Dr Karen McAulay explores the history of Scottish music collecting, publishing and national identity from the 18th to 20th centuries. Research Fellow at Royal Conservatoire of Scotland, author of two Routledge monographs.
This forthcoming Scottish entertainment promises to be so much fun. I had to book more time off for a tradesman’s visit today, so I spent the morning writing song introductions quite different from my usual restrained scholarly style. All the nice little anecdotes suddenly found a home. But let’s see if you can guess the songs requiring my unorthodox props! (How well do you know the west of Scotland?)
Uncommonly Grey Cat
Grey cat, stuffed (fabric, not taxidermy)?
Jam sandwich?
Tartan shawl?
Yoyo?
I still need to unearth a music stand. (We had one! But where?) And heaven help me if I forget the concertina. I found a couple of tunes that suit it and my own capabilities.
The accordion is staying at home, though. After due consideration, I wouldn’t even have enough hands to carry it …
I wrote this post last year, but for some reason never actually posted. Not to worry – now is the time to share it!
You could say Robert Wilson had Scottish music publishing just about tied up in Glasgow. As his singing career began to wane, he bought up James S. Kerr’s and Frank Simpson’s, also co-founding Thistle Records from his premises in Berkeley Street. Not bad going, eh? Oh, and he also owned a travel company, which is less surprising considering his own worldwide travelling as a singer – he must have gained quite a bit of insight into the travel business. An informed, on-the-ground (or water, or airborne) interest, you could say.
After his death, the remaining shareholders of Kerr’s Corporation later acquired Mozart Allan’s AND Bayley & Ferguson’s backlists, too.
Wilson began a career as an apprentice draftsman, but after redundancy, started out as a singer. He sang with the Rothesay Entertainers, joined the D’Oyly Carte Opera Company Chorus between 1931-7 and then embarked upon his solo career, specialising in middle of the road Scottish song, but not limiting himself exclusively to this repertoire. Here he is, recorded by Pathe Films at the start of his solo career.
Annie Laurie (Maxwellton Braes are Bonnie)
If you’ve got a bit more time, here’s a ‘Voice of Scotland Short’ – a biopic lasting nearly an hour,with musical performances:-
Robert Wilson – Voice of Scotland Short
‘A Tribute to Robert Wilson’, with:-
Kenneth McKellar
Eliot Dobie
Jimmy Shand
Andy Stewart
Will Starr and Accordion
Cliff Hanley
Harry Carmichael
Sydney McEwan
Additional material by Bob Wright of Girvan
Header Image of ‘The Road Bridge to Bonnie Dundee’ from EBay
I have a forthcoming magazine article with more about Robert Wilson, of which I will give full details when it’s published in the near future.
You can read more about Scottish music in bygone days in my recent book:-
On LinkedIn, public-speaking coach Alex Merry recently posted these tips on making a great presentation. It occurs to me that some of these tips will be equally applicable to the Scottish song entertainment that I’m leading later this month.
Alex Merry’s Presentation Tips
In my case, it’s not a presentation at all – I just need to introduce the songs we’re singing. So it’s categorically not about me. But I do need to be lively and relatable. Start with a short sentence and a pause? I hadn’t thought of that, but it should be easy to factor in.
Fun? Oh, yes. I have a few ideas! 💡 Well, props, really. I’m going to need one of those big, reusable supermarket bags. And I have an abundance of stories, so that’s all right.
My only problem is this: I’m a bit embarrassed about my Englishness. I’ve lived in Scotland more than half my life. Scottish national music is my specialism, and I’m secure in my subject – but this is a fun entertainment, not a demonstration of knowledge, and my accent is all wrong. So … do I bring attention to it jokingly, or put it to the back of my mind? My personal view is that you should never draw attention to your weaknesses. What would you do? Stuart Chater on LinkedIn makes a good argument for NOT being ashamed of your accent.
And the song I’m going to sing? (It wasn’t my idea, someone asked me.) It’s short. It’s within my vocal range. But I can no more sound Scottish than fly!
This blog post is an edited excerpt from the research Exchange Talk I gave at the Royal Conservatoire of Scotland on 11 November 2024.
Inside the song-book, The Glories of Scotland, the foreword was followed by a full-page signed photo of a popular Scottish singer and comedian, Alec Finlay. The University of Glasgow’s Scottish Theatre Archive, characterises the latter as, ‘The pocket Harry Lauder’, and ‘Scotland’s gentleman’, describing his comedy as, ‘delightful, couthie and kindly’.
His was an international variety act; significantly, he toured America in late 1950.
If he was known as the ‘pocket Harry Lauder’, it was for a logical reason: a colleague of mine pointed out that Finlay, who clearly modelled his act on the variety superstar, Harry Lauder, even went so far as dressing like him, ‘wiggly stick’ and all.
Harry Lauder, from Wikiwand.com
A song is linked to the signed photograph of Alec Finlay at the front of the book. The photo is captioned ‘Scotland’s own comedian’, with Finlay in typical pose, full Highland dress, wiggly stick, and a blurred Scottish vista behind him. Beneath the photo, and alongside his signature, is the name of a song, ‘Let Scotland flourish’, composed and sung by Alec Finlay.
