This history begins here: Deck the Hall – A Comprehensive History – Part 1, which carried us into the 1800s, with the Nos Galan melody transformed into operatic themes and marches. We continue into Part 2 with early 1800s publications of Nos Galan reverting back to the traditional melody.
c. 1800: Nos Galan – Four Favorite Airs with Variations for the Harp by Ph. J. Meyer Snr. (1800-FF-Meyer)
There’s nothing much particularly notable about this version, except that we have gone back to the more easily recognizable, traditional melody. Meyer, like Jones and Parry-R before him, includes several variations on the melody, all of varying degrees of complexity. Again, the variations appears to be more of an opportunity to show off his own musical and arranging prowess than an effort to preserve a pristine traditional melody. Meyer does not include any lyrics.
This appears in two places on archive.org: here and here, shown below:
It is also listed twice in the British Library Catalog, here and here. Dating is approximate, with the British Library attributing it to 1809, and Archive to 1800 and 180?.
circa 1800-1810: Nos Galan – Harp Music Manuscript of Elizabeth Giffard (1800-HM-Giffard)
This music manuscript is held by the National Library of Wales, and has not been digitized. The library’s description of the work states,
“A manuscript music book, with some annotations in pencil, containing lessons, songs, dances and airs for the harp in the hand of Elizabeth Giffard (1766-1842) of Nerquis Hall, Flintshire. …
“The title of each work and, in some cases, the name of the composer, is noted for each piece. …
“Several Welsh airs are included (pp. 10, 12, 21 (‘Ar Hyd y Nos’), 22 (‘Codiad yr Ehedydd’), 23 (‘Nos Galan’), 25 (‘Pen y Rhaw’), 71 (‘Ar Hyd y Nos’), 84-85 (‘The March of [the] Men of Harlech’), 280-281 (‘Morfa Rhuddlan’)).”
Description, Harp music, 1800-1810 / Elizabeth Giffard, National Library of Wales
1801: Nôs Galan or New Year’s Night – Six Welch Airs Adapted to English Words, music by E. S. Briggs and words by Amelia Alderson Opie (1801-SW-Briggs-Opie)
The date for this version is approximate. The original score, available through Archive.org, is undated and without authorship, but Archive lists the authors as Edward Smith Biggs and Amellia Opie, with the date of 1800. The Amelia Alderson Opie Archive lists the date as 1801. They also have a completely accurate transcription and recorded performance, with singing, worth listening to.
This version is notable because this is the first time we see lyrics with a new years-related theme, although the words are in English, not Welsh:
Bring the Song and join in chorus,
Let the voice of gladness sound!
Pleasure shed thy roses o’er us,
Come ere danger threaten round:
Now to Care we’ll bid defiance
Welcome hearts and features gay!
On the morrow no reliance,
But let us enjoy today.Future Suns may set in sorrow,
Or in sorrow dimly rise,
Then regardless of to-morrow
We the present hour will prize:
Pleasure come! for thee we languish!
Bind us in thy silken sway,
Be to-morrow’s, joy, or anguish
We’ll to smiles devote to-day.
Unfortunately, the archives and score do not indicate if Opie based her lyrics off of traditional Welsh verses. Given her background as a writer and poet, as well as the lack of “fa la la” choruses, I find it unlikely that these are anything other than purely her own invention based on the song title.
1803: Nos Galan. New Year’s Eve – Sixty of the Most Admired Welch Airs, collected by Rev. W Bingley, arranged by W. Russell Junr. (1803-MA-Bingley)
The full title of this work is a mouthful, “Sixty of the Most Admired Welch Airs, Collected Principally During his Excursions Unto Wales, By the Rev. W Bingley, The basses and variations arranged for the Piano Forte by W. Russell Junr.” This work seems to be an odd mixture of “folk song collecting” as we recognize it today and additional “variations” to show off the arranger’s skills and perhaps make each “piece” more interesting to the average musician or English listener.
In the preface, Bingley writes,
“Considerable care has been employed in selecting from the vast mass of Welsh Tunes that are extant, in Manuscript among the Harpers, and in Print, those only which are intrinsically good. The collections hitherto publish’d have been all general collections, apparently made up of whatever Music, good or bad, could at the time be brought together.
“In all the Airs that I obtain’d from the Welsh Harpers, who it should be recollected, are merely performers, and indeed most of those that are in print, I found the Basses by no means well adapted to a Key’d Instrument, and the majority of them were too meagre for general approbation. To remedy these defects I prevailed on Mr Russell to undertake the arrangement afresh, at the same time putting into his hands some of the original Bases that he might closely attend to their stile and character. This Gentleman has succeeded in every respect to my satisfaction.”
Bingley, Sixty of the Most Admired Welch Airs
The Reverend must have had a pretty high opinion of his own tastes if he felt that he could discern which tunes are “intrinsically” good. The collection undoubtedly demonstrates his taste more than it accurately reflects the state of Welsh folk music at the time. I’m surprised that his refinement allowed him to include “Glan Meddwdod Mwyn,” aka “Good humour’d and tipsey.”
Nos Galan is one of the five tunes in the collection with lyrics, all in English. Bingley does not give any indication as to the origin of the lyrics, whether they were collected with the tune on his excursions to Wales, or he made them up, or translated them himself. These lyrics seem to be in the penillion style, but have nothing to do with New Year’s Eve:
Fraught with many a bitter anguish,
Edwin gentle Youth did languish.
For a fickle Fair one mourning,
Who repaid his love with scorning.Now beneath this Stone he sleepeth,
Sixty of the Most Admired Welch Airs, p. 4
While the passing Stranger weepeth,
And the pitying Tear sincerely,
Sheds for him who lov’d so dearly.
These lyrics lack the familiar “fa la la” chorus, the refrain being purely instrumental. It should also be noted that the piece is written in 4/4 time even though the time signature is for cut time (2/2).
Bingley published another book in 1804 titled “North Wales; including its scenery, antiquities, customs, and some sketches of its natural history; delineated from two excursions through all the interesting parts of that country, during the summers of 1798 and 1801. Illustrated with a Map, Frontispieces, and Music.” In Volume 2 he included music for “Sixteen Admired Welsh Airs,” as well as a chapter titled “Sketch of the History of Welsh Bards and Music.”
“Nôs Galan” is one of the included melodies, this time with the English title “New Years Gift,” and no lyrics. It is nearly identical to the version published in 1803, minus the variations by Russell. A few notes in the bass line are different, and there are no accidentals.
In his chapter about Welsh music, Bingley demonstrates some understanding of music, so we can hope that his notations of the tunes which he gathered from the harpers are fairly accurate. Once again he shows his own biases and limitations, particularly in his discussion of the possible antiquity of Welsh music and the Welsh development of counterpoint and harmonized singing. He brings up the Robert ap Huw manuscript, “copied in c.1613 but containing a far earlier repertory. This is one of the key sources of early Welsh music” (Bangor University). This is a manuscript written in a nonstandard notation that some of the best musical scholars in the world have spent decades trying to accurately decipher. It is still up for debate to this day.
Bingley writes,
“Having had the perusal of this manuscript, I found the music expressed by letters of the alphabet, with certain other marks which cannot perhaps at this day be explained… It is impossible to say that these letters stand for the same sounds as the like letters in the modern music.”
Yet rather than admit that he cannot read the music recorded in the manuscript, he continues to offer opinions on it!
“This is however of little consequence in the proof that I would institute. If they do, we find some of the chords that are admitted into our harmony, but others occur that are mere jargon. The melodies whether these represent our sounds or not, are extremely uncouth and barbarous.”
The hubris is simply astounding, and it gets worse.
“In all the other music of this manuscript, which I have examined with considerable care, there seems a great sameness, and a constant recurrence of notes, totally unlike the varied and beautiful melodies of the present day. – We must not refuse to assent to the explanations, because the music would not be suited to modern ears. We are in every respect creatures of habit, and as our music from custom is at length become familiar to us, so might these Welsh melodies be agreeable to the ears of the Welsh people of the early periods, and so is the uncouth music of savage tribes to their own people at the present day.”
North Wales; including its scenery, antiquities, customs, and some sketches of its natural history; delineated from two excursions through all the interesting parts of that country, during the summers of 1798 and 1801. Illustrated with a Map, Frontispieces, and Music.
Rather than admit that his rendition doesn’t sound good because he doesn’t understand the notation, he concludes that it sounds bad because the people creating it did not have good taste. They were barbarous savages, after all, so it’s not like we can expect anything better, right? Good grief.
When considering whether ancient Welsh music could have contained harmony and counterpoint, as described by Giraldus Cambrensis in 1188, he agrees with the assessment of a “Dr. Burney”, writing,
“That the ancient inhabitants of Wales were great encouragers of poetry and music, cannot be disputed, as many specimens of Cambro-British versification of undoubted antiquity still subsist; and that these poems, as well as those of ancient Greece and Rome, were originally sung and accompanied with instruments, is very natural and reasonable to believe; but that a rude and uncivilized people, driven into a mountainous and barren country, without commerce or communication with the rest of Europe, should invent counterpoint, and cultivate harmony, at a period when it was unknown to the most polished and refined inhabitants of the earth, still remains a problem difficult of solution.”
North Wales; including its scenery, antiquities, customs, and some sketches of its natural history, p. 342-342
I suppose the explanation would be difficult if it required admitting that perhaps the culture weren’t so backwards, “rude,” and “uncivilized” as they assumed. Unable to admit such a possibility, they conclude that Welsh music must be more modern than claimed. As will be discussed later, Donald Campbell was disgusted by similar aspersions cast upon Scottish music.
Can we trust someone so biased to have recorded the tunes accurately without modifying or “correcting” them to suit his own tastes? Given this attitude, personally I find the accuracy of Bingley’s notation to be suspect. But they are what we have.
1804: Nôs Galan – Two Favourite Welsh Airs, Nôs Galan, and Ar Hyd Y Nôs, with Variations for the Pianoforte, by A. T. Gorse (1804-FW-Gorse)
I found this version mentioned in The Monthly Magazine, No. 116, 6 of Vol. 17, July 1, 1804. It’s on page 596 of their “Review of New Musical Publications.”
Two Favourite Welsh Airs, Nôs Galan, and Ar Hyd Y Nôs, with Variations for the Pianoforte; composed and respectfully inscribed to Miss Mackenzie, by A. T. Gorse. 3s.
These old Welsh airs are well calculated for the purpose to which Mr. Corfe [sic] has here converted them; and the judgment displayed in his choice, is well seconded by the taste and fancy exhibited in the variations and embellishments. The exercise of both hands has been attended to; and we think the publication will be found valuable by those who seek the readiest means of manual improvement.
