Deck the Hall – A Comprehensive History – Part 3

We ended Part 2 at the middle of the 19th century. Part 3 carries us through 1900.

Of particular interest is the 1862 version, arranged by John Thomas, with words by Thomas Oliphant – the first time we see the “Deck the hall with boughs of holly” lyrics. Also of note is the 1877 Pennsylvania School Journal version, with the bowdlerized lyrics that have now become the modern standard.

1852: New Year’s Eve. (Nos Galen.) – Recollections of Wales, No. 8, by Brinley Richards (1852-RW-Richards)

Dating this number was a little difficult, as the piece itself was undated. When I first published this page, I erroneously dated it to 1861, having seen an advertisement for “New Music” in the June 1, 1861 issue of “The Musical World, Volume 39.” This advertisement, however, was for all 12 numbers.

The earliest references to Recollections of Wales appear in 1851 and early 1852, in various reviews and advertisements, such as those in Volume XXX (1851) of Bentley’s Miscellany, p. 569, No. 1816 of The Literary Gazette (Nov. 8. 1851), p. 745, No. 1 – Vol. 1 of The Cabinet (January 1852), p. 70, and No. 92 – Vol. 4 of The Musical Times (Jan. 1, 1852), p. 310; they only mention the first four or five numbers.

An advertisement in Vol. XI. – No. 262 of The Critic (March 1, 1852), p. 140, indicates that “I. to VI. are newly ready.” No. 7, “Lady Owen’s Delight,” is mentioned in an advertisement in No. 44 – Vol. XXX of The Musical World (Oct. 30, 1852), p. 704. The earliest mention of “eight numbers” I have found is in No. 52 – Vol XXX of The Musical World (Dec. 25, 1852), p. 830. Since “New Year’s Eve” is number 8, it must have come out some time between October and December of 1852.

Richards did not intend this version to be a simple rendering of a Welsh folk tune. Based on the wording of several reviews, it seems to be more of a chance to show off his arranging skills and to make the tunes of Wales appeal to a broader, English, piano-forte playing audience. Even the “simple” melody I transcribed from the beginning of the work involves an extra octave, and it is followed by another 8 pages of variations and embellishments.

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circa 1857: Long Ago – The Beauties of Cambrian Melodies, by Henry Hulse (1857-CM-Hulse)

The full title of this work is The Beauties of Cambrian Melodies; with English Words. By J. P. Douglas, Esq. Arranged with Symphonies and Accompaniments, for the Piano Forte, by Henry Hulse. When I first published this page, I erroneously date this work to 1863. It is mentioned, however, in advertisements at the end of a book titled Teithiau a Barddoniaeth Robyn Ddu Eryri, which translates to “The Travels and Poetry of Robin Ddu Eryri,” published in 1857. The advertisement, p. 409, is for “English Books, Views, &c, Just Published, by H. Humphreys, Publisher, Bookseller, Stationer, and Printseller”. Therefore, The Beauties of Cambrian Melodies must have been published some time around 1857.

The lyrics are,

Long ago! ere I was weary
Of this world, so false and dreary;
I believed we could not sever,
You had vowed to love me ever!

In those days, which now seem olden,
Life was all a vision golden;
‘Twas beside the moonlit river
Where you vowed to love me ever!

Never more can aught awaken
Joy within a heart forsaken;
Hope shall thrill its pulses never,
Blight is on its core for ever!

The Beauties of Cambrian Melodies, Long Ago, words by J. P. Douglas, Esp., p. 29-31

These words are quite a difference from the usual holiday cheer. Also of note, there are no fa-la-la choruses.

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circa 1857-66: Nos Calan – Music Book of John Davies, Godrerhos (1857-MB-Davies)

Music Book of John Davies, Godrerhos is a manuscript held by the National Library of Wales. This is part of the library’s description,

Music Book of John Davies, Godrerhos, containing Hymn-tunes, anthems, traditional Welsh tunes including … ‘Nos Calan’ …

National Library of Wales

This resource has not been digitized, so I am unable to provide a transcription at this time.

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1858: The Cambrian Exile – Six Welsh Melodies Adapted to English Words by J. R. Thomas (1858-SWM-Thomas)

The full lyrics are:

Far from thee, my native Walia,
Wand’ring on a foreign shore,
Oft my heart in silent sorrow
Asketh shall I see thee more;
Land of beauty, land ancestral,
Land of love and minstrelsy,
Heart and hope with thee remaineth,
Wand’ring still I sigh for thee!

Gently fall the ev’ning shadows,
Brooding o’er this far-off strand;
But it is not thy soft twilight,
Like a gleam from fairy land;
Fair art thou my native Cambria,
And I would not barter thee
For the skies of bright Italia,
Or the airs of Araby!

Years may roll ere I behold thee,
Friends and kindred pass away,
All my fondest hopes lie wither’d,
E’en my manhoods strength decay;
Yet, oh! yet what e’er betide me,
May I when life’s cares are past,
Calm on thy maternal bosom
Lay me down in peace at last.

Six Welsh Melodies, by J. R. Thompson, p. 8-9

The full title of this collection of songs is Six Welsh Melodies: Adapted to English Words and Arranged for the Voice and Piano Forte by J. R. Thomas. In part two of his “Deck the Hall” article in The Hymn, January 1975, Underwood writes that, “John Rogers Thomas (1829-1896), a onetime popular songwriter was a native of Monmouthshire (bordering on S. E. Wales ) who spent his later years in the United States.”

The other melodies included are:

• “The Death of Llewelyn.” Words by John Parry. Air “March of the men of Harlech.”
• “The Green Isles of Ocean.” Words by Mrs. Hemans. Air “Llwyn On.”
• “Owain Glyndwr’s War Song.” Words by Mrs. Hemans. Air “Codiad yr hedydd.”
• “Of Noble Race was Shenkin.” [no ascription for the words] Air “Y Gadlys.”
• “The Daughter of Megan.” Words by J. T. M. Dovaston. Air “Merch Megan.”

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1860: Nos Galan – Y Cyfansoddiadau buddugol, yn Ail Eisteddfod, Cymdeithas Gerddorol, Ddirwestol Aberdar by J. Thomas (1860-SE-Thomas)

Y Cyfansoddiadau buddugol, yn Ail Eisteddfod, Cymdeithas Gerddorol, Ddirwestol Aberdar translates to “The Winning Compositions, in the Second Eisteddfod, Musical Society, Temperance Aberdare.” An Eisteddfod is a competitive music and poetry festival, and this publication is apparently the collection of the winning selections from the one hosted by the Temperance Society that year in Aberdare. “Nos Galan” includes the note “Cynghaneddiad “Lasso,” Sef Rees Williams, Blaenau.” Cynghanedd is an advanced form of Welsh poetry, with many difficult to follow rhyming rules. It seems that one winner was Rees Williams of Blaenau, who performed “Lasso” to the tune of Nos Galan. There are no lyrics recorded.

Eminent Welshmen: A Short Biographical Dictionary of Welshmen, Volume I, by T. R. Roberts, 1908, includes the following entry about John Thomas,

“Thomas, John, 1830- __ a musician, was a native of Tredegar, Monmouthshire, and became a prolific composer. Several of his anthems were very popular, the best known being “Clwch, tebygaf clywaf lais,” and “Cenwch i’r Arglwydd.” Five of his hymn-tunes – “Sirhowy,” “Trevil,” “Tredegar,” “Saron,” and “Blackwood,” were published in the collection known as “Ceinion Cerddoriaeth.” In 1863, he issued a collection of old Welsh airs, under the title “Telyn Cymru.” (B. Cerddorion Cymreig)”

Eminent Welshmen, Volume 1, 1908, p. 518

The last page of this collection also mentions Telyn Cymru, which it describes as,

“Sef detholiad o ddarnau Cerddorol ac Adroddiadol, o natur foesol a difyrus at was noech Cyfar fodydd Llenyddol, Eisteddfodau a Chyfarfodydd Dirwestel. Gan J. Thomas Tredegar. Cynwysa amryw o’r Glees mwyaf poblogaidd, wedi eu trefnu ar eirian Dirwestol;- Cynwysa hefyd amryw o’r hen Alawon Cymreig wedi eu cynghaneddu i bedwar o leisiau, – “Llwyn On,” “Gwenith Gwyn,” “Nos Galan,” “Meil y Wen Ynys,” Hob y deri dando &c, yn nghyda lluaws o ddarnau Barddonol ac Adroddeidel.”

