Music at Newhailes

The Palladian house at Newhailes, designed by the Scottish architect James Smith (1645-1731), was acquired in 1709 by Sir David Dalrymple who developed the surrounding estate, creating 'a perfectly integrated house and landscape'.(1) It is interesting to note that by the middle of the eighteenth century, Newhailes had its own extensive pleasure gardens, with ponds, waterfalls, walks and grottos.(2)

The Collection

The music collection of Newhailes is held at the National Library of Scotland and comprises 78 volumes, each of which can be consulted in the Special Collections Reading Room there along with other items from the Newhailes collection.(3) A few contain only one or two major compositions, but many are compilations with a variety of works making up over 1,000 items. Most of the music is printed, though there are some manuscripts which include original items. The earliest volumes date from the 1720s, while the latest come from the end of the nineteenth century. Though the collection runs from composers Purcell and Corelli to Wagner and Strauss, most of it comes from a period of sixty years or so, straddling the turn into the nineteenth century. This is very much in line with other similar collections, suggesting that it is representative of the main-stream music of the time. The range of operas, songs, sonatas, symphonies, piano duets and Scottish music is similar to what was performed at musical societies in major Scottish cities, and at pleasure gardens such as Vauxhall, Ranelagh or Marylebone, The majority of the music was printed in London, but some of it comes from Edinburgh, Glasgow, Liverpool, Paris and Leipzig.

There is much evidence of use of the music with signatures, ornaments, fingerings, corrections, crosses and comments added to the majority of copies (only 17 of 78 volumes have no added marks). There is a list of all the signatures that appear on the copies. But because of the lack of a comprehensive family tree, ownership between generations is sometimes a matter of guesswork, especially as forenames passed quite freely between generations. Through the progression of signatures, however, we are sometimes able to trace how certain people moved into the family through marriage.

There is also evidence to suggest that volumes from other houses came to be amalgamated into the Newhailes collection. 'Miss Montgomeries Annick Lodge no. 4', is an inscription on a volume of Clementi Piano Sonatas with a signature of Miss Cunninghame.(4) The 'no.4' implies that there were at least three other volumes in this collection. Annick Lodge had important gardens, but any link to Newhailes is at present unclear. The signature of Miss C. Montgomerie, who lived at Annick Lodge, also appears on the outside of Hook's Guida di Musica.(5) She was presumably a daughter of Captain Alexander Montgomery, another of whose daughters, Elisabeth, married Rt. Hon. David Boyle (see infra for more information on the Boyles). Gow's Third Collection carries the signature of H. Hepburn on its title page.(6) There are eight volumes with the signature of Christian E. L. Dalrymple, which carry the inscription: 'One of the many volumes of music belonging to the Misses Smollett at Cameron.'(7) Cameron House was on the banks of Loch Lomond and was the home of the Misses Smollett, who were personal friends of the family. We have no information as to why so much of a wide-ranging musical collection came to Newhailes at the end of the nineteenth century.

Books about music

There are treatises or books of instruction, mostly from the early years of the nineteenth century but including one for guitar by Straube from 1758.(8) This part of the collection suggests that the interest in music was a serious one. Both volumes of a singing tutor by the Italian born composer, theorist, and singing teacher, Giacomo Gotifredo Ferrari (1763-1842), published in 1825,(9) shows signs of use, with added dynamics and inked-in accidentals.(10) There are several tutors for keyboard, ranging from G. Jones' tutor from around 1784,(11) through James Hook's Guida di Musica,(12) to Corri's Two Hundred Progressive Preludes,(13) and a volume of Czerny's exercises of c.1835.(14) To show real application to the art of piano playing, the four volumes of The Chiroplast's Companion (15) and the six volumes of the Theoretical and Practical Studies by Logier(16) are real heavyweights of piano technique, not for the casual pianist. It is interesting to note how well thumbed some of these volumes are. In addition to these tutors there are other more popular periodicals, The Musical Bijou of 1830,(17) The Strand Magazine of 1895(18) and Bond Street of 1868.(19)

Opera and Vocal music

Operas feature strongly, both La Clemenza di Tito by Mozart in a vocal score from around 1832,(20) and Les Huguenots by Meyerbeer in complete vocal scores.(21) Opera also features with many extracts with Mozart prominently represented, especially in arrangements for piano duet. There are several volumes of music from Le Nozze di Figaro,(22) and Don Giovanni with many added fingerings and well-worn page turns,(23) of Airs arranged as duets for harp and piano with ad libitum accompaniments for Flute & Violoncello from Donizetti's Lucia di Lammermoor(24) is present. Bellini's arias from a variety of operas are also included.(25) Many operatic extracts by Rossini, with the Overture to Semiramide. Airs from Il Turco in Italia and Zelmira. Airs from Meyerbeer's opera Il Crociato in Egitto – are here, gathered together with many of the above into one volume 63.(26)

