Paper 52

A Selection of Balls from 1809

Contributed by Paul Cooper, Research Editor

This paper continues a theme that we've explored in several previous papers by investigating historical balls held by members of the British aristocracy within a single year, this time we'll study balls of 1809. We'll review the surviving descriptions of five separate balls, in each case we have a brief description of the event that was printed in newspapers shortly after the date of the ball. We'll discover what we can of the tunes and dances named therein.

Figure 1. Woburn Abbey c.1841, home of the Duchess of Bedford and venue for the first ball, image courtesy of the Royal Collection Trust.

We've previously studied a ball hosted by the socialite Mrs Beaumont in April of 1809, you might like to follow the link to read more of that event. That ball featured the popular country dancing tunes of Michael Wiggins, the Fairy Dance and Lord Cathcart, together with a performance of a Boleros and La Boulangere. We'll discover similarly fashionable tunes of 1809 in this paper.

The tunes and dances that we'll be investigating further in this paper are:

• Laurette
• Miss Flora McDonald's Reel
• I'll make you be fain to follow me
• Reel of Three
• The Self / The Sylph
• Marquis of Huntly's Reel / Marquis of Huntly's Strathspey
• Lady Charlotte Campbell's Strathspey & Lady Charlotte Campbell's Reel

The Duchess of Bedford's Ball

The Globe newspaper for the 9th of January 1809 printed a report of the Duchess of Bedford's Ball held at Woburn Abbey (see Figure 1) in Bedfordshire. The Duchess was Georgiana Russell (1781-1853) (see Figure 2), a daughter of the influential Duchess of Gordon. Georgiana had married the Duke of Bedford (1766-1839) back in 1803, the venue was the Duke's family seat of Woburn Abbey in Bedfordshire. The Globe newspaper reported (with dance references highlighted in bold):

Figure 2. The Duchess of Bedford, 1807. Image courtesy of Wikimedia Commons.

Woburn Abbey was enlivened on Thursday evening, by the most splendid ball and supper ever given in that noble Mansion. The roads were covered during the day with the carriages of the Noblemen and Gentlemen from the neighbouring seats, conveying their families to the festive scene; a large proportion of the company were also from London. Every arrangement that taste and fancy could devise, and liberality command, was made to give effect to the brilliant scene. The entrance hall and grand stair-case were lighted in the most tasteful and splendid style. The servants, dressed in the state liveries which they wore when his Grace was Lord Lieutenant of Ireland, were arranged to receive the visitors; these liveries are uncommonly superb. The grand Ball-room was decorated with wreaths of flowers, reflecting mirrors, Grecian lamps, &c. &c. The floor was chalked beautifully, in the Grecian style. The most delightful bands of music were provided.

The ball was opened by the Marchioness of Tavistock and Mr Whitbread, to the tune of Lauretta, and followed by at least fifty couple. The dance continued until the summons to the more substantial amusement of supper, which was laid in the picture gallery. This magnificent room was ornamented with artificial flowers, and variegated lamps were placed in the most fanciful manner. The tables were covered with every delicacy that art or nature could produce, nor was the more substantial fare of cold roast beef and hams forgotten for the sideboard. The confectionery displayed great taste, in the variety of temples, grottos, figures, &c. &c. The choicest fruits and finest wines graced the board, and dancing was resumed, after supper, with great spirit, and continued until a late hour next morning, when the company began to disperse, highly delighted with their entertainment, and the politeness, attention, and affability of the Duke and Duchess of Bedford, who were unremitting in their solicitude to dispense pleasure and happiness amongst their numerous visitors.

The first dance of the evening was led off by Anna Russell (1783-1857). She was the recently married wife of Francis Russell (1788-1861), he was the Duke's oldest son from his first marriage. Anna was only 2 years younger than Georgiana, the hostess. The Ball was probably held in celebration of their marriage of August 1808. Several curious details emerge from this report, the detail that I find most striking is the reference to at least fifty couple participating in the initial country dance. This is an uncommonly large number of dancers, it's more usual to find reference to a dozen or perhaps 20 couples dancing, 50 couples would require a large hall and significant organisation (but as we can see in Figure 1, their home was palatial). This dance continued until supper was called, this may have been quite some elapsed time.

Only one tune was named as having been danced at the event, Lauretta. We'll review what is known of this dance shortly.

Hon. Mrs Drummond's Ball

Figure 3. The Pillory, Charing Cross in 1808, image courtesy of the V&A Collection.

The Morning Post newspaper for the 15th of April 1809 reported on a ball held by the Hon Mrs Drummond. The Drummond family were bankers. Mr Drummond can perhaps (it's a little tentative) be identified as Robert Drummond. Back in 1805 the Morning Post newspaper (13th January 1805) had reported that: Mr Robert Drummond, the grandson of the great Drummond, of Charing-cross, came of age a few days since, when he took possession of his inheritance, said to amount to fifty thousand pounds per annum. ... Mr Drummond was married at the age of eighteen, to Miss Dundas, a young and beautiful daughter of Lord Melville; ... Mr and Mrs Drummond intend to make a figure in life. They have already purchased a noble house in St. James's square. This description appears to match what we might expect of the society hosts for this ball, unfortunately it's tricky to match this text with what is known of the Drummond family from other sources. It's possible that the writer had conflated accounts of both Robert Drummond and his father into a single narrative. Be that as it may, the Morning Post wrote of our 1809 Ball (with dance references highlighted in bold):

A very elegant Ball and Supper were given on Thursday night by Mrs Drummond, of Charing-Cross. In the interior decoration of the very tastefully fitted up residence nothing was wanting to render the entertainment attractive in every respect. A suite of rooms, three in number, were appropriated for dancing, cards, &c. Each apartment was illuminated by Grecian lamps, and bell lights. Precisely at eight o'clock the dancing commenced with Flora McDonald, a new dance, first introduced a few evenings since at a ball given in Cleveland-square by Lady Mary Drummond; it is a very lively and spirited tune. The ball was opened by the young Duke of Dorset and the beautiful Miss Drummond. The Earl of Aboyne danced with the Hon. Miss Arden, and Mr Drummond with Lady Kinnoul. Two sets were formed in the second dance, I'll mak ye fain to follow me. A very sumptuous banquet the company, mustering about 150 persons, partook of about midnight. The dancing afterwards re-commenced, and was kept up until five o'clock in the morning. Reels were danced; they were given with the true Highland fling by Mr Stewart of Greenock; Mr Drummond, of Inverness; and another Gentleman, whose name we could not learn.