Translated: “Which is a selection of Musical and Narrative pieces, of a moral and entertaining nature for the naked servant of Literary, Eisteddfods and Temperance Meetings. By J. Thomas Tredegar. It includes several of the most popular Glees, arranged on a Tyrwestol style;- Contains also several of the old Welsh tunes composed for four voices, – “Llwyn On,” “Gwenith Gwyn,” “Nos Galan,” “Meil y Wen Ynys,” Hob y deri dando &c, together with many pieces Poetic and Narrative.”

Y Cyfansoddiadau buddugol, yn Ail Eisteddfod, Cymdeithas Gerddorol, Ddirwestol Aberdar by J. Thomas, 1860

I have not been able to find a digitized copy of Telyn Cymru, but it appears to be held by at least 4 libraries: Bangor University, Harvard University, National Library of Wales, and the British Library.

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1860: Nos Galan. – New Year’s Eve – Gems of Welsh Melody, by John Owen (1860-GW-Owen)

Gems of Welsh Melody. A Selection of Popular Welsh Songs, With English and Welsh Words; Specimens of Pennillion Singing, After the manner of North Wales; and Welsh National Airs, Ancient and Modern; Set in a Familiar Manner for the Pianoforte or Harp, With Symphonies and Accompaniments is another publication available online through the the National Library of Wales.

This version of Nos Galan offers another example of Pennillion stanzas, with English translation. The editor John Owen, with the bardic name Owain Alaw, explains pennillion in this way, 

“At the Eisteddfodau or congress of Bards, may still be heard the ancient and singular manner of singing Pennillion with the Harp. The Pennillion or epigrammatical stanzas may be counted by many hundreds in the Welsh language, and a skilfil [sic] singer has his memory stored with them, and has acquired the art of singing irregular verses of different metres and length to the same tune. The general mode of conduct in Pennillion is simply as follows: – The Harpist plays over a tune, and the vocalist sings as suits his fancy, beginning with the third, fourth, fifth, or even with the last bar of the tune, and while the Harper gives way to his imagination in different forms of variation of the tune, the Singer takes care to keep in correct harmony and ends exactly with the last note of the melody. This is the crowning point, and all ears are open to discover a trip or flaw in this particular. … 

“I have given an outline of this truly national style of singing in the Airs of “Pen Rhaw,” “Serch Hudol,” &c., but the professional Pennillion singer can do much more than I have just sketched out, by his fanciful choice of odd metres and various verses on almost any subject, from ‘Grave to fay, from lively to severe.’”

Gems of Welsh Melody

The songs included in this collection are divided into three categories, “Songs, with English and Welsh Words,” “Specimens of Pennillion Singing,” and, “Welsh National Airs.” In the first section, “Songs, with English and Welsh Words,” Owen always notes where the Welsh and English words come from; often they are attributed to famous Welsh and English poets. “Nos Galan” is listed in the second section, “Specimens of Pennillion Singing,” and in contrast to the earlier melodies, the lyric notes state only, “Welsh and English stanzas, (pennillion),” with “Symphonies and Accompaniments, by Owain Alaw.” It is safe to conclude, then, that the stanzas are examples of traditional pennillion verses, with English translations, rather than Welsh and English verses composed to accompany traditional melodies, as is the case for the earlier songs in the publication.

In Welsh: 

Merch o lûn yr wyf yn garu, Fa la la la la la la la la.
Merch o lûn yr wyf yn hoffi, Fa la la la la la la la la.
Nid o Leyn gerllaw Pwllheli, Fa la la la la la la la.
Ond o’r llun a’r lliw sydd arni, Fa la la la la la la la la.

Pan fo haul yn t’wynu’n wresog,
Y mae e’weirio gwair mellionog:
Yn eich blodau, Gwen lliw’r eira,
Y mae oreu i chwithau wra.

Tro dy wyneb ata’ i’n union, –
Gyra ‘r wyneb tro dy galon, – 
Gysa ‘r galon tro dy ‘wyllys,
Ystyria beth wrth garwr elwyfus.

Lawer gwaith y bu fy mwriad
Gael telynor imi ‘n gariad,
Gan felused swn y tannau
Gyda ‘r hwyr a chyda’r borau.

Bu’m eidfar fil o weithiau,
O waith siarad gormod eiriau;
Ni bu ‘rioed y fath beryglon,
O waith siarad llai na digon.

Nid yw rhy yn dda mewn unmodd,
Meddai doethion yr hen oesoedd;
Ffordd ganolig rhwng dau ormod, – 
Dyne ‘r ffordd sy’n glodfawr hynod.

Bu yn agos imi dd’wedyd
Chwedyl mawr, pe imi enyd;
Ond yn awr yr wyf yn canfod,
Mai da yw dant i atal tafad.

Gems of Welsh Melody

And in English:

Sing a sweet melodious measure, Fa la la la la la la la la.
Home’s a theme replete with pleasure, Fa la la la la la la la la.
Waft enchanting lays around, Fa la la la la la la la.
Home! a grateful theme resound,  Fa la la la la la la la la.

When Phoebus darts his sultry ray,
The mower cuts the flowering hay;
Twere best then, snow-white Gwen, that you,
Should marry when you blossom too.

Turn, quickly turn thy face, I pray,
And let thy face turn here thy heart;
Oh let thy will too turn this way, – 
Think something of thy lover’s smart.

Oft has it been my wish to gain
A lover in a minstrel-swain,
Who with his harp’s melodious pow’r,
Might soothe the morn and evening hour.

A thousand times I have repented,
Having more than needful vented;
But ne’er of danger knew a tittle
Come from having said too little.

Tis true, as ancient sages say
Too much is wrong in either way:
The middle path, ‘tween both extremes, 
Alone with praise and honour teems.

My speech, until this very day,
Was ne’er so like to run astray:
But now I find, when going wrong,
My teeth of use to stop my tongue.

Gems of Welsh Melody

Oddly, the only verse that does not seem to be a close translation is the first. The rest are both accurate and poetic. My inadequate translation of the first measure is:

A beautiful girl I love
A beautiful girl I like
Not from Leyn near Pwllheli [Pwllheli is also a town on the Llyn peninsula in Wales; the name literally means pool-salt, and translates to salt water basin]
Only of the picture and color of her.

The famous Welsh poet Talhaiarn, bardic name of John Jones, 1810-1869, cites this penillion verse in Llythyr IV [Letter 4], included in the book Gwaith Talhaiarn (The Works of Talhaiarn), published in 1855. In the letter he cites examples of penillion he admires. He writes,

Etto –

“Merch o lun yr wyf yn garu,
Merch o lun yr wyf yn hoffi;
Nid o Lyn oddiar Bwllheli
Ond o’r llun a’r lliw sydd arni.”

Y mae y pennill yna yn cynnwys mwysair (pun, double entendre). Anaml y ceir mwysair yn y Gymraeg, o herwydd nid oes rhediad naturiol yn yr iaith at hynny.

Gwaith Talhaiarn, 1855, p. 259

There is no translation in the book, but Google facilitated the following,

“Yet –

“A girl from a picture I love,
A girl from a picture I like,
Not from Lyn off Pwllheli
But from the picture and the color it’s on.”

That verse contains a pun (pun, double entendre). There is rarely a pun in Welsh, as there is no natural flow in the language for that.

Translation of penillion

It should be noted that Talhaiarn’s verse differs slightly from Owen’s: in lines 1 and 2, lun rather than lûn; in line 3, “Lyn oddiar” rather than “Leyn gerllaw.” Still, the original anonymous poet is playing with the closely related words lûn/lun, Leyn/Lyn, and llun, an idea hard to convey in translation.

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1862: Nos Galan. New Year’s Eve. – Welsh Melodies for the Voice, With Welsh and English Poetry, arranged by John Thomas (1862-WM-Thomas)

This is the version we’ve all been waiting for! Finally, after over 100 years of tracing the melody, we see the iconic lyrics “Deck the hall with boughs of holly” in print for the very first time!

For such a pivotal publication, it was surprisingly difficult to track down. When I began this project, it has not been fully digitized. In my initial search I was only able to find the first page through Wikipedia. I again owe thanks to a library, this time the National Library of Wales enquiries desk. With their complimentary “Fast Scan Service,” they were able to send me a PDF copy of the tune, arranged for 1 voice.

Since then I was able to obtain the first three volumes through interlibrary loan. I took photos of every page and have been working to convert the photos to PDF documents, which I will upload to IMSLP page for John Thomas. So far I have completed Volume I.

