The Maid of All Work: Then and (Ahem!) Now

First slide of Biddy, showing servant girl scrubbing the floor.

Biddy, the Maid of All Work

Biddy, the Maid of All Work is the title of a childrenโ€™s book, dating from as early as 1871 in its original version.  My own copy is an attractive bound compilation of three stories in a gift book from the turn of the century โ€“ it was given to its original owner as a Sunday School prize, and I bought it when I was researching Bayley & Fergusonโ€™s โ€˜service of songโ€™ books for magic lantern shows.  As I have shared before, itโ€™s a very moralistic Christian tale.  (Iโ€™ll show you the opening paragraphs later on in this post.)

Women and Domestic Labour

But why have I gone back to services of song? As a matter of fact, that wasnโ€™t why I thought of Biddy. Yesterday, I was thinking about women and domestic labour, and pondering over not only what had changed, but also what seems to have stayed the same. When I was working full-time, we employed a cleaner for two hours a week โ€“ weโ€™d done so for three decades, and it certainly lessened the load. We donโ€™t now โ€“ partly because the agency was struggling to find cleaners, and partly because I donโ€™t feel itโ€™s justified. But somehow, although we used to share the cleaning bill, I alone have ended up with everything connected with running the house, from mending to muffins, and dusting to drain-unblocking. (Iโ€™m told I donโ€™t actually โ€˜doโ€™ the washing, because the modern home has white goods that do everything for me. All I can say is that the washer-dryer hasnโ€™t yet learned how to gather up the laundry, sort it, hang it, iron it and put everything away again.)

Little chimney with no pot: relic from the wash-boiler days

Our house is contemporary with the lives of ‘my’ musical Scotswomen.ย  It was built in 1904.ย  It was occupied by the proprietor (a shipbuilding clerk), his wife and three daughters. It still has a wee chimney leading from where the scullery boiler would have been, on the ground floor.ย  Itโ€™s now our kitchen โ€“ but it would have been the wash-house: a place of really hard work.ย  We still have a โ€˜pulleyโ€™ in what would have then have been the kitchen, and my office is what would have been the bed recess, under the stairs.ย  Was there a servant sleeping in it? Well, there wasn’t, in the 1911 census.ย  The range was where our dresser is. The kitchen sink? There’s now another bookcase. But the meal-preparation continues, in what was the wash-house. (A Cordon-Bleu cook would find it nightmarishly cramped!)

Anyway, Iโ€™m suitably grateful that thereโ€™s less ironing, with a much nicer iron than the first occupants would have had! I visualise scrubbed and starched cotton shirts and white frilled pinafores hanging from the pulley, where tee-shirts and jeans are now casually draped, and I do appreciate the advances in both textiles and technology!

The life of a servant like Biddy was certainly a hard one.  The author asks us to have sympathy for her, not only for the hard work, but also for her feelings of being uncared-about.  Now then, bear in mind that itโ€™s a piece of fiction for children.  It’s impossible to know how accurate the picture conveyed actually is.  There must have been good and caring employers, and ‘Biddy’s’ employer isn’t portrayed as bad.  But it was a different age.  The history of domestic labour is not my area of research expertise!

Much more could be said about domestic labour, particularly about the present occupantsโ€™ expectations and recollections of childhood and early adulthood which, I can assure you, were quite a long time ago. A different era, made more complicated by the fact that there are also two sets of memories, since our childhoods werenโ€™t simultaneous! And I’ve heard it said that as we age, our most vivid memories are of our early adulthood, when everything was new and exciting. This book (on eBay) is from the ‘sixties: my childhood, not early adulthood. But it is, sadly, from an era when the ‘young wife’ did everything domestically-related. I feel as though I’m dragged back through a time-warp into those dizzy days six decades ago.