Sure enough, opposite a picture of Edinburgh’s Princes Street supplied by the Scottish Tourist Board, page 71 bears the words of the chorus – not the music, just the lyrics!:-
‘Let Scotland flourish / In all the years to be / The land that I was born in / Will aye be dear to me / Caledonia I adore you / Tho’ I travel the wide world o’er / My home is where my heart lies / Scotland ever more.’
It’s there, ‘by kind permission of Alec Finlay’, and it was written and composed by Bill McDonnell and Alec Finlay. At the foot of the page, we read that the ‘complete words, music and Solfa are available for 2/- from all music-sellers.’ It was published by Mozart Allan – who also published The Glories of Scotland. The British cover appears at the top of this blog post. (There was another for the overseas edition. )
‘Let Scotland flourish’ is a typical Scottish waltz of the era. Finlay was a hit in America in 1950; and selling the song as a single piece of music would make commercial sense.
In the recording of the song, published by Scottish Clan Records in New York, Finlay sings in the broad Scottish brogue that contemporary American listeners would have expected to hear.
Looking forward to my Exchange Talk and Book Launch next Monday, I made a wee promotional video! Maybe I’ll see you there, if you’re in/around Glasgow.
I knew there was this vast mass of cheap, popular music books, many containing what used to be called ‘national songs’, dating back to the late 19th century and the first half of the 20th. I decided a book needed to be written, and wrote it. I can’t wait for it to make its entry into the world!
You probably have to be Glaswegian to know this old chestnut:-
‘Heh, does this tram go to the Palais?’
‘Naw – it cannae dance!’
Well, the tram has my sympathy, as I can’t either. ‘Himself’ and I each have two left feet, when it comes to tripping the light fantastic. Indeed, his mother used to wonder how someone so musical could be such a hopeless dancer. On the other hand, I realised I disliked the activity as a small child at a party for preschoolers, when a well-intentioned parent tried to make me dance the Twist. I remember the discomfort and embarrassment to this day.
We must have been terrible disappointments. After all, dancing was in the Fyfe’s blood:
Great Grandfather, a stonemason, played bass up in Fyvie for winter dances
My Grandpa-in-law went to dance classes in Turriff as a boy
Mother-in-law was Miss Milligan’s first dance pianist at Jordanhill Teacher Training College, before Jean Milligan even set up the Scottish Country Dancing Society. Later, after a lifetime accompanying Scottish country dance in Newcastle, she got a certificate of recognition from RSCDS at the St Andrews Summer School.
Meanwhile, my own Mum was a PE teacher like Miss Milligan, taught country dancing at a school in Whitstable, and even got my father to play for her on occasions.
I myself had a Saturday job as a ballet class piano accompanist. It felt a comfortable place to be.
So, it feels as though fate has caught up with me, when recent research into a dance accompanist led me to explore early digitised committee minutes on the RSCDS website (thanks, folks – this was really useful!). In Glasgow’s Mitchell Library yesterday, I learned some more, from a book I only discovered at the weekend. I thought the secondhand copy that I found online looked too expensive, but I am reassessing this opinion!
And here I am on a bus to Edinburgh in the pouring rain. I am hoping to see two rare books of reels and strathspeys connected with this one particular pianist who, it appears, was nothing if not a force of nature. A renowned accompanist, I read that when she and her band had to share the dances with other non country dance bands, they really didn’t know quite how to deal with her – they hadn’t encountered anyone like her!
It’s such a damp and dismal day, that I really hope the National Library of Scotland books are just stuffed with interesting paratext, to make the outing worth the effort!
A Social History of Amateur Music-Making and Scottish National Identity: Scotland’s Printed Music, 1880-1951
I’ve just heard I should get the proofs of my second monograph by the end of July.
It looks as though the start of semi-retirement is going to be action-packed, doesn’t it? You might almost think I’d planned it that way, but in truth, it’s just how things have worked out. Any planning was really no more than my thinking, ‘yes, that will probably work out rather nicely’.
I need to start thinking about indexing. Indeed, I have made a partial start, but so far only focusing on one aspect.
Let me just stop coughing and get this beastly flu-bug out of the way, and then I’ll roll my sleeves up!
For a number of years, I’ve given an annual talk to RCS students, about how different generations looked upon, collated and collected and published Scottish songs and tunes. The snappy, official title is ‘Transformations’, but when I was revising it for this year’s presentation, I decided to compile a list of all the people (and a few extra titles) that I would be mentioning. Forty of them! So, I’ve added a new, unofficial subtitle: Speed-Dating 40 Scottish Music Collectors in an Hour. Okay, not exacty forty people, but forty lines in the list. I was quite surprised. I would imagine the individuals themselves might have raised an eyebrow, too.
It was the last time I’d give a lecture as a Performing Arts Librarian. Admittedly, not the last time I hope to give a lecture as a researcher, but certainly the final one with a library hat on! The librarian accordingly played a tiny bit of Beethoven’s Johnnie Cope from memory, along with a few chords from Marjory Kennedy-Fraser’s Sleeps the Noon in the Deep Blue Sky (score open), and blithely announced that she saw no need to inflict her rendition of Debussy’s La Cathedrale Engloutie upon her audience for comparison.