There are excerpts from around 50 Comic operas, Pistaccios, and shorter, one act Burlettas, and other Entr'actes, in the collection. Some of these are rarities, such as Samuel Arnold's The Battle of Hexham from 1789,(27) or Storace's The Haunted Tower of 1789,(28) while others are better known and freely available from other collections – such as Judas Maccabeus, Samson, Acis & Galatea by Handel,(29) Artaxerxes, and Thomas and Sally, by Arne, The Waterman and The Padlock, by C. Dibdin.(30) The breadth and references of these many works show something of the eclectic nature of musical taste evidenced in the many concerts of the pleasure gardens, opera houses and burgeoning concert and domestic situations in Britain in the second half of the eighteenth century. The range and choice of these excerpts from longer work at Newhailes reflects evidence from other contemporary collections, only in perhaps rather larger quantity.

There is thus much vocal music with many individual arias extracted from operas, sometimes by composers popular at the time but whose names are little remembered today. One of the valuable aspects of this, as other similar collections, is to be reminded of these lesser known figures. Composers such as Balfe,(31) Gabussi,(32) Marliani(33) and Vaccaj,(34) were performed in their day, but are little more than historical names now. There are also several sets of songs and Canzonettas from the 18th century by Haydn, and several volumes of song designed for the London Pleasure Gardens by Hook,(35) and also a significant number of 19th century Ballads by such composers as Samuel Arnold,(36) Sir Henry Bishop,(37) J. W. Callcott,(38) and their contemporaries. Songs from the German tradition of Lieder by Mendelssohn and Schubert, are also present. The vocal items go right up to the end of the 19th.century with operatic arias by Verdi, Wagner and Sullivan. In many of these copies, ornaments of the Italian bel canto tradition have been added. Although no evidence has so far emerged of the family engaging a musical tutor, from the quality of marks on many of these vocal items, it seems almost certain that some professional singing tuition took place.

Sacred Music

Also, there is a small number of sacred songs, including the oldest volume in the collection – a set of Psalms (printed in France) dating from 1729. It is an interesting volume and gives the impression of having been well used (perhaps by a Minister or Priest?). It lacks outer covers and several of the opening pages which presumably contained the index.(39) The Edinburgh Sacred Harmony by Robert Smith of 1829,(40) Six Serious Glees or Hymns by Aberdonian John Ross c.1809,(41) and Twelve Sabbath Melodies of around 1850,(42) plus XII Sacred Songs(43) are some examples of what might be loosely termed sacred songs.

Instrumental parts

In volumes 72, 73 and 78, there are original instrumental parts for several 18th-century chamber works. Was this a sign that on occasions the family might have formed, or invited guests to form, a small group of chamber musicians?

Keyboard music

A significant part of the Newhailes music collection is for keyboard, either as a solo or in some sort of duo or ensemble. It is not always entirely clear what an original version of a sonata might have been. The frequent addition by the publishers of the words 'ad libitum' to Violin and Cello with some works, seems entirely appropriate, as with a genuine trio, for example, but there are many other occasions on which the addition of these (and other) instruments seems unnecessary, and is an example of a publisher trying to gain more of the market. But as well as increasing the number of performers the opposite is also true, as, for example, the description Sonatas with accompaniment for the Violin, attached to The Beauties of Mozart, are in fact what we would now refer to as Violin Sonatas.(44)

Works titled Sonatas are numerous. They run from harpsichord sonatas by Maurice Greene,(45) through piano sonatas by J. C. Bach Op.5,(46) Clementi,(47) Haydn,(48) Mozart(49) and Pleyel.(50) Lesser known composers are also well represented with sets of sonatas by Alberti,(51) Boccherini,(52) Edelmann,(53) Kozeluch,(54) Mazzinghi,(55) Schobert,(56) Schroeter,(57) Steibelt(58) and Vanhal.(59)

The integrity with which we regard a composer's intentions today was not so well observed in the eighteenth and nineteenth centuries. So it is that solo sonatas are enhanced to embrace more players, and also that sometimes works in reverse by publishers with an eye to increasing sales.

