Downshire Reel (The)," and "Gardiner's Favourite (1)." Resercher Conor Ward also finds versions of the tune in the music manuscripts of Patrick O'Farrell (Aughadowry, Ballinamuck, Co. Longford, c. 1870's) as "Highland Bonnet (The)," and in Larry Smyth's MS (Abbeylara, Co. Longford, c. 1900) as "Highland Lament (The)."

COUNTESS OF SUTHERLAND full Score(s) and Annotations and Past Featured Tunes

X:1 T:Countess of Sutherland’s Reel [1] M:C| L:1/8 R:Reel B:Aird – Selection of Scotch, English, Irish and Foreign Airs, vol. 4 (1796, No. 26, p. 10) Z:AK/Fiddler’s Companion N:Resercher Conor Ward also finds N:versions of the tune in the music N:manuscripts of Patrick O'Farrell N:as "The Highland Bonnet" K:D f|Td2 Ad BdAd|GdFd Ee-ef|Td2 Ad Bdbg|faeg fd-d:|| a/b/4c'/4|d'afa gbeg|fadf eA-Aa/b/4c'/4|d'afa gbeg|faeg fdda/b/4c'/4| d'afa gbeg|fadf eAAa|Tb>abc' d'bag|faeg fd-d||

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-[[File:TheShepherdWife.jpg|300px||left|link=|]]
+[[File:sutherlandromney.jpg|350px|link=|left|Lady Sutherland, age seventeen, by George Romney]]
-"The Shepherd's Wife" is an air, perhaps a slow dance tune, sometimes used as a waltz in modern times.  It was printed in Johnson’s '''Scots Musical Museum''' (vol. IV, song 362, pp. 372-373) as the vehicle for the song “The Shepherd’s Wife,” with pastoral but comic verses by poet Robert Burns. They begin:
+According to W.B. Laybourn ('''Köhler's Violin Repository, Book 1''', 1881) the reel was composed by George Jenkins, a dancing master in London who may or may not have been of Scottish birth. Several writers have pointed out that many of his compositions seem to lack a genuine Scottish idiom.  However, Robert Petrie ascribed the composition to Daniel Dow in his '''Third Collection of Strathspey Reels''' (1802, p. 24).
-<blockquote>
-''The shepherd's wife cries o'er the knowe, ''<br>
-'' 'Will ye come hame, will ye come hame?' ''<br>
-''The shepherd's wife cries o'er the knowe, ''<br>
-'' 'Will ye come hame again e'en jo?' ''<br>
-'' 'O what will ye gie me to my supper, ''<br>
-''Gin I come hame, gin I come hame, ''<br>
-'' 'O what will ye gie me to my supper, ''<br>
-''Gin I come hame again e'en jo?''<br>
-</blockquote>
-The song consists of a husband answering his wife's questions. Poet Robert Burns re-wrote an older song, the original of which Robert Chambers <ref>Chambers, '''Songs of Scotland Prior to Burns''', 1862.</ref> traced back to David Herd's '''Ancient and Modern Scottish Songs, vol. ii''' (1775).  The 19th century antiquarian Stenhouse, in his notes to the '''Scots Musical Museum''', suggested that the original tune for the song was "[[Bab at the Bowster]]"/"[[Babbity Bowster]]", AKA "[[ Country Bumpkin (The)]]," a rather better-known melody, while Chambers thought the "Shepherd's Wife" melody could also be traced to Herd. John Glen ('''Early Scottish Melodies''', 1900, p. 175), disagrees with both conclusions, saying that there is no evidence of precursor melodies or earlier appearances in print.  Glen finds that the first appearance of the tune was in William Napier's '''Selection of Original Scots Songs, vol. 3''' (1794, p. 29).
 <br>
-A jig or quadrille version of the tune appears as "[[Tennessee Hornpipe]]" in Bayard's 1981 collection (No. 499, p. 458), collected in southwestern Pennsylvania.
+<br>
