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larged by additional strings, that our airs can be supposed to have assumed the sweet character which interests us at present; and while the Scotch persevered in the old mutilation of the scale, our music became by degrees more amenable to the laws of harmony and counterpoint.

difficult to conceive anterior to the dawn of modern |
improvement; and that I would by no means in-
validate the claims of Ireland to as early a rank
in the annals of minstrelsy, as the most zealous
antiquary may be inclined to allow her. In addi-
tion, indeed, to the power which music must always
have possessed over the minds of a people so ardent
and susceptible, the stimulus of persecution was
not wanting to quicken our taste into enthusiasm;
the charms of song were ennobled with the glories
of martyrdom, and the acts against minstrels, in
the reigns of Henry VIII. and Elizabeth, were as
successful, I doubt not, in making my countrymen
musicians, as the penal laws have been in keeping
them Catholics.

While profiting, however, by the improvements of the moderns, our style still keeps its original character sacred from their refinements; and though Carolan, it appears, had frequent opportunities of hearing the works of Geminiani and other great masters, we but rarely find him sacrificing his native simplicity to any ambition of their ornaments, or affectation of their science. In that curious composition, indeed, called his Concerto, it is evident that he laboured to imitate Corelli; With respect to the verses which I have written and this union of manners, so very dissimilar, pro- for these melodies, as they are intended rather to duces the same kind of uneasy sensation which is be sung than read, I can answer for their sound felt at a mixture of different styles of architecture. with somewhat more confidence than for their In general, however, the artless flow of our music sense. Yet it would be affectation to deny that I has preserved itself free from all tinge of foreign have given much attention to the task, and that it innovation; and the chief corruptions of which | is not through any want of zeal or industry, if I we have to complain arise from the unskilful per- unfortunately disgrace the sweet airs of my country formance of our own itinerant musicians, from by poetry altogether unworthy of their taste, their whom, too frequently, the airs are noted down, energy, and their tenderness. encumbered by their tasteless decorations, and responsible for all their ignorant anomalies. Though it be sometimes impossible to trace the original strain, yet, in most of them, "auri per ramos aura refulget," the pure gold of the melody shines through the ungraceful foliage which surrounds it, -and the most delicate and difficult duty of a compiler is to endeavour, by retrenching these inelegant superfluities, and collating the various methods of playing or singing each air, to restore the regularity of its form, and the chaste simplicity of its character.

Though the humble nature of my contributions to this work may exempt them from the rigours of literary criticism, it was not to be expected that those touches of political feeling, those tones of national complaint, in which the poetry sometimes sympathizes with the music, would be suffered to pass without censure or alarm. It has been accordingly said, that the tendency of this publication is mischievous +, and that I have chosen these airs but as a vehicle of dangerous politics, — as fair and precious vessels (to borrow an image of St. Augustine3), from which the wine of error might be adminis

I must again observe, that in doubting the anti-tered. To those who identify nationality with quity of our music, my scepticism extends but to those polished specimens of the art, which it is

mistake the meaning, and mutilate the grammatical construction of this extract, is unaccountable. The following is the passage as I find it entire in Bromton; and it requires but little Latin to perceive the injustice which has been done to the words of the old Chronicler :-"Et cum Scotia, hujus terræ filia, utatur lyrå, tympano et choro, ac Wallia citharâ, tubis et choro Hibernici tamen in duobus musici generis instrumentis, quamvis præcipitem et velocem, suavem tamen et jucundam, crispatis modulis et intricatis notulis, efficiunt harmoniam.” — Hist. Anglic. Script. page 1075. I should not have thought this error worth remarking, but that the compiler of the Dissertation on the Harp, prefixed to Mr. Bunting's last Work, has adopted it implicitly.

The Scotch lay claim to some of our best airs, but there are strong traits of difference between their melodies and ours. They had formerly the same passion for robbing us of our Saints, and the learned Dempster was for this offence called "The Saint Stealer." It must have been some Irishman, I suppose, who, by way of reprisal, stole Dempster's beautiful

treason, and who see, in every effort for Ireland, a system of hostility towards England,—to those,

wife from him at Pisa. — See this anecdote in the Pinacotheca of Erythræus, part i. page 25.

2 Among other false refinements of the art, our music (with the exception perhaps of the air called " Mamma, Mamma," and one or two more of the same ludicrous description,) has avoided that puerile mimicry of natural noises, motions, &c. which disgraces so often the works of even Handel himself. D'Alembert ought to have had better taste than to become the patron of this imitative affectation. — Discours Préliminaire de l'Encyclopédie. The reader may find some good remarks on the subject in Avison upon Musical Expression; a work which, though under the name of Avison, was written, it is said, by Dr. Brown.