In addition to sonatas with their pedigree stemming from the classical era, the period, many other piano solos were written at this period. Of particular note are the many fantasias, variations and other extended pieces based on themes from operas which often gave opportunities for displays of virtuoso technique. The figures of Paganini and Liszt throw long shadows over this repertoire, and although neither composer features in the Newhailes collection, pieces by Henri Herz,(60) D. Bruguier,(61) and Kalkbrenner,(62) are all examples of the genre. There are also many pieces which recall the main melodies of numerous operas, without any pretension to make a new composition There are also many examples of character salon pieces, sometimes published under poetic titles such as The Monthly Rose,(63) Les Menus Plaisirs by J. B. Cramer.(64) There are also numerous dances – perhaps reminders of the necessity of providing home-grown music for dances and balls when musicians from nearby Edinburgh might not have been available. Waltzes and the highly fashionable Quadrille, together with Polkas and the occasional Polonaise are generally nineteenth century in origin, running from Jullien to Strauss.

Overtures, Symphonies and Concertos

The Piano features strongly in many opera overtures and symphonies which are arranged for piano duet – evidently well used with some very worn page turns. There are symphonies and overtures by Arnold,(65) J. C. Bach,(66) Beethoven,(67) Bishop,(68) Haydn,(69) Kelly,(70) Cherubini,(71) Mozart,(72) Piccinni,(73) Sacchini(74) and Schobert.(75) It is perhaps a particular pleasure to conjure up a vision of various family members powering their way through and early Beethoven symphony or the Overture to Mozart's Don Giovanni.

There are also many arrangements for piano of Concertos, sometimes with a second piano part for the orchestra, but in other cases with the piano part so rewritten that it combines both solo and orchestral passages. Concertos by J. C. Bach,(76) J. B. Cramer,(77) Handel Organ Concertos,(78) Mozart(79) and Schroeter(80) are all included.

One particular item is particularly worthy of remark. It is a Concerto with the music written on two staves, as though for a keyboard; but it is clearly a reduction of an orchestral score with 'solo' and 'tutti' mentioned. The tonality is clearly g minor but the key signature for the first two movements is one flat, and for the third a second flat has been added, but the e flat is placed before the b flat. There are three movements – a Fuga Allegro, Adagio, and Tempo di Minuetto. So far, all attempts at identification have failed. The copy is very clearly written out suggesting a professional hand (despite the oddity of the key signatures). The style is from the late eighteenth century, stylistically not unlike Handel, and with some Italian influences. Perhaps it is a work of a type frequently heard in the London pleasure gardens, by a British composer? Might this be a unique holding at Newhailes? One further point of interest concerns the addition of a realization of the end of the first movement, in a series of continuo-like chords.(81)

Music for Harp

Several of the volumes in the series that came from Cameron House appear to be have Harp mentioned in their titles, as, for example, volume 69 which contains much music arranged for piano forte and harp.(82) The French-born harpist to Napoleon, Nicolas Charles Bochsa, who settled in London from the 1820s and who died in Australia after a very colourful and eventful life, is well represented here. Despite mention of harp on the title pages, it is the piano parts are that are bound in this volume. No.70, however, is made up entirely of harp parts from operas of the 1830s with added fingerings for the harp and the occasional instruction to leave the strings to resonate. In this volume there are many worn page-turns, and some torn pages. Several of these copies (items 7,8,11,13 and 17) were bought in Edinburgh. Volume 42 contains several harp parts while items in Volumes 39, 40, 41 (in the Vocal Melodies of Scotland), 65 and 67 mention the harp as a possible instrument amongst others listed. It is quite obvious that most of the music from Cameron House has been well used, with many added fingerings and well -worn page turns. The harp was a favoured domestic instrument across the period of the collection and it is thus no surprise to find this amount of harp music.

Fiddle Music and Scottish songs

There are several volumes of Scottish fiddle music with volumes by the Gows – Father Niel and son Nathaniel(83) and a collection of reels by McGlashan.(84) These are the genuine article of Scottish fiddle music, belonging to a long tradition and to which the Gow family contributed massively, there are other Scottish songs in the Thomson volumes and Peter Urbani.(85)

Dances

There are many examples of dances throughout the collection. One example of this would be a volume without a front cover but with a signature of Fergusson on three items (nos.22,23,24). With music printed mainly in the 1840s and 50s, there are Quadrilles, Polkas (together with a detailed description of how to do it), Schottisches and Waltzes (Nha.Mus.66). Is the Fergusson of the signature perhaps Hon. Sir James, 5th Bart (1832-1906), or one of his children?(86)