The Monthly Magazine, No. 116, 6 of Vol. 17, July 1, 1804, p. 596
I have not been able to find it digitized online, or even listed in any library catalogues.
circa 1805: Nôs Galan – by T. Latour (1805-NG-Latour)
The full title of this piece is “Nôs Galan: A Favorite Welsh Air with variations by Mr. Latour.” The British Library holds a copy that has not been digitized. They include the publication details, “London (23, Oxford Street) : printed & sold at Bland & Weller’s Music Warehouse, [between 1805 and 1810?]”
1809: Nos Galan. New Year’s Eve – A Selection of Welsh Melodies With Appropriate English Words, arranged by John Parry (1809-WM-Parry)
First, I’d like to thank the library and reference desk at the Virginia Museum of History & Culture for providing me with complimentary photocopies of this tune from their copy of the 1809 edition of A Selection of Welsh Melodies with Appropriate English Words. This book is one of the few major works not digitized and available online, but it’s an important step in the song’s development, and distinct from Parry’s later arrangements of the same tune. I am not able to share the photocopies online, but I did transcribe the music and lyrics.
Second, it’s important to note that this John Parry is not the same blind harpist John Parry (Parri Ddall, Rhiwabon) who wrote British Harmonies, among other publications. This John Parry is also known by his pseudonym and bardic name “Bardd Alaw.” To avoid confusion, from here on, the first I will refer to as Parry-R (for Ruabon) and the second as simply Parry.
A note precedes the tune:
New Years Eve is always celebrated in Wales. Dancing, Singing, Feasting, &c &c are universal throughout the Principality and according to Caesar’s Commentaries, the Druids commenced their celebrations on New Years Eve.
This Air is very popular and a great favorite both in England & Wales.
A Selection of Welsh Melodies With Appropriate English Words, John Parry, 1809, p. 30
This version has English lyrics, with a recurring “Tis the Eve of new year merry” phrase, as well as the “Fal lal lal” chorus. We have no evidence that they are a translation of any original Welsh lyrics. In his address at the beginning of the book, Parry writes, “The Editor [Parry] in endeavoring to render this Work acceptable to his Subscribers the Public has had to combat with many difficulties; He had First to procure National Characteristic Words…” We are left unclear as to what the phrase “national characteristic words” means, and he gives no further details regarding his means of procuring them. He cites no translator or lyricist. The lyrics run as follows:
Hark the summons come my fellows
Fal lal lal lal la lal lal lal la,
Crown your hats with holly berry
Fal lal lal lal la lal lal lal la,
Hark the Pealing bells that tell us
Fal lal la fal lal la lal lal la
Tis the Eve of new year merry
Fal lal lal la la lal lal lal la.2. Shepherds quit your cares for pleasure
Fishers leave your nets and wherry
This must be a night of leisure
’Tis the Eve of new year merry.3. Toil and trouble lie behind us
Think no more of chances dreary
While the well known strains remind us
’Tis the Eve of new year merry.4. Quick join hands and “foot it featly”
A Selection of Welsh Melodies With Appropriate English Words, John Parry, 1809, p. 30-31
In the dance we ne’er can weary
To the Harp that sings so sweetly
On the Eve of new year merry.
Dr. Byron Underwood wrote a two-part article for The Hymn (October 1974 and January 1975) detailing the history of “Deck the Hall.” He comments that “On the upper right hand corner of p. 30 of the copy of Parry’s Selection in the Music Library of Harvard University is a notation in faded ink, “Mr J. Latham”. This may possibly have been made by a previous owner to indicate the name of the author of “Hark! the Summons”. Perhaps John Latham (1740-1837),” who was a well-known ornithologist. It may also refer to a different John Latham, a blind poet and scholar born in 1787, some of whose poetry can be found in this posthumous, “In Memoriam” collection.
Parry writes in his preface that,
“Some of the Airs are given as played to this day in Wales, & it is hoped that the Work will not be considered less interesting from the circumstance of the Editor’s being himself a Native of that Country. To give publicity to the truly beautiful Cambrian Music is his object, & if he succeed in giving satisfaction, the labor which he had in collecting & arranging the following sheets will be amply repaid. To render the Book more generally useful, the Editor has arranged the different Airs for the Flageolet or Flute, & the accompaniments are written in an easy, familiar manner, whereby an indifferent Performer on the Harp or Piano Forte may play them; & he intends it as an humble associate to Jones Relics of the Welsh Bards; an excellent publication in 2 Volumes.” [emphasis added] A Selection of Welsh Melodies With Appropriate English Words, John Parry, 1809
It seems to me that he saying that in contrast to other arrangers, such as Jones and Bingley, it is his intent to render the tunes more closely to how he has heard them in Wales, as simply as possible while still being appealing, rather than with many complex “variations.”
Parry also wrote regular articles about his “Welsh Melodies” in a journal called the Cambro Briton, a publication dedicated to Welsh culture and history, part of a “Welsh revivalist” movement in the 1800s. For the March 1820 issue he writes,
“To the Editor of the Cambro-Briton. Sir – “Nos Galan,” or New Year’s Eve, is an air very well known in most parts of Wales, and is also very popular in England, having been introduced in several dramatic pieces, under the title of “Fal lal la.” The celebrated March in Blue Beard was borrowed from this tune. The stanzas, generally sung to “Nos Galan,” are of a lively turn, and are performed after the manner of those to “Ar hyd y nos,” [All Through the Night] – the words being sung by one person, and the burden [chorus] by another, [emphasis added] e.g.
“Toil and trouble lie behind us,
(Burden) Fal lal la, &c.
Think no more of chances dreary,
Fal lal la, &c.
While the well-known strains remind us,
Fal lal la.
‘Tis the Eve of New Year merry*,
Fal lal la, &c. …Feb. 4, 1820. John Parry
* See “Welsh Melodies,” page 31”
Cambro-Briton, Vol. 1, p. 252 – 254
He is referring here to his 1809 publication of Nos Galan, since the circa 1810 version has no lyrics. The 1822 version has different lyrics. The later publications are discussed in greater detail below.
c. 1810: Nôs Galan – New Year’s Eve. – A Collection of Welsh Airs arranged on a plan never before attempted…, by John Parry (1810-WA-Parry)
Another version by Parry, it does not have lyrics, but includes the note, “This is a great favorite in North Wales, and Sung by every Person who can sing at all and many are the beautiful Stanzas which have been adapted to it.”[emphasis added] This statement is further corroboration that the lyrics included in earlier versions were some of many employed with the tune and should not be considered “the” lyrics.
Besides not having lyrics, there are some notable differences between this version and the 1809 version. This version is much more of an “arrangement,” with fancier accompaniments for flute and violin as well as moving parts. There are also subtle differences in the melody.
This score was digitized by the British Library. They date it to circa 1810. The British Library also holds a second edition, not digitized, which they date to circa 1815.
1811: Nos Galan, or New Year’s Eve. – Poems by John Lee Lewes (1811-P-JLL)
I decided to include this poem, published without musical notation, because its theme is New Year’s Eve related. I could not find much information about the author.
Nos Galan, or New Year’s Eve.
HARK! the merry minstrels singing,
fal lal lal, &c.
To their harps responsive ringing,
&c.
Hark! they strike a mirthful measure,
&c.
New Year’s eve’s an eve of pleasure.
&c.On every face a smile appearing,
Every heart with transport cheering;
In social circles Cambrians meeting,
New Year’s eve with rapture greeting.Their tribute lay of loud devotion,
The harps now breathe in warm emotion;
Hark! the well-known theme invites us,
While it moves, the strain delights us.Every heart with joy is swelling,
Poems, by John Lee Lewes, 1811, p. 28-29
Every breast its joy is telling;
New Year’s eve be welcomed ever,
New Year’s eve forget we never!
&c. &c.
1811: Nos Galan – Introduction to the art of Playing the Harp-lute & Apollo-lyre by Edward Light (1811-HL-Light)
Not much is known about musician and inventor Edward Light, and some reports are contradictory. According to the Dictionary of National Biography (1855-1900),
LIGHT, EDWARD (1747–1832), professor of music and inventor of musical instruments, was in 1794 organist of Trinity Chapel (St. George’s, Hanover Square), Conduit Street, London. He endeavoured with ephemeral success to introduce improvements in the harp and guitar. He died in 1832, at the age of eighty-five.
[Cat. of the South Kensington Museum Collection of Musical Instruments, pp. 250, 327; Busby’s Concert-Room Anecdotes, ii. 275; Grove’s Dict. of Music, i. 449; Mendel’s Musikalisches Conversations-Lexikon, iv. 529; Patent Office Specification, No. 4041.] Dictionary of National Biography, 1885, p. 228, with corrections.
Light invented (1) the harp-guitar about 1798, an instrument resembling the pedal-harp, with neck and head not unlike the Spanish guitar. There are seven strings tuned like those of the English guitar, with the addition of the fiddle G (Busby). (2) The harp-lute, 1798, with twelve catgut strings, a larger instrument than No. 1, its neck resembling that of the pedal-harp. (3) The harp-lyre, 1816, differing from No. 2 in the shape of the body, which is flat at the back. (4) The British lute-harp, for which Light took out a patent 18 June 1816, a chromatic lute-harp, distinguished by certain pieces of mechanism called ditals, or thumb-keys, which when pressed raise the corresponding string one semitone. (5) The dital harp, which was similar to, if not identical with, the last invention. It is tuned like the pedal-harp, but the order of the strings is reversed, the bass being nearer the performer. The instrument is described by Dr. Busby as strong and sweet in tone, and ‘unquestionably, the pedal-harp excepted, the most eligible accompaniment to the human voice.’
Publications by Light include: 1. ‘A First Book on Music,’ London, 1794. 2. ‘The Musette,’ a collection of lessons and songs for the guitar, with instructions for playing, issued monthly about 1795. 3. ‘The Ladies’ Amusement,’ a collection of lessons and songs for guitar, in six numbers, 1800 (?). 4. ‘Concise Instructions for Playing on the English Lute,’ 1800 (?). 5. ‘A New and Complete Directory to the Art of Playing on the British Lute-Harp,’ 1817. It contains a full-page engraving showing the attitude of a performer, and a list of suitable compositions.