The Time of Vivid Memories? (The Young Wife’s Cookery Book, ed. E. Maxwell-Arnot (1967)

Rose and Iden’s Live-in Servant

Anyway, my mind again turned to Rose Smith, the late Victorian/Edwardian church organist who didnโ€™t let three children curtail her musical activities.  How much help did she have around the house?  So, letโ€™s recap.  Rose was born in 1870 in Lanark, and brought up by her widowed mother, mainly in Glasgow.  They didnโ€™t have a servant in the 1891 census โ€“ indeed, her mother had two lodgers as well as Rose and her older sister to look after.  

Rose married in 1898.  I knew that Iden and Rose Rigdenโ€™s first son was born in June 1899, so at the time of the 1901 census, there were Iden, a tax official; Rose, a teacher and church organist working from home on her โ€˜own accountโ€™ (ie, she was self-employed) and Iden junior, aged nearly two.  Idenโ€™s wee brother wouldnโ€™t come along until August 1903.  Although it was a small household, there was also a live-in servant, the 17-year old Bella Johnston[e], who was born in Port Logan in Wigtonshire around 1884.

I donโ€™t know exactly how long Johnston stayed with the Rigdens. They had their second son in 1903 and a daughter in 1907, and had moved house by 1911 – where there was no live-in servant. Of course, we donโ€™t know if Rose perhaps had a daily, non-resident maid to help her. We do tend to assume that domestic service became a less common occupation after the Great War, yet here we find the Rigdens without a resident maid, three years before the War. Selina Todd, author of an excellent article on domestic service in the first half of the century, would be unsurprised by this, however, as she demonstrates how, although practices changed, domestic service did continue. Just in a different form:-

The โ€˜disappearanceโ€™ of service โ€” already heralded in the 1920s, when press coverage of โ€˜the servant problemโ€™ was filled with nostalgic laments for the faithful Victorian maid โ€” never happened. Change, of course, did occur โ€” the live-in housemaid of the 1900s was replaced with the part-time cleaner of the 1950s [โ€ฆ]

(Todd, see reference below)

Meanwhile, Bella Johnston herself was still a live-in domestic servant in 1911, working back in Wigtonshire in Kirkmaiden (where her grandmother had lived), for the Cook family in Weston House, Church Street. She married a Kirkmaiden fisherman in 1915. 

By 1921, the Rigdons had moved up in the world โ€“ from a flat, to a house โ€“ but there was still no maid in the census. 

It set me wondering.  What about the other women musicians whom Iโ€™ve researched? In all honesty, I donโ€™t think the Census data is enough on which to base any conclusions, simply because we donโ€™t know about the domestic servants who didnโ€™t live in โ€“ often called, โ€˜charladiesโ€™.  The term sounds derogatory now, but may not have been considered so at the time.  If anything can be deduced from a rainy Friday morningโ€™s searching, it is that having a resident servant seems, in the early 20th century, to have depended on the level of affluence and/or evident need for help.

One thing is certain: the newspapers were full of adverts for Situations Vacant, and from job-seekers.

British Newspaper Archive

Clarinda Augusta Webster (1844-1920), was a music educationalist, and school proprietor in Aberdeen before she moved down to London.  No census entry has been traced for 1901.  In 1911 in Streatham, Webster employed 31-year old general servant Julia Fullick, who must have been either married or widowed at the time, because her name was the same in 1921, and she was then described as a widow,  living with her sister and brother-in-law.  Fullickโ€™s occupation was now, โ€˜charwomanโ€™.  Webster had died in 1920; I donโ€™t know if Fullick worked for Webster right up to when she died.

Mary Kerr (ca.1848-1908), was the wife of Glasgow music publisher James S. Kerr, and inheritor of the publishing firm. The couple had a servant whilst their family were young. Widowed and living in Saltcoats in 1901, Mary still had a โ€˜general servant domesticโ€™, 21-year old Sarah Reid. By this time she had two adult children, two teenagers and a mother of 82 living with her, so I imagine Kerr and Reid would both have been kept busy! Kerr and her mother later moved back to Glasgow with at least one of the adult children โ€“ but I donโ€™t know how much paid help they had latterly. (Maryโ€™s mother actually outlived her by three months, living to the grand old age of 90.)