3 Virgil, Eneid, lib. vi. verse 204.

4 See Letters, under the signatures of Timæus, &c. in the Morning Post, Pilot, and other papers.

5" Non accuso verba, quasi vasa electa atque pretiosa; sed vinum erroris quod cum eis nobis propinatur.” — Lib. i. Confess. chap. xvi.

too, who, nursed in the gloom of prejudice, are alarmed by the faintest gleam of liberality that threatens to disturb their darkness,-like that Demophon of old, who, when the sun shone upon him, shivered',-to such men I shall not condescend to offer an apology for the too great warmth of any political sentiment which may occur in the course of these pages. But as there are many, among the more wise and tolerant, who, with feeling enough to mourn over the wrongs of their country, and sense enough to perceive all the danger of not redressing them, may yet be of opinion that allusions, in the least degree inflammatory, should be avoided in a publication of this popular description-I beg of these respected persons to believe, that there is no one who more sincerely deprecates than I do, any appeal to the passions of an ignorant and angry multitude; but that it is not through that gross and inflammable region of society, a work of this nature could ever have been intended to circulate. It looks much higher for its audience and readers, it is found upon the piano-fortes of the rich and the educated, - of those who can afford to have their national zeal a little stimulated, without exciting much dread of the excesses into which it may hurry them; and of many whose nerves may be, now and then, alarmed with advantage, as much more is to be gained by their fears, than could ever be expected from their justice.

Having thus adverted to the principal objection, which has been hitherto made to the poetical part of this work, allow me to add a few words in defence of my ingenious coadjutor, Sir John Stevenson, who has been accused of having spoiled the simplicity of the airs by the chromatic richness of his symphonies, and the elaborate variety of his harmonies. We might cite the example of the admirable Haydn, who has sported through all the mazes of musical science, in his arrangement of the simplest Scottish melodies; but it appears to me, that Sir John Stevenson has brought to this task an innate and national feeling, which it would be vain to expect from a foreigner, however tasteful or judicious. Through many of his own compositions we trace a vein of Irish sentiment, which points him out as peculiarly suited to catch the spirit of his country's music; and, far from agreeing with those fastidious critics who think that his symphonies have nothing kindred with the airs which they introduce, I would say that, on the contrary, they resemble, in general, those illu

minated initials of old manuscripts, which are of the same character with the writing which follows, though more highly coloured and more curiously ornamented.

In those airs, which he has arranged for voices, his skill has particularly distinguished itself, and, though it cannot be denied that a single melody most naturally expresses the language of feeling and passion, yet often, when a favourite strain has been dismissed, as having lost its charm of novelty for the ear, it returns, in a harmonised shape, with new claims on our interest and attention; and to those who study the delicate artifices of composition, the construction of the inner parts of these pieces must afford, I think, considerable satisfaction. Every voice has an air to itself, a flowing succession of notes, which might be heard with pleasure, independently of the rest;-so artfully has the harmonist (if I may thus express it) gavelled the melody, distributing an equal portion of its sweetness to every part.

If your Ladyship's love of Music were not well known to me, I should not have hazarded so long a letter upon the subject; but as, probably, I may have presumed too far upon your partiality, the best revenge you now can take is to write me just as long a letter upon Painting; and I promise to attend to your theory of the art, with a pleasure only surpassed by that which I have so often derived from your practice of it. May the mind which such talents adorn, continue calm as it is bright, and happy as it is virtuous!

Believe me, your Ladyship's

Grateful Friend and Servant,

THOMAS MOORE.

ADVERTISEMENT

TO THE FOURTH NUMBER.

THIS Number of the Melodies ought to have appeared much earlier; and the writer of the words is ashamed to confess, that the delay of its publication must be imputed chiefly, if not entirely, to him. He finds it necessary to make this avowal, not only for the purpose of removing all blame from the Publisher, but in consequence of a rumour which has been circulated industriously in Dublin, that the Irish Government had interfered to pre

vent the continuance of the Work.

This would be, indeed, a revival of Henry the This emblem of modern bigots was head-butler (re-Eighth's enactments against Minstrels, and it is Tier) to Alexander the Great.- Sext. Empir. Pyrrh. Hypoth. Lib. i.

flattering to find that so much importance is at

tached to our compilation, even by such persons as the inventors of the report. Bishop Lowth, it is true, was of opinion, that one song, like the Hymn to Harmodius, would have done more towards rousing the spirit of the Romans, than all the Philippics of Cicero. But we live in wiser and less musical times; ballads have long lost | their revolutionary powers, and we question if even a "Lillibullero would produce any very serious consequences at present. It is needless, therefore, to add, that there is no truth in the report; and we trust that whatever belief it obtained was founded more upon the character of the Government than of the Work.