The company were agreeably surprised, and much amused, by the wonderful execution of a native Highlander, accoutered in his proper costume, wearing the fitlabeg, &c. He played on the bagpipes and violin, smoked tobacco, and danced reels, all at the same time. The Duchess of Dorset, Lord and Lady Arden, and many other personages of first rate distinction, were of the party; together with every branch of the House of Drummond then in London.

The ball was opened by the beautiful Miss Drummond, possibly a sister-in-law to the hostess; the dancing evidently followed a Scottish theme. Their home was in Charing Cross, a general view of which can be seen in Figure 3. An unusual detail recorded of their Ball was the presence of an entertainer who could simultaneously play two musical instruments, smoke and dance! Such entertainments are rarely recorded, it's possible that they were a common feature of many society balls, we just don't know. We sometimes read of favoured children performing at a ball, or even a troop of dancers performing, but this is one of the rare occasions where a (presumably) professional entertainer is known to have been hired.

Lady Campbell's Ball

The Morning Post newspaper for the 26th of June 1809 reported on a Ball held by a Lady Campbell. She was Lady Elizabeth Campbell, wife of Major General Dugald Campbell of Auchinbreck (1742-1809), a serving officer out in India. The General had remained in India at the date of the ball along with their sons (he would die just a few months later in 1809). Their daughter, also named Elizabeth Campbell, had married Thomas Eyton (1777-1855) in December 1808, this ball may have been held in celebration of their wedding. The Morning Post reported (with dance references highlighted in bold):

Figure 4. Devonshire Place and Wimpole Street, 1799. Image courtesy of The British Museum.

On Friday evening, in Wimpole-street, a splendid ball and supper were given by the above Lady. It was attended by almost all the rank and fashion in the metropolis. The preparations corresponded to the well known taste of the accomplished hostess. The house was lighted up with chandeliers and lustres. About eleven o'clock, the dancing commenced with The Self, led off by Sir William E???? and Miss Macleod. Next followed [a list of 7 couples] At the hour of two in the morning the company partook of a sumptuous entertainment; at three the dancing was resumed with Sir Roger de Coverly called for by Mrs Malcolm, the spirited sister of Lady Campbell. Scotch Medleys, Reels and Strathspeys, out of number, succeeded; they occupied the light fantastic toe until half-past eight o'clock. So late an assembly has not been known since the days of the late Mrs Walker, of Masquerade celebrity.

This particular ball was hosted at Lady Campbell's home in Wimpole Street, a general view of the street can be seen in Figure 4. The ball was reported to have ended at half-past eight in the morning, a time so late that it had not been known since the days of the late Mrs Walker, of Masquerade celebrity. Mrs Alethea Walker (1769-1805) was the second wife of the Liverpool based merchant (and slave trader) Richard Walker (1760-1801); the masquerade balls that she hosted had been infamously popular a few years earlier, her events of 1800, 1801 and 1804 were widely reported upon in the newspapers at the time. Her masked parties continued to be wistfully recalled in the press until as late as 1813 (e.g. Morning Post, 23rd June 1813). Comparing the Campbell ball, even for something as obscure as the late hour at which it ended, to a Walker Masquerade was high praise indeed.

Our ball of 1809 included a dance that we've written about before named Sir Roger de Coverly. This was a veteran dance that had seen a renewal of interest in the early 19th century, several variants of the dance were published at around this date. It was often danced at the end of an event, it's curious that we find it danced at this ball part way through the night. We've also investigated the concept of Reels, Strathspeys, Medleys and Country Dances in a previous paper, you might like to follow the link to read more. We'll consider the other named dance shortly.

Lady Saltoun's Ball

Figure 5. The Crescent, Portland Place 1822, image courtesy of the British Museum.

The Morning Post newspaper for the 1st of July 1809 carried a report of a Ball held by Lady Saltoun. Lady Saltoun (d.1851) was the surviving wife of Alexander Fraser the 16th Lord Saltoun of Abernethy (1758-1793). The ball may have been held to introduce Eleanora, their oldest daughter, to society. The Morning Post recorded (with dance references highlighted in bold):

On Thursday last, in Portland-place, Lady Saltoun gave an elegant Ball and Supper. The company exceeded 200 fashionables of distinction. In the interior decoration there was nothing peculiarly nouvelle. Grecian lamps and chrystal lights were used. The dancing commenced at half past eleven o'clock with The Self, led off by Lord James Murray and the Hon. Miss Frazer. Next followed:- [a list of 7 couples.]

The second dance was Fight about the fireside. The supper took place at two o'clock in the morning; the viands and wines were deserving of much praise. Reels, strathspeys, and German waltzes, concluded the night's amusement. Sir John Clark Penry Cook (a Gentleman lately introduced in the fashionable circles) danced incomparably, and incessantly. - Among the visitants were Lady Melville, Countess of Balcarras, Lady Campbell, and Mrs Malcolm. Mr Gunter, the celebrated confectioner, superintended the entertainment.

We've studied some of the dances from this ball before. Fight about the Fireside was a popular tune dating back to (at least) 1767, we've also written of Reels and Strathspeys and the German Waltz elsewhere, you might like to follow the links to read more. Lady Saltoun had hired the celebrated James Gunter (1731-1819) to cater for the event, Gunter was a pioneer in the production of ices and ice creams.

Master of Ceremonies Ball, Ramsgate

The final event we'll study in this paper is a little different, it was a Ball held by Mr Le Bas the Master of Ceremonies at the resort town of Ramsgate. On this rare occasion we have two different reports covering the event. The Kentish Gazette for the 29th of September 1809 recorded (with dance references highlighted in bold):

Figure 6. Ramsgate, seen from the West Pier, c.1825. Image courtesy of the British Museum.

The Master of Ceremonies Ball, on Tuesday night, at Ramsgate, was a bumper, and more brilliant than any which the visitors of the Isle of Thanet have honoured him for many seasons past.