Catches, Canons and Glees

There is a small collection of Catches, Canons and Glees including one volume from the celebrated Warren publication.(87) But there are also collections by Bland,(88) Callcott(89) and Cooke.(90)

Signatures and Ownership

There are just over 30 signatures on various copies of music. But a detailed attribution of ownership to the various family members through the interpretation of these signatures is a tricky matter. There are, however, certain names which occur regularly, suggesting that at least four generations were closely involved with music; and assumptions can be made using this information, for which I am indebted to the researches of Antonia Lawrence-Allen.(91)

Christian Dalrymple, the daughter of Sir David Dalrymple, 3rd Bt Lord Hailes (1726-92), and Anne (née) Brown (d.1768), remained unmarried. She unexpectedly became the Laird on the sudden death of her father and from her diaries we have a clear impression of an active and lively personality, who was devout in her attendance at church, and in the attention she paid to sermons. There are clear indications of the books she read, and the card games she played and what it was like to run an estate at the beginning of the nineteenth century. There are many references to regular visits to Edinburgh and several references to staying over – did the family have a house there? (We learn from Miss Christian's diaries of 1815, that the Grants had a house in Charlotte Square.) Many references are made to attendance at plays and concerts in Edinburgh often mentioning the repertoire she heard. (For instance, on February 28th 1804 she writes of how she went with Mrs F. to Gow's Ball, and 'we came home patrons!'). There are fascinating and revealing entries in a diary which she kept on an extended tour in 1804, to the south of England to Exeter (where she comments on the organ, that the 'music was delightful'), Exmouth and London.(92) She also travelled to the north of Scotland during 1834 visiting Castle Forbes (where she observes that Jane Fraser is about to go into confinement with her 14th child), and comments on music at Castle Fraser, and Parkhill near Dyce, Aberdeen. On September 3rd she arrived at the Smolletts at Cameron House, playing whist and music on Thursday September 4th.(93) There are two volumes of music with her signature present from which we learn something of her musical taste. Mostly they contain songs, some Italian, but mainly from the repertoire of operas and entr'actes of English composers popular at the London pleasure gardens, including Arne, Dibdin and Lindley and their contemporaries.(94) (Note that this Christian Dalrymple is not to be confused with Christian E. L. Dalrymple – i.e. Christian Elizabeth Louisa, daughter of Rt Hon. Sir Charles Dalrymple, 1st Bt of Newhailes (1839-1916) and Alice (née Hunter Blair), d.1884, whose name is on music from Cameron House, dated 1895.)(91)

Helen Boyle (1808-69) married Sir Charles Dalrymple Fergusson, 5th Bart of Kilkerran (1800-49), and three volumes with her signature show a penchant for Italian and French opera by Rossini, Meyerbeer, Vaccaj and Bishop (Nha.Mus.63). There is also piano music, including the variations from the keyboard Suite in E by Handel (the so-called Harmonious Blacksmith), – character pieces, dances, divertimentos and variations – and some ballads (Nha.Mus.61). A similar mix of repertoire occurs in another volume which also includes Rossini, but with a preponderance of variations for piano, and includes excerpts from Der Freischutz by Weber and several Quadrilles (Nha.Mus.62).

In connection with the link between Newhailes and Cameron House. There would seem to be a strong family connection with two women sharing the same surname – Helen and Elisabeth Boyle (were they sisters?). The first was married to Sir Charles Dalrymple, 5th. Bart of Kilkerran, and Elisabeth, the eldest daughter from Cameron House, married Charles Villiers Stuart in 1830. If they were sisters then it would make sense of the visit by Miss Christian in 1834, as with the volumes of music that came to Newhailes in 1895.

In a volume with 'Mida Ferguson 1840' on its cover, there are two books of studies by Charles Czerny with some well-worn pages and added fingerings, suggesting that much practice took place (Nha.Mus.60). Though there is no-one recorded as having been given that name, it appears that this might be a family name for Mary Jemima Dundas Adamina Ferguson, youngest daughter of Sir James Fergusson and his second wife Henrietta (née) Duncan.

However, the Henrietta D Fergusson, mentioned on an inscription on the title page of Les Huguenots by Meyerbeer 'from her brother JF', written in a volume dated 1857, is hardly likely to be the same person as above (Nha.Mus.23). Maybe this is the Fergusson who added signatures to some of the dances in vol. 66?

Because of the lack of a clear and complete family tree it is difficult to suggest who were the signatories on all the volumes. We have already referred to volumes that came from Cameron House and from Annick House.