This piece states, “Arranged by John Thomas (Pencerdd Gwalia)” [chief poet of Wales]; “The Welsh Poetry by Talhaiarn”, which is the bardic name for the Welsh poet John Jones; and, “The English Poetry by T. Oliphant Esq.”, Thomas Oliphant, a well-known Scottish lyricist. 

The English lyrics are:

Deck the hall with boughs of holly, Fa, la, la, la, la, la, la, la, la!
‘Tis the season to be jolly: Fa, la, la, la, la, la, la, la, la!
Fill the mead-cup, drain the barrel, Fa, la, la, la, la, la, la, la!
Troul the ancient Christmas carol. Fa, la, la, la, la, la, la, la, la!

See the flowing bowl before us, 
Strike the harp, and join in chorus: 
Follow me in merry measure,
While I sing of beauty’s treasure. 

Fast away the old year passes, 
Hail the new, ye lads and lasses: 
Laughing, quaffing all together,
Heedless of the wind and weather.

And the Welsh:

Goreu pleser ar nos Galan, Fa, la, la, la, la, la, la, la, la!
Tŷ a thân a theulu diddan, Fa, la, la, la, la, la, la, la, la!
Calon lân a chwrw melyn, Fa, la, la, la, la, la, la, la!
Pennill mwyn, a llais y Del-yn. Fa, la, la, la, la, la, la, la, la!

Hyfryd gweled ar yr aelwyd,
Hên ac ieuangc mewn dedwyddyd;
Pawb ddymunant o lawenydd,
Groesaw llawn i’r flwyddyn newydd.

Blwyddyn newydd dda i’r teulu,
Blwyddyn newydd dda i Gymru;
Unwn galon, llaw ac awen,
Dyma ddiwedd Gwyliay llawen.

Welsh Melodies, With Welsh and English Poetry

Regarding the lyrics, contrary to the confusion caused by some later sources, Oliphant’s English lyrics are not a translation of the Welsh. The English lyrics are certainly about the Christmas and holiday season, and “hail the new” seems to refer to the new year, so we can say the words are related to the song title. The Welsh lyrics (translated in the next section) deal specifically with the new year, and the new year alone.

Thomas writes in the preface,

“It is a remarkable fact, that Wales, possessing music of so much originality and beauty, should have remained up to the present period without any important collection of national melodies, arranged in popular form. Hence it is, that few of them are known out of the Principality; and even then, for the most part, through an unfavorable medium. For example, the graceful “Llwyn Onn” (The Ash Grove) appears in a mutilated form as “Cease your funning,” in Gay’s “Beggar’s Opera,” A. D. 1728; while the bold and warlike strain, “Y Gadlys” (The Camp), has suffered degradation of being wedded to Tom Durfey’s doggrel song, “Of noble race was Shenkin,” introduced into the “Richmond Heiress,” A. D. 1693.

“It is true that from time to time attempts have been made to supply the deficiency; but, judging from the results, it is evident that they who undertook the task were neither sufficiently conversant with the language of the country, nor the peculiar spirit of the music. Had it been so, they never would have committed such glaring absurdity as to adapt words to melodies diametrically opposed to them in character; or (what is still worse) to mutilate the melodies themselves, by adding or omitting notes, or altering their value (thereby destroying the rhythm), whenever it suited the convenience of the versifier’s metre so to do.

“The object of the present publication is to obviate, as far as possible, the above-named drawbacks. How far the attempt has been successful, it is for the public to judge; but, at all events, should the Editor be the means of calling attention to the exquisite beauty of his native melodies (which are here presented in their original simplicity), he will be more than compensated for what has been to him truly “a labour of love.”

“In regard to the adaptation of the words, it will be observed that, in all cases, the name by which each melody has been long known is taken as the ground-work on which the Welsh and English Poets have framed their fanciful ditties, in keeping with the spirit of the music. Those names are generally so suggestive, as to make it a matter of wonder that the idea had not already been acted upon.

“The Editor considers himself fortunate in having for his poetical Coadjutors John Jones, Esp. (Talhaiarn), acknowledged by his countrymen as being to Wales what Beranger was to France, Moore to Ireland, or Burns to Scotland; and Thomas Oliphant, Esp. (Honorary Secretary to the Madrigal Society of London), to whom the musical public are so much indebted for his many quaint and felicitous translations and imitations, especially of German Songs, Italian Madrigals, &c. The manner in which these gentlemen have executed their share of the present work cannot but add to their already great popularity; and the genial spirit of their co-operation has contributed greatly to the patriotic enthusiasm which first impelled the Editor to undertake so important a musical publication.”

Welsh Melodies for the Voice, Volume I, John Thomas

When I first examined this piece and did not have access to the complete Welsh Melodies volumes, I had some doubt about the origin of the Welsh lyrics because they appeared in A Treatise on the Language, Poetry, and Music of the Highland Clans, published in the same year (and discussed in more detail below). I thought the timeline and the situation was a little unbelievable, and without having access to a copy of Welsh Melodies, I spent a great of time and effort trying to research any of the lyrics I could find online, but I was not able to draw any conclusions.

However, now having been able to compare both works, they are too similar for there to be any doubt that one was copied from the other, and Welsh Melodies was published first: the preface bears the date “St. David’s Day, 1862,” and St. David’s Day is always March 1 (St. David is the patron saint of Wales), while the preface of Treatise is dated July 3, 1862. I will discuss the questionable circumstances in the next section.

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1862: Nos Galan. – New Year’s Eve – A Treatise on the Language, Poetry, and Music of the Highland Clans, by Donald Campbell, Esq. (1862-TH-Campbell)

The complete text, “A Treatise on the Language, Poetry, and Music of the Highland Clans: with Illustrative Traditions and Anecdotes, and Numerous Ancient Highland Airs.,” by Donald Campbell, is available online through Archive.org. Unlike the other collections of tunes we’ve examined so far, the focus of this book is not Wales, and the consideration of the music is only in relation to the poetry, the lyrics, associated with it. The premise of the book is to trace the real cultural history of the Highland [Scottish] clans and correct the false narrative that they were barbarians with no history, arts, or culture worth knowing.

Cambell writes in his preface,

“The transition state of the Gael is now past. The feudal historians and clearance-makers have done their worst; but the Clans have their LANGUAGE, their POETRY, and the MUSIC still left, and in these they have ample materials, if properly handled, to vindicate the memory  of their noble ancestors against the charge of lawless barbarity. Hence this treatise.”

A Treatise on the Language, Poetry, and Music of the Highland Clans

It seems that the reasoning up to this point had been that (a) the people were “rude and barbarous” in the past, and (b) rude and barbarous people can’t be responsible for fine music and arts, therefore (c) the poetry attributed to antiquity must in fact be more modern in origin. Campbell instead argues,

“I submit that the music and poetry were twins, – born of the same parentage, nursed at the same bosom, and reared among the same glens and mountains; and that whoever believes in the one, is bound to believe in the other. I therefore thoroughly agree with Doctor Johnson [proponent of a + b -> c above], so far as he goes; but submit that the music forms an inseparable element in the question. The state of society that could have produced, and have in its every day amusements preserved such music, might well have produced such poetry; and that state of society could not have been rude or barbarous. But the copiers and publishers of the music had by their own vile snobbery contributed to the scepticism on the subject. They deprived the melodies and tunes of the signet of antiquity contained in the hereditary names, and rebaptised them, in compliment to their patrons and patronesses, and thus stamped them, ex facie [on the face of it], as modern instead of ancient music.”

A Treatise on the Language, Poetry, and Music of the Highland Clans

He also strongly laments the obscurity of the (Scots-) Gaelic language.

“The Gaelic language, although one of the oldest in Europe, has been studiously excluded from every university or collegiate institution endowed by kings or queens, or presided over by priests, whether Catholic or Protestant, to the present day; …

“Not one in a thousand, even among Highlanders, can read or write Gaelic. In short, past experience shows that the Gaelic will not be an object of acquisition to the public, or even to learned men devoted to philological researches, while it continues under its present deformed mask [its rendition in Roman characters].

“I have therefore considered it a worthy mission so to shake, if I do not shatter that mask, as to enable scholars and gentlemen to get, at least a glimpse of the beaming form which is being crushed to death under it. And I know that there is to be found in the language, which has been thus thrown into obscurity by a forbidding-looking disguise, a poetry which clearly proves that the people whose sympathies were so accordant with the generous, heroic, kind, and benevolent feelings and sentiments therein contained, as to make them cherish and preserve it by oral recitation for nearly two thousand years, must have been as civilized, during that period, as the middle classes of the people of this country are at the present day; – unless civilization means something else than intelligence, and a lively sympathy with generous, heroic, kind, and benevolent feelings and sentiments?”