Euphemia Allan (1861-1948) was the sister of Glasgow music publisher Mozart Allan; she was a music teacher and also involved in the family firm.  Thereโ€™s no record of a resident servant either in Mozart Allanโ€™s home in 1901 or 1911, or when Euphemia and her nephew (also Mozart Allan) lived there in 1921. I wonder whether Euphemia and her nephew had a charwoman โ€“ surely they must have done?!

Kate Logan (1862-1936) grew up in Inverness, where her parents had a servant and three lodgers by 1881, when Kate was the last of their offspring still at home, working as a music teacher.  By 1901, her husband David was working as a music seller and employer, whilst Kate  was certainly working as a pianist, although thereโ€™s no job designated against her name in the census.  There was no live-in servant at that point, but after her husbandโ€™s family firm went bankrupt, Kate opened her Pianoforte and Music Saloon in 1904. Thus, by 1911 they were both designated as music sellers โ€“ and were employing 17-year old Daisy Shaw as their live-in servant.  However, by 1921, the census listed no servant.

Flora Woodman (1896-1981) was a famous coloratura soprano, born in London to a mother with โ€˜private meansโ€™.  Her mother grew up in Glasgow; in 1891 there had been two servants to look after a widow and three adult children.  It comes as no surprise to learn that Floraโ€™s own single mother had a servant, 18-year old Annie F. Butler, in the 1901 census; 22-year old Emily Owen in the 1911 census; and 34-year old Louie Hurst in 1921. 

As a musicologist, I havenโ€™t had to think about domestic service in the context of social history, but as a working mother myself, obviously I can draw on my own lived experience of running a household.  Iโ€™m still left feeling distinctly impressed with Rose Smith Rigden, who performed the same juggling act of balancing a career with raising a family, when the physical work was unarguably harder. Meanwhile, I also take pleasure in the fact that I’ve memorialised the names of a number of female servants who have probably never before been mentioned in print!

NAMEBIOGRAPHY
Bella [Isabella] Johnstone [Johnston].Born ca.1884, Wigtonshire.  Worked for the Rigdens aged 17 in 1901. Aged 27, a live-in servant in Kirkmaiden in 1911.  Married a fisherman in Kirkmaiden, Wigtonshire, in 1915.
Julia Mullins.Born ca.1880.  Aged 21, a servant in Bexley in 1901.  Aged 31, now Julia Fullick working for Clarinda Webster, in 1911. A widowed charlady living with her sister and brother-in-law in 1921.
Sarah Reid.Born ca.1880.  Aged 21 in 1901, working for Mary Kerr.
Daisy [Margaret?] Shaw.Born ca.1894. Aged 17 in 1911, working for the Logans.
Annie F. Butler. Born ca.1883. Aged 18 in 1901, working for Jane [Janie] Sillars.
Emily Owen.Born ca. 1889.  Aged 22 in 1911, working for the Woodmans
Louie Hurst.Born ca. 1887.  Aged 34 in 1921, working for the Woodmans.

If youโ€™re interested in the broader subject, Selina Toddโ€™s article, is informative:- โ€˜Domestic Service and Class Relations in Britain 1900โ€“1950โ€™, in Past & Present, Volume 203, Issue 1, May 2009, Pages 181โ€“204, https://doi.org/10.1093/pastj/gtp014.

You can read more about my Scottish ladies in my recent RMA Research Chronicle article, or various other articles all listed on my publications page. https://karenmcaulaymusicologist.blog/my-publications/

Biddy, Tibby and French Bessie, by S. C. P.  (Edinburgh and London: Oliphant, Anderson & Ferrier). I initially thought this was published in 1900, but I think it was mentioned in the press in 1897 โ€“ whether or not it was an identical edition.  It also seems to have appeared as three individual titles in 1871.  The anonymous S. C. P. also wrote other titles in the publisherโ€™s โ€˜Sixpenny Books for Young Peopleโ€™ series.

Hereโ€™s a taster of Biddy:- the opening of Chapter 1.