Who were the musicians of the family?

From the information that is included in the music collection at Newhailes, it is impossible to be sure which members of which branch of which particular families played what instruments. What is evident is that there was a good appreciation of keyboard playing, which, in the eighteenth century, would have meant harpsichord or square piano, yielding to the Piano Forte as the new century approached. From many of the marks on the keyboard parts, and especially from well-worn pages of technical exercises and virtuosic passages in various tutors, it seems entirely possible that some professional tuition took place. Many copies with Helen Boyle's signature suggest that she was a piano player of some skill with a fondness for arrangements and variations on themes from Rossini and the Italian school of opera (Nha.Mus.61,62,63,65).

From internal evidence of signatures of Catherine Fergusson, together with an address of 5 Charlotte Square, it seems reasonable to assume that she played the harp, especially as two items (9,11) are for harp. Is this perhaps another link between the families at Newhailes and Cameron House?

There would undoubtedly have been singers as the large amount of vocal music suggests. This vocal music crosses many boundaries, with opera very much at the forefront with many operatic extracts and arias being well represented. But there are also many independent songs – canzonets and ballads. There is no evidence to suggest whether a tutor was ever engaged, but from many of the annotations, corrections and added ornaments, it seems entirely likely that there could have been some professional tuition. From the increasingly proficient efforts at song writing in volume 76, it seems plausible that there might well have been some professional musician involved with Catherine Fergusson – the fourteenth child of Sir James (b.1765) and Henrietta Duncan? – over an extended period of tuition in the mid nineteenth century. Reading Miss Christian's diaries, it is quite evident that Edinburgh was considered to be close by, and there was a willingness to go there frequently.

Summary

Though the music at Newhailes is very much in line with other contemporary collections, with the same concentrated time span crossing the 18th to 19th centuries, its historical range is wider than some other similar collections (as, for example, at Brodie or Castle Fraser). But this extensive collection of music reinforces the importance of music as a part of life in country houses and castles in the late 18th century; as a vital part of a young man's education so that he will be culturally well prepared for the Grand Tour, and as an important social accomplishment for young ladies, especially for accompanying on the keyboard and for playing duets. What survives is a vast treasure trove which will repay much investigation and enquiry, and will lead to a wider appreciation of the characters of the various people who lived at Newhailes.