We learn a little more in two entry’s in Grove’s Dictionary of Music and Musicians:
HARP-LUTE or DITAL HARP, one of the attempts made about the beginning of the 19th century to replace the guitar. Edward Light appears to have invented this form of stringed instrument instrument about the year 1798. The harp-lute had originally twelve catgut strings [notation showing the following notes: starting with G below middle C and going up, C, D, E, F, G, A B, C, E, G, C] but this notation was a major sixth higher in pitch than the actual sounds. In 1816 the same Edward Light took out a patent for an improvement in this instrument, which he now denominated ‘The British harp-lute.’ The patent was for the application of certain pieces of mechanism called ‘ditals’ or ‘thumb keys’ in distinction from ‘pedals’ or ‘foot-keys’; each dital producing by pressure the depression of a stop ring or eye to draw the string down upon a fret and thus shorten its effective length, and render the pitch more acute. The most complete instrument of this construction he named the ‘Dital harp.’ In this each string, as will be seen in the wood-cut, has a ‘dital’ to raise it a semitone at pleasure. A. J. H. [327-328]
Grove’s Dictionary of Music and Musicians, Volume II, 1906
LIGHT, Edward, a musician who claimed the invention of the harp-lute and a kindred instrument named the Apollo-lyre. The harp-lute, known also as the dital harp (see HARP-LUTE, ante, pp.327-28), was popular at the junction of the 18th and 19th centuries, and the Apollo-lyre less so. The latter took the form of the ancient instrument, but it had a centre finger-board and a sound chamber. In 1794 Light was living at Kensington, and about this period he was making the above two instruments for sale. He soon removed to 8 Foley Place, Cavendish Square, and was ‘lyrist to the Princess of Wales.’ In 1818 he took out a patent in connection with the harp-lute which shortly after this date was made by Wheatstone & Co. Light was a teacher of the guitar, and arranged some music for it. He published a number of works, being arrangements and instruction for the harp lute, Apollo-lyre, and for the guitar. F. K. [p. 729]
Here is a picture of a beautiful harp-lute made by Edward Light around 1815.
Next I’ve included a very interesting lecture focused on the guitar, but also includes Edward Light and the harp-lute. The lecturer is Christopher Page, Professor of Music at Gresham College. He discusses the societal changes that led to the harp-lute’s invention, with Edward Light appearing around minute mark 8:41. The video also includes a performance on the harp-lute by Taro Takeuchi, around minute mark 14:18.
Page mentions Edward Light and the harp-lute again in the next lecture in the series, “The Guitar and the Romantic Vision of the Medieval World.” There is another performance by Taro Takeuchi.
I have not been able to locate a digitized version of Introduction to Playing the Harp-lute & Apollo Lyre, but I did find ABC notation of the tune as published in Aloys Fleischman’s 1998 compilation Sources of Irish Traditional Music c. 1600-1855 (2 volumes). I have not independently verified the ABC to Sources since a copy of the book is about $500. In Fleischman’s book it is listed as No. 2146.
The ABC notation dates the book “Introduction to Playing the Harp-lute and Apollo-lyre” to circa 1785, but I believe the actual date of publication much be later, since he didn’t even invent the harp-lute until at least 1798, according to the Dictionary of National Biography and Groves. I think the year of invention may even be a little later than that, based on newspaper advertisements.
As of April 1, 1801, Light only advertises his Harp Guitar:
MUSIC-New HARP GUITAR, &c.
Mr. Light respectfully invites Ladies and Gentlemen (who have not been informed of it) to see and hear his new-invented HARP GUITAR, which sounds like the real Harp, and that has every other desirable advantage beyond all other Instruments of the kind, and need only be seen and heard to be at once admired. They are made under the inspection of, and sold only by him, No. 64, Margaret-Street, Cavendish-square.
N.B. In a few days will be published, a Complete Book of Instructions for the Harp Guitar and Lute, with variety of Practical Lessons, Songs, &c.
*** Mr. L. teaches the Harp Guitar, Lute, and Piano Forte.
The Morning Chronicle, April 1, 1801
The first mention I could find of the Harp Lute does not appear until October 5, 1802:
MUSIC. – The HARP LUTE, PIANO FORTE, &c.
THE new invented, fashionable, and much admired HARP LUTE, an elegant little instrument, that sounds like the real Harp, is exceedingly easy to play on, and a charming Accompaniment to the Voice; the PIANO FORTE, &c. and very pleasing when played alone, are to be had only of Mr. LIGHT, Music Professor, and sole Inventor of them, at his House, No. 34 Queen Ann-street, Portland Chapel.
Mr. L. teaches Piano Forte, the Harp Lute, &c.
N. B. An exceeding fine-toned second-hand Square Piano Forte to dispose of, very reasonable.
The Morning Chronicle, October 5, 1802
The first mention I could find of the Apollo Lyre in the advertisements was in 1807:
MUSICAL INSTRUMENTS Extraordinary: the first and most desirable ever produced in this or any other Country, viz – The newly-invented HARP-LUTE, and Improved APOLLO-LYRE, elegant and most graceful little Instruments , which not only possess the pleasing sound of real Harps, but require little or no instruction for learning to play on; their superior merit cannot be expressed within the narrow limits of an Advertisement; suffice it to say, they are highly approved and admired by the first persons of distinction, fashion and taste. – Are to be had only of R. [sic] Light, Music Professor (inventor of them), at his House, No. 34, Queen-Ann-street, near Portland Chapel.
N. B. The above has also the Piano forte, the Pedal Harp, small portable (also newly invented) and Singing, in the English and Italian style, taught at home and abroad.
* * * An excellent second-hand Pedal Harp, and a sweet-toned Piano-Forte, to dispose of, very reasonable.
The British Press, January 23, 1807
Unfortunately, the advertisement fails to illuminate whether or not the “Improved Apollo-Lyre” meant an improvement to an old design of his, or rather an improvement on the idea of a lyre like Apollo’s.
The first mention I can find regarding the publication of the book Introduction to the Art of Playing on the HARP-LUTE and APOLLO-LYRE, with suitable lessons, &c. composed and adapted by Edward Light (Inventor), Lyrist to H. R. H. the Princess of Wales is on p. 35 of The Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics, for July 1811. Vol. VI. The Thirty-first Number, as part of their “Musical Review.”
Introduction to the Art of Playing on the HARP-LUTE and APOLLO-LYRE, with suitable lessons, &c. composed and adapted by Edward Light (Inventor), Lyrist to H. R. H. the Princess of Wales. Pr 4s.
This little work, as the title professes, appears intended by Mr. L. as a manual of instruction for playing on the Harp-Lute, an instrument of his own invention; and as the value of the directions is dependant on the merit of the invention, we have taken an opportunity to examine the instrument itself, and to ascertain its compass of execution. The harp-lute contains, on twelve strings, three octaves; that is, from the highest G in the bass, to the highest G in the treble (corresponding with the piano-forte). The strings are tuned as follows: G, C, D, E, F, G, A, B, C, E, G, C. In point of sound, it approaches the harp. Altho’ certainly not so powerful, its tone is much stronger than we could have expected from an instrument of so portable a size; and therefore well calculated to accompany the voice with considerable effect in the few keys which appear congenial to its nature; for we doubt, whether in the sharp keys the performance would be attended with the same facility and brilliancy of execution. The directions contained in the little book before us, are given with clearness and precision; sufficient, we think, to enable an amateur to instruct himself in a moderate space of time: and the elegance of the instrument itself, as well as the position in which it is played, adds to its recommendation. – The Apollo-lyre and harp-lute differ merely in point of shape.
The Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics, for July 1811. Vol. VI. The Thirty-first Number, p. 35
The Repository would not have been reviewing out of date musical literature. Other works reviewed in the same issue also date to circa 1811, including “As Ellen to her lute one day,” “Helicon; a divertimento for the pianoforte,” “First divertimento for the harp or Piano Forte,” and “The Maid of Mona.“
Finally, in an advertisement from 1811, Light mentions a variety of music already published and continuing to be published for the harp-lute. He may be referencing his recently published “introduction.”
THE LONDON MUSICAL CABINET, for particular instruments, such only as are of highest fashion and fame, approved of and sanctioned by Royalty, Nobility, and Ladies of first musical taste, as the new invented Patent HARP-LUTE, and the APOLLO LYRE, elegant little portables, that produce the pleasing sound and effect of the real Harp, which so eminently distinguish them above all others extant; and what renders them still more desirable, is their being exceedingly easy, and very soon learnt to play upon, and their portable convenience, as well in travelling as at home; in fine, they need only to be seen and heard to be at once admired and engaged,
Mr. E. LIGHT (Music Professor), the Inventor and sole proprietor, No. 8, Foley-place, Cavendish-square, London, the manufacturing establishment for wholesale and retail, and where all applications must be made, not only for the instruments, but likewise music, of which great variety, both vocal and instrumental, is already published, and continuing to be published, with suitable accompaniments, expressly composed and properly adapted in the harp-like manner. [emphasis added] – The Harp-Lutes are climate-proof by experience, to the East and West Indies, Malta, America, &c Merchants, Captains, and Traders, for abroad, supplied upon very liberal terms. – At this Cabinet suitable rooms are appropriated for giving the necessary instructions on the Harp-Lute, and likewise on the Piano-Forte, Singing, &c.; Pupils also attended to all parts of the metropolis. The better to accommodate Ladies as the east end of town, Mr. Wm. Dale, No 9, in the Pooliry [spelling?], is appointed agent to sell Harp-Lutes, &c. by the inventor; also the music, proper strings, &c. and of whom may likewise be had cards of the terms of instruction.
N. B. Mr. L’s other agents are Mr T Light, Harp-Master, at Bath; and Mr. W. Power, No. 4, Westmoreland-street, Dublin; and none else.
The Pilot (London), December 17, 1811
Based on all of this evidence, I think the most accurate date for this arrangement is 1811, not c. 1785 from the Fleischmann ABC notation.
circa 1812: Nos Galen – National Melodies by P. A. Corri (1812-NM-Corri)
This version is No. 17 of “National Melodies, consisting of the most admired airs of England, Ireland, Scotland & Wales, arranged as rondos or with variations for the piano forte and an introductory movement to each composed by the most eminent authors.” edited by Arthur Clifton and published by Chappell & Co.
It is held in three libraries, University of St Andrews Library, BYU Harold B. Lee Library, and the National Library of Scotland, but has not been digitized.
1813: Nos Galen – The favourite Welch Air of “Nos Galen,” arranged with Variations for the Piano-Forte, by David S. Hawks (1813-FW-Hawks)
I found this version mentioned in The Repository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics, For July, 1813, The Fifty-fifth Number. It’s on page 37 of their “Musical Review” section.
The favourite Welch Air of “Nos Galen,” arranged with Variations for the Piano-Forte, by David S. Hawks. Pr. 2s.
These variations deserve the epithet of respectable; they are conceived in a good taste, and devised fancifully and with considerable skill. The second part of var. 2, in which the right hand has two parts, is very clever. Var. 5, with crossed hands, has likewise our approbation; and the running bass of the 6th var. is, upon the whole, commendable, although the progress of the left-hand passages has, in one or two instances, given rise to objectionable successions.