A Treatise on the Language, Poetry, and Music of the Highland Clans (emphasis added)

He wraps the paragraph up with this zinger –

“I know that this assertion will be put down as paradoxical by those who form decided opinions on subjects of which they know nothing, and that such parties are peculiarly tenacious of foregone conclusions, not the less when they result from ignorance and prejudice; but I also believe that there is in this country enough of justice, candour, learning, and talent, to test this question on the merits.”

A Treatise on the Language, Poetry, and Music of the Highland Clans (emphasis added)

Most of the poems and songs he examines are in Gaelic, but he does branch out –

“In personal appearance, dialect, poetry, and music, there is a striking affinity between the people of the north of Ireland and the Caledonians; and I believe that a similar resemblance, especially in personal appearance, is perfectly visible between the Scottish Lowlanders and the people of the south and west of Ireland. There is in topographical names and ancient poetry sufficient evidence that the ancient Caledonians and Britons spoke the same dialect; and as William M. Moxon, Esq., chief Accountant of Inland Revenue, has kindly sent me some Welsh poetry and melodies, with phonetic spelling, I will now submit these to the reader, and which, on careful comparison, prove without doubt that the poetry and music of Caledonia [Scotland] and Wales have at this day a clear affinity one to the other.”

A Treatise on the Language, Poetry, and Music of the Highland Clans (emphasis added)

He includes Welsh lyrics and English translations, and, at the end of the book, musical notation, for seven Welsh tunes: 1) Codiad yr Hedydd – The Song of the Lark; 2) Bugeilio’r Gwenith Gwyn – Shepherding (or Watching) the Wheat; 3) Nos Galan – New Year’s Eve; 4) Merch Megan – Megan’s Daughter; 5) Rhyfelgyrch Gwyr Harlech – The War-Song of the Men of Harlech; 6) Morva Rhuddlan – The March (or Plain) of Rhuddlan; and, 7) Glan Meddwdod Mwyn – Pure, Kind Drunkenness.

Immediately following the Welsh poems, Campbell writes, “The two following specimens of the poetry and music of Erin are taken from a little gem of a book, with which I have been favoured by Mr Moxon. It was published by Mr. O’Daly of Dublin, and contains literally a treasure of the genuine Celtic strains of Erin, with English imitations by James Clarence Magan.” I mention this addition tidbit to demonstrate that Campbell does not shy from proper attribution.

To summarize, Campbell is arguing that ancient Highlanders were more than barbarians. For evidence he examines their language, poetry, and music, on the premise that it would take a non-barbarous culture to develop what they developed. The age and authenticity of the poetry and music are critical to his argument, and he repeatedly provides arguments for why the tunes, of which others have doubted the authenticity, are older than they have otherwise been credited.

It puzzled me a great deal, then, to think why, when he is trying to prove the age and authenticity of Scottish poetry and music, he would compare it to modern Welsh poetry? Initially, not having access to the complete volumes of Welsh Melodies, I thought perhaps some of the poetry was actually traditional and had been misattributed to Talhaiarn. Now, however, knowing that the publication dates prove that Welsh Melodies was published first, and being able to compare all of the tunes, I think it is clear that the tunes and poetry that Moxon sent to Campbell were, in fact, copied from Welsh Melodies, and the poems were not traditional Welsh poems. I discuss each tune in turn below, then share Moxon’s translation of Talhaiarn’s Nos Galan.

1. Codiad Yr Hedydd – the Song of the Lark
   • Treatise (T), p. 213, p. 14; Welsh Melodies (WM), Volume I, p. 10.
   • Words in WM and T are identical.
   • The melodies are nearly identical. The only difference is that the last note has been lengthened from a dotted quarter note followed by an eighth note rest in the WM arrangement to a full half note in the T arrangement.
   • The accompaniments are different
2. Bugeilio’r Gwenith Gwyn – Shepherding (or Watching) the Wheat
   • T, p. 214, p. 15; WM, Volume II, p. 182.
   • WM – “Arranged by John Thomas. (Pencerdd Gwalia.) The Welsh Poetry Author Unknown. The English Poetry by T. Oliphant Esq. *This Melody has been taken from the collection of Miss M. Jane Williams (Linos) of Ynys-lau, with her kind permission.”
   • The words are identical, except that the second verse in WM does not appear in T.
   • The melodies are nearly identical, except that measures 8 and 16 in T are missing the final eighth note rests.
   • The accompaniments are different.
3. Nos Galan – New Year’s Eve
   • T, p. 214, p. 15; WM, Volume II, p. 139.
   • The words are identical, except that the third verse in WM does not appear in T.
   • The melodies are identical, comparing the 4 part WM arrangement, which is in the key of G, while the solo arrangement is in the key of F.
   • The accompaniments are different.
4. Merch Megan – Megan’s Daughter
   • T, p. 215, p. 16; WM, Volume II, p. 127.
   • The words are identical.
   • The melodies are identical.
   • The accompaniments are different.
5. Rhyfelgyrch Gwyr Harlech – The War-song of the Men of Harlech
   • T, p. 216, p. 16; WM, Volume II, p. 115.
   • The words are identical.
   • The melodies are identical.
   • The accompaniments are different.
6. Morva Rhuddlan – The Marsh (or Plain) of Rhuddlan
   • T, p. 217 p. 17; WM, Volume I, p. 34
   • The words are identical.
   • The melodies are identical.
   • The accompaniments are different. The accompaniment in T actually does not make sense as some measures seem to be written in 4/4 time when the song is in 3/4 time.
7. Glan Meddwdd Mwyn – Pure, Kind Drunkenness
   • T, p. 218 p. 18; W, Volume I, p. 102
   • The words are identical.
   • The melodies are identical.
   • The accompaniments are different.

A few questions remain unanswered: Did Moxon send new accompaniments or did Campbell write them? Did Moxon not know that Campbell was looking specifically for old poetry, or did Campbell not care? Were neither Moxon nor Campbell worried about the copyright of the poems and tunes? Were the Welsh melodies a hasty addition close to the time of publication which prevented Campbell from learning their true origin?

These questions will in all likelihood never be answered, but I think the evidence is clear that there are too many similarities between the two sets of words and melodies for there to be any doubt of Moxon’s source. If even one had been substantially different, or not included in Welsh Melodies, I might be convinced otherwise, but that has not turned out to be the case.

Despite the shortcomings of copyright infringement, Mr. Moxon did contribute a nice translation of Talhaiarn’s words:

For the third verse which Moxon neglected, I provide the following translation:

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1865: Alaw Cymreig. Nos Galan. – Arranged by Heman Gwent (1865-AC-Gwent)

This arrangement appears in the journal Y Cerddor Cymreig, Cyf. III, Rhan II, p. 26-28 [The Welsh Musician, Volume III, Part II]. It bears the ascriptions “Geiriau gan Robin Ddu.” [Words by Black Robin.] and “Trefnwyd gan Heman Gwent.” [Arranged by Heman Gwent.]. It is a four part arrangement. I transcribed the melody of the accompaniment for the second verse.

The Welsh lyrics are,

Amair onest dirwest euraidd
Heddyw’n olud sydd anwylaf,
Gyda modd i godi meddwon
Dan ei thegwch fendith ddigon

Dwg i wr air d ag arian, Gyda dyddiau dyddan oes;
Ac i’w deulu ddyry darian, Rhag cas saethau cwyn a loes.
Bydd ei anwyl wraig yn llawen, Llon ei helfen, llawn o hedd,
Bydd ei blant gan fyw’ddiangen, Iddo’n gysur hyd y bedd;

Dodrefn llestru, dillad newydd, A rydd glodydd sobrwydd glan,
Mynwes dawel, aur, a bwydydd, a wna gynydd yn y gan.
Dyn a’i deulu yn addoli, Nef yn gwenu fwyn i gyd,
a fydd luniaeth i’w faddloni, ‘N fwy na holl fawrhydi’r byd.

Robin Ddu, Y Cerddor Cymreig, Cyf. III, Rhan II, p. 26-28

A rough translation via Google shows that it is a temperance song:

Amair honest golden temperance
Today it is wealth that is dearest,
With means to pick up drunks
Under her equity a blessing is enough

Bring a man a word with money, With the days of life;
And for his family a shield, from the hateful arrows of complaint and hurt.
His beloved wife will be joyful, Happy her element, full of peace,
His children will live needlessly, He will be a comfort until the grave;

China furniture, new clothes, Will give the praises of clean sobriety,
A quiet bosom, gold, and food, will increase the can.
A man and his family worship, Heaven smiles all sweetly,
will there be refreshments to indulge him, More than all the greatness of the world.