Biddy worked hard, and got few thanks for it, – poor Biddy! She was maid-of-all work in a large family; and it was, โ€œBiddy, do this,โ€ and โ€œBiddy, do that,โ€ from the time she got up in the morning, till she tumbled into her hard bed at night. She had come to Glasgow from Ireland a warm-hearted, impulsive girl; but had been gradually going through a hardening process, till she was practically saying in her heart, โ€œI care for nobody, for nobody cares for me.โ€  Mrs Pettigrew, her present mistress, was just and faithful in all her dealings with her, and valued Biddy highly as an active, honest, efficient servant; but she was โ€œonly a servantโ€ to her, and any other girl who worked as well could have supplied her place; and she never dreamt of the large fund of love lying unkindled at the bottom of that servantโ€™s heart, which a little kindness and sympathy on her part would have touched like a spark amongst gunpowder, and brought forth blazing into loving action.

Mistresses lose much who have no sympathy with their servants. How many hearts are saddened and steeled for want of it, even as Biddyโ€™s was!

Women and Musical Histories, 1789-1914. Conference 2-4 September 2026: Website

Old photo of a woman

I’m looking forward to my trip to London for this conference this week, and I’m grateful both for the invitation to give a paper, and for the support from my home institution, in the form of a Royal Conservatoire of Scotland Athenaeum Award. I thought it would be worthwhile sharing the link to the event again, now that the programme has been finalised.

Women and Musical Histories, 1789-1914

The organisers have shared the following information:-

The final programme can be accessed directly here:

View the full conference schedule.

A more comprehensive programme, including all presenter abstracts and biographies, is accessible as an Exposition on the Research Catalogue platform.

My paper is on the final afternoon, Friday 4th September:-

โ€˜The Trumpet Majorโ€™s โ€˜Poetessโ€™ Widow; the Scottish Shipping Magnateโ€™s Daughter and the Retired Barrister: The Importance of Parental Support to Musically Gifted Girls in the Late Victorian and Edwardian Erasโ€™.

ABSTRACT

Although Iโ€™ve encountered few womenโ€™s names in nineteenth- and early twentieth-century Scottish music publishing, I recently published an article about the five women that I did find. (Two were English by descent, but they all grew up in Scotland.) Meanwhile, in other unrelated research, I encountered a London-born Scotswoman with a completely different background, who made her career as a high-flying soprano recitalist. The common thread was their family background and/or support. In todayโ€™s paper, Iโ€™d like to focus on Rose Buchanan Smith (1870โ€“1942), one of the Scottish-born Englishwomen, and Flora Woodman (1896โ€“1981), the London-born Scot. The cut-off date of this conference, 1914, is significant for both women: itโ€™s the latest possible date for Kerrโ€™s fourth book of Kerrโ€™s Merry Melodies, in which I first encountered Roseโ€™s name; and the year of Floraโ€™s concert debut in Londonโ€™s Bechstein Hall.

One cannot generalise about womenโ€™s musical careers on the strength of two womenโ€™s stories. Nonetheless, when there are comparatively few stories substantial enough to draw any inferences from, those that do survive must perforce carry more weight. In my research, I have realised that it is sometimes surprisingly useful to attempt comparisons between individuals whose lives were entirely unconnected. How did these women curate their careers? What influence might their parents have had? Might their mothers have had a particular influence or been especially supportive? What about marital status? Did being a Scottish-born Englishwoman, or a London-born Scotswoman, have any particular effect on their careers? Did they make use of professional networks? And was the advent of new technologies reflected in their musical activities? I shall outline the resources to which I had access, in tracing their path from adolescence to late middle-age, and demonstrate the importance of families to a young Victorian or Edwardian woman establishing a musical career.

This project has been supported by the Royal Conservatoire of Scotland’s Athenaeum Awards.

Image by chenspec from Pixabay

NEWSFLASH! Print and Tourism (Peter Lang, 2026)

book cover - Print and Tourism

Yes, I’m on holiday! So I’ll keep this brief, but I have to share this: the postie has just delivered my author’s copy of Print and Tourism: Travel-Related Publications from the Sixteenth to the Twentieth Century / ed. Catherine Armstrong and Elaine Jackson.