About ten o'clock the rooms were crowded with all the rank, beauty and fashion, of our several places of public resort, who commenced the merry dance soon after their arrival, and kept it up with unbated spirit till two o'clock. Her Grace the Duchess of Manchester and party did not come in till the close of the last dance of the first set, when she headed the second, and led off to the merry tune of the Marquis of Huntley's reel. Her grace danced with Captain MacNeil, next to her, Lady Virginia Murray with Counsellor O'Dedy, Lady Campbell with Colonel Payne, &c. &c. Her Grace dances remarkably well, but excels in Scotch reels, which she introduced after the country dances, and in the rapid, various and short steps of which she certainly displayed the greatest agility and execution.

Mr Le Bas's annual ball was given last evening. It far excelled the preceding one last year in brilliancy. The Assembly-room was fitted up with appropriate and tasteful embellishments; the band of music was well chosen and select; and the other arrangements, such as were calculated to afford the most perfect and satisfactory accommodation. The company began to arrive at half-past nine o'clock; at ten dancing commenced with minuets. The Duchess of Manchester led off the first country dance, The Marquis Huntly, with Colonel Macniel. Next followed Lady John Campbell, Col . Lumley; Lady Virginia Murray, Capt James. So numerous were the company, that four sets danced. The second dance was a new Scotch Medley, called for by Lady J. Campbell; this being a composition of the celebrated Niel Gow, in praise of the House of Argyle, it was a great favourite. The fairy feet and exquisite symmetry of a great proportion of the female dancers, were calculated to kill the admiring gazer. The country dances succeeded by strathspeys, &c. The Duchess of Manchester, in winding the nimble mazes of the Highland reel, charmed every one by the lovliness of its fascinations. About half-past one the music ceased, and at two o'clock the assembly broke up.

Minor differences clearly exist between the two texts. They're largely consistent but the variations are an important reminder that we can't consider (any) published ball records to be entirely error free.

The second text, that of the Morning Post, begins with a string of unimportant banalities that could have been recorded of any ball. It then continued with the unexpected information that the Ball commenced with the dancing of Minuets. Minuets were rarely danced at this date, we've written more on this topic elsewhere, their being danced at Ramsgate hints at a formality normally associated with dancing at Court. The report goes on to reference a composition by Gow. Readers presumably understood this to be a reference to Niel Gow (1727-1807).

Both newspapers focus their attention on the Duchess of Manchester. One records that her retinue arrived after the first country dance had begun, the other hints that she may have missed the minuet dancing. In both cases the public interest is in the country dance that she led off and in her partner for that dance. She evidently led the dancing of Reels, Strathspeys and Medleys.

Laurette

The ball was opened by the Marchioness of Tavistock and Mr Whitbread, to the tune of Lauretta, and followed by at least fifty couple. (Duchess of Bedford's Ball)

The first tune we'll investigate was named Lauretta, it is (probably) the tune more correctly known as Laurette. This identification isn't certain, arguments could be made to identify it as one of two different tunes, Laurette is the more probable of the two candidates. This more likely tune was adapted from an 1803 grand ballet by Henry Smart (1778-1823) that was also named Laurette, a copy of the score is available on the web courtesy of the Petrucci archive. The 11th movement in the ballet, a tune named as The Favorite Pas Generale (see Figure 7, bottom) was adapted into a Country Dance and published by several music shops in London between roughly 1804 and 1805. The Country Dance took the first eight bars from that movement and added an additional strain that seems not to be derived from the Ballet. Example publications of the tune include Dale's c.1804 4th Number (see Figure 7, top right), Davie's c.1806 13th Number, Walker's c.1805 10th Number and the Thompson collection of 24 Country Dances for the Year 1805 (see Figure 7, top left); the first two were published under the name Laurette, the Thompson publication issued it as Lauretta (matching the name used at our ball).

Figure 7. Lauretta from Thompson's Twenty Four Country Dances (for the Year 1805) (top left); Laurette from No 4. Dale's Collection of Reels and Dances c.1804 (top right); and the first 8 bars of The Favorite Pas Generale from Laurette, A New Favorite Ballet by H. Smart, 1803 (bottom).

The other tune it could perhaps be identified with was a Country Dance derived from the 1801 ballet named Laura and Lenza by Charles Didelot (1767-1837). Several such tunes were in circulation; Archibald Duff, for example, would publish a tune derived from the ballet that he named Lauretta c.1812 in his Part First of A Choice Selection of Minuets, Favourite Airs, Hornpipes, Waltzs &c.. Duff's tune is unlikely to have existed (or at least to have been known) at the 1809 date of the Ball but other tunes derived from the same production could have been featured. It's perhaps notable that Thomas Wilson, in his 1809 Treasures of Terpsichore publication, provided a long list of dancing tunes that were popular at that date, he included both Laura and Lenza and Laurette within that list, thereby indicating that the names were associated with distinct tunes. It seems more likely that Lauretta is an accidental corruption of Laurette than of Laura and Lenza but both are plausible options (as witnessed by both the Thompson and Duff corruptions of the names). The ball could of course have featured a completely different tune unrelated to either of our candidates, such things are ultimately unknowable; Laurette certainly remained sufficiently popular in 1809 for Wilson to refer to it, this is probably what was danced at our ball.

Henry Smart's Laurette ballet was commercially valuable. This was sufficiently true for a copyright action to be brought against the publishers of a Country Dance derived from the ballet in early 1806. The details of the dispute are only partially recorded, there are many details that aren't clear, what follows is the resolution of the dispute as recorded at the Court of Chancery in the British Press newspaper for the 13th of February 1806:

Mr Agar, this day shewed cause against a motion of Mr Romilly, for dissolving an injunction of the Court, by which the Defendants (we could not, from the pleadings, collect their names) were restrained from selling a certain musical air. The Plaintiff had purchased of the composer, Mr Smart, the copy-right of the music of the ballet of Laurette, and the Defendants, it was alleged, had infringed upon the right of publishing the same, which he had, for a valuable consideration, thus exclusively acquired, by selecting the most admired part of the music, and printing it, to the great prejudice of the sale of the ballet.

Mr Romilly, for the Defendants stated, that the flagrant piracy, which had been attributed to his Clients was, in substance and in fact, just this: They were in the practice of publishing occasionally a collection of Country Dances, and amongst the last twelve, one of the tunes had engrafted in it eight bars of a popular air, which formed about a two hundredth part of the ballet they were charged with pirating, and one-third of the country-dance tune in which it was made to be a component part. It was alleged that five hundred copies of this air had been sold in the publication of the Defendants. Admitting this to be the fact, they would produce ?????, per book of dances; but, as there were twelve dances in each book, the sale of the particular tune in which the piracy was committed, could only be said to have yielded 1l.0s.10d; and, as the Plaintiff's air was only a third of it, he would be entitled to something less than seven shillings. These were the profits for which this bill was filed. The learned Counsel consented, also, that the air which was alleged to be the composition of the Plaintiff, was really the work of an eminent old composer, Martini, from whom it had been borrowed, in the first instance.