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The Airs of the last Number, though full of originality and beauty, were, in general, perhaps, too curiously selected to become all at once as popular as, we think, they deserve to be. The public are apt to be reserved towards new acquaintances in music, and this, perhaps, is one of the reasons why many modern composers introduce none but old friends to their notice. It is, indeed, natural that persons, who love music only by association, should be somewhat slow in feeling the charms of a new and strange melody; while those, on the other hand, who have a quick sensibility for this enchanting art, will as naturally seek and enjoy novelty, because in every variety of strain they find a fresh combination of ideas; and the sound has scarcely reached the ear, before the heart has as rapidly rendered it into imagery and sentiment. After all, however, it cannot be denied that the most popular of our National Airs are also the most beautiful; and it has been our wish, in the present Number, to select from those Melodies only which have long been listened to and admired. The least known in the collection is the Air of "Love's Young Dream; but it will be found, I think, one of those easy and artless strangers whose merit the heart instantly acknowledges.

Bury Street, St. James's,

Nov. 1811.

ADVERTISEMENT

TO THE FIFTH NUMBER.

T. M.

It is but fair to those, who take an interest in this Work, to state that it is now very near its termin

1 Among these is Savourna Deelish, which I have been hitherto only withheld from selecting by the diffidence I feel in treading upon the same ground with Mr. Campbell, whose beautiful words to this fine Air have taken too strong pos

ation, and that the Sixth Number, which shall speedily appear, will, most probably, be the last of the series. Three volumes will then have been completed, according to the original plan, and the Proprietors desire me to say that a List of Subscribers will be published with the concluding Number.

It is not so much, I must add, from a want of materials, and still less from any abatement of zeal, or industry, that we have adopted the resolution of bringing our task to a close; but we feel so proud, still more for our country's sake than our own, of the general interest which this purely Irish Work has excited, and so anxious lest a particle of that interest should be lost by too long a | protraction of its existence, that we think it wiser to take away the cup from the lip, while its flavour is yet, we trust, fresh and sweet, than to risk any further trial of the charm, or give so much as not to leave some wish for more. In speaking thus, I allude entirely to the Airs, which are, of course, the main attraction of these Volumes; and though we have still a great many popular and delightful Melodies to produce 1, it cannot be denied that we should soon experience considerable difficulty in equalling the richness and novelty of the earlier numbers, for which, as we had the choice of all before us, we naturally selected only the most rare and beautiful. The Poetry, too, would be sure to sympathise with the decline of the Music; and, however feebly my words have kept pace with the excellence of the Airs, they would follow their falling off, I fear, with wonderful alacrity. Both pride and prudence, therefore, counsel us to come to a close, while yet our Work is, we believe, flourishing and attractive, and thus, in the imperial attitude, "stantes mori," before we incur the charge either of altering for the worse, or, what is equally unpardonable, continuing too long the same.

We beg to say, however, that it is only in the event of our failing to find Airs as good as most of those we have given, that we mean thus to anticipate the natural period of dissolution (like those Indians who when their relatives become worn out, put them to death); and they who are desirous of retarding this Euthanasia of the Irish Melodies, cannot better effect their wish than by contributing to our collection,-not what are called curious Airs, for we have abundance of such, and they are, in general, only curious, but any real sweet and expressive Songs of our Country, which

session of all ears and hearts, for me to think of following in his footsteps with any success. I suppose, however, as a matter of duty, I must attempt the air for our next Number.

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TO THE SIXTH NUMBER.

In presenting this Sixth Number to the Public as our last, and bidding adieu to the Irish Harp for ever, we shall not answer very confidently for the strength of our resolution, nor feel quite sure that it may not turn out to be one of those eternal farewells which a lover takes occasionally of his mistress, merely to enhance, perhaps, the pleasure of their next meeting. Our only motive, indeed, for discontinuing the Work was a fear that our treasures were nearly exhausted, and a natural unwillingness to descend to the gathering of mere seed-pearl, after the really precious gems it has been our lot to string together. The announcement, however, of this intention, in our Fifth Number, has excited a degree of anxiety in the lovers of Irish Music, not only pleasant and flattering, but highly useful to us; for the various contributions we have received in consequence, have enriched our collection with so many choice and beautiful Airs, that should we adhere to our present resolution of publishing no more, it would certainly furnish an instance of forbearance unexampled in the history of poets and musicians. To one gentleman in particular, who has been for many years resident in England, but who has not forgot, among his various pursuits, either the language or the melodies of his native country, we beg to offer our best thanks for the many interesting communications with which he has favoured us. We trust that neither he nor any other of our kind friends will relax in those efforts by which we have been so considerably assisted; for, though our work must now be looked upon as defunct, yet-as Reaumur found out the art of making the cicada sing after it was dead—it is just possible that we may, some time or other, try a similar experiment upon the Irish Melodies.