Footnotes

1. Hilary Horrocks, Newhailes, National Trust for Scotland, 2014, p.6
2. Horrocks, op. cit. p.48
3. The music volumes have shelfmark references Nha.Mus...
4. Clementi, Piano Sonatas in Nha.Mus.49
5. J.Hook, Guida di Musica. Nha.Mus.44
6. Gow's Third Collection. Nha.Mus.52
7. Nha.Mus.39,40,41,42,43,68,69,71
8. R.Straube, Lessons for the Guitar ... Op.2, London 1758. Nha.Mus.9
9. Details of Ferrari's life taken from The New Grove Dictionary of Music & Musicians, ed. Stanley Sadie, 1980: article by Alfred Loewenberg and Peter Platt
10. G. G. Ferrari, A Concise Treatise on Italian Singing, London 1825. Nha.Mus.19.1 & 2
11. G. Jones, The Complete Instructor for the Harpsichord or Piano Forte. Nha.Mus.5
12. James Hook, Guida di Musica, Being a Complete Book of Instruction for Beginners on the Harpsichord or Piano Forte, London c.1805. Nha.Mus.44
13. P. A. Corri's Original System of Preluding ... In Every Key, Mode and in different Styles, Part Four of L'Anima di Musica of c.1812. Nha.Mus.65
14. C. Czerny Etude de la velocité, or 30 exercises for the Piano Forte, calculated to develop and equalize the fingers op. 299, c. 1835. Nha.Mus.60
15. J. B. Logier, The Chiroplast Companion, vols.1-4, various publishers, London c.1815. Nha.Mus.58
16. J. B. Logier's Theoretical & Practical Study for the Piano Forte, vols 1-5, Clementi, c.1817. Nha.Mus.58
17. The Musical Bijou, An Album of Music, Poetry, and Prose for mdcccxxx [i.e.1830], Goulding & D'Almaine, London. Nha.Mus.25.
18. The Strand Musical Magazine Vol.11-22. London 1895. Nha.Mus.25
19. Bond Street Vols.1-3, London 1868. Nha.Mus.22
20. W. A. Mozart, arr. J. Mazzinghi, Selection of Favorite Airs &c., From Mozart's Celebrated Opera 'Il Don Govanni' Arrangée for Two Performers on the Piano Forte, Goulding, D'Almaine Potter & Co., 20 Soho Square, sold by R.Purdie, 70 Princes Street Edinburgh, Books 1,3&4. Nha.Mus.71
21. G. Meyerbeer, Les Huguenots, Vocal score. Paris 1857. Nha.Mus.23
22. W. A. Mozart, arr. D. Bruguier, The Overture and favorite Airs in Mozart's Celebrated Opera Le Nozze di Figaro, Falkener's Opera Music Warehouse, 3, Old Bond Street, Sold by R. Purdie, Edinburgh. Books 1-3. Nha.Mus.71
23. W. A. Mozart, The Grand Overture in the opera of Il Don Giovanni ... arranged for two Performers on One Piano Forte by M.P. King. Nha.Mus.69
24. G. Donizetti, arr. N.C.Bocsha, Select Airs from Donizetti's Admired Opera Lucia di Lammermoor ... arranged as Duetts for the Harp and Piano Forte, with ad lib Acccompaniments for Flute & Violoncello by N.C. Bochsa. Mori & Lavenu, 228 New Bond Street. Nha.Mus.70
25. As included in Nha.Mus.55
26. The Monthly Rose A Collection of Airs with Variations, Rondos, Waltzes, Polonoises, Melodies of different nations etc. published in Liverpool c.1820. Nha.Mus.63,68
27. S. Arnold, The Overture, Songs, Chorusses &c. in the Battle of Hexham, or Days of Old ... the Music composed by Dr. Arnold Opera XXXII, Longman and Broderip No. 26 Cheapside and No.13 Hay Market. London, c.1789. Nha.Mus.10
28. S. Storace, The Haunted Tower, A Comic Opera in Three Acts, Longman & Broderip, No. 26 Cheapside. London 1789. Nha.Mus.10
29. G. F. Handel, Acis and Galatea ... Arranged ... by T.Cooke. London c.1845. Nha.Mus.43
30. Excerpts from these included in English Songs & Duetts. Nha.Mus.32
31. Michael Balfe 1808-70, Irish composer violinist and baritone singing in Paris, La Scala and London. [Michael Kennedy, The Oxford Dictionary of Music 1985]
32. Vincenzo Gabussi 1800-46. Italian composer from Bologna, settled in London as a teacher from mid 1820s [Kennedy op.cit.]
33. Count Marco Aurelio Marliani 1805-49. Italian composer and singing teacher in Paris, learned composition with Rossini, debut opera Il Bravo in 1834. [New Grove: Francesco Bussi]
34. N. Vaccaj 1790-1848, Italian composer and singing teacher, author of Metodo pratico di canto italiano per camera, 1832 [New Grove]. See Nha.Mus.39,63
35. James Hook 1746-1827, English composer and organist. Some of his 2000 songs were particularly popular at the London Pleasure Gardens where he was employed at Marylebone Gardens 1769-73 and at Vauxhall 1774-1820. [Kennedy, op.cit.] Several collections of songs of the 1780s in Nha.Mus.29