The Master of the Rolls ordered the injunction to be dissolved.

The country dancing tune under dispute may have been the tune from our ball. The publication in question evidently included twelve country dances, that could have been Dale's 4th Number (see Figure 7, top right), any such identification is only circumstantial however. If it was the Dale publication then the defendants were being a little disingenuous; their version was indeed twenty-four bars long, but the final eight bars match the first eight, so the part that was copied was two-thirds of the tune, not one-third as reported; if one considers the bass line separately from the melody then a one-third argument can be made, but it's a little tenuous. All that can be said for certain is that a tune from the ballet was sufficiently popular that the copyright owner went to chancery to protect their rights; and they lost, as the tune in question was shown in turn to have been borrowed from another even older source! This dispute could have been the first case involving the copyright of a country dancing tune to be disputed in early 19th century London, we've written of several further disputes in another paper. The growing copyright uncertainty around country-dances in the mid 1810s may have hastened the demise of the entire country dance publishing industry, this dispute involving Laurette may have paved the way for that subsequent turmoil.

We're informed that at the Bedford ball some fifty couples followed the leading couple down the country dance. The dance was led off by the hostess's daughter-in-law, Anna Russell (1783-1857) (who would later become the next Duchess of Bedford ) and Mr Whitbread (possibly a relative of Samuel Whitbread (1764-1815) the Member of Parliament for Bedford). Fifty couples are an uncommonly large number of participants for a country dance, the hosts must have had a large room available to dance in. The tune was also featured at a Ball of 1807 (Morning Herald, 9th of May 1807) held by Mrs F. Pigou where it was reported: The favourite air of Laurette was led off by the Earl of Kinnoul and Miss Pigou. Nearly forty couple stood up in two sets..

We've animated a suggested arrangement of Dale's c.1804 version (see Figure 7), of Davies' c.1805 version and the Thompson version for 1805 (see Figure 7).

Miss Flora McDonald's Reel

Precisely at eight o'clock the dancing commenced with Flora McDonald, a new dance, first introduced a few evenings since at a ball given in Cleveland-square by Lady Mary Drummond; it is a very lively and spirited tune. (Hon. Mrs Drummond's Ball)

We're informed by our correspondent that the dance named Flora McDonald was new in 1809 having been first introduced just a few days earlier. It may indeed have been new to the London fashionables that year and it would go on to be widely published in London throughout the years 1809 and 1810, the tune was much older however. It had been published at least as far back as the 1750s and the title referenced an event of the year 1746. It must have been popular over several decades, there may have been dancers present at the Ball who were well aware of the tune's antiquity.

Figure 8. Miss Macdonald's Rant from Rutherford's c.1756 Compleat Collection of 200 of the most admired Country Dances (top left); Miss Flora McDonald's Reel from Bremner's c.1758 third part of A Collection of Scots Reels or Country Dances (top right); Miss McDonalds Reel, or the 4th of June from the c.1781 2nd volume of Longman & Broderip's Compleat Collection of 200 favorite Country Dances, Cotillons and Allemands (bottom left); and Flora McDonald from Skillern & Challoner's c.1809 9th Number (bottom right).

The earliest publications of the tune that I can find were both issued in London in the 1750s; John Walsh published it in one of his volumes of Caledonian Country Dances (I've failed to track down which) under the name The 4th of June and Rutherford issued it in the c.1756 first volume of his Compleat Collection of 200 of the most admired Country Dances under the name Miss Macdonalds Rant (see Figure 8, top left). It would be issued in Edinburgh shortly thereafter in the c.1758 third part of Robert Bremner's A Collection of Scots Reels or Country Dances under the name Miss Flora McDonald's Reel (see Figure 8, top right). It was this third title that would go on to be most closely associated with the tune.

The historical Flora Macdonald (1722-1790) to whom the titles allude is readily identified. She famously assisted the fleeing Bonny Prince Charlie (1720-1788) after his defeat at the April 1746 Battle of Culloden, the prince was said to have dressed as her maid as they travelled together. The alternative title of The 4th of June probably refers to the 4th of June 1746 when the fourteen Jacobite Colours (military banners) that had been captured at Culloden were ceremoniously burnt at Edinburgh's Mercat Cross by the city hangman. The 4th of June was also the Birthday of the monarch, King George III; the date of the flag burning may have been selected for that reason. The title of the tune held clear Jacobite (arguably anti-Jacobite) allusions. The Caledonian Mercury newspaper for the 5th of June 1746 wrote of the previous day's bonfire:

Yesterday, at Noon, fourteen Stand of Rebel Colours displayed, and supported by John Dalgleish the Hangman, as chief Bearer, and thirteen Chimney-sweepers his Assistants, were carried down in Procession from the Castle to the Cross, (escorted by a Detachment of Col. Lees's Regiment) where a Bonfire was prepared, and amidst a numerous Crowd of Spectators were burnt by the Hands of the Hangman, with Sound of Trumpet and loud Huzzas from the Populace, after reading the Orders for that Effect, in presence of the Honourable Sheriffs of Edinburgh, who attended the Ceremony, with the Heralds in their Robes, and the Constables with their Battons.

The tune would go on to be published on several further occasions in both London and Edinburgh prior to its rediscovery in 1809. It was printed in Edinburgh in the c.1761 second part of Neil Stewart's A Collection of the Newest and Best Reels under the name Miss McDonald's Reel; then in London in both the Bride collection of 24 Country Dances for 1769 and in the c.1781 2nd volume of Longman & Broderip's Compleat Collection of 200 favorite Country Dances, Cotillons and Allemands (under the compound title of Miss McDonalds Reel, or the 4th of June, see Figure 8, bottom left); then once again in Edinburgh in Alexander McGlashan's 1786 A Collection of Reels (as Miss Macdonald's Reel) and in Niel Gow's 1799 Part First of the Complete Repository of Original Scots Slow Strathspeys and Dances (as Miss Flora McDonald's Reel). Then, in 1809, it would appear amongst the collections of almost all of London's principal music sellers; examples include (in no particular order): Skillern & Challoner's c.1809 9th Number (see Figure 8, bottom right), Walker's c.1809 21st Number, Button & Whitaker's c.1809 13th Number, James Platts's 1809 12th Number, Dale's c.1809 15th Number, Ball's c.1809 1st Number, Goulding's c.1809 16th Number, Davie's c.1810 21st Number, Monzani's c.1810 12th Number, William Campbell's c.1810 25th Book, and the Fentum, Wheatstone, Preston and Bland & Weller collections of 24 Country Dances for 1810. It would also be referenced in Thomas Wilson's Treasures of Terpsichore for 1810.