Translation of words by Robin Ddu

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1866: Deck the Hall with Boughs of Holly – The Song Book, selected and arranged by John Hullah (1866-SB-Hullah)

This is the first time the melody appears under a “Deck the Hall” title. It uses Oliphant’s lyrics from Welsh Melodies, but after the lyrics Hullah writes,

“Words (translated from Talhaiarn) by Oliphant.
Tune New Year’s Eve.
From Thomas’s Welsh Melodies.”

The Song Book

This may be the origin of the confusion about Oliphant’s words being a translation of the Welsh. Clearly Hullah didn’t read Thomas’s preface, or speak Welsh well enough to know that Oliphant’s words were his own and not a translation, but later writers seem to have taken Hullah at his word and perpetuated the inaccuracy.

Interestingly, while the words are the same, the melody is actually slightly different from Thomas’s Welsh Melodies. In Welsh Melodies, the first two notes of the second measure of the A part are the same note, while in Hullah’s they are different. Hullah’s version is also much simpler, containing only the melody line and no chords or accompaniment.

There is a later edition of the same book published in 1884, but there were no changes to this tune.

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1866: “Song and Chorus” from The Bride of Neath Valley by Henry F. Chorley and John Thomas, from the playbill for “Mr. John Thomas’s Grand Orchestral Concert,” 1867 (1866-BNV-Thomas)

Here is a set of lyrics, without music, called “Song and Chorus (Penillion).” labeled as “Old Air, “Nos Galan.”, recorded in the playbill for “Mr. John Thomas’s Grand Orchestral Concert” June 19, 1867 at St. James’s Hall. This is the same John Thomas, Pencerdd Gwalia, who arranged Welsh Melodies. The “Song and Chorus” appears in a short play called The Bride of Neath Valley that was “Composed Expressly for the Chester Eisteddfod, September, 1866.” Henry F. Chorley wrote the words and John Thomas wrote the music.

The play bears the following inscription,

“The Bride of Neath Valley.
to
Miss Maria Jane Williams, of Aberpergwm.

“To one alike accomplished in Art and Letters, who, by her researches, and the exercise of a charming musical talent, has done much to keep alive the traditions, and to set forth the tunes of Wales – further, as a personal tribute of old friendship and obligation – this Scene is

“Faithfully and Gratefully Inscribed
by
John Thomas (Pencerdd Gwalia),
and
Henry F. Chorley.

“London, August, 1866.

The Bride of Neath Valley

Here are the words in the play:

Old Air, “Nos Galan.”

XV. – Song and Chorus (Penillion).

I.
Bridal Messenger.

Jane had cheeks as red as roses,
Fa la, la, la, la, la, la, la, la!
Ev’ry shepherd doats on posies,
Fa la, la, la, la, la, la, la, la!
Handsome Gwilym, loving blindly,
Won her heart by many a lure;
So her troth she plighted kindly –
Till you wed be not too sure!
Fa la, la, la, la, la, la, la, la!

II.
Bridegroom.

Jane had eyes than violets bluer,
Fa la, la, la, la, la, la, la, la!
For her eyes did Gwilym woo her,
Fa la, la, la, la, la, la, la, la!
And by whispers ‘mid the dances,
Thought he held his flower secure;
Ah! those eyes had thousand glances –
Till you wed be not too sure!
Fa la, la, la, la, la, la, la, la!

III.
Bride’s Mother.

Jane had hands alert and faery,
Fa la, la, la, la, la, la, la, la!
Strong enough to trap the wary,
Fa la, la, la, la, la, la, la, la!
They caught Gwilym fast and chained him,
In the chains that should endure;
When she broke them – how it pained him –
Till you wed be not too sure!
Fa la, la, la, la, la, la, la, la!

IV.
Bride.

Jane at last had ne’er a lover,
Fa la, la, la, la, la, la, la, la!
Left the moral to discover;
Fa la, la, la, la, la, la, la, la!
Home is better fat than roving,
Falsehood is than Truth more poor;
So in living, so in loving –
When you plight your faith – be sure!
Fa la, la, la, la, la, la, la, la!

Mr. John Thomas’s Grand Orchestral Concert playbill, 1867

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1873: New-Year’s Eve (Nos Galan) – The Songs of Wales (Caneuon Cymru), music edited by Brinley Richards (1873-SW-Richards)

Here we have another example of a collection of old tunes with new words. In this case several well known English poets were enlisted, including “Sir Walter Scott, Mrs. Hemans, John Oxenford, Walter Maynard, [and] Miss Hayes.” The well-known Welsh poet John Ceiriog Hughes provided all of the Welsh lyrics.

In the preface, Brinley Richards writes,

“In every instance I have been at great pains to give the tunes according to the best authorities. I have made no attempt to alter their original forms except in one case “Gwenllian’s Repose.” …

“Many tunes are by permission, taken from Miss Jane Williams’ (Aberpergwm) valuable collection of national airs. This work gained the prize “for the best collection of unpublished Welsh music,” offered at the Abergavenny Eisteddfod of 1837. Miss Jane Williams has since added considerably to the original collection by noting down from the songs of the peasantry in the Vale of Neath many national airs which have thus been saved. The task undertaken and so conscientiously carried out by Miss Williams was one of no ordinary difficulty, requiring the discriminating ear of a well-informed musician to detect the irregularities, errors, and variations that must arise, and which have to be most carefully collected and compared in order to ensure ultimate accuracy in preserving the traditional tunes. This Miss Williams achieved after much labour and constant intercourse with the peasantry in their cottages.

“I have made the accompaniments to the songs as simple as possible, and have invariably allowed the air to be heard in preference to elaborate pianoforte passages. In this respect Welsh tunes have suffered considerably hitherto. “The Ash Grove,” for instance has often been completely sacrificed and so mutilated as to have been mistaken at last for the English air “Cease your funning,” creating an impression that the Welsh air has been borrowed from the English instead of the reverse.

“Many of the Welsh airs are very ancient and were composed before the time of Queen Elizabeth: others are of more recent origin. Among the latter are some by Bardd Alaw (the late John Parry). These are so thoroughly Welsh in character as to give rise to the belief that they are old national tunes. Nevertheless, Cadair Idris (Jenny Jones) among others is assuredly the composition of Mr. Parry. …

“The Welsh words are by Mr. Ceiriog Hughes, one of the most accomplished poets of our day, the merits of his writings, poetry and prose, having long since been acknowledged in every part of the globe where the Welsh language is spoken. A few poems by other Welsh writers are also included, viz: those by the late John Thomas, (Ieaun Ddu), of Merthyr and one (“The Cambrian Plume,”) by “Mynyddog.”

“In conclusion I have to acknowledge my obligations to the Right Honourable the Lady Llanover, (who kindly gave me permission to examine the valuable manuscripts in the library at Llanover,) and to express my thanks to Lady Buckley, Lady (Digby) Wyatt, Miss Jane Williams, (Ysgafell,) for their kind and valuable aid.

“St. David’s Day, 1873.”

Brinley Richards, Preface to The Songs of Wales

John Oxenford wrote the English words to accompany “New Year’s Eve.” They are not a translation:

Soon the hoar old year will leave us, Fal, la, la, la, la, la, la, la, la,
But, the parting must not grieve us, Fal, la, la, la, la, la, la, la, la,
When the New Year comes tomorrow, Fal, la, la, la, la, la, la, la,
Let him find no trace of sorrow, Fal, la, la, la, la, la, la, la, la.

He our pleasures may redouble, Fal, la, la, la, la, la, la, la, la,
He may bring us store of trouble, Fal, la, la, la, la, la, la, la, la,
Hope the best and gaily meet him, Fal, la, la, la, la, la, la, la,
With a jovial chorus greet him, Fal, la, la, la, la, la, la, la, la.

At his birth he brings us gladness, Fal, la, la, la, la, la, la, la, la,
Ponder not on future sadness, Fal, la, la, la, la, la, la, la, la,
Anxious care is now but folly, Fal, la, la, la, la, la, la, la,
Fill the meadcup, hang the holly, Fal, la, la, la, la, la, la, la, la.