Mayfield, Ashbourne,

March, 1815.

T. M.

1 One gentleman, in particular, whose name I shall feel happy in being allowed to mention, has not only sent us nearly forty ancient airs, but has communicated many curious fragments of Irish poetry, and some interesting traditions current

ADVERTISEMENT

TO THE SEVENTH NUMBER.

HAD I consulted only my own judgment, this Work would not have extended beyond the Six Numbers already published; which contain the flower, perhaps, of our national melodies, and have now attained a rank in public favour, of which I would not willingly risk the forfeiture, by degenerating, in any way, from those merits that were its source. Whatever treasures of our music were still in reserve, (and it will be seen, I trust, that they are numerous and valuable,) I would gladly ritual words "tibi trado," would have delivered up have left to future poets to glean, and, with the the torch into other hands, before it had lost much of its light in my own. But the call for a continuance of the work has been, as I understand from the Publisher, so general, and we have received so many contributions of old and beautiful airs', -the suppression of which, for the enhancement of those we have published, would too much resemble the policy of the Dutch in burning their without much diffidence in my success, to comspices, that I have been persuaded, though not mence a new series of the Irish Melodies.

DEDICATION

ΤΟ

THE MARCHIONESS OF HEADFORT,

PREFIXED

TO THE TENTH NUMBER.

T. M.

Ir is with a pleasure, not unmixed with melancholy, that I dedicate the last Number of the Irish Melodies to your Ladyship; nor can I have any doubt that the feelings with which you receive the tribute will be of the same mingled and saddened tone. To you,-who, though but little beyond the season of childhood, when the earlier numbers of this work appeared,―lent the aid of your beautiful voice, and, even then, exquisite feeling for music, to the happy circle who met, to sing them together, under your father's roof, the gratification, whatever it may be, which this humble offering brings, cannot be otherwise than darkened by the mournful reflection,

in the country where he resides, illustrated by sketches of the romantic scenery to which they refer; all of which, though too late for the present Number, will be of infinite service to us in the prosecution of our task.

how many of the voices, which then joined with the four supplementary songs, which follow this ours, are now silent in death!

I am not without hope that, as far as regards the grace and spirit of the Melodies, you will find this closing portion of the work not unworthy of what has preceded it. The Sixteen Airs of which the Number and the Supplement consists, have been selected from the immense mass of Irish music, which has been for years past accumulating in my hands; and it was from a desire to include all that appeared most worthy of preservation, that

Tenth Number, have been added.

Trusting that I may yet again, in remembrance of old times, hear our voices together in some of the harmonized airs of this Volume, I have the honour to subscribe myself, Your Ladyship's

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NATIONAL AIRS.

ADVERTISEMENT.

IT is Cicero, I believe, who says, "naturâ ad modos ducimur; and the abundance of wild, indigenous airs, which almost every country, except England, possesses, sufficiently proves the truth of his assertion. The lovers of this simple, but interesting kind of music, are here presented with the first number of a collection, which, I trust, their contributions will enable us to continue. A

pretty air without words resembles one of those half creatures of Plato, which are described as wandering in search of the remainder of themselves through the world. To supply this other half, by uniting with congenial words the many fugitive melodies which have hitherto had none, -or only such as are unintelligible to the generality of their hearers, is the object and ambition of the present work. Neither is it our intention to confine ourselves to what are strictly called National Melodies, but, wherever we meet with any wandering and beautiful air, to which poetry has not yet assigned a worthy home, we shall venture to claim it as an estray swan, and enrich our humble Hippocrene with its song.

T. M.

NATIONAL AIRS.

A TEMPLE TO FRIENDSHIP.1 (SPANISH AIR.)

"A Temple to Friendship," said Laura, enchanted, "I'll build in this garden, the thought is divine!"

Her temple was built, and she now only wanted

She flew to a sculptor, who set down before her An image of Friendship to place on the shrine.

But so cold and so dull, that the youthful adorer A Friendship, the fairest his art could invent; Saw plainly this was not the idol she meant.

"Oh! never," she cried, "could I think of enshrining

"An image, whose looks are so joyless and

dim;

"But yon little god, upon roses reclining,

"We'll make, if you please, Sir, a Friendship of him."

So the bargain was struck; with the little god laden She joyfully flew to her shrine in the grove: "Farewell," said the sculptor, "you're not the first maiden

"Who came but for Friendship and took away Love."

The thought is taken from a song by Le Prieur, called "La Statue de l'Amitié."

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