The tune was evidently popular in 1809, Lady Mary Drummond must have been thrilled to have been credited as being responsible. In addition to our Drummond Ball it would also be featured as the second dance at Mrs Leigh's Ball and Supper (Morning Post, 24th May 1809); I expect, given the publishing frequency of the tune, that it was a great favourite for the season.

We've animated suggested arrangements of Button & Whitaker's c.1809 version, Campbell's c.1810 version, Platts's 1809 version and Skillern & Challoner's 1809 version (see Figure 8, bottom right).

For futher references to the tune, see also: Miss Flora McDonald's Reel at The Traditional Tune Archive.

I'll make you be fain to follow me

Two sets were formed in the second dance, I'll mak ye fain to follow me. (Hon. Mrs Drummond's Ball)

This tune is readily identified as being a popular air that was known (especially in Scotland) throughout the 18th century. The first publication of the tune that I can identify was printed as a song in London within the 1731 The Highland Fair or Union of the Clans by Mr Mitchell under the title Air XXXIII. I'll gar ye be fain to follow me (see Figure 9, right). The Traditional Tune Archive offers some earlier sightings of the tune in manuscript sources, it's better known today as the title for a c.1790 song by Robert Burns. The first arrangement of the tune as a dance that I can find was issued in London in the 1744 second volume of Johnson's A Choice Collection of 200 Favourite Country Dances under the name I'll gar you. This arrangement was slightly different to that of the earlier song but was recognisably the same fundamental tune.

Figure 9. I'll make you be fain to follow me from William Campbell's 1798 13th Book (left) and I'll gar ye be fain to follow me from the 1731 The Highland Fair or Union of the Clans (right). Left image courtesy of the National Library of Scotland.

Publication of the tune then moved to Edinburgh with the c.1758 third part of Robert Bremner's A Collection of Scots Reels or Country Dances as I'll make you be fain to follow me (the name that went on to stick with the tune). This arrangement of the tune differed slightly from that of the earlier publications but once again it was clearly the same tune. It would also appear in the c.1761 second part of Niel Stewart's A Collection of the Newest and Best Reels or Country Dances, as a song within David Herd's 1776 Ancient and Modern Scottish Songs, Heroic Ballads, etc. and in Robert Mackintosh's c.1796 A 3d Book of Sixty Eight New Reels and Strathspeys Also above forty old Famous Reels. Thereafter Niel Gow included it in his 1799 Part First of the Complete Repository of Original Scots Slow Strathspeys and Dances and the Newcastle based Abraham Mackintosh published it in his c.1805 A Collection of Strathspeys, Reels, Jigs &c..

The London publishers rediscovered the tune around the end of the 18th century, it would reappear in London's dance collections throughout the following decade. Publications included William Campbell's 1798 13th Book (see Figure 9, left) and the Preston collection of 24 Country Dances for 1799. It would also appear in Bland & Weller's 24 Country Dances for 1800, Davie's c.1802 5th Number, Goulding's c.1803 3rd Number, Cahusac's 12 Country Dances for 1803, Dale's c.1804 3rd Number, Andrew's c.1805 9th Number, Walker's c.1806 11th Number, William Napier's c.1806 Selection of Dances & Strathspeys and in Broderip & Wilkinson's 1806 A Selection of the most Admired Dances, Reels, Waltz's, Strathspeys & Cotillons. It would also be referenced by name in Thomas Wilson's 1809 Treasures of Terpsichore and in Edward Payne's 1814 New Companion to the Ballroom.

The tune was also danced at fashionable balls throughout the first decade of the 19th century. Examples include the Countess of Leicester's 1800 Ball (Caledonian Mercury, 27th March 1800), Mrs Thellusson's 1801 Ball (Morning Post, 18th June 1801), Lady Cathcart's 1802 Ball where it was led off by Lady Murray (Morning Post, 12th March 1802) and Mrs Knox's 1802 Ball (Morning Post, 19th March 1802). The Queen hosted a Ball in 1803 which featured the tune (Lancaster Gazette, 28th May 1803). The King hosted a Fete at Frogmore in 1804 (in honour of the Duke of York's birthday) that once again featured the tune (Evening Mail, 20th August 1804), it reported that The Duke of Cumberland and Princess Amelia led off to the tune of I'll make you fain to follow me. In addition to our 1809 Ball the tune was also called for by the Duchess of Manchester at a Ramsgate ball of 1809 (Morning Post, 17th of October 1809). I've found no later references to the tune being danced but it was clearly well known.

The word fain approximately means happy, glad or willing under the circumstances, the title of the tune therefore implies I'll make you be happy to follow me. It's an apt title for a dance. An amusing anecdote was shared in the Morning Post newspaper for the 17th of October 1809 which referenced the tune. A ball was being held in Ramsgate under the direction of the Duchess of Manchester, unfortunately the band that had been booked for the evening were late to arrive. Dancing was instead conducted to the music of a lone fiddle of dubious quality. When the band finally arrived the Duchess led off a dance to the tune of I'd make ye be fain to follow me, the selection was considered witty under the circumstances.

The most consequential publication of the tune (from the point of view of the London market) was that of William Campbell in 1798, Campbell was probably the first of the new wave of publishers to issue the tune (see Figure 9). Campbell included an unusual dancing figure in his version in which two dancers follow or chase each other, it's possible that this figure was selected to match the title of the tune almost as a form of choreography. That said, Campbell's figure sequence for the tune are challenging to arrange and quite probably erroneous. The dancing conventions in the elite ballrooms involved dancers selecting figures to put to a tune for themselves, there was no reason to select figures that had previously appeared in print; nonetheless, dancers may have decided for themselves that a chasing figure would be suitable for use with this tune.

The tune had probably passed its peak of fashion by the date of our 1809 ball but it certainly remained known.

