Other Composers and Compilers

JSS0572

Mrs Normand Lockharts Reel

This reel was 'Composed and communicated by Mr Wm. Clarke Organ[ist]' (c. 1780-c. 1825). Clarke was the son of the better-known Stephen Clarke (1735?-1797), Durham-born Edinburgh organist. Clark harmonised and arranged much of James Johnson's 'Scots Musical Museum', which contained many songs by Robert Burns.

JSS0573

Cheap Meal or Good Harvest, Elsie Marly

This is the last page of Gow's Complete Repository, Part Fourth, 1817. Gow gives the music - Elsie Marley - and the 'Figures of the Old Country Bumpkin' dance. The reader could 'See Original Tune page 38 First Repository'.

JSS0574

Invereshie - A Strathspey

This is by William Marshall, from 'Marshall's Scottish Airs', 1822. Marshall (1748-1833) of Keithmore, near Fochabers, Banffshire, was factor to the Duke of Gordon. He published two collections of his own fiddle compositions; another was published posthumously. He was one of the few important composers of Scottish dance music of his day who did not have to make a living only through music. Marshall also built clocks, designed his own home, and was a well-respected North-east figure.

JSS0575

Craigellachie Bridge. A Strathspey

This is by William Marshall, from 'Marshall's Scottish Airs', 1822. Marshall (1748-1833) of Keithmore, near Fochabers, Banffshire, was factor to the Duke of Gordon. He published two collections of his own fiddle compositions; another was published posthumously. Marshall also built clocks, designed his own home, and was a well-respected North-east figure.

JSS0576

Lament for Sir Harry Niven Lumsden, Bart of Achindoir

This is by William Marshall, from 'Marshall's Scottish Airs', 1822. Marshall (1748-1833) of Keithmore, near Fochabers, Banffshire, was factor to the Duke of Gordon. He published two collections of his own fiddle compositions; another was published posthumously. Marshall also built clocks, designed his own home, and was a well-respected North-east figure.

JSS0651

Page 2 of 2, ms title page for Harp & Claymore

Manuscript in Gavin Greig's hand of the frontispiece for the Harp and Claymore collection. Greig gives the text, and the relative positions of the words, but leaves the choice of typeface and size to the engravers.

JSS0652

Page 1 of 4, Resolutions of the original Aberdeen Musical Society

The Aberdeen Musical Society was formed in 1747/8 to 'meet for their musical entertainment once a week'. The founders were 'the Revd. Professor Pollock and Mr Peter Black; Dr John Gregory and Messrs. James Black, Andrew Tait, Francis Peacock & David Young. It was modelled on the Edinburgh Musical Society, begun in 1727.

JSS0653

Page 2 of 4, Resolutions of the original Aberdeen Musical Society

The Aberdeen Musical Society was formed in 1747/8 to 'meet for their musical entertainment once a week'. The founders were 'the Revd. Professor Pollock and Mr Peter Black; Dr John Gregory and Messrs. James Black, Andrew Tait, Francis Peacock & David Young. The society originally met for private music-making. It was for members ('Men') only, although some 'Country Gentlemen... or other Strangers' could be admitted under certain circumstances.

JSS0654

Page 3 of 4, Resolutions of the original Aberdeen Musical Society

The Aberdeen Musical Society was formed in 1747/8 to 'meet for their musical entertainment once a week'. The founders were 'the Revd. Professor Pollock and Mr Peter Black; Dr John Gregory and Messrs. James Black, Andrew Tait, Francis Peacock & David Young. The society originally met for private music-making. Rule VI proposes 'a Plan be laid down every Night of the Musick to be performed at the next meeting'. 'Corelli's Musick' was to be performed at least once each evening.

JSS0655

Page 4 of 4, Resolutions of the original Aberdeen Musical Society

The Aberdeen Musical Society was formed in 1747/8 to 'meet for their musical entertainment once a week'. The founders were 'the Revd. Professor Pollock and Mr Peter Black; Dr John Gregory and Messrs. James Black, Andrew Tait, Francis Peacock & David Young. The society originally met for private music-making. Rule VI (JSS0654) continues, with the music to end 'at Eight o' Clock at Night'. Those not playing are not to mix with the performers, and to keep silent during the music.