The Songs of Wales (Caneuon Cymru)

And here are Hughes’ lyrics, with an English translation from Cymdeithas Madog, “the Welsh Studies Institute in North America Inc., a tax-exempt, non-profit organization dedicated to helping North Americans learn, use and enjoy the Welsh language,” for the first and third stanzas. I have roughly translated the second:

Oer yw’r gwr sy’n methu caru, Fal, la, la, la, la, la, la, la, la,
Hen fynyddoedd anwyl Cymru, Fal, la, la, la, la, la, la, la, la,
Iddo ef a’u câr gynesaf, Fal, la, la, la, la, la, la, la,
Gwyliau llawen flwyddyn nesaf, Fal, la, la, la, la, la, la, la, la.

I’r helbulus oer yw’r biliau, Fal, la, la, la, la, la, la, la, la,
Sydd yn dyfod yn y Gwyliau, Fal, la, la, la, la, la, la, la, la,
Gwrando bregeth mewn un penill, Fal, la, la, la, la, la, la, la,
Byth na waria fwy na’th enill, Fal, la, la, la, la, la, la, la, la.

Oer yw’r eira ar Eryri, Fal, la, la, la, la, la, la, la, la,
Er fod gwrthban gwlanen arni, Fal, la, la, la, la, la, la, la, la,
Oer yw’r bobol na ofalan’, Fal, la, la, la, la, la, la, la,
Gwrdd a’u gilydd, Ar Nos Galan, Fal, la, la, la, la, la, la, la, la.

Cold is the man who can’t love, Fa la la la la, la la la la,
The old mountains of dear Wales, Fa la la la la, la la la la,
To him and his warmest friend, Fa la la, la la la, la la la,
A cheerful holiday next year, Fa la la la la, la la la la.

To the troubled cold are the bills, Fal, la, la, la, la, la, la, la, la,
Which appear at the holidays, Fal, la, la, la, la, la, la, la, la,
Listen to a sermon in one verse, Fal, la, la, la, la, la, la, la,
Never spend more than you earn, Fal, la, la, la, la, la, la, la, la.

Cold is the snow on Mount Snowdon, Fa la la la la, la la la la,
Even though it has a flannel blanket on it, Fa la la la la, la la la la,
Cold are the people who don’t care, Fa la la, la la la, la la la,
To meet together on New Year’s Eve, Fa la la la la, la la la la.

The Hughes/Oxenford lyrics also appear on p. 20 in the January 1894 edition (Vol. 14, No. 1) of The Cambrian, titled “New Year’s Eve. Nos Calan.” They follow a tonic sol-fa notation titled “Hark! The Summons” with the same “Hark the summons” lyrics from 1809-WM-Parry. The tune is ascribed “Welsh Air. “Nos Galan.””

Hughes wrote different Welsh lyrics for his 1863 book Cant o Ganeuon: Yn cynwyg, Y Gyfres Gyntaf o Eiriau ar Alawon Cymreig [One hundred Songs: In addition, The First Series of Words on Welsh Tunes], on page 77 under the heading “Nos Calan.” He laments that so many Welsh tunes had been given English lyrics without an attempt to give them Welsh ones of as high a caliber, so decided to learn the tunes and write some himself. He also quotes I. G. Alarch (of 1849-CG-Mills) regarding the tune’s origin and history.

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1877: Deck the Hall with Boughs of Holly – The Pennsylvania School Journal and other collections edited by J. P. McCaskey (1877-McCaskey)

According to the Pennsylvania State Education Association, on Dec. 29, 1852, public education pioneer Thomas H. Burrowes

“and his colleagues formed the “Pennsylvania State Teachers Association,” today the Pennsylvania State Education Association. Burrowes was named president and his publication became the new association’s official mouthpiece as the “Pennsylvania School Journal,” the forerunner of PSEA’s current membership magazine, “Voice.” …

“In addition to being the association’s voice, the “Pennsylvania School Journal,’’ which was actually owned and funded by Burrowes at the time,’’ became the official state education publication in 1855.

“He [Burrowes] also sold the “Pennsylvania School Journal’’ in 1870, a year before his death, to two fellow public education advocates, J.P. Wickersham and J.P. McCaskey. Wickersham served as editor of the Journal and McCaskey as business manager.”

“The PSEA Story,” https://www.psea.org/about-psea/mission–history/the-psea-story/ [accessed 3/7/23]

Burrows only is listed as “Editor and Publisher” through Volume 14, ending June 1866. The addition of “Associate J. P. McCaskey” first appears in July 1866, the beginning of Volume 15. This continues through Volume 19, No. 4, October, 1870, where this “Special Announcement” appears,

“By purchase from its veteran editor, just effected as we go to press, the School Journal, on the first day of October next, will become the property of J. P. Wickersham and J. P. McCaskey, and will be published thereafter under their direction and management. The new firm contemplate making at once a number of changes in the Journal, which will add materially to its value as an educational magazine, and, they hope, widen its depth and influence. Full particulars concerning these changes will be given next month. …

“Editorial communications should hereafter be addressed to J. P. Wickersham, and letters relating to subscriptions and advertising, to J. P. McCaskey, Lancaster, Pa. Dr. Burrowes will furnish editorial matter for every number of the present volume, and, it is hoped, for many a number of the succeeding volumes. …”

The Pennsylvania School Journal, Volume 19, No. 4, October, 1870, p. 89

In Volume 19, No. 5, November 1870, we see “J. P. Wickersham and J. P. McCaskey, Editors and Publishers.” The number begins,

“To the Readers of the School Journal.

“The “special announcement” in the October number informed the reader that with that issue, all the subscriber’s ownership in and control over this journal terminated. Though some time under consideration, the conclusion thus announced was reached so near the day of publication, that no formal address could then be prepared; and now, – on attempting to tell what has been done and why it was done, – the event, though certain and deliberately effected, is so strange and hard to be realized, that really what to say in reference to it is difficult to describe. What! after over eighteen years of toil and tribulation, yet of true pleasure and unnumbered kindnesses received as Editor of the Pennsylvania School Journal, to cease being such, and to throw up all the responsibilities as well as the honors of this position, – surely this is one of the most important acts of a life not withstanding its remarkable passages. Yet to do so is, no doubt, one of the closing acts which naturally precede the end of earth’s affairs. So be it. We accept it in that light; and while standing thus at the conclusion of one of the most important trusts which it has been the will of Providence to impose, we shall close our intercourse with the reader and our direct control over the common-school affairs of the State, by devoting the portion of space reserved in this and the remaining numbers of the current volume, to a review of the course and results of the efforts of this journal, in the Educational progress of the State, since its first establishment in 1852. …

“So much as to what is intended to be done before taking final leave of the reader. And now as to what has been done making that final leave necessary. Well, then, want of compensating support in the publication of the Journal, – to such an extent as to have deeply embarrassed us at a time of life when “profit” and not “loss” should crown every business transaction, – and the duties of another position requiring all our time and thoughts, have for a considerable period plainly indicated the duty as well as the policy of relieving ourselves of the burthen thus resting upon us and gathering weight from year to year. This change would have been made some time ago had the proper parties applied for the place, – parties to whom duty to the educational people of the State and the Journal itself would have justified the transmission of our responsibilities. But no such application was made till very recently; when Messrs. Wickersham and McCaskey, – the very men of all others to whom the trust could safely be committed, – presented themselves and were at once accepted.

“The first needs no introduction to the educational public of the State, even from the old Editor of the School Journal; for, by eminent success in every department of school work, professional and official, as a lecturer and as an author, he is known throughout the State. The junior member of the firm, associated with me to my perfect satisfaction, and for the good of the Journal, during the past four years, has been intimately known from his early school boyhood to the present moment. In fact, with few persons of his age has the writer had more close relations; and in all he has found him industrious, trust-worthy, intelligent, and able. Into such hands the great interests connected with the Journal are unhesitatingly committed; and in bespeaking for the new Editors the full confidence and cordial support of the school men of the State, the founder of the Journal feels that the guarantee thus given for their ability and faithfulness will be amply redeemed.

“Having thus discharged his duty by the selection of capable and trustworthy successors, the subscriber returns unfeigned thanks for the long support and the many favors while received while Editor of this journal.

“Thos. H. Burrowes.

“Agricultural College, Pa., Oct. 1, 1870.”