36. Samuel Arnold 1740-1802, English composer, Organist, proprietor Marylebone Gardens[ODM]. See collection vols. Nha.Mus.10.49
37. Sir Henry Bishop, 1786-1855. English composer and conductor at Covent Garden then Drury Lane, subsequently Professor of Music at Edinburgh University, first musician to be knighted in 1842. [ODM] See Nha.Mus.30,39,63,65,68
38. J. W. Callcott 1766-1821, English composer and theorist celebrated for Catches. [New Grove] See Nha.Mus.15 but also vols.11,38,52,55,56,77
39. Les Psaumes de David Mis en Vers François, London 1729. Nha.Mus.4
40. The Edinburgh Sacred Harmony, Edinburgh 1829. Nha.Mus.30
41. Six Serious Glees or Hymns ... by John Ross ... Op.21, London c.1809. Nha.Mus.57
42. R. Topliff, Twelve Sabbath Melodies, London 1850? Nha.Mus.42?
43. Chappell & Co., Twelve Sacred Songs for the Family Circle, London c.1861. Nha.Mus.6
44. The Beauties of Mozart. Consisting of the most Admired Sonatas, Duetts, and Concertos ... Three Sonatas with an Accompaniment for the Violin. i.e. Violin Sonatas K.481,454,576. Nha.Mus.53
45. M. Greene, A Collection of Lessons for the Harpsichord, London c.1750. Nha.Mus.13
46. J. C. Bach, Six Sonatas for the Piano Forte or Harpsichord ... Opera 5, London c.1768. Nha.Mus.17
47. M. Clementi, Three Sonatas for the Piano Forte ... Op.23, Londonc.1815. Nha.Mus.57; Three Sonatas for the Piano-Forte ... Op.32, London c.1794. Nha.Mus.52
48. F. J. Haydn, A Select Sonata for the Piano Forte, London c.1795. Nha.Mus.52; Sonata 1 Op.14, London c.1783; Sonatas 1 & 3 from Op.17, London c.1783. Nha.Mus.48; Six Sonatas for the Forte Piano or Harpsichord ... op.17, London c.1782. Nha.Mus.72
49. W. A. Mozart, Three Sonatas for the Harpsichord or Piano Forte with an Accompaniment for a Violin ... Op.2, London c.1806. Nha.Mus.65; A Favorite Sonata for the Piano Forte with an Accompaniment for the Violin ... Op.19. Edinburgh c.1820. Nha.Mus.61; The Beauties of Mozart (three violin sonatas). Nha.Mus.53
50. I. Pleyel, Six Sonatas, Three Grand Sonatas (first and second set). Three Original Sonatas, London c.1788. Nha.Mus.50,53
51. D. Alberti, VIII Sonate Per Cembalo Op.1. London 1748. Nha.Mus.13
52. L. Boccherini, Sonata No. 4 Op.3, London, c.1780s?. Nha.Mus.48
53. J. F. Edelmann, Four Sonatas for the Harpsichord or Piano Forte with an accompaniment for a Violin ... Op.5, London c.1783. Nha.Mus.51
54. L. Kozeluch, Three Sonatas for the Piano Forte or Harpsichord with accts. Op.37, London 1800. Nha.Mus.53,57; Three Sonatas for the Piano Forte or Harpsic5ord with accts. Op.43, London 1799. Nha,Mus.65; Trois Sonates pour le Clavecin ou le Piano Forte Op.6, London c.1785. Nha.Mus.78
55. J. Mazzinghi, Three Sonatas for the Piano Forte with acccts. Op.44, London 1802. Nha.Mus.65
56. J. Schobert, Deux Sonates pour le Clavecin avec acct. Op.2; Sonata Op.3; Sonata 6; London c.1770. Nha.Mus.48; The 1st Sonata of Mons. Schoberts Op.10 for the Harsichord or Piano Forte, Edinburgh c.1770. Nha.Mus.51; The 3rd. Sonata of Mons. Schoberts Op.14 for the Harpsichord or Piano Forte, Edinburgh c.1770. Nha.Mus.51
57. J. S. Schroeter, Six Sonatas for the Piano Forte or Harpsichord with accts ... Op.2, London c.1771. Nha.Mus.51
58. D. Steibelt, Sonata for the Piano Forte ... with acct ... Op.37, London 1822. Nha.Mus.61
59. C. Vanhal, A Second sett of Six Sonatas for the Piano Forte or Harpsichord with accts ... London c.1782. Nha.Mus.72
60. Henri Herz, Brilliant Variations, Barcarolle from Fra Diavolo. Nha.Mus.64
61. D. Bruguier, A first Dramatic Divertimento from favourite Airs by Rossini. Nha.Mus.61
62. F. Kalkbrenner, Fantasia and Variation for the Piano Forte on the celebrated Jäger Chor from Weber's Opera der Freischütz. Nha.Mus.54
63. See above note 26
64. Les Menus Plaisirs, A Divertimento for the Piano Forte ... by J.B.Cramer. London 1817. Nha.Mus.61
65. S. Arnold, The Overture etc. The Battle of Hexham ... Op.32, London 1789. Nha.Mus.10
66. J. C. Bach, Six Overtures Composed and adapted for the Harpsichord, London c.1770. Nha.Mus.46