My contribution is Chapter 8, The Glories of Scotland in Picture and Song: Jumping on the Festival of Britain Bandwagon (pp.187 – 205). It enabled me to write more about this Mozart Allan publication than I was able to justify in last year’s monograph about Scottish music publishers. I’m very happy indeed to have this chapter in Vol.7 of the Printing History and Culture series.

Published Peter Lang, 2026

  • ISBN 9781-80374-2441 (print)
  • ISBN 9781-80374-246-6 (ePub)
  • DOI 10.3726/b20937

Silver and Gold Leng Medal Memories, Update No.5. Ways to Sing a Scots Song

Gadie burn, from Wikimedia. Stanley Howeย /ย Upstream Gadie Burn

Whilst I had intended to conduct perhaps 50 interviews in connection with my Leng Medal Memories research, I haven’t amassed quite that many – but the interviews have generally been nearer to 30 minutes than the 15 minutes that I innocently projected, so I’ve probably got easily as many recorded minutes as I initially aimed for!

As I mentioned last week, I’ve been editing my interview transcriptions, and correcting any auto-correct infelicities. (Teams and TurboScribe both struggle a little with Scottish place-names and song titles.) One of my interviewees sang, ‘O Gin I were Whar’ Gadie Rins’ in the late 1960s. I knew the name of the song, but I couldn’t put a tune to it, so I Googled it. (As you do!) Spellings vary – as you’ll see.

Well, I found Kenneth McKellar singing it with a small classical chamber ensemble. (Lovely bassoon part, I must say.) The YouTube version was a 1995 Lismore remastered recording. I haven’t tried to establish the original date, though I believe it was recorded for the BBC in the late 1950s or early 1960s. But this setting was so delicate and precise that it was hard to imagine a youngster of eleven or twelve singing it quite like this. Quite apart from the fact that the Leng Medal competition has always been unaccompanied!

My next dip into YouTube found tutor Irene Ross talking about it and then singing it, with a ukelele, for Feis Rois followers. This is livelier and more authentic, but perhaps just a wee bit more ‘folky’ than might have been performed at a music competition by children of my own generation. But I could be wrong!

However, if the folk sound is what you’re looking for, then that interpretation is itself quite sedate compared to an invigorating 1999 recording by the Old Blind Dogs! Actually, I love this – one of my great frustrations in life is that I’ve been so embedded in the more classical side of music-making that I can only enjoy listening to this and would have huge difficulty trying to sing or play in anything like this idiom. I’d love to – but I can’t!

Oh well, I have to get back to these transcriptions, so I’ll stop here for now. Energised, you might say!

Image: Stanley Howe / Upstream Gadie Burn, from Wikimedia.


My Leng Medal Memories research is funded by an Athenaeum Award from the Royal Conservatoire of Scotland.

Print and Tourism (Peter Lang, 2026), with a Chapter on Mozart Allan’s ‘The Glories of Scotland’

An exciting email from the Print Networks Council popped into my inbox this week, announcing a new publication. It contains a chapter that evolved from a paper I submitted back in the pandemic. Yes, I mentioned Mozart Allan’s Glories of Scotland in my book, A Social History of Amateur Music-Making and National Identity, but I have treated it more extensively in this new chapter. It’s not every day that a musicologist gets to think about the Festival of Britain, book exhibitions, and post-war tourism. I thoroughly enjoyed both the researching and the writing of it – and I’m really looking forward to seeing an actual copy!

The latest volume in the Print Networks series has now been published; copies may be ordered via this link: https://www.peterlang.com/series/phc – where previous volumes in the series are also available.

Print and Tourism (the latest in the series)

Eagerly Anticipating this Conference: ‘Women and Musical Histories 1789-1914’

It’s a stroke of good luck that my recent research just fits into the scope of this conference, which is taking place at the Royal Academy of Music in London from 2-4 September this year. I’d agreed with my line-manager that I should attend, but I confess I needed a little nudge to actually complete my registration, since my head has been whirling with oral history interviews and the trip down south last weekend.