The Pennsylvania School Journal, Volume 19, No. 5, November, 1870, p. 121

The first “Music Page” appears 15 months later, in Vol. 20, No. 8, February 1872, p. 270, with the caption,

“A Beautiful Song. – We propose to issue such songs from time to time as we know to be deservedly popular. We do not care so much that these shall be new as that they shall be good. Through the favor of Mr. S. W. Thomas, we send you, this month, the beautiful song, “Safe Within the Vail,” with the original music. Have your pupils sing it. They and you, their teachers, will be the better for it. …”

The Pennsylvania School Journal, Vol. 20, No. 8, February 1872, p. 270

The first mention of the “Music-Page Supplement” appears in the November 1872 issue:

“We have printed for gratuitous distribution an edition of Music-Page Supplement, which contains the various songs and hymns that have thus far appeared in the JOURNAL – the music to each arranged in four parts. …”

The Pennsylvania School Journal, Vol. 21, No. 5. November, 1872, p. 158

The advertisement for “Music-Page Supplement No. 2, (1873)” appears on the December 1873 issue, p. 214, and it appears to have become an annual staple.

“Deck the Hall With Boughs of Holly” is first mentioned in the last page of the November 1877 issue, Volume 26, No. 5, as part of the advertisement for the “Music Page Supplement, No. 6,”

“For Institutes and Schools.
The New Supplement.
Music-Page Supplement.
No. 6 – 1877.

“Our New Music-Page Supplement (No. 6, 1877) contains the words and Music of the following favorite Songs and Hymns, Sixteen in number. … Deck the Hall with Boughs of Holly …

“In Supplement No. 6, the Music (in four parts) of Sixteen Songs and Hymns is given, as named in announcement below. … “Deck the Hall with Boughs of Holly” – a Welsh air – is a stirring Christmas song which once learned is not likely to be forgotten. …

“Teachers and others ordering supplies for School or Institute use, will please name one or two pieces of music in the Supplement desired, to avoid possible mistake in filling the order. Address, J. P. McCaskey, Lancaster, Pa.”

Pennsylvania School Journal, Vol. 26, No. 5, November, 1877

The words and music are printed in the Pennsylvania School Journal, Vol. 26, No. 6, December, 1877 on p. 226. This version features 3 major changes.

First, the lyrics. They are very similar to Oliphant’s “Deck the hall” lyrics, but they have been bowdlerized. All the references to drinking have been replaced. Perhaps because the lyrics were part of a school journal, the publishers felt that it would be inappropriate for children to be singing about that kind of merry making, or perhaps because America was more Puritanical or religious in nature in general. Here’s a list of the differences:

1. Verse 1, line 3 –
   Fill the meadcup, drain the barrel, -> Don we now our gay apparel. 
2. Verse 1, line 4 –
   Troul -> Troll
3. Verse 2, line 1 – 
   See the flowing bowl before us, -> See the blazing yule before us,
4. Verse 2, line 4 – 
   While I sing of beauty’s treasure. -> While I tell of Christmas treasure.
5. Verse 3, line 3 – 
   Laughing, quaffing, all together, -> Sing we joyous all together,

This is the first record of these alterations, which have since become the standard in most modern versions of the song, although sometimes “yule-tide” is substituted for “Christmas.”

The second major change is that the third “fa la la” chorus has been completely eliminated, so that the B part is now only 2 measures long. No explanation is provided for this butchery.

Finally, the last major alteration is in the final “fa la la” chorus. Unlike all the previous versions, the first four notes of this chorus are the same. This is the first appearance of this modification, which has since become the standard for our modern ears.

Of these changes, Byron Underwood, in his article tracing the history of the song, published in two parts in The Hymn (October 1974 and January 1975), writes,

“Oliphant’s frankly convivial language must have offended some Puritanical Victorian ; so it is not surprising that Oliphant’s text was revised in the much tamer language that we often encounter today .

“I have not as yet ascertained whether this revision took place in Great Britain or in the United States . I suspect it to be the work of John Piersol McCaskey ( 1837-1935 ).

“The earliest American publication of this altered text , together with an altered form of the melody of NOS GALAN as reproduced in 1810 by Bardd Alaw, was by McCaskey. …

“While McCaskey’s arrangement agrees considerably with the Bardd Alaw variant , NOS GALAN was here deliberately mutilated by the omission of the interesting 11th and 12th measures ( Fa la la’s ) while the ending was altered to the stuttering Fa la la la …

“Although this ending is often found in modern American reproductions of NOS GALAN , it is not supported by any of the older variants that I have been able to examine. It may well be due to McCaskey, who did not boggle at actually mutilating the tune.”

“Deck the Hall,” Byron Underwood, The Hymn, Janurary 1975, p. 13-14

McCaskey reprints this arrangement in many of his subsequent musical publications. Sometimes the name is slightly altered, for example as “Deck the Hall with Holly,” or the ascription “Welsh Air” has been removed. Sometimes it appears with other material than the “Twelve Intervals” which first accompanied it, and sometimes it appears on the same page as “Jolly Old Saint Nicholas.” Here is a list of all the McCaskey publications I’ve found it in:

1. Franklin Square Song Collection, Volume 1, 1881, p. 120
2. Christmas in Song, Sketch, and Story, 1890, p. 198
3. Favorite Songs and Hymns for School and Home, 1889, p. 300
4. The Song Collection, circa 1902, p. 69
5. Treasury of Favorite Song, Volume 1, 1916, p. 128

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1884: Nos Galan (La veille du jour de l’an) – Etudes Historiques sur la Poesie et la Musique dans la Cambrie by Ernest David (1884-EH-David)

This version is found in the book Etudes Historiques sur la Poesie et la Musique dans la Cambrie, by Ernest David, which means “Historical Studies on Poetry and Music in Cambria.” It appears to be copied from Edward Jones’ Musical and Poetical Relicks of the Welsh Bards, 1784, but the words have been transcribed poorly, and the second line has not been written out.

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1893: Someone. Rhywun. – Cambrian Minstrelsie (Alawon Gwalia), by Joseph Parry and David Rowlands (1893-CM-Parry-Rowlands)

Cambrian Minstrelsie (Alawon Gwalia), A National Collection of Welsh Songs is a six volume collection of Welsh songs, “The music in old [standard] and new [tonic sol fa] notation edited and harmonised by Joseph Parry, Mus. Doc. (Cantar)… the words in English and Welsh edited by David Rowlands, B.A. (Dewi Mon),” published in 1893.

“Someone,” in Welsh “Rhywun,” appears in the 3rd volume, with the ascriptions “Air, “Nos Galan.”” and “English words by MORFUDD ERYI. Welsh words by ALUN.” 

In the notes for this volume, Parry writes,

“This melody is of very great antiquity, dating, as some maintain, from the days of the Druids. It must, therefore, be at least between 2000 and 3000 years old. New Year’s Eve was in ancient times celebrated with great pomp, a custom which still prevails, not only in our own country, but among all civilized nations. The proceedings were generally inaugurated with the performance of this melody on the harp by the eldest son of the family.

“”The Druids always commenced their celebrations from (sic) the preceeding night.” Caesar’s Commentaries.

“We are reminded of a striking incident which occurred during the great Eisteddvod held in the Albert Hall, London, in the year 1887. A certain melody was taken up by the whole vast assembly then present, and sung with such accuracy and enthusiasm that a German musician exclaimed in his astonishment – “This is wonderful! I never thought these people were so musical;” when an English friend of his replied – “My dear sir, these people cultivated music, when your ancestors were running wild in the wood!””

Cambrian Minstrelsie, Volume III, 1893, p. X

Morfydd Eryri is the pseudonym for Anna Fison, who, according to the Dictionary of Welsh Biography, was a linguist, poet and educator. She was born in 1839 and died in 1920.

Alun is the bardic name of John Blackwell, who was born in 1797 and died in 1840. His collected poems were published posthumously in 1851 in Ceinion Alun, and the complete poem “Rhywun” is included there. It is also included in a small, undated, undigitized publication held by the National Library of Wales, I Blas Gogerddan; Bedd y Dyn Tylawd; Y ‘Deryn Pur; Rhywun : tôn Nos Calan, and in Gwaith Alun, edited by Owen M. Edwards, 1909. Of Alun, Edwards writes,

“Eos Cymru oedd Alun,—yn felus a dwys yr erys ei nodau yng nghlust ei genedl.”

[Alun was the Nightingale of Wales, — sweet and deep his notes remain in the ears of his nation.] Gwaith Alun, 1909

Here are the lyrics, in English and Welsh, that are printed in Cambrian Minstrelsie:

An Irish translation of the poem with tonic sol fa notation appears in The Celtic Monthly, No. 6, Vol 11, in June 1913. (1913-CM-Someone). The editors provide some context, stating,

“The Gaelic words are a very free rendering of English ones by Morfudd Eryri, which again are a translation of a song by the Bard Alun. The name of the song is Rhywun – Somebody.”