The Repository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics, For July, 1813, The Fifty-fifth Number, p 37
The British Library holds a copy of the score, but it has not been digitized.
1813: Nos Galan or New Year’s Night – A Select Collection of Original Welsh Airs, Volume II, published by George Thomas, music by Haydn, and words by Mrs Grant (1813-SC-Haydn-Grant)
Again, we have an approximate date; the first volume dates definitively to 1809, per the preface, the third to 1817. This version appears in the second volume, presumably published some time in between, held and digitized by the Österreichische Nationalbibliothek (Austrian National Library). Underwood gives the date for the second volume as 1813, which is what I use here.
This version is notable because it also has English lyrics related to the title. In this case, however, we know that they are not a translation of any Welsh stanzas because the score states “Written for this work By Mrs Grant.” But perhaps Mrs. Anne Grant was more familiar with the original tune than Opie, because Grant’s verses do incorporate the hallmark “fa la la” choruses.
Nos Galan.
Or, New Year’s Night.
Written for this work
By Mrs Grant.Loud, how loud the north wind blowing, Fal la, &c.
Thick, how thick the dark clouds snowing, Fal la, &c.
Stars all hid in sable cov’ring, Fal la, &c.
Ghosts amid the darkness hov’ring
Keep our trembling hearts in awe.Tho’ the moon refuse to light us, Fal la, &c.
Come where mirth and joy invite us, Fal la, &c.
Thro’ the gloom we view delighted, Fal la, &c.
Good Sir Arthur’s castle lighted.
Fal la la la la la la.See yon blazon’d window gleaming, Fal la, &c.
Like the rays of vesper streaming, Fal la, &c.
Now the spacious gates unfolding, Fal la, &c.
Shew the annual banquet holding.
Fal la la la la la la.Midst the hall with torches blazing, Fal la, &c.
Hark the joyous carol raising, Fal la, &c.
Kinsmen, friends, and vassal joining, Fal la, &c.
To the winds their cares resigning.
Fal la la la la la la.Hope exulting, bounty cheering, Fal la, &c.
Hail the infant year appearing, Fal la, &c.
While the plenteous horn is flowing, Fal la, &c.
See how ev’ry cheek is glowing.
Fal la la la la la la.Music’s notes now sweetly swelling, Fal la, &c.
A Select Collection of Original Welsh Airs, Volume II, circa 1813, p. 41
Tales of love are softly telling, Fal la, &c.
Drowning sorrow, blinding reason, Fal la, &c.
Welcome in the new-born season.
Fal la la la la la la.
In his 1908 book “Welsh National Melodies and Folk-Songs,” musical historian J. Lloyd-Williams offers this less-than-flattering assessment of the collection,
“we have an enthusiastic Scotchman who mutilates many of the Welsh airs which he desires to glorify; we have a number of English and Scotch poets, most of whom fail to fit the airs with words that express either the rhythm or sentiment of them; and the foremost musicians of Europe write excellent arrangements, which yet lack the subtle something that breathes out the national feeling. All this shows us clearly that it is essential that both the poet who writes the words, and the musician who sets the accompaniments, should be completely imbued with the national feeling, in order that the melody may retain its power of appeal to the hearts of the people that gave it birth.”
Welsh National Melodies and Folk-songs
circa 1817: Favorite Welch Air – Flute Player’s Pocket Companion, Part II, by George Forrester (1817-WA-Forrester)
This is another simple version, demonstrating the melody’s popularity.
1817: Nos Galan – Melus-Seiniau Cymru, by John Jenkins (1817-MS-Jenkins)
“Melus-Seiniau Cymru” is another personal manuscript rather than a printed publication. The title translated is “The Melodies of Wales.” According to the Dictionary of Welsh Biography, John Jenkins was born in 1770 and became the vicar of Kerry, Montgomeryshire in 1807. He was known as “Ifor Ceri,” and this manuscript is sometimes referred to as the “Kerry Manuscript.”
This collection is where things start to get interesting from a folk music collecting perspective. Jenkins was interested in collecting old airs and melodies, so the version here comes from a different tradition than the harp tradition that we’ve so much of so far.
The notation itself is the simplest since the 1752 version in shorthand: there are no chords, intros, outros, or variations. It follows a unique A A B C B C pattern, and while certain sections are unfamiliar variations, others are very distinctly the familiar “Nos Galan” melody. This kind of regional variation and the inclusion of additional pennillion stanzas serve as strong evidence of the tune’s age and widespread popularity.
Fortunately, Jenkins used standard notation throughout, but it is written in Welsh, in a fairly archaic script that was difficult for me to decipher and translate. Like Edward Jones, I offer my translation not as adequate, but “as an imperfect sketch and idea” of the verses. My translations are made based off of old Welsh-English dictionaries, the Dictionary of the Welsh Language (Geiriadur Prifysgol Cymru), and Google translate. If any Welsh speakers can offer a more accurate or artistic translation or explain the idioms, it would be sincerely appreciated.
The title includes the note “Fel y cenir yn Gheredigion,” in English, “As sung in Ceredigion,” which is a principal area of Wales. The lyrics are labeled “Pennillion,” so we get to see another example of various verses applied to the same song. They read:
Blewyn glas ar lan Dwr Teifi Fal lal &c
A dwyllodd lawer Bywch i foddi Fal &c
Arna i ni fenodd cariad Fal &c
Mwy na dwr an gefn whwyad Fal lal &c2 Paid a meddwl y Fenws dirion, Fal &c
Melus-Seiniau Cymru, Johnn Jenkins, folio 140r-v
Ar dy ol y torrai ‘nghalon; Fal &c
‘Dwy ti ond un o Ddwy ar bumtheg, Fal &c
Os pallu di mi dreia chwaneg. Fal la &c
Which I roughly translate to:
Blue blades on the banks of Teifi Water
Who deceived many a cow to drown
Love has never been for me
More than water on a duck’s backDon’t think fine Venus
It was after you that my heart would break
You are only one of seventeen
If you fail I will try others.
In his 1974 article in The Hymn, “Deck the Halls with Boughs of Ivy (It’s Welsh Folk Tune and Authentic English Text),” Byron E. Underwood writes that “a Cardiganshire (West Wales) variant is reproduced as No 12, NOS GALAN (NEW YEAR’S EVE) in the Journal of the Welsh Folk Song Society, vol. 3, part 4 (1941). p. 181, with a two-stanza text.” That Journal is not yet in the public domain or available fully digitized, but I was able to get a copy of the relevant pages through Interlibrary Loan.
The musical notation is true to the manuscript, and the publication included tonic-sol-fa notation with it. They also included the lyrics in the notation, along with a translation. There are a few differences between their lyrics, which I bold below, and the following note:
Blewyn glas ar lan dwr Teifi, Ffa la la la la la la.
Hudodd lawer buwch i foddi, Ffa la la la la la la.
Arna i ni fenodd cariad, Ffa la la la la la la,
Mwy na dwr ar gefen hwyad, Ffa la la la la la la.2 Paid a meddwl Fenws dirion
[The green grass by the waters of Teivy
Ar dy ol y torrai ‘nghalon
‘Dwyt ti ond un o ddwy ar bymtheg,
Os palli di mi dreia chwaneg.
Enticed many a cow to its death.
On me, love had no more effect
Than water on a duck’s back.Think not gentle Venus
That I shall break my heart for thee;
Thou art but one of seventeen,
If thou fail me, I’ll try another.]This form of the well-known “New Year’s Eve,” is taken from the Kerry MSS., where it is described as a Cardiganshire variant of the tune. The first verse may be found in Vol. II of this JOURNAL, pp. 78, 80, sung to another tune. – Ed.
Journal of the Welsh Folk Song Society, Vol. III, Part IV, 1941, p. 181
I’ll discuss the versions mentioned in the earlier volumes of the JWFSS later in this article.
circa 1817-1820: New Year’s Festal Eve – A Selection of British Melodies, with symphonies & accompaniments, by Mr Clifton, and appropriate words, by John F. M. Dovaston Esqre. (1817-BM-Clifton)
I have not been able to locate a digitized copy of A Selection of British Melodies, a two part musical score, but several libraries hold copies, including Harvard University and the British Library. According to details included in the Harvard listing, “New Year’s Festal Eve” appears at the end of Part 2. The British Library definitively dates Part 1 to 1817 and estimates the date of Part 2 as 1820.
The words without music appear in Poems, Legendary, Incidental, and Humorous by John F. M. Dovaston, Esq. A. M., published in 1825, which is really the “Third edition, with additions.” of Fitz-Gwarine, A Ballad of the Welsh Border; In Three Cantos. With Other Rhymes, Legendary, Incidental, and Humorous. by Dovaston, originally published in 1812. The lyrics do not appear in the earlier editions.
On p. 376 of the third edition, Dovaston writes, “Address to the Welsh Harp. Being the Introductory Poem to the British Melodies;* Respectfully Inscribed to The Princess Charlotte of Wales.” And at the end of the page, “* The first Twenty-Six of the following Songs are published with the Music, by and for Clementi, London, in Two Volumes, under the Title of “A Selection of British Melodies, with Symphonies, Harmonies, and Accompaniments by Mr. Clifton, &c.” That work was patronized by the all-beloved Princess Charlotte of Wales; and ceased at her lamented death.”
The poem beginning “New-year’s festal Eve…” appears on p. 410 as number XXV, with the ascriptions “Melody. Harmonized. Nos Galan. New-year’s Eve. Welsh.” Here are the words,
1. New-year’s festal Eve high hearted
Sprigg’d with berried hollies bright,
Decks the shrine of days departed
Clos’d on many a lov’d delight.
Quaff the flow’rs of Life while glowing,
Rarely blooms their highest hue,
Tears nor tempt the buds to blowing,
Nor when blown can tears renew.2. Over hearts in cold graves sleeping,
Hearts elate with love no more,
Many a maid has fresh been weeping
Since New-year’s Eve was hail’d before;
As o’er ours that leaping listen
Mirth and Music’s raptur’d strain,
Daisies in the dew may glisten
Ere New-year’s Eve return again.3. Joys departed pure and tender
Long illume the darkling’ breast.
Like the days that set in splendour
Flush awhile the fading West;
And, as clouds at morning o’er us
Brighten in the breaking skies,
Hope, from joys that lie before us.