Women and Musical Histories, 1789โ€“1914

I’m going to give a paper at the conference, comparing the careers of two of my musical ‘heroines’. One featured in my recent RMA Chronicle article on ladies connected with the Scottish music publishing trade; the other has been mentioned by me elsewhere, but moved in completely different circles, in a different stratum of society. Anyway, the conference cut-off date of 1914 enables me to bring them together in my paper, so I’m looking forward to this opportunity to think about them again as I settle down to write it!

Image by Oberholster Venita from Pixabay

Silver and Gold Leng Medal Memories, Update no.2. Uplifting Conversations

Silver Leng Medal for singing Scots songs, on blue ribbon

After some years researching the history of printed Scottish music and Scottish music publishing, I’m currently using oral history (talking to people about their memories) to find out what they recall about Dundee’s Leng Medal Scots Song Competitions. Did participation lead to a lifetime of music and song? Or stage fright?!  What do people remember?

I began the Athenaeum  Award funded project a couple of months ago. I posted the first update a month ago. It feels like time I posted another one, so here goes!

You’d be surprised how many people remember their music teachers. You’d also be surprised how many people have kept their Leng medals! For gold medal winners, Mozart Allan’s Morven Scottish song book was a prize for a number of years,  certainly into the 1970s. From the late 1990s, the prize changed to Wilma Paterson and Alasdair Gray’s lavish Songs of Scotland, published in 1996.

Are there any gold medallists out there from the 1980s or 1990s? What was your prize book? Have you still got it?

What I find so enjoyable about this project, is how uplifting these conversations are! Participants talk with such enthusiasm and affection about singing in school – not just in the Leng Medal competitions – and about other musical activities that enriched their childhood. Sir John Leng would be astonished at the impact his endowment has had.  I wish he could be a fly on the wall!

I haven’t nearly finished my interviews yet – as a part-time researcher, I’m just slowly and steadily making progress. Indeed, I’m heading to Dundee tomorrow for some face-to-face meetings. And then on Thursday, I’ll see about sending out some more meeting invites.

(If today’s posting is the first youโ€™ve heard of my research project, then you can find out more about it here, and you can get in touch with me here. Itโ€™s not too late!)


My Leng Medal Memories research is funded by an Athenaeum Award from the Royal Conservatoire of Scotland.

Kilbarchan to Southport to Ottawa to Vancouver: Organist on the Move

So, we’ve talked about the church organ which has been relocated from Kilbarchanย  (near Paisley in the west of Scotland) to Prenzlau in Germany.ย  Well, the first organist to play the instrument in Kilbarchan, went on to travel a whole lot further than that.

Edward Emanuel Harper

I’ve collated a lengthy document about the Glasgow Athenaeum’s second Principal. He was only with us a couple of years, of course. After that, he was Kilbarchan’s organist a little bit longer.

The family went briefly back to Southport, before heading to Ottawa – for a year – and then settled in Vancouver.

My notes are full of clips from newspapers. I traced his first Canadian year as an organist in Ottawa – and some snippets of genealogical data in Vancouver. But nothing of his teaching, and no trace of a large compositional output. I’ve looked at library and archive catalogues. Even a promising entry to his ‘archive’ leads to one piece, contributed anonymously by post in 1971. I’ve seen a digital copy of it. It was self-published.

So What?

You might askย  – I’ve already asked myselfย  – why I need to know? (Apart from the fact that these little research questions tend to take on a life of their own!)ย  And I think it’s because Harper was plainly a gifted individualย  – a PhD from Dublin, an LRAM, a brilliant proponent of Chopin, sought after as an organist and recitalist, and a prolific composer.

So where is his Canadian output, in manuscript or published?

And what led him to resign from the Athenaeum, seen by many as a ‘plum’ job? Our records are missing for that era. Did we let a genius slip away? Or were there difficulties that history has graciously concealed?!