67. L. van Beethoven, arr. Piano Duet by D. Bruguier, London 1817. Nha.Mus.71; Beethoven's Grand Symphony in C Arranged for Two Performers on the Piano Forte ... by D. Bruguier. London, 1817. Nha.Mus.71; Beethoven's Grand Symphony in D Arranged for Two Performers on the Piano Forte ... by W. Watts, London 1816. Nha.Mus.69
68. H. R. Bishop, Overture Alla Scozzese to Montrose ... Arranged for the Piano Forte, London c.1825. Nha.Mus.68
69. F. J. Haydn, Symphonies 53, 67, 85 & 94 in Nha.Mus.48,51,52,59 respectively
70. T. A. Erskine (Earl of Kelly), The Overture ... adapted for the Harpsichord or Piano Forte by Sigr.Corri, Edinburgh c.1785. Nha,Mus.48
71. L. Cherubini, The Grand Overture to Anacreon ... arr. Mazzinghi, London c.1820. Nha.Mus.71
72. W. A. Mozart, Grand Symphony arr. for two performers of the Piano Forte (K.385 i.e.'Haffner' Symphony), London c.1821. Nha.Mus.69; Overtures to a) Figaro c.1825 b) Don Giovanni, London c.1803 c) Magic Flute [NB arranged for harp], London c.1803 d) La Clemenza di Tito, Laden in Germany c.1882. Nha.Mus.61,69,65,8 respectively
73. N. Piccinni, Overtures La Schiava, La Figiuola, London 1790, 1767. Nha.Mus.51
74. A. M. G. Sacchini, Overtures Lucio Vero, Tamerlano, London c.1773, c.1790. Nha.Mus.51
75. J. Schobert, Symphonies Op.9, London c.1770. Nha.Mus.48.
76. J. C. Bach, Concertos op.1, London 1763. Nha.Mus.47; Concertos Op.13, London c.1785. Nha.Mus.75
77. J. B. Cramer, A Seventh Concerto for the Piano Forte with accts. For a Full Orchestra Op. 56, London 1816. Nha.Mus.59
78. G. F. Handel, Six Concertos for the Harpsichord or Organ, London c.1739. Nha.Mus.27
79. Mozart's Celebrated Concerto, newly arranged for the Piano Forte ... with accompaniments ... by J. B. Cramer, London 1826. Nha.Mus.54
80. J. P. Schroeter, Six Concertos for the Harpsichord or Piano Forte with accts ... Op.5, London 1774. Nha.Mus.50
81. Anon, Concerto in g minor. Nha.Mus.27
82. Music for harp. Nha.Mus.69
83. Neil Gow, A Second Collection of Strathspey Reels, Edinburgh c.1789. Nha.Mus.50; A Third Collection of Strathspey Reels, Edinburgh c.1792. Nha.Mus.52; Neil Gow & Sons, A Complete Repository of Original Scots Slow Strathspeys and Dances, Edinburgh 1799. Nha.Mus.38; Neil Gow & Sons, A New Edition Part First of the Complete Repository of Original Scots Slow Strathspeys and Dances, London c.1801. Nha.Mus.69; Nathaniel Gow, The Favorite New Tunes as danced to the first set of quadrilles in 1819. Nha.Mus.62
84. A. McGlashan, A Collection of Reels, Edinburgh 1781. Nha.Mus.11
85. G. Thomson, A Select Collection of Original Scottish Airs With Introductory & Concluding Symphonies & Accompaniments ... By Pleyel, Kozeluch & Haydn vols. 1,2, London c.1803; vols. 3 & 4 1805. Nha.Mus.36,37; P. Urbani, A Selection of Scots Songs, Harmonized, Improved with Simple and Adapted Graces, Edinburgh 1794. Nha.Mus.35
86. See Nha.Mus.66
87. T. Warren, A Twenty Seventh Collection of Catches, Canons and Glees, London c.1789. Nha.Mus.12
88. J. Bland, The Ladies Collection of Catches, Glees, Canons, Canzonets, Madrigals, &c. London 1794/5. Nha.Mus.75
89. J. W. Callcott, A First Collection of Catches, Glees, Canons etc., London c.1790. Nha.Mus.14
90. B. Cooke, Nine Glees and Two Duets, London 1795. Nha.Mus.14
91. Information about the family – interpretation of the family tree such as it is – and from Miss Christian's Journals, brought to my attention by Antonia Lawrence-Allen
92. Christian Dalrymple diaries 1 Jan.1798-26 Dec.1837, 39 volumes at Newhailes. 1798-1807, 1815 and 1834 have been transcribed by Clare Robertson and Anne Munro
93. Ref Cameron House. This was the home of Admiral John Rouett Smollett (1767-1842) who had 4 daughters and 2 sons with Elizabeth Boyle. John Rouett's mother Cecilia would have been known to Miss Christian's parents (see 91 above). There are several references to Cameron House in Miss Christian's diaries with the impression that the two families were close friends. (It is possible they were related through the family Boyle.)
94. D. Corri, A Select Collection of the Most Admired Songs etc. [2 volumes], Edinburgh 1799? Nha.Mus.33,34

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