Feels a radiance ere they rise.4. Sweep the full harp, swell it brightly,
Poems, Legendary, Incidental, and Humorous by John F. M. Dovaston, 1825, p. 410-411
Fresh as gales on sunny sea,
While on high hopes bounding lightly
Glad we launch the New-year gay:
And, as cluster’d stars to steer us
Mount on each moon’s brilliant train,
So may social pleasures cheer us
‘Till New-year’s Eve return again.
circa 1821: Nos Galen, Welch Air – by George Kiallmark (1821-NG-Kiallmark)
George Kiallmark was a prolific composer who was born in 1781 and died in 1835. According to the Dictionary of National Biography,
“In 1803 he married Mary Carmichael, a cousin of the Countess of Rothes, and settled in Islington, London. Here he devoted himself to teaching the harp, violin, and piano, and soon acquired a large and lucrative connection. He resigned his public engagements, and devoted himself entirely to his pupils and to composition, entering into arrangements with Chappell and D’Almaine to supply them annually with a fixed number of compositions.”
Dictionary of National Biography, Volume 31, 1892, p. 88-89
Many of his compositions are reviewed in the Harmonicon and Quarterly Musical Magazine and Review. I have found references to “Variations on Nos Galen, a Welsh Air” and “Nos Galen, Welch Air” in two places, 1) a list of publications appended to “Night at Sea,” published by D’Almaine & Co. Soho Square, and 2) a list of “New Music, Published by Goulding, D’Almaine, Potter, and Co. 20, Soho Square” dated 1821, appended to “The Overture, Songs, Duetts, Glees, & Choruses. In Shakespeare’s Play of the Two Gentlemen of Verona. as Performed at the Theatre Royal, Covent Garden.”
I have not been able to find a copy of this composition either catalogued or digitized anywhere.
1822: The Mountain Fires – A Selection of Welsh Melodies with Symphonies and Accompaniments, by John Parry; and Characteristic Words, by Mrs. Hemans (1822-WM-Parry-Hemans)
This is another example where a copy of the original manuscript is unavailable digitally. Fortunately, the works were reprinted in 1874, and comparing the lyrics to a text-only transcription of the original available through Wikisource, we can see that it is the same song.
We know something about the original publication from “The Literature of National Music,” by Carl Engel, 1879. He tells us,
“The first volume appeared some years earlier than the date here given [1821], and was republished for the present edition, newly arranged, and with the poetry expressly written for it by Mrs. Hemans… Perhaps more noteworthy to musicians is John Parry’s statement in the preface: ‘I have purposely avoided all extraneous modulations and chromatic passages, that the accompaniments may be performed on the harp as well as on the pianoforte. I was strongly urged so to do, and requested to render the arrangement as simple and familiar as I possibly could, so that the melodies might not lose any of their character, or be disfigured by gaudy trappings.’” [emphasis added] The Literature of National Music, p. 30
It seems it was once again Parry’s desire to keep the tunes as simple and approachable as possible. We also learn that the lyrics were written for the melody at the time of publication, and therefore are not a translation of any original Welsh verses or pennillion.
The full title of the 1874 reprint is “The Songs of Wales, A Complete Collection of the Vocal Melodies of the Principality, with the Addition of Other Welsh Airs and Part-Songs Which Have Not Hitherto Appeared in this Form” edited by John Thomas, harpist to the Queen, with introduction by Charles H. Purday.
Purday writes,
“When the publication of this volume of the Songs of Wales was contemplated, it was the intention of the publishers to re-produce only the three volumes edited by the late John Parry (Bardd Alaw), and brought out by him in 1822-24 and 1829. These works being entirely out of print, it was thought a Cheap Edition of them would be acceptable to the musical public. But on consideration, it was determined to add the three volumes edited by Mr. George Thomson, of Edinburgh, and published by him, with symphonies and accompaniments by Haydn, Beethoven, and Kozeluch; which symphonies and accompaniments were of so completely distinctive a character from those arranged by Mr. Parry, that it was considered desirable to publish both series in one volume… This volume, therefore, contains the whole of the six volumes of Parry and Thomson, as well as the new matter added by Mr. Thomas, and the harmonized Airs.”
The Songs of Wales
Note, also, that the referenced three volumes edited by Mr. George Thomas included the 1813-SC-Haydn-Grant version.
In the introduction of the reprint we learn more about the history of the publication of these various volumes of Welsh airs:
“Although some of the native Welsh Melodies had centuries ago found their way into England, and a few have thus been incorporated with English minstrelsy, no collection of Welsh airs had been adapted to English words, except those in Jones’s “Relic’s,” until Mr. George Thomson of Edinburgh turned his attention to the subject, probably from having seen Mr. Edward Jones’s works,* as most of the airs in Mr. Thomson’s first volume, published in 1809, are evidently taken from that source, although he calls them “Original Welsh Airs.” Almost simultaneously with Mr. Thomson’s, was published Mr. Parry’s “Selection of Welsh Melodies with appropriate English Words;” which Mr. Parry issued to his subscribers in the autumn of 1809, with an address, in which he says “he had to combat many difficulties, as the melodies were extremely irregular in their measure and rhythm.” Mr. Thomson’s first volume had the special advantage of having accompaniments and symphonies written to the airs by Haydn; and the English words were by the first poets of the day, from Burns to Walter Scott. Whether Mr. Thomson’s work gave rise to the publication of Mr. Parry’s, or vice versa, we are not told. It is quite evident, however, that the production of Mr. Thomson’s remaining volumes, which were brought out in 1811 and 1814, stimulated Mr. Parry to get Mrs. Hemans, and other popular Welsh poets, to write characteristic English poetry adapted to Welsh music, and reproduce many of the airs in his first work, with a variety of others of the same nationality.
“*Mr. Edward Jones may then be considered as the pioneer of the publication of Welsh airs, about 150 of which were published by him at the end of the last century, yet the form in which they were brought out was anything but attractive to the English ear; and indeed rather militated against, than in favour of, their popularity with the English public; some of them were badly adapted to English words; and the general arrangement of the melodies was crude and not musicianlike.”
The Songs of Wales
Ouch! I hope Jones had some aloe for that burn!
As we see in the dates, the Haydn and Parry volumes were originally published at around the same time. It seems that Parry saw the need to step up his lyrics game. To compete with Haydn and Grant he joined forces with another widely recognized poet, Mrs. [Felicia] Hemans. It is Mrs. Hemans’ words that we see here:
1. Light the hills till heav’n is glowing,
As with some red meteor’s rays!
Winds of night, though rudely blowing,
Shall but fan the beacon blaze.
Light the hills till flames are streaming
From Yr Wyddfa’s* eaglesteep,
To the waves round Mona gleaming,
Where the Roman track’d the deep!2. Be the mountain watch-fire heighten’d,
Pile them to the stormy sky!
Till each torrent-wave is brighten’d,
Kindling as it rushes by.
Now each rock, the mist’s high dwelling,
Towers in reddening light sublime;
Heap the flames! around them telling
Tales of Cambria’s older time.3. Thus our sires, the fear-less hearted,
Many a solemn vigil kept,
When, in ages long departed,
O’er the noble dead they wept.
In the winds we hear their voices, —
“Sons! tho’ yours a brighter lot,
When the mountain-land rejoices,
Be her mighty unforgot!”* Yr Wyddfa, the Welsh name for Snowdon, said to mean the conspicuous place, or object.
A Selection of Welsh Melodies with Symphonies and Accompaniments
At first glance these lyrics do not seem to relate to New Year’s Eve, but this note is included for context:
“The custom in Wales of lighting fires (coelcerthi) on November eve, is said to be a traditional memorial of the massacre of the British chiefs by Hengrist, on Salisbury Plain. The practice is, however, of older date, and had reference originally to the Alban Elved, or New Year. – See the Cambro Briton.
“When these fires are kindled on the mountains, and seen through the darkness of a stormy night, casting a red and fitful glare over heath and rock, their effect is strikingly picturesque.”
A Selection of Welsh Melodies with Symphonies and Accompaniments
This note brings up the interesting question of when the Welsh/Celts traditionally celebrated the start of the new year, with many references to its being on Nov. 1, rather than Jan. 1 as we do today. This is a matter of considerable debate, and a topic of separate discussion.
This is one of Parry’s more interesting arrangements. He uses a lot of syncopated rhythms in his accompaniment parts, which give this version distinction.
circa 1824: Nos Galen or New Years Night – by C. Meineke (1824-NG-Meineke)
According to PastDaily.com, Christopher Meineke was “a German-born composer and pianist who settled in Baltimore, composed much original music (both sacred and secular), and was for many years the organist of St. Paul’s Church. … Meineke wrote a great quantity of songs and piano pieces, a few of which were published by 1810, though most date from the 1820s after his return from Vienna. His piano music exhibits imagination and flair, and is often demanding for the performer.”
This piece, “Nos galen or New Years night : with variations for the piano forte” is held by the Free Library of Philadelphia, who date it to 1824. It has not been digitized.
circa 1824: Nos Galen – Volume Second, title, author, and publisher unknown (1824-VS-unknown)
When I originally published this article, I wrote that,
“Nos Galen” is included in the second volume of the “Edinburgh Repository of Music, Containing the most Select English, Scottich & Irish Airs Reels Strathpeyse &c Arranged for the German Flute or Violin.” No date is included in the text, but the Glen Collection of the National Library of Scotland dates the first volume to 1818 and the second volume to 1825. In addition to having no publication date, the title page also fails to name an author, stating only, “Printed and sold by J. Sutherland.”
Me, 2020
Since then, I have realized that this “Volume Second” is not the second volume of the Edinburgh Repository of Music, but is in fact part of another collection of songs that happens to be bound up with the first three volumes of the Edinburgh Repository of Music. Since coming to this realization I have spent an inordinate amount of time trying to track down and trace the title and publisher in hopes of shedding more light on the arrangement, to no avail.
And by inordinate amount of time, I’m talking weeks and weeks of research. Trying to match fonts in similar collections and other musical publications. Researching various Edinburgh and London publishers and engravers, putting together timelines of their businesses through old newspaper clippings, trying to piece something together. To my very great disappointment, everything turned into dead ends, and I finally had to decide to give up and move on, and put my energies to more important research.
While unfortunately not being able to put a title or publisher to this volume, I am able to give a rough estimate of date. Most of the songs are traditional Scottish songs, or come from earlier operas, circa 1790s-1800s, but 3 stood out as being later.
First was “Poor Joe the Marine,” the words to which first appeared in a book of poems called Trifles in Rhyme, published by John Ashley in 1812.
Second was “Rousseau’s Dream.” The British Library holds a copy of the original publication, “Rousseau’s Dream, An Air with Variations for the Piano Forte, Composed and Dedicated to the Right Hon.able The Countess of Delaware, by J. B. Cramer,” which has been digitized and is viewable online. The original publication is undated, but the earliest reference I can find is in the July 1814 issue of “The Gentleman’s Magazine: and Historical Chronicle,” on p. 60, in their “Review of New Musical Publications.” They write,
“3. Rousseau’s Dream, an Air, with variations for the Pianoforte, composed and dedicated to the Right Honourable The Countess of Delaware. By J. B. Cramer, London. Chappell and Co. pp. 9. 3s.