Image: St Andrewโ€™s Church, Ottawa (Copyright: Jamie McCaffrey, Flickr)

Kilbarchan to Prenzlau

It was 2018 when the BBC posted the story of a magnificent three-manual organ built by Hill and Son, which was being taken out of Kilbarchan West Church – no longer needed after a merger – and transported to Prenzlau:-

‘Wonderful’ church organ sent to Germany

The Hill organ at Kilbarchan West Parish Church (photo from Kilbarchan West website). *

It has taken a while – Covid got in the way – but in May 2026, there’s going to be an organ festival to celebrate the inauguration of the organ in its new home.

Festival website

Former Athenaeum Principal Inaugurated Kilbarchan Organ

Well, I’m excited, even though I don’t think I can justify going all that way. (Or can I?) You see, I’ve been researching the second Principal of the Glasgow Athenaeum – Dr Edward Emanuel Harper, who was only with us for two years, 1902-1904. After that, he left. There are no records extant to say why he left. But within a few months, by September 1904, he had been appointed organist of …

Kilbarchan Church.

He played the inaugural recital for the new Hill & Son organ.

British Newspaper Archive: Paisley & Renfrewshire Gazette – Saturday 22 October 1904

I won’t tell you his whole story here – I already mentioned him, only a few weeks ago. By 1909 he had gone back to Stockport, accepted a job offer in Canada, been widowed before they had even moved to Canada, but still moved his young family to Canada as planned, and started a new life. And then another new life on the opposite side of Canada a year later.

Part of his fascination for me is his elusiveness, I must admit. Why did he leave the Athenaeum? What persuaded him to return to his home-town, or to cross the Atlantic? I do know a little about what happened when he got there. And I’ve traced his publications in the UK, but can only find only one published in Canada. Why? It’s hard to imagine he didn’t publish any more.

But most pressingly – do I want to go and hear the rebuilt organ which was, originally, only a few miles away from Neilston, where I am currently organist? After all, I’m not researching organ-building, or organ music. And  Harper wasn’t a Scot, or published in Scotland – but he WAS briefly our Principal.  I’m drawn to the story and the connections  …


* The original Kilbarchan church was more recently known as Kilbarchan West Parish Church, before it combined with Kilbarchan East. At that point, the united congregation elected to use the East Church.

International Women’s Day: Rose Smith (and Marjory Kennedy-Fraser)

The beginning bars of The Road to the Isles, in a piano arrangement by Marjory Kennedy-Fraser.

This has become a two-post day? Well, it’s International Women’s Day. How can I not mention it?

I decided I would play music by women this morning. Rose Smith (one of the women I recently wrote about in the RMA Research Chronicle – you’ll be familiar with her name by now!) was a piano teacher, a composer, and an Episcopalian organist. She was born in Lanark, moved to Glasgow whilst still a child, and later lived with her husband and children in Rutherglen. Her composed songs were rather like those by Ivor Novello – I’ve acquired nearly all of what seems to be extant, but I think a lot is missing. She only self-published a few, and the rest – for variety show singers – may not even have been published at all.

There’s no surviving organ music, so there was nothing for it – I played her songs before morning worship today. I bet you she never played them in church! However, since no-one knew they were secular songs, there was no harm in it. They’re well-written pieces, and I do think it’s a shame they’re not known. I did recommend one to an RCS Finalist a few years ago, and it was performed with enjoyment and appreciation.

I have significant performance anxiety about recording my playing, but I did unearth a piano demo of three songs by Rose Smith, that I recorded for a student a few years ago. Be kind! This isn’t a perfect performance or a perfect recording, but does show how the songs go.

Quick piano demo of three songs by Rose Smith

For my outgoing voluntary today, I turned to a more well-known composer. I played Marjory Kennedy-Fraser’s Eriskay Love Song, followed by The Road to the Isles.

Applause

I scored! I don’t usually get a round of applause after a voluntary.

I’ve got a new book of proper organ voluntaries by women composers, so I really must roll up my sleeves and learn some of them, but I suspect The Road to the Isles will prove hard to beat, as far as audience reaction goes …