We've animated suggested arrangements of Campbell's 1798 version (see Figure 9), of Preston's 1799 version and of Cahusac's 1803 version.

For futher references to the tune, see also: I'll Mak' Ye be Fain to Follow Me at The Traditional Tune Archive.

Reel of Three

Reels were danced; they were given with the true "Highland fling" by Mr Stewart of Greenock; Mr Drummond, of Inverness; and another Gentleman, whose name we could not learn. (Hon. Mrs Drummond's Ball)

Scotch Medleys, Reels and Strathspeys, out of number, succeeded; they occupied "the light fantastic toe" until half-past eight o'clock (Lady Campbell's Ball)

Reels, strathspeys, and German waltzes, concluded the night's amusement. (Lady Saltoun's Ball)

Her Grace the Duchess of Manchester ... dances remarkably well, but excels in Scotch reels, which she introduced after the country dances, and in the rapid, various and short steps of which she certainly displayed the greatest agility and execution. (Master of Ceremonies Ball, Ramsgate)

Figure 10. A Reel of Three, detail from La belle assemblée, or, Sketches of characteristic dancing, 1817 (left). Thomas Wilson's Reel of Three from the 1811 3rd edition of Analysis of the Ball Room (right). Left image courtesy of the Lewis Walpole Collection.

The Reel was a Scottish form of dancing that was routinely danced in the ballrooms of London's nobility from the late 1790s. We've previously written of the Reel of Four and the general uncertainty regarding Scottish themed dancing in other papers, you might like to follow the links to read more. The first of our 1809 balls evidently included a Reel of Three that was performed by three gentlemen, we've not investigated this specific variant of the Reel before so will do so here (see also Figure 10).

The Reel dancing at our various events will have differed in the specifics but they're likely to have been danced with a degree of enthusiasm that would entertain the rest of the assembly. The Reel of Three was said to have been danced with the true Highland fling and the Duchess of Manchester (daughter of the Duchess of Gordon) was reported to have danced reels with rapid, various and short steps ... which she certainly displayed the greatest agility and execution. The reader is given the impression that the dancing was both energetic and calculated, there was a spirit to the dancing and yet it remained somewhat genteel and polished. Some dancing masters in Regency London considered the Reel a (potentially) barbarous form of dancing that shouldn't grace the civilised assembly rooms, this opinion wasn't held in the elite ballrooms. Thomas Wilson, for example, wrote c.1816 that Snapping the fingers, in Country Dancing and Reels, and the sudden howl or yell too frequently practiced, ought to be avoided, as partaking too much of the customs of barbarous nations; the character and effect by such means given to the Dance, being adapted only to the stage, and by no means suited to the Ball Room, he added a footnote by way of explanation that these things were Introduced in some Scotch parties as partly national with them. The reels were typically danced towards the end of an event, perhaps when the country dancing was largely finished, they were unashamedly Scottish in character and usually danced by people of Scottish extraction.

The Reel of Three is likely to have been danced very much like a Reel of Four, it would include a mixture of Hey figures (in which the dancers weave around each other) and fancy stepping. Thomas Wilson described the basic Reel of Three in his Analysis of Country Dancing publication, his text from the 1811 third edition can be seen in Figure 10: they all hey and return to their places; then the Lady sets to each of the Gentlemen alternately till the tune is finished, then the Reel begins again. The challenge of course was in finding suitably fancy steps with which to perform the setting or footing portion of the dance. Wilson went on to offer a new Reel of Three of his own invention in the same publication; this additional reel involved three dancers moving forwards in a line of three, setting, then two dancers raising their arms to allow the third to pass under in beginning a Hey figure. They then repeat again from the new position, presumably advancing back to their initial positions on the second iteration. It's possible that dancers at our ball would have danced something a little more complicated than the basic figure, perhaps something similar to Wilson's reel of three, it's more likely that they danced the basic figure however.

The Reel, whether danced by groups of three, four, or perhaps even more dancers, was very much a part of the fashionable world of the early 19th century. A party of three or four dancers performing while everyone else watches (or at least kept out of the way) brings to mind the Minuet dancing traditions of the later 18th century... except that the Reel is a very different dance form!

There are several excellent reconstructions of Regency era Reel dances available through Susan de Guardiola's website, you can find her interpretation of Wilson's New Reel of Three there.

Figure 11. The Sylph from William Campbell's c.1808 23rd Book (top); The Sylph from William Dale's c.1809 16th Number (middle); and The Sylph or Self from Button & Whitaker's c.1809 13th Number (bottom).

The Self / The Sylph

About eleven o'clock, the dancing commenced with The Self (Lady Campbell's Ball)

The dancing commenced at half past eleven o'clock with The Self, led off by Lord James Murray and the Hon. Miss Frazer. (Lady Saltoun's Ball)

One of the few tunes that is known to have been danced at more than one of our 1809 balls was the immensely popular The Self. This tune is a little tricky to investigate as there were three different but similarly named tunes all circulating in London at around the same date (see Figure 11). Two of the three tunes were issued under more than one title, it's likely that the publishers themselves were confused between them. Our tune was variously published as both The Self and also as The Sylph, the other two were only issued (as far as I know) under names derived from The Sylph. This makes identifying our tune somewhat simpler. All three were widely available from London's music shops between roughly the years 1808 and 1810, several individual publications would feature two of the tunes under the same cover. There was, perhaps inevitably, a degree of confusion between the tunes.

Our tune was the most popular of the three (as measured in both publication frequency and social references) but it was not the first of the three to appear. The first of the three tunes was probably the tune issued under the name The Sylph by William Campbell is his c.1808 23rd Book (see Figure 11, top). This tune was also published by the Goulding publishing house under the pluralised name of The Sylphs in both their c.1808 12th Number and their collection of 24 Country Dances for 1809. This first tune would then disappear for a year or so before reappearing under the name New Sylph in Wheatstone's collection of 24 Country Dances for 1810 and in Wheatstone & Voigt's c.1811 6th Book. There's a degree of irony in what was probably the first of the three tunes being later republished as the New Sylph, this is clear evidence of the potential for confusion between the various publishers. We've animated a suggested arrangement of Campbell's c.1808 version and of Wheatstone & Voigt's 1811 version of this dance.