“VERY seldom indeed have we met with a light composition possessing such irresistible claims to commendation as the present divertimento. The first two pages are occupied with a very sweet introduction, andante, in common time 6/8, following which is Rousseau’s Dream, an aria moderato, and 10 beautiful variations. The piece is in F major, and is not very difficult. With pleasure we advise every player, who can span octaves, to procure a copy of it, being persuaded he will not blame us for doing so, nor the young performer regret the trouble it may cost him in learning to play it with accuracy.”
Gentleman’s Magazine and Historical Chronicle, July 1814, p. 60
Modern listeners may recognize the melody or “Rousseau’s Dream” as “Go Tell Aunt Rhody,” or “Aunt Nancy.”
Finally, the latest song that I was able to identify was “Sicilian Air – Known as “Home! Sweet home!” Sung by Miss M. Tree.” According to a bibliographic sketch in La Belle Assemblée, May 1820, and reporting in The Lady’s Monthly Museum, September 1819, Miss Tree started her opera career in 1817 and moved to Covent Garden shortly thereafter, in about 1818 or 1819. The song “Home! Sweet Home” appears in the opera “Clari, or the Maid of Milan,” by John Howard Payne, first performed May 8, 1823, at the Theatre Royal, Covent Garden. According to the Edinburgh Dramatic Review of August 1823, her performance was much admired. According to an article about John Howard Payne in the December 1899 volume of Frank Leslie’s Popular Monthly,
“The opera “Clari” was a tremendous success, which may mostly be accounted for because of the instant admiration won for it by introduction of that feature which it will long be remembered, Payne’s immortal song, “Home Sweet Home.” The poet’s biographer, Mr. Gabriel Harrison, has written: ” This song has had a more universal circulation than any other song written before or since. It is a fact that upward of one hundred thousand copies were issued by its publisher in London in less than one year after its first publication. The profit yielded over two thousand guineas. It at once became so popular that it was heard everywhere… The music of the song is by Sir Henry Bishop, and the melody is very similar to an old Sicilian air.”
Frank Leslie’s Popular Monthly, December 1899, p. 121
You can read more about the actual origins of the melody in the article “The German Prototype of the Melody of “Home! Sweet Home!”” by Byron Edward Underwood. Music for the song “Home! Sweet Home” can be found here.
All that said, the main takeaway is that “Home! Sweet Home!” did not appear until 1823, so our collection could not have been published before then, but was probably published within the next few years.
This “Nos Galen” arrangement is an odd combination of the simple and the complex. Probably written for a flute, violin, or pipes, rather than piano or harp, it doesn’t contain stacks of chords, and unlike the early Parry-R and Jones arrangements, we don’t have numerous, consecutively more complex variations. There are, however, many embellishments within the tune, and the final A part is embellished differently than the first. This version also has the unusual song structure of A1 A1 B A2 A1 A1.
The general melody is also distinct from the other versions. It’s not quite as different as the arrangements altered for the operas, but it’s definitely not the standardized melody to which our modern ears are accustomed. These discrepancies may be an example of regional variations of a well known tune, or simply a lack of skill on the part of the unnamed arranger.
1824: Fairy Elves – A Trip to Wales, A Farce in Two Acts, by John Parry (1824-TW-Parry)
Here we have another version of Nos Galan by John Parry, this time in a play “performed for the first time, at the Theatre Royal, Drury Lane, Friday, November 10th, 1826.” The libretto is digitized and available in several places online, including Archive.org.
The words are:
DUET, Ellen and Jenny.
Fairy elves their watch are keeping, Fal, lal, la.
While the drowsy world is sleeping, Fal, lal, la.
Till the sun-beams brightly dancing, Fal, lal, la.
Tell the day is fast advancing, Fal, lal, la.When the star of eve is twinkling, Fal, lal, la.
A Trip to Wales, A Farce in Two Acts, by John Parry, 1826, p. 21-22
And the village-bell is tinkling, Fal, lal, la.
On the green they foot it featly, Fal, lal, la.
While the bird of night sings sweetly, Fal, lal, la.
The phrase “foot it featly” also appears in verse 4 of Parry’s 1809 Nos Galan. It originates in “Ariel’s Song,” Act I, Scene II in Shakespeare’s The Tempest.
The complete vocal score is held at three libraries, University of St Andrews Library, the University of Oxford Libraries, and University of Cambridge Libraries, but has not been digitized. “Fairy Elves” alone, “A reissue of p.41-44 of the vocal score of A trip to Wales, published by F. T. Latour,” is held by the National Library of Wales, but has not been digitized.
circa 1828-50: Nos Calan – Instrumental Tune Book, Anonymous (1828-ITB-Anonymous)
This Instrumental Tune Book is a manuscript held by the National Library of Wales. It is described as,
“A secular tune book, undated, but watermarked 1828, and probably compiled during the second quarter of the nineteenth century. The tunes are largely unaccompanied by words, and some are marches, dance tunes and hornpipes, suggestive of instrumental use. Bass parts to some songs are included (e.g. pp. 136-140). Many of the tunes (which are indexed on pp. i-v) are of non-Welsh origin, … The large number of Welsh tunes included suggest a Welsh origin, although non-traditional in background; where recorded, words are in English. … The Welsh tunes include … Nos Calan (p. 18), …
Instrumental Tune Book, NLW MS 24049A
It has not been digitized so I am unable to provide a transcription.
1829: “Pennillion Diddanus” by Dewi ab Dewi in Llais Awen Gwent A Morganwg (1829-PD-Dewi)
The 15 verse poem titled “Penillionn Diddanus,” which translates to “Entertaining Verses,” and attributed to “Dewi ab Dewi,” first appears in the collection Llais Awen Gwent A Morganwg: Sef, Casgliad o Ganiadau Newyddion, ar Destynau Moesol a Difyr. A Gyhoeddwyd gan I. Brychan. or “Voice of the Muse, Gwent And Morganwg: Namely, A Collection of News Songs, on Moral and Entertaining Subjects. Published by I. Brychan,” published in 1829.
This poem, in the “Mesur” or “meter” of Nos Galan, is important because even though it does not have notation as printed, several versions collected later through the “folk song” movement, titled “Dacw ‘nghariad” are Nos Galan variants, and it is interesting to see how the poem changed in just 100 years. See 1896 “Lays of My Land” by Nicholas Bennett, and the Journal of the Welsh Folk Song Society, Vol. I, Part II.
Pennillion Diddanus.
Mesur – “Nos Galan.”1 Dacw ‘nghariad yn y berllan,
Gwyn fy mŷd pe cawn ei chusan;
Er bod ei thylwyth yn fy erbyn,
Mi a’i mynaf cyn pen blwyddyn.2 Dacw dderwn wŷch ganghenog,
Golwg arni sydd dra serchog;
Mi arosaf dau ei chysgod,
Nes daw ‘nghariad i ‘nghyfarfod.3 Hardd a siriol ydyw’m seren,
Fwyn, gariadus, liwus, lawen;
Pe b’ai’m Gwen yn Nghadair Idris,
Mewn modd diwad, gwnawn ei dewis.4 Melys ydyw ffrwythau’r gwinwydd,
Melys iawn yw pûr Awenydd;
Ond melusach a mwy hyfryd,
Ydyw cwmp’ni fy anwylyd.5 Ceinwych lais y gôg yn canu,
Sy’n sain ddoniol i’n diddanu;
Ond lle bo cariad mewn pur anian,
Mwynach cysur ydyw cusan.6 Beth a dâl llong fawr heb hwylbren?
Beth a dâl sŵn Bardd heb Awen?
Beth i neb fod tanwydd ganddynt?
Heb ddim tân i’w roddi ynddynt?7 Mae rhai manau ar y mynydd,
Ag sy’n llawer gwell na’u gilydd;
A llefydd nas gall neb eu ‘nabod,
Felly hwythau y genethod.8 Dacw’r delyn, dacw’r tannau,
Beth wyf gwell, heb neb i’w chwarau?