The Celtic Monthly

The Celtic version does not include the “fa la la” chorus, but I have transcribed the Irish words because the letters are too difficult to make out in the digitized copy.

There are 3 differences between the Celtic Monthly (Celtic) version and the Cambrian Minstrelsie (Cambrian) version:

1. Cambrian is in the key of F, while Celtic is stated to be in the key of D. I transcribed Celtic in the key of F.
2. 4th beat in measure 6 (second measure of second A part): in Cambrian it is two eighth notes; in Celtic it is a quarter note, the same as the second measure of the first A part.
3. 3rd and 4th beats of measure 15 (third measure of final A part): in Cambrian it is a dotted quarter note followed by an eighth note; in Celtic it is a quarter note followed by two eighth notes.

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1895: Deck the Hall with Boughs of Holly – The Ideal Music Course, Advanced Book, by J. A. Sprenkel (1895-IMC-Sprenkel)

This version, in The Ideal Music Course, A Complete Elementary Course in Vocal Music, Containing Also a Choice Collection of Songs, Prepared Expressly for Public Schools, by J. A. Sprenkel, Lecturer and Conductor of Bible Teachers’ Institutes and County Teachers’ Institutes, Advanced Book, For Grammar Schools, High Schools, and Institutes, is identical to McCaskey’s, including the bowdlerized lyrics and missing chorus in the third line.

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1896: Assorted Titles – Alawon Fy Ngwlad: The Lays of my Land, Collected by Nicholas Bennett, Arranged for the Harp or Pianoforte by D. Emlyn Evans (1896-AN-Bennett)

When I first put together this collection, I overlooked this incredibly important work. There are no tunes labelled “Nos Galan,” however, there are a few tunes that are obvious variations, and many more that I would consider to be in the same tune family.

This work, in two volumes, is one of the earlier examples of folk tune collecting, although not in the modern sense. Bennett unfortunately fails to include details about each tune, like where and when they were collected, or any words. Still, the volumes contain a wealth of melodies that would otherwise have been lost.

In the Preface, Bennett writes,

In the Collections of John Parry (Blind Parry) of Rhuabon; Edward Jones (Bardd y Brenin); John Parry (Bardd Alaw); Richard Roberts (Blind Roberts) Carnarvon; Miss Maria Kane Williams (Llinos) Aberpergwm; John L. Thomas (Ieuan Ddu) Merthyt; Brinley Richards (Cerddor Towy); John Owen (Owain Alaw); John Thomas (Pencerdd Gwalia), Harpist to Her Majesty The Queen, and others; Notwithstanding this, hundreds of old Cambrian Melodies still remained scattered throughout the country in manuscripts, or were retained only in the memory of the Harpists, Penillion Singers, and others who loved and cherished the folk-song of the past.

“To collect some of these treasures, and rescue them from inevitable oblivion, has been to me a labour of love for more than a half century, and I look back with mingled feelings of joy and regret to the time when I secured many an old Air of exquisite beauty form some venerable Harpist, or aged Pennillion Singer tottering on the brink of the grave. I now venture to submit the result of my researches not only to my fellow-countrymen, but to all who take an interest in Celtic music, confident of the approval of this, the largest collection of Welsh Airs ever published, and of their appreciation of the intrinsic value and excellence of some of the oldest Cambrian Melodies extant.

“I desire particularly to acknowledge my obligations to Mr. David Evans, of the Schools, Treorchy, for placing at my service the valuable collection of unpublished Welsh Airs made by the late Mr. T. D. Llewelyn (Llewelyn Alaw), harpist, Aberdare, for which he was awarded a prize of £10 and a medal at the National Eisteddfod held at Llangollen in 1858 … and others, for the ready and courteous assistance received from them.

“Glanyrafon, May Day, 1896.

“N. Bennett.”

Alawon Fy Ngwlad, Volume I, Nicholas Bennett, p. i-iii

Evans includes the following Editorial Note,

“As stated in the Prospectus announcing the intended publication of the work, the musical Editor has spared no endeavor to arrive at a correct reading of the Airs. This often proved to be a very exacting task, arising from the many errors and variations which melodies transmitted orally, or copied by more or less untrained musicians are naturally subject to. Airs of whose English, Scotch, or Irish origin he was satisfied, or where the weight of evidence seemed to lean in such a direction, he has invariably discarded; though it may be, and often is difficult to determine at all times the nationality of every old Air, in a country where the minstrels and harpists of its different nationalities have intermixed, to a greater or lesser degree. Mere variants of any Air which we already possess, he has also omitted; in cases where important portions vary in a marked degree, they have been included. …

“… in the arrangement of the present Airs attention has been paid to the well-known characteristics of our national folk-song. The ancient melodies of our native land being strictly diatonic, any attempt at elaboration, intricacy, or chromatic treatment would, in the writer’s opinion, be out of place as well as ineffective.

“Whether he has accomplished his task well or ill, he can at least claim that it has been done to the best of his ability, and on lines prompted by honest conviction.

“It will be observed that some of the Airs are irregular in construction, and that others begin or end out of the proper key; but similar instances are more or less common in the folk-song of ancient nations generally.”

Alawon Fy Ngwlad, Volume I, D. Emlyn Evans, p. iv

The three tunes that are obvious Nos Galan variations are titled “Glanbargoed,” “Llwydcoed,” (both of which are locations in Wales, perhaps the locations where Bennett collected the tunes) and “Dacw Nghariad – Yonder is my Sweetheart.”

Please note that while some of the tunes in Alawon Fy Ngwlad are notated with a “D.C.” and “Fine,” I have elected to transcribe the repeated section to keep the formatting consistent with other Nos Galan notations.

“Dacw ‘Nghariad” is of particular interest because of the poem “Pennillion Diddanus” by Dewi ab Dewi, published in 1829, in the “Nos Galan” meter, which begins, “Dacw ‘nghariad yn y berllan,” in English, “There’s my love in the orchard.” We’ll see another “Dacw ‘Nghariad” variation in the Journal of the Welsh Folk Song Society collections.

In addition to the Nos Galan variations, there are many other melodies that are less closely related, but which I think may still be in the same tune family, although some have been written in 6/8 or 3/4 time. They are:

• Pant Y Pistyll – The Waterspring Hollow, Volume I, p. 8
• Dic Shon Dafydd – Dick John David, Volume I, p. 31
• Dawns Y Glocsen – The Clog Dance, Volume I, p. 64
• Aberteifi – Cardigan, Volume I, p. 81
• Mynwent Eglwys – The Church Yard, Volume I, p. 81
• Craig Y Bwlch – The Rock of the Pass, Volume II, p. 95

I recognize that it may be a stretch to consider some of the melodies as being in the same family, I believe that a mathematical melodic comparison is possible, and hope to demonstrate the relationships between the melodies in the future. I will examine more related tunes in Part 4 when discussing the works of the Journal of the Welsh Folk Song Society and other hymn tunes.

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1898: New Year’s Eve – A Short Course in Music, Book One, by Frederic H. Ripley and Thomas Tapper (1898- SCM-Tapper)

This version is nearly identical to the 1873 version called “New Year’s Eve” in The Songs of Wales (Caneuon Cymru) by Brinley Richards, the biggest melodic difference being that in this version all the dotted quarter notes followed by eighth notes have been changed to two eighth notes.

The lyrics have also been adjusted and bowdlerized, altering some of the archaic language and removing the drinking references, and the “Fa la la” has been changed to “Tra la la”. I’ve emphasized the changes in the lyrics below:

Hush! the Old Year soon will leave us, Tra, la, la, la, la la, la, la, la,
But the parting must not grieve us, Tra, la, la, la, la la, la, la, la,
When the New Year comes tomorrow, Tra, la, la, la, la la, la, la, la,
Let him find no trace of sorrow, Tra, la, la, la, la la, la, la, la.

He our pleasure may redouble, Tra, la, etc.
He may bring us days of trouble, Tra, la, etc.
Hope the best and gayly meet him, Tra, la, etc.
With a jovial chorus greet him, Tra, la, etc.

At his birth he brings us gladness, Tra, la, etc.
Ponder not on future sadness, Tra, la, etc.
Anxious care is now but folly, Tra, la, etc.
Sing the carol, hang the holly, Tra, la, etc.

A Short Course in Music, Book One, by Frederic H. Ripley and Thomas Tapper, 1898, p. 112

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Continue to Part 4