The other two tunes appeared at approximately the same time, I can't with any certainty place a chronology on them. We'll first consider the other of the The Sylph tunes. This tune was only, as far as I can discern, published as The Sylph. It appeared in William Dale's c.1809 16th Number (see Figure 11, middle) and also in Davie's c.1809 22nd Number. The oddity with this tune was that the second strain of music consisted of 12 bars, the Davie publication identified four of them that would typically be omitted when danced. This tune would also appear in Andrews's c.1810 26th Number and in Bland & Weller's collection of 24 Country Dances for 1810. Several of these publications would also include The Self, these two tunes would have been unambiguous and distinct to the purchasers of those publications. We've animated a suggested arrangement of William Dale's c.1809 version of this dance.

Our tune was the most frequently published of the three, once again it's impossible to place a precise chronology on those publications. Several publishers issued it unambiguously under the title The Self, examples include William Dale's c.1809 16th Number, Wheatstone & Voigt's c.1809 4th Book and in Davie's c.1810 23rd Number. Some issued it explicitly (and probably wrongly) as The Sylph including James Platts's c.1809 13th Number and Skillern & Challoner's c.1810 10th Number. The publishing house of Button & Whitaker even issued it under the compound title of The Sylph or Self in their c.1809 13th Number (see Figure 11, bottom), this was presumably in recognition of the ambiguity over the tune's intended name. The slightly later publications tended to use the title of The Self, examples include Goulding's collection of 24 Country Dances for 1810, Bland & Weller's collection of 24 Country Dances for 1810, Wheatstone's collection of 24 Country Dances for 1810, Fentum's collection of 24 Country Dances for 1810 and in Logier's c. 1810 3rd Number. Thomas Wilson also referred to The Self by name in his Treasures of Terpsichore publications for 1810 and 1811. It's likely that The Self was the more correct title for the tune, it was certainly the preferred title after 1809. We've animated suggested arrangements of Button & Whitaker's c.1809 version and of Skillern & Challoner's c.1810 version of the dance.

The origins of our tune are unknown. Jonathan Blewitt published a rondo arrangement of the tune in 1809 (Morning Post, 18th July 1809) but it's unlikely that he was the original composer. Rondo arrangements were generally created from tunes that were already popular rather than the other way around. All three of our tunes seem to have experienced a sudden spark of interest, have remained popular for perhaps two to three years, then faded away again. I know of no social references to our tune being danced either before or after 1809. Edward Payne would go on to reference a tune named The Sylph in his 1814 New Companion to the Ballroom though which of the three tunes he was referring to is unclear.

For futher references to the tune, see also: The Self [2] at The Traditional Tune Archive.

Marquis of Huntly's Reel / Marquis of Huntly's Strathspey

Figure 12. Marquis of Huntly's Reel from William Marshall's 1781 A Collection of Strathspey Reels (above) and The Marquis of Huntley's Strathspey from Longman & Broderip's c.1793 Third Selection of the most favorite Country Dances, Reels, &c. (below).

Her Grace the Duchess of Manchester ... led off to the merry tune of the Marquis of Huntley's reel. Her grace danced with Captain MacNeil, next to her, Lady Virginia Murray with Counsellor O'Dedy, Lady Campbell with Colonel Payne, &c. &c. (Master of Ceremonies Ball, Ramsgate)

This is another tune that is easy to identify but is mildly puzzling. The tune was composed by William Marshall (1748-1833) and published in Edinburgh in his 1781 A Collection of Strathspey Reels (see Figure 12). Marshall added A Strathspey to the title resulting in Marquis of Huntly's Reel. A Strathspey. The tune was named in reference to the approximately 11 year old George Gordon (1770-1836), later the 5th Duke of Gordon. The Marquis of Gordon is a secondary title associated with the Dukedom of Gordon, it is assigned to the next in line to the Dukedom. Marshall was employed by the Dukes of Gordon, the tune (along with many others published by Marshall) was dedicated to one of his patrons.

The tune would be republished many times in Scotland over the next twenty or so years, either under the given name or as the Marquis of Huntly's Strathspey. It appeared in the c.1783 second volume of James Aird's A Selection of Scotch, English, Irish and Foreign Airs and in Alexander McGlashan's 1786 A Collection of Reels. These first few publications retained Marshall's name for the tune, later publications tended to prefer the alternate title of the Marquis of Huntly's Strathspey. Later examples include Joshua Campbell's c.1789 A Collection of New Reels & Highland Strathspeys, in John Anderson's c.1789 A Selection of the most Approved Highland Strathspeys and in Neil Gow's 1799 Part First of the Complete Repository of Original Scots slow Strathspeys and Dances. It would also appear in the 6th volume of McFadyen's A Selection of Scotch, English, Irish and Foreign Airs and in John Anderson's Budget of Strathspeys, Reels & Country Dances (they were issued at uncertain dates). Robert Mackintosh included it in his c.1803 A Fourth Book of New Strathspey Reels as did Archibald Duff in his 1812 A Choice Selection of Minuets, favourite Airs, Hornpipes, Waltzs &c..

The curiosity is that despite the tune's evident popularity in Scotland it seemed barely to have been published in London. The only London publication of the tune that I can confirm was that in Longmap & Broderip's c.1793 Third Selection of the most favorite Country Dances, Reels, &c. (see Figure 12). If there was any doubt over the popularity of the tune it might be dispelled by the fact that several London publishers attempted to provide the tune to their customers around 1809; Joseph Dale included a tune named The Marquis of Huntley's New Strathspey in his c.1808 12th Number, Monzani & Co. published a tune that they named The Marquis of Huntley's Strathspey in their c.1809 9th Number. These two tunes were not the Marshall tune. There can be little doubt that the Marshall tune was what was being danced socially however, the incredibly successful London based Gow band would surely have played the Marshall tune as they themselves had published it in Edinburgh. If any other Scottish themed tune was proving popular in London then they most likely would have published it in Edinburgh, they routinely did so for other such tunes.

We've animated a suggested arrangement of Longman & Borderip's c.1793 version (see Figure 12).

For futher references to the tune, see also: Marquis of Huntly's Strathspey (1) (The) at The Traditional Tune Archive.