Dacw’r feinwen hoenus fanwl,
Beth wyf nes heb gael ei meddwl?9 F’ anwyl gariad ydwy’i’n geisio,
Gwyn fy mŷd pe cawn i honno;
Heb ei chael, nid yw ond ofer,
I mi geisio llywio Ilawer.10 Gwyn fy mŷd pe bawn i heno
Yn y man ag wy’n ddymuno;
Bod yn Nghymru yw ‘nymuniad,
Yn cusanu f’ anwyl gariad.11 O! pe gallwn ‘nawr ehedeg,
Mi ehedwn ar fỳr adeg;
Dyna’r fàn, mi wn, disgynwn,
Yw yn mreichiau’r fwya’ garwn.12 Dacw fab yn myned heibio,
A geneth fwyndeg gydag efo;
Beth wyf gwell o’r eneth fwynlan,
Heb ei chael i mi fy hunan.13 Rhoes fy mrŷd ar eneth dirion,
Hyn fu bron a thorri ‘nghalon;
A bu’n achos iddi hithau
Wylo peth am danaf finnau.14 Rhyw ddrwg anffawd oedd yn peri
I mi fyned bant oddiwrthi;
Dyna’r modd, ‘rwy’n ŵylo’n fynych,
Waith ‘mado’n dau, heb un yn chwennych.15 Glân yw’r siriol fanol feinir,
Glân yw’m cynnes aeres eirwir;
Nid oes i’m golwg ar y ddae’ren,
Ail i’r fûn gariadus lawen.Dewi ab Dewi
Llais Awen Gwent A Morganwg, Brychan, circa 1829, p. 78-80
We know some things about the publisher “Brychan” from Welsh biographer Charles Ashton in his circa 1893 book Hanes Llenyddiaeth Gymreig : o 1651 O.C. hyd 1850 or “A history of Welsh literature: from 1651 A.D. until 1850.” He writes,
Tybiwn fod JOHN DAVIES, neu John Brychan fel y galwai ei hun, yn werth crybwylliad. Ganwyd ef yn Mlaenau Brycheiniog, oddeutu’r flwyddyn 1785. Treuliodd yr haner can’ mlwydd olaf o’i oes yn Nhredegar, ac yno y bu farw Mehefin, 1864, ar fin ei 80 mlwydd oed. Yr oedd yn gyfaill mawr i Iolo Morganwg, Taliesin ab Iolo, Gwilym Morganwg, a Charnhuanawc. Enillodd lawer o wobrwyon mewn Eisteddfodau lleol, a bu yn ohebydd ffyddlawn i Seren Gomer. Yn 1824, cyhoeddodd lyfr, o 84 o dudalenau 12plyg, dan yr enw “Llais Awen Gwent a Morganwg: sef, Casgliad o Ganiadau Newyddion ar Destynau Difyrgar.” Cynwysa y llyfr, heblaw dernynau o’i waith ei hun, amryw eraill wedi eu harwyddo gyda’r enwau a’r ffugenwau canlynol: – Ab Iolo; G. Harri, Penderyn; Gwilym Morganwg; Lewis Morganwg; William Davies, Coed y Cymmer; Shon Chwareu Teg; T. ab Gwilym, Eglwys Elian; Gwilym Hugh, Llanfair; William Wallter; D. Iago, Argoed; D. Morris, Tredegar; Dewi ab Dewi; ac Ab Siencyn. Oddiwrth gynwysiad y llyfr, gellid meddwl fod peth o ysprydiaeth Huw Morus o Bontymeibion wedi cyrhaedd Morganwg oddeutu dechreu y ganrif bresenol, oblegyd y mae caniadau serch yn ei fritho. Y mae gan Brychan ei hun amryw ohonynt; a bron na ddywedem eu bod yn gyfartal i eiddo Huw Morus. Y mae ei “Ddrych Cynfigen,” a’i “Dri oedd y Cybyddion” yn rhagorol. Wele un o’r ” Trioedd:” –
Tri pheth sy’n llwyr ddiddefnydd;
Troi moch i drin i meusydd,
Balch dirinwedd dan y rhôd
Ac aur yn nghôd y Cybydd.Yn 1825, cyhoeddodd lyfr o’r enw, – “Y Gog; neu Ddifyrwch i’r Cantorion: Yr hwn a gynnwys bigion o Ganiadau Etholedig, ac addas i’w datganu yn mhob Cymdeithas Lawen.” Ceir ynddo, heblaw amryw ddernynau heb enw awdwr wrthynt, y caneuon canlynol: – “Caniad y Gog i Feirionydd,” gan Lewis Morris; “Twyll,” cân a ddatganwyd yn Eisteddfod Pontaberbargod yn 1819, “Fy Mari,” “I Ferch o Langattwg,” gan Daniel ab Iago, Argoed; “Caniad Ddigrif, yn gosod allan Drych Meddwyn anffodus,” gan I. ab Rhisiart, a Daniel ab Iago; … Yr oedd hwn yn llyfr lled boblogaidd; oblegyd daeth ail argraphiad o hono allan yn 1832, y trydydd yn 1846, y pedwerydd yn 1849, a’r pumed yn 1865. Cyhoeddwyd y tri argraphiad cyntaf yn Merthyr, a’r ddau olaf yn Nghaerfyrddin. Yn 1828, cyhoeddodd lyfr o’r enw Telyn y Cantorion, gwaith ryw John Thomas gynt o Gaerfyrddin; ac yn ol Catalogue yr Amgueddfa Brydeinig, yr un ydoedd a John Thomas o Raiadr Gwy. Ac yn 1831, cychwynodd gylchgrawn o’r enw Yr Odydd Cymreig; ond ni chafodd ond ychydig gefnogaeth. Fel bardd, y mae Brychan yn arddangos cryn radd o’r awen, ac yn lled fedrus a manwl yn y gynghanedd. Ond at y difyr a’r digrif y cyfyngodd ei hun yn benaf; ac mewn testynau felly y daw ei allu i’r golwg amlycaf.
Hanes Llenyddiaeth Gymreig : o 1651 O.C. hyd 1850, by Charles Ashton, circa 1893, p. 609-611
We think that JOHN DAVIES, or John Brychan as he called himself, is worth mentioning. He was born in Blaenau Brycheiniog, around the year 1785. He spent the last fifty years of his life in Tredegar, and there he died in June, 1864, about to be 80 years old. He was a great friend of Iolo Morganwg, Taliesin ab Iolo, Gwilym Morganwg, and Carnhuanawc [famous Welsh poets]. He won many prizes in local Eisteddfods, and was a faithful reporter for Seren Gomer. In 1824, he published a book, of 84 12-fold pages, under the name “Llais Awen Gwent a Morganwg: namely, a Collection of News Songs on Interesting Subjects.” The book contains, apart from fragments of his own work, several others signed with the following names and pseudonyms: – Ab Iolo; G. Harri, Penderyn; Gwilym Morganwg; Lewis Morganwg; William Davies, Coed y Cmmer; Fair Play Shon; T. ab Gwilym, Elian Church; Gwilym Hugh, Llanfair; William Walter; D. James, Argoed; D. Morris, Tredegar; David ab David; and Ab Siencyn. From the contents of the book, it could be thought that some of the spirituality of Huw Morus from Pontymeibion reached Morganwg around the beginning of the present century, because it is full of love songs. Brychan itself has several of them; and we would hardly say that they are equal to that of Huw Morus. His “Mirror of Jealousy,” and his “Three were the Envious” are excellent. Behold one of the “Threes:” –
Three things that are completely useless;
Turn pigs to cultivate fields,
Proud dignity under the road
And gold in the miser’s pocket.In 1825, he published a book called, – “The Cuckoo; or Entertainment for the Singers: Which contains a selection of Selected Songs, and suitable to be declared in every Merry Society.” It contains, apart from several pieces without the author’s name, the following songs: – “Caniad y Gog i Meirionydd,” by Lewis Morris; “Twyll,” a song declared at Eisteddfod Pontaberbargod in 1819, “My Mari,” “I Ferch o Langattwg,” by Daniel ab Iago, Argoed; “A Humorous Song, setting out the Mirror of an unfortunate Drunkard,” by I. ab Richard, and Daniel ab Iago; … This was a fairly popular book; because a second edition of it came out in 1832, the third in 1846, the fourth in 1849, and the fifth in 1865. The first three editions were published in Merthyr, and the last two in Carmarthen. In 1828, he published a book called Telyn y Cantorion, the work of a certain John Thomas formerly of Carmarthen; and according to the Catalog of the British Museum, he was the same as John Thomas of Riadr Wye. And in 1831, he started a magazine called Yr Odydd Cymreig; but he had little support. As a poet, Brychan displays a considerable degree of inspiration, and is quite skilled and detailed in the composition. But he mainly limited himself to the entertaining and the humorous; and in subjects like that his power comes to the most obvious sight.
translated
Since this poem appears in a book of poetry from Gwent and Morganwg, two regions in the very south of Wales, we might assume that “Dewi ab Dewi” was from the south of Wales as well. Other clues to his identity, however, remain elusive. “Dewi” is a diminutive of David, and “Dewi ab Dewi” simply translates to David son of David. It seems to have been a popular psuedonym for many “David Davies,” a popular name in Wales, as David is the patron saint of Wales.
Three other poems attributed to “Dewi ab Dewi, Eglwys Elian” appear in Brychan’s 1827 book Y Llinos; Sef, Casgliad Ganiadau Newyddion, Ar Destynau Moesawl A Diddan; Addas I Ddenu Bryd Y Cantorion Cymreig, I Ymhyfrydu Yn Ngherddoriaeth Yr Hen Gymry Gynt. O Gronf, Brychan, Tredegar or “The Linnet [a type of bird]; Namely, A Collection of News Songs, On Ethical And Entertaining Subjects; Suitable To Attract The Welsh Singers, To Enjoy The Music Of Old Wales. From Cronf, Brychan, Tredegar.” They are:
- “Ddewrder yr hen Gymry”, p. 10;
- “Annerchiad I Forwyn Ieuanc,’ p. 69, which appears just before “Ymddiddan Rhwng Mab A Merch” by Gwilym Mai (for more on the relationship between these poems, see below);
- and, “Annerch I Ferch Ieuanc,” p. 85.
“Can ar Ddewrder yr Hen Gymry,” again attributed to “Dewi ab Dewi, Eglwys Elian,” appears reprinted on p. 44 in Brychan’s Y Gog; Neu Ddifyrwch I’r Cantorion: Yr Hwn A Gynnwys Bigion O Ganiadau Etholedig, Addas I’w Datganu Yn Mhob Cymdeithas Lawen. O Cascliad Brychan. or “The Cuckoo; Or Entertainment for the Singers: Which Contains Many Chosen Songs, Fit to Be Declared in Every Joyful Society. From the Brychan Collection.”
According to the List of early Welsh Churches dedicated to Saints in Wales by County, Eglwys Elian is also known as Eglwys Ilan or St. Ilan’s Church, in Glamorganshire, in the very southernmost part of Wales, see this map: https://historicplacenames.rcahmw.gov.uk/placenames/recordedname/b8e4c4fd-cdcd-46d5-874e-62d133d30aef. It is unclear, however, if Dewi ab Dewi, Eglwys Elian, is the same Dewi ab Dewi in “Llais Awen.”
Several other Dewi ab Dewi’s appear as correspondents in the journal Seren Gomer in the same time frame, from various areas of southern Wales, including a Dewi ab Dewi of Lanelli, a Dewi ab Dewi of Glan Areon, a Dewi ab Dewi of Llansadwrn, etc. There also appears to have been a Dewi ab Dewi of Towyn who was a poet and a draper, who died suddenly in 1850 at age 25. Finally, there many, many references to another Dewi ab Dewi of Towyn who was regarded as a “genius bard” and also a well-known fisherman. But as Towyn is in the north of Wales, I find it unlikely that this Dewi ab Dewi is the same as the author of “Penillion Diddanus.”
“Penillion Diddanus” also appears on several undated ballad sheets. The National Library of Wales has a catalog listing of a 4 page printed ballad titled, “Dwy gân : y gyntaf, Penillion Diddanus : Yr ail, Traethawd ac Ymddiddan rhwng mab a merch.” or in English, “Two songs: the first, Entertaining Verses: The second, Essay and Conversation between boy and girl.” Unfortunately, this holding has not been digitized, so direct comparison is not possible, but the library notes the first line is “Dacw ‘nghariad yn y berllan.” The author is listed as “D Davies,” presumably referring to the author of the first poem only. The author of “Ymddiddan Rhwng Mab A Merch” is, as noted above, Gwilym Mai, from Brychan’s Y Llinos.
As a side note, the first line of “Ymddiddan Rhwng Mab A Merch” is “O! gwrando fy nghariad,” in English, “O listen my love.” I have found two digitized printed ballad sheets (here and here) with a poem titled “Ymddiddan rhwng mab a merch ieuanc” (in English, “Conversation between a young boy and girl) which begin with the line, “Ow: f’anwylyd fywiol fywyd,” in English, “Oh, my beloved living life,” which is attributed to C. Morganwg. Both ballad sheets are undated.