+On the death of the 18th Earl of Sutherland, William Gordon, without male issue, the title passed to his daughter Elizabeth (1765-1839). She became the 19th Countess of Sutherland only a few weeks after her first birthday, in 1766. She married an Englishman, George Granville Leveson-Gower, Marquis of Stafford, in September, 1785, and later became Duchess when Stafford was created Duke of Sutherland in 1833. Elizabeth was a distinguished artist and painter. Their reputation has been marred by their ill-treatment of tenants in the matter of the Highland clearances, initiated to "improve" their estates by displacing people in favour of sheep. She is said to have pursued the depopulation of her lands with "vigour and cruel thoroughness," so that "her name is still reviled in many homes with Highland connections across the world today." Karl Marx wrote an article condemning her practices, entitled "The Duchess of Sutherland and Slavery" ('''The People's Paper''', March 12, 1853). Artist George Romney painted her portrait in 1782, at age seventeen, three years before she married Leveson-Gower. [George Romney also painted a number of paintings of Emma Hart, Lady Hamilton, for whom see the alternate title of "Countess of Sutherland"].
+<br>
+<br>
+See also the related Irish reels "[[Tansey's Favourite (1)]]," "[[Bloom of Youth (The)]]," "[[Dr. Taylor]]," "[[Downshire Reel (The)]]," and "[[Gardiner's Favourite (1)]]." Resercher Conor Ward also finds versions of the tune in the music manuscripts of Patrick O'Farrell (Aughadowry, Ballinamuck, Co. Longford, c. 1870's) as "[[Highland Bonnet (The)]]," and in Larry Smyth's MS (Abbeylara, Co. Longford, c. 1900) as "[[Highland Lament (The)]]."
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-[[Annotation:Shepherd%27s_Wife_(1)_(The)|THE SHEPHERD'S WIFE full Score(s) and Annotations]] and [[Featured_Tunes_History|Past Featured Tunes]]
+[[Annotation:Countess_of_Sutherland_(1)|COUNTESS OF SUTHERLAND full Score(s) and Annotations]] and [[Featured_Tunes_History|Past Featured Tunes]]
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-{{#widget:SoundCloud |id=396856287}}
+{{#widget:SoundCloud |id=211840964}}
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 X:1
-T:Shepherd's Wife [1], The
+T:Countess of Sutherland’s Reel [1]
-M:6/8
+M:C|
 L:1/8
-R:Air
+R:Reel
-Q:"Lively"
+B:Aird – Selection of Scotch, English, Irish and Foreign Airs, vol. 4 (1796, No. 26, p. 10)
-B:William Napier - Selection of Scots Songs, vol. 3 (1794, p. 29)
+Z:AK/Fiddler’s Companion
-Z:AK/Fiddler's Companion
+N:Resercher Conor Ward also finds
-K:Eb
+N:versions of the tune in the music
-P:"Vocal air"
+N:manuscripts of Patrick O'Farrell
-V:1
+N:as "The Highland Bonnet"
-B,|E2F G2A|B2e {e}d2B|(cd) e (BA) G|(FG) E {E}D2B,|
+K:D
-E2F G2A|B2e {e}d2B|(Bc) e f>e d|e3 E2||
+f|Td2 Ad BdAd|GdFd Ee-ef|Td2 Ad Bdbg|faeg fd-d:||
-e|g>ag (f>e)d |(e>f) e e d B|(cd) e (BA) G|(EF) E D2B,|
+a/b/4c'/4|d'afa gbeg|fadf eA-Aa/b/4c'/4|d'afa gbeg|faeg fdda/b/4c'/4|
-g>a g (fe) d|(e>f) e {e}d>c B|(c>d) e f>e d|e3 E2||
+d'afa gbeg|fadf eAAa|Tb>abc' d'bag|faeg fd-d||
-P:"Violin part by Haydn"
-V:2
-B,|E2D E2F|G2G F2E |E3- EDE|C3 B,2z|
-G,/B,/E/B,/A,/B,/ G,/B,/E/B,/A,/B,/|G,/B,/E/B,/G/E/ GF B,/E/|C/E/D/F/E/G/ [CF]z[A,D]|[G,E][G,E][G,E] [G,2E2]||
-z|EGB DFB|CG=A B2G|_A3 GFE|A,2 =A, B,2z|
-[G3e3] [Fe]d[Fd]|([Ed]c)[Ec] ([Dc]B) _D/B/|C/B/A/=D/E/G/ A,/F/G,/E/A,/D/|E/B,/G,/B,/G,/B,/ G,2||