Lady Charlotte Campbell's Strathspey & Lady Charlotte Campbell's Reel

The second dance was a new Scotch Medley, called for by Lady J. Campbell; this being a composition of the celebrated Niel Gow, in praise of the House of Argyle, it was a great favourite. (Master of Ceremonies Ball, Ramsgate)

Identifying the tunes danced as a medley at the Ramsgate ball is a challenge. An initial anomaly immediately arises: the medley was described as being both new and a composition of the celebrated Niel Gow. Niel Gow had died back in 1807, we've written of the Gow family elsewhere. Either the tunes were not entirely new or they were not composed by Niel Gow, or both. Two candidate solutions to this mystery also present themselves: an old tune might be described as new if it was newly fashionable (as with Miss Flora McDonald's Reel above) and the composer might have been Nathaniel Gow rather than his father Niel (the London publishers sometimes got confused between them). But even with these considerations it's still not obvious what was actually being danced at our ball in 1809.

Figure 13. Lady Charlotte Campbell's New Strathspey and Reel from Robert Mackintosh's c.1800 publication of the same name.

The next clues to note are that the tune was described as a Scotch Medley and that it was composed in praise of the House of Argyle. The term Scotch Medley usually applied to a combination of both a Strathspey and a Reel tune, they would usually share a common name. The dedicatee was presumably a member of the household of the Dukes of Argyll. The 6th Duke of Argyll (1768-1839) was George Campbell, he inherited the title in 1806. His brother, later the 7th Duke, was Lord John Campbell (1777-1847). They were the two most prominent Argyll lords at our 1809 date.

Yet another clue might be found in the dance having been called for by Lady John Campbell. Her identity isn't entirely obvious, she could have been Lord John Campbell's ex-wife Elizabeth Campbell (d.1818), they had been divorced in 1808 however (on the grounds of his adultery) so it seems unlikely that she would be referred to as Lady J. Campbell under such circumstances. The other strong candidate was the sister of both the 6th Duke and Lord John Campbell, she was Lady Charlotte Campbell (1775-1861). Charlotte had married Colonel John Campbell in 1796 (he had died earlier in 1809), as a widow she very well might have been described as Lady J. Campbell. Charlotte experienced the unusual characteristic of retaining her maiden name after marriage having married another Campbell.

Combining all of these clues together leads to one candidate medley that is more likely to have been danced at our ball than any other, the two tunes being Lady Charlotte Campbell's Strathspey & Reel. These two tunes weren't entirely new, they date back to around the year 1800, and they weren't by Niel Gow, they were instead composed by Robert Mackintosh (though Gow did publish both tunes in 1802). They were however dedicated to Lady Charlotte Campbell, presumably the same lady who called for the medley and a ranking member of the House of Argyll. This identification isn't certain of course but I've yet to find a more likely pair of candidates. They were also a somewhat successful pair of tunes in London at around our date.

The first known publication of our candidate tunes was in Edinburgh by Robert Mackintosh in a work named Lady Charlotte Campbell's New Strathspey (see Figure 13). The precise date of publication isn't known but it was likely to have been around the year 1800, it was certainly no earlier than 1796 as it advertised Mackintosh's 1796 3rd Book of Reels on the cover. Mackintosh described himself as the author of both tunes. Publication of the tunes would shortly follow in London; the Strathspey was included in Milhouse's collection of 24 Country Dances for 1801 (under the name Lady Charlotte Campbells Fancy) and also in Robert Mackintosh's c.1803 4th Book (Mackintosh and his band having been in London at around this date). The Gow family published both tunes back in Edinburgh in their 1802 Part Second of the Complete Repository of Original Scots Tunes, Strathspeys, Jigs and Dances. Meanwhile, and back in London, Joseph Dale issued both tunes in his c.1806 7th Number (and the Reel for a second time in his c.1809 15th Number). Goulding & Co. issued the Strathspey in London in their collection of 12 Country Dances for 1808, John Anderson issued both tunes in Edinburgh in his c.1810 Budget of Strathspeys, Reels & Country Dances. Both tunes were also referenced by name in Edward Payne's 1814 A New Companion to the Ballroom. An extraordinary reference to the medley also exists from 1805 where it featured at Mrs Du Pre's Masquerade (Morning Post, 20th May 1805), it was reported that: there was an excellent band of music for the country dances provided, and led in a masterly and most charming style by Mr Mackintosh. The first tune played was a new reel, called Miss Drummond of Perth's Reel, which was danced by several parties. Soon after, a country dance to the same tune, Miss Drummond's Reel, which lasted an hour and half. The next was Lady Charlotte Campbell's Strathspey and Reel, a medley, which continued near two hours.. Mackintosh himself evidently played the medley for a London event in 1805, it was enjoyed so much that the dance lasted nearly 2 hours!

There was a degree of confusion surrounding the medley in London however, many other tunes with similar names were also in circulation at around the same date. Around a dozen other tunes variously named as Lady Charlotte Campbell's Strathspey, Lady Charlotte Campbell's Reel, or similar, were printed in either London or Edinburgh between the 1780s and 1820s. One such example was even composed by Nathaniel Gow. If a member of the public wanted to buy our medley they were liable to end up with sheet music for one of the other similarly named tunes!

Ultimately the identity of the tunes danced at the Ramsgate Ball remains unknown. The medley we've identified as the best candidate wasn't new in 1809, it had even been danced for nearly 2 hours at a London Ball of 1805, but it may not have been widely known. It wasn't composed by Niel Gow but was by a celebrated Scottish musician and had been published by Gow a few years earlier. It was however dedicated to a senior member of the Argyll family and was probably called for at our ball by Lady Charlotte Campbell herself. If you can identify a better candidate medley then do please contact us as we'd love to know more!

We've animated a suggested arrangements of Milhouse's 1801 version of the Strathspey, Goulding's 1808 version of the Strathpsey and of Dale's c.1809 version of the Reel.

For futher references to the tune, see also: Lady Charlotte Campbell's Strathspey (2) at The Traditional Tune Archive and Lady Charlotte Campbell's Reel (2) at The Traditional Tune Archive.

Conclusion

We've investigated five balls from 1809 in this paper along with seven tunes or dances that were enjoyed at them. Many of the tunes and dances were of Scottish derivation though at least one was derived from the London stage. In several cases there is evidence that the London music sellers were themselves confused about the tunes, several issued alternative tunes under the same or similar names; this perhaps hints that the music buying public expected to be able to buy tunes they had only heard referenced by name (potentially in the same newspapers in which we find the surviving references in today).

If you would like to recreate a ball of 1809 then the tunes and dances that we've encountered here would be very suitable to feature at your event. If you have anything further to share about these tunes and dances then do please Contact Us as we'd love to know more.