Finally, I have found another digitized printed ballad sheet titled, “Dwy gan: y gyntaf, Cerdd Ddigrif, am deulu a gollodd rifedi yr wythnos; yr ail, Penillion Dyddanus, &c. &c.” or in English, “Two songs: the first, Cerdd Ddigrif, about a family that lost the numbers of the week; the second, Modern Verses, &c. &c.” “Dyddanus” is just a misprinting or misinterpretation of “Diddanus.” The poem begins, “Dacw ‘nghariad yn y berllan,” and includes 13 verses. The printer is “John Jones, Argraffydd, Llanrwst,” who died March 29, 1865. The author is not attributed.
circa 1830: Ar hyd y nos – H. Wrede’s Improved Instructions for the Flageolet (1830-IIF-Wrede)
This is a tricky variation to document. I have actually found two different versions of this flageolet instruction book that have the same title page. One from the Boston Public Library is digitized on Archive.org, with a second page beginning “The Octave Flageolet Precepter,” which I will refer to as Octave Version. The other is held and digitized by Stellenbosch University, with a second page beginning “New Instructions for the Flageolet,” which I will refer to as the New Version. The instructions are quite different between the two versions, and while there is considerable overlap in the included tunes, they are not identical, and even those the overlap in title are frequently recorded differently.
I could not find much information related to the publisher. This book is given the circa 1830 date in An Annotated Bibliography of Woodwind Instruction Books, 1600-1830, p. 102. In 2011 Peter Nichols published a book called A Wonderful Change, about H. Wrede’s son Robert, writing,
“Robert William Wrede was born in 1817 into a family of musical instrument makers, the son of Herman Wrede (1770-1841) and his first wife Agnes Miller (1778-1820). His father’s business was described in contemporary insurance documents as “Herman Wrede, 35 White Cross Street Cripplegate, pianoforte and wind instrument maker, dealer in household furniture and merchant”. It was in the role of travelling salesman for this business that Robert first journeyed to Australia in October 1837.”
A Wonderful Change – the Story of Robert Wrede Including His Journal 1837-41, by Peter Nicholls, p. i
A few references to different Wrede instruments pop up over the internet, but otherwise nothing. It is impossible for me to determine why there are two versions of this book with the same title page, or if they even are the same book and one has not been accidentally compiled with the wrong title page.
The Octave Version includes a tune titled “Ar hyd y nos” with the ascription “Welsh Air” on page 10, as well as a tune titled “Poor Mary Anne,” with the ascription “Welch Air” on p. 14. These are both names for the Welsh tune commonly recognized today as “All Through the Night.” I wondered why this tune was included twice, but quickly realized that the one labeled “Ar hyd y nos” is actually Nos Galan.
This version is fairly odd. It has strains of other arrangements, like the 3rd measure of the B part closely resembling the Meyer and Briggs versions, but is not identical to any I have been able to transcribe so far.
The “New Version” has neither “Ar hyd y nos” nor “Poor Mary Anne,” but it does have “The Grand March in Blue Beard” on p. 19.
circa 1834: Nos Galan (New Year’s Night) – Welsh Airs Arranged for the Pianoforte, apparently in the hand of E. M. Combe (1834-WA-Combe)
“Welsh Airs Arranged for the Pianoforte, apparently in the hand of E. M. Combe” is the title of Add MS [Additional Manuscript] 34290, held by the British Library. It has not been digitized and my attempts to request a copy of the relevant pages have not been successful, so I am unable to provide a transcription.
The sixth tune is “Nos Galan (New Year’s Night), beginning on folio 6b. Also included in the description of the MS is “Custodial History: Given by E. M. Combe, of Broom Cliff Cottage, to her niece, Mary Ann Ross, in 1834.”
1838: The Better Rest and Sunrise – A Century of Sacred Songs; Composed for Favourite Airs by Thomas Grinfield, M. A. (1838-SS-Grinfield)
Poem LVIII [58] “The Better Rest and Sunrise”, on page 132, was written to be sung to “Nos Galan,” according to the Grinfield’s list “Series of the Songs with the Corresponding Airs,” on page 247. Grinfield notes that he wrote the poem on Dec. 10, 1826.
I haven’t transcribed the poem since it is not of significant value in the history of the tune, but I mention its existence as a sign of how well known and common the “Nos Galan” tune had become outside of Wales.
circa 1840: Nos Galan – No. 2 of Bardic Relics for the Harp, arranged by J. Balsir Chatterton (1840-BR-Chatterton)
This version has no lyrics but includes 8 pages of embellishments and variations. Clearly, it is an opportunity for a talented harpist to show off his arranging skills.
1841: Nos Galan – Tonau a Chaneuon, by David Lewis (1841-TC-Lewis)
Tonau a Chaneuon [Tones and Songs] is a manuscript held by the National Library of Wales. The description is,
“A collection made by David Lewis in 1841 of hymn-tunes by himself, … and others; and English and Welsh airs, including … ‘Nos Galan’, …
Tonau a chaneuon, NLW MS 8179A
The manuscript has not been digitized so I am not able to provide a transcription.
1842: No. 2 – Folke-Sange og Melodier, Faedrelandske og Fremmede, Udsatte for Pianoforte, by A. P. Berggreen (1842-FM-Berggreen)
Folke-Sange og Melodier, Faedrelandske og Fremmede, Udsatte for Pianoforte, by A. P. Berggreen is a Danish book first published in 1842. Later editions appeared in 1855 and 1862, with this piece appearing in them as well. The title translates to “Folk Songs and Melodies, Native and Foreign, Set for Pianoforte.”
The Nos Galan tune appears unnamed, as No. 2, in the “Engelske, Skotske og Irske” (English, Scotch, and Irish) section.
The melody is identical to Edward Jones’s 1894 “Nos Galan,” as are the “Original-Texten” and “Engelsk Oversaettelse” (Original Text and English Translation). The Danish words appear to be a translation from the Welsh.
1845: Shepherd’s Song and others – Y Caniedydd Cymreig, The Cambrian Minstrel, by John Thomas (Ieuan Ddu) (1845-CM-Thomas)
When I first examined The Cambrian Minstrel, I overlooked its importance as a folk song collection, and the only song I saw worth noting was “Shepherd’s Song,” to the tune of Nos Galan. Upon closer examination, however, I think there are several other tunes worth mentioning that are closely related and most likely in the same tune family.
The full title of the work is Y Caniedydd Cymreig. The Cambrian Minstrel; Being a Collection of the Melodies of Cambria, with Original Words in English and Welsh; together with Several Original Airs. It is a bit of an odd or scattered collection, in that the author took the time to find and record traditional Welsh airs that he worried, “in another half a century, if not now snatched from oblivion, would, in all probability be irretrievably lost,” but also decided to include “better” words in Welsh and English that he wrote himself, as well as many of his own compositions.
In the preface he acknowledges “The persons from whose singing I have written the Airs.” So, in some aspects, it’s one of the earliest “folk tune” collections, but in others it’s his own original work.
First, lets look at “Shepherd’s Song,” the obvious Nos Galan corollary.
The lyrics John Thomas wrote are:
Shepherds, while the lambkin grazes,
Where he frisk’d shall we in turn
Featly tread the flowery mazes
Scythe or sickle hath not shorn.
When his prisoners are so merry,
Should the shepherd’s looks be sad?
When of ease our hearts get weary.
Dance and song shall make us glad.Songs we’ve learned beneath the bushes,
Now in chorus let them swell;
And each swain with her he wishes,
All he can may do to excel;
As we tread the dew-washed flowers,
They shall yield the best perfume,
To keep up for the hours and hours
Mirth we owe the summer’s bloom.Let our meeting and our parting
Y Caniedydd Cymreig, The Cambrian Minstrel, by John Thomas, p. 177
Be like that of harpist’s hands,
When his music and our sporting
Are what summer’s birth demands.
And where innocent delight is;
Be the grass plot dry or wet –
Many turns and many duties
Shall attest where shepherds met.
“Shepherds, while the lambkin grazes. (Shepherd’s Song.)” appears reprinted with added introduction and accompaniment in The Minstrelsy of Wales by Alfred Moffart, 1906, p. 114. It is appropriately attributed to Ieuan Ddu.
The other three tunes that I want to draw attention to are:
- Medi. The Harpist’s Strains. (Air – Y Gofid Glas.) p. 160
- How Can I Sing a Rural Lay. (Air – Yr Hen Don (The Old Melody)) p. 182
- Blue Devils (Air – Yr Hen Ofid Glas.) p. 189
I transcribe the melodies, but not Thomas’s poetry, for these tunes.
I’ll discuss these other tunes and their possible relationship to Nos Galan in greater detail when I get to the collections by the Welsh Folk Song Society in the 1900s.
circa 1847: Nos Galen, with Variations for the Piano Forte – by R. H. Andrews (1847-NG-Andrews)
Richard Hoffman Andrews (Sr.) was a music publisher in Manchester, and his son, Richard Hoffman Andrews Jr was also a well-known musician, according to a notice in The Musical Herald, Nov. 1, 1909, p. 352.
This piece, “Nos galen, with Variations for the Piano Forte” is held by the British Library, who date it to 1847. It has not been digitized.
1849: Nos Galan – Cerddoriaeth Gymreig, Darlith a Draddodwyd yn Crosby Hall, Llundain [Welsh Music, Lecture Delivered in Crosby Hall, London] by John Mills (I. G. Alarch) (1849-CG-Mills)
This version is distinct for two reasons. First, rather than being included in a book of music, it is notated in a lecture about the history of Welsh music given by John Mills, a Welsh author and Calvinistic Methodist minister, also known as I. G. Alarch. He claims that the song Nos Galan comes from the time before the Roman invasion of Wales (48 CE), all the way back to the Druidical period.
He describes how the song wasn’t meant to be sung by one person, but followed what we might now refer to as a “call and response” type pattern. After dinner, the household would gather around the harper. They would sing a line, then the harper would sing a line, then the household, and so on. He even goes so far as to claim that this was the song sung outdoors during druidical New Year’s Eve celebrations, although he offers no reason for that conclusion, other than the name of the song.
Secondly, it is an interesting variation. The first measure of the A part and first two measures of the B part do not have the characteristic dotted quarter followed by eighth note rhythm. Instead, they are straight quarter notes, more similar to the very earliest versions notated by Parry-R, and possibly the shorthand notation in 1752-FT-Thomas. This simpler rhythm shows up in folk song variations first recorded much later, and discussed in more detail in Part 4, where the melody is a bit harder to recognize. This version serves as a bridge between the musical lineages.
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