More than anything, the lecture epitomises me as a hybrid. I’m a librarian – I acquire and curate these resources. As a scholar, I contextualise them into cultural history. It wouldn’t be the same talk if I occupied only one of these roles.
The subject of my forthcoming monograph – amateur music making and Scottish national identity – only actually got a brief mention. But it was there. Maybe I’ll need to do a more extensive revision at some point!
Reaching the end of my recent cataloguing project – the gift of a number of books of old Scottish music – I must confess I left what looked like the most miscellaneous, worn, unbound pieces until last. Late on Friday afternoon, I had observed that one such piece had a pencil note at the head – ‘Music for The Gentle Shepherd, Foulis edition, 1788’. Now, this is a famous ballad opera by Allan Ramsay. It was so popular that my colleague Brianna Robertson-Kirkland writes that there were 86 editions of TheGentle Shepherd, 66 of them the ballad opera. Initially, the songs only indicated the name of the tune to use, and different editions have more or less songs. The 1788 edition contains a full vocal score of the songs, and that’s what we’ve got. My guess is that the last owner bought the 18 pages which someone had previously separated from the back of the larger original volume.
I haven’t made a study of it myself, but I do recognise the opera and its songs as very significant in the history of Scottish music – and this edition has particular importance. So, if this gathering of pages was so important, it would benefit from a decent catalogue entry.
The pages are numbered 1-18. With no title-page, still less a cover, to give me further clues, it wasn’t a task for 4.30 on a Friday afternoon, but it very definitely was one for a Monday morning.
A bit of digging around soon found me another library’s catalogue record of Ramsay’s ballad opera in that very edition – a particularly significant edition, because it’s the most lavish, quite apart from having the complete vocal score section. RCS lecturer Brianna Robertson-Kirkland has researched the work in detail and written an article about it, which is on one of her class reading-lists. Dr David McGuinness, with whom I worked on the HMS.Scot AHRC-funded project a few years ago, has also recently published a book about it, with Steve Newman.
The new Edinburgh Edition of The Gentle Shepherd
But the catalogue record didn’t exactly fit my purpose, because what I had in my hand was the appendix at the end of the book, containing all the songs. We didn’t have the text of the ballad opera at all.
No problem – I downloaded the catalogue record and adapted it to reflect what we did have. I made sure the words ‘Scottish songs’ appeared in the catalogue record, and I indexed every one of those songs. The appendix is only eighteen pages long – it wasn’t that arduous a task. I’m really happy that we’ve been given this, because – even though it’s fragile and will have to be handled with extreme care – it means the students will now be able to see the music that Brianna has written about, and lectures about. (It still needs a nice stout card folder, and a secure storage space – but they’ll be sorted out soon.)
Informed Cataloguing
There’s one strange thing, though. It appears no other cataloguer has catalogued each song in The Gentle Shepherd – not in Jisc Library Hub, at any rate. Well, although we at RCS might not have the whole magnificent text, a title page or a cover, we HAVE now got a catalogue record which indexes all the songs. Hooray!
Contents:-
The wawking of the fauld (1st line: My Peggy is a young thing)
Fy gar rub her o’er wi’ strae (1st line: Dear Roger, if your Jenny geck)
Polwart on the Green (1st line: The dorty will repent)
O dear mother, what shall I do (1st line; O dear Peggy, love’s beguiling)
How can I be sad on my wedding day (1st line: How shall I be sad when a husband I hae?)
Nansy’s to the green-wood gane (1st line: I yield, dear lassie)
Cauld kail in Aberdeen (1st Line : Cauld be the rebels cast)
Mucking o’ Geordie’s byre (1st line: The laird, wha in riches)
Carle, an’ the king come (1st line: Peggy, now the king’s come)
The yellow-hair’d laddie (1st line: When first my dear ladie gade to the green hill)
Kirk wad let me be (1st line: Duty, and part of reason)
Woe’s my heart that we shou’d sunder (1st line: Speak on, speak thus)
Tweed Side (1st line: When hope was quite sunk in despair)
Bush aboon Traquair (1st line: At setting day and rising morn)
The bonny grey-ey’d morn
Corn-Riggs (1st line: My Patie is a lover gay)
I struggled to explain to my family just how gratifying I find this. But I think it’s really important not only that Brianna’s students can see which songs are in Foulis’s edition of The Gentle Shepherd, but also, anyone looking for one of those song titles will be able to see that it was one of the songs used in the famous ballad opera.
The Gentle Shepherd / Allan Ramsay ; edited by Steve Newman, David McGuinness.
As a matter of interest, we do also have some items going back to the era when Cedric Thorpe Davie put on a performance of the opera. Anyone checking our catalogue will spot those too!
The Gentle Shepherd: a pastoral comedy / by Allan Ramsay ; abridged and adapted for performance at Edinburgh International Festival by Robert Kemp [bound photocopy, 47 p.]
Karen McAulay, Musicologist 