Beauties in Strains Seldom Heard: The Famous Tune – January 2017

Image from ‘An Introduction to Harmony by William Shield’ (18th Century Collection 780 SHI)

Image from ‘An Introduction to Harmony by William Shield’ (18th Century Collection 780 SHI)

25th January, Burns’ Night, has just passed for 2017. The day (and evening!) celebrates the birth, life, and work of famous Scot Robert (‘Rabbie’) Burns (1759-1796). Regarded as the national poet of Scotland, Burns composed many folk songs. He also collected songs and adapted them for his own use.

To many, he is best-known for his anthem ‘Auld Lang Syne’, which is often sung (in Scotland and throughout the world) at New Year. Burns ‘wrote’ the words for ‘Auld Lang Syne’ in about 1788 and sent a copy of the original song to the Scots Musical Museum with the remark,

“The following song, an old song, of the olden times, and which has never been in print, nor even in manuscript until I took it down from an old man.”

Some of the lyrics were indeed “collected” rather than composed by the poet; the ballad “Old Long Syne” printed in 1711 by James Watson shows considerable similarity in the first verse and the chorus to Burns’ later poem, and is almost certainly derived from the same “old song”.

25 January also marks the anniversary of composer William Shield, who died on the same day in 1829. Shield was born in Swalwell, Gateshead, on 5 March 1748 and was taught music by his father before becoming an apprentice shipbuilder in South Shields following the death of his mother. He continued studying music with Charles Avison, church organist at St John’s Church in Newcastle, and moved to London in 1772 to play violin in the opera at Covent Garden (later the Royal Opera House). He met Joseph Haydn and, in 1817, was appointed Master of the King’s Musick.

Like Burns, Shield was a great plunderer of folk tunes, often incorporating them into his own compositions. He is often cited as being the composer of the tune of Burns’ ‘Auld Lang Syne’.  In 1998, John Treherne, Gateshead’s Head of Schools’ Music Service, studied Shield’s score for his operetta Rosina (1782):

“I started to copy out the score and hummed the tune as I was writing it down. I was coming to the end when I realised the tune floating through my head was Auld Lang Syne.”

Had Burns ‘stolen’ the tune from Shield and taken credit for it? It’s more likely that Shield knew the tune of a traditional Scottish folk song and used it in Rosina to convey a Scottish atmosphere. The same could probably be said of Burns: he may have ‘stolen’ the tune from Rosina, but it’ more likely that he borrowed from a traditional Scottish tune that he’d heard somewhere. The debate has raged on for years, with north-of-England folk song traditionalists claiming that it was their local lad who composed the tune to one of the most-performed songs ever.

Shield’s ‘An Introduction to Harmony by William Shield’ (18th Century Collection 780 SHI) was published in 1800. This comprehensive treatise on the elements of harmony shows Shield’s encyclopedic knowledge of local and more ‘exotic music’ by using (unnamed) excerpts of existing music as exercises and examples. Shield’s ‘Introduction’ is, in fact, composed of an anthology drawn from music in his own library, including obscure pieces never reproduced before.

A second edition appeared in 1817. In the preface to Part the Second, Shield explains his reasons for using excerpts of existing music:

“. . . it has appeared to me the most liberal plan to let every musical illustrative example recommend itself by its own intrinsic merit, and not by the name of its author.”

Is this what Shield possibly felt when he first heard the theme he adapted in Rosina? Or what Burns experienced when he heard the tune he appropriated an obscure air for ‘Auld Lang Syne’?

Shield’s ‘Introduction’ met with varying reviews on its publication. The Gentleman’s Magazine and Historical Chronicle, although acknowledging Shield’s genius and popularity, dismissively stated:

“This work has proved serviceable by enticing grown-up lady-performers to acquire some knowledge of musical theory.”

 Robert Burns, 25 January 1759 – 21 July 1796. William Shield, 5 March 1748 – 25 January 1829.

 

The Woodman: a comic opera … by William Shield – January 2012

Title page from Shield, W. The Woodman: a comic opera, as performed with universal applause at the Theatre Royal Covent Garden.
Title page from Shield, W. The Woodman: a comic opera, as performed with universal applause at the Theatre Royal Covent Garden. Composed chiefly by Willm Shield. The poetry by Mr. Bate Dudley.
(London: Printed by Longman and Broderip, c.1794)
(Friends Collection, Friends 649)

William Shield (1748-1829) is a much-neglected figure in British music yet, in his day, was a prolific composer of opera and Master of the King’s Music.

The son of a singing master, he was born in Swalwell (Gateshead). His father gave him musical instruction but died when William was nine years old. Thereafter, William was apprenticed to a Tyneside boat builder but continued to study music. He enjoyed a particularly good relationship with Charles Avison (another celebrated composer from Newcastle upon Tyne) who was then organist at St. Nicholas’ Cathedral, Newcastle. Under Avison, William learned about composition, started to perform at concerts and dances, and became a significant violinist in Newcastle’s programme of subscription concerts. He was 21 years old when he was given his first commission: to compose an anthem which would be sung at the consecration of St. John’s Church, Sunderland.

Completion of his boat building apprenticeship allowed him to work away from Tyneside and he began to lead theatre orchestras in Scarborough and Stockton-on-Tees. At the same time, he struck up a friendship with the antiquarian Joseph Ritson with whom he shared an interest in the folk music tradition.

He was persuaded to move to London and by 1772 was playing violin in the Covent Garden Opera, becoming principal violinist in 1773. The chamber music which he wrote during this period could not compete with the more exciting music of Joseph Haydn but his first comic opera, The Flitch of Bacon (1778) was an immense success and contributed to William’s being appointed composer to Covent Garden. It is in comic operas that William’s contribution to English music lies. Hayden attended the first performance of The Woodman (c.1794) which is featured here.

In 1817 he became Master of the King’s Music and, upon his death; his favourite violin was given to King George IV.

The Woodman comprises 97 pages of music for solo voices and a chorus, and an accompaniment for keyboard. It was gifted to Newcastle University Library by Dr. David Garder-Medwin, President of the Friends of the University Library, in December 2010.

Music score from Shield, W. The Woodman: a comic opera, as performed with universal applause at the Theatre Royal Covent Garden.
Music score from Shield, W. The Woodman: a comic opera, as performed with universal applause at the Theatre Royal Covent Garden. Composed chiefly by Willm Shield. The poetry by Mr. Bate Dudley.
(London: Printed by Longman and Broderip, c.1794)
(Friends Collection, Friends 649)

Walter Crane: When the Bright God of Day – August 2008

Illustration of When the Bright God of Day, with accompanying music script
When the Bright God of Day from Pan-pipes: a book of old songs, 2nd ed. [ca. 1890] (White (Robert) Collection, W 784.3 MAR)

This image is taken from an illustrated music book featuring decorative colour illustrations by the artist Walter Crane (1845-1915).

Walter Crane was one of the leading lights of the Arts and Crafts Movement in England, along with other major designers including the likes of William Morris and Edward Burne-Jones. The Arts and Crafts movement aimed to recapture the spirit and quality of traditional craftsmanship in response to what many saw as the soulless mass-production of the factories of the Industrial Revolution.

Crane became especially renowned as a children’s book illustrator and was interested in the design of the book as a whole, concerning himself as much with borders and typography as with the illustrations themselves.

The Pan Pipes book from which this image is taken features musical scores for a variety of traditional songs, accompanied by Crane’s bold and elaborate border panels featuring images of lovers, beautiful maidens, gallant soldiers and the like.