Paper 74

A Second Selection of Balls from 1806

Contributed by Paul Cooper, Research Editor

This paper continues an investigation into historical society balls that were held by the British in the year 1806. We began this investigation in a previous paper, this document continues the project by considering a further selection of events documented in British newspapers that same year. There is no connecting theme to link the events, they're just a selection of balls that were referenced in the press in 1806. The events studied here are chosen as they offer some small insight into the tunes and dances that were enjoyed, we'll go on to investigate those tunes further below.

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

• Lord Macdonald's Reel / Sir Alexander McDonald's Reel
• Lord Moira's Welcome to Scotland / Earl of Moira's Welcome to Scotland / Lord John Campbells new Strathspey
• Speed the Plough
• The Miller of Drone
• Keep the Country Bonny Lassie

Figure 1. The Duchess of Gordon depicted in 1806, Image courtesy of the National Portrait Gallery

The Duchess of Gordon's Ball

The first ball that we'll investigate was hosted by Jane, the Duchess of Gordon (c.1748-1812) in March of 1806 at her London home in St. James's Square. It was reported in the Morning Post newspaper for the 7th of March 1806 that the purpose of the ball was to be complimentary to the Duke and Duchess of Bedford, on their departure to Ireland. The Bedfords were close family to the Gordons, the Duchess of Bedford being Jane Gordon's oldest daughter Georgiana (1781–1853). Georgiana's husband was the Duke of Bedford (1766-1839), he had recently been appointed the Lord Lieutenant of Ireland. Our ball was therefore a farewell event for the Bedfords. The Oracle and Daily Advertiser newspaper for the 1st of March 1806 reported the rumour that 500 cards of invitation had been delivered for the ball, several reports following the ball suggest that around 400 guests were present.

The Morning Post newspaper for the 8th of March 1806 wrote (with dance references in bold):

At the brilliant assemblage on Thursday, the Ladies for the greater part, wore white and gold, or white and silver muslins, with head-dresses, &c. adorned with a profusion of diamonds, pearls, and other precious jewels. At one time (about half past eleven o'clock) the company arrived in such prodigious throngs, as to render it almost impossible for the person appointed to announce their names to fulfil one half of the task he had allotted to him.

About a quarter before twelve o'clock the dancing commenced, the Ball being opened with Lord Macdonald, by the two Ladies Montague, the juvenile daughters of the Duke and Duchess of Manchester. Next followed,
Lord Alexander Gordon - Lady M. Townshend
Lord Primrose - Lady G. Cecil
Lord Barghurst - Duchess of Bedford
Capt Elphinstone Fleming - Lady G. Durham
Sir William Kier - Miss Fordyce
Mr Thomas Sheridan - Miss Adam
Mr Townshend - Lady C. Levison Gower
Mr J. Townshend - Miss Mildmay
Sir John Shelley - Miss Craven
Lord Archibald Hamilton - Lady C. Thynne
Lord Macdonald - Miss St Julie
Mr Trant - Countess of Temple
Captain Macdonald - Lady H. Cavendish
Lord George Thyme - Lady Fitzroy
General Lennox - Miss Smith

The above composed the first set.

In the second dance, O'er Bogie wi' my Love, two sets were formed. Lord Chartley and Miss Drummond led off. About 20 couple were in each set. At a quarter past two o'clock a cessation took place, in consequence of supper being announced. The supper rooms were arranged in the order we have already detailed, excepting the circumstances of an additional number of covers being laid, as the company exceeded all calculation or former precedent. From this great overflow the rooms on the ground floor became so much crowded, that it was found impracticable for the people appointed to wait at table to get in; they after many fruitless struggles to gain admittance, were obliged to retire. The guests this circumstanced would have been placed in a very awkward predicament, had not one of the company (we believe Mr Skeffington) gallantly proposed, that the gentlemen should wait upon the Ladies, and no one except the Princes of the Blood, be permitted to be seated until the latter had retired. This motion had the desired effect. The Gentlemen readily waited on the Ladies, and thus harmony and comfort were restored. The supper was a most excellent banquet, and the tables abounded with the utmost profusion. It was said that 400 supped at least. The music (Mr Gow's band) recommenced in less than an hour, with an excellent new dance, entirely original, called Miss Johnston of Hutton Hall, written and composed by a Lady of distinction. The Next was likewise a new dance called Lord Moira's Welcome to Scotland. Reels and Strathspeys commenced about half past four o'clock, and were kept up with a proper spirit until half past five in the morning. They were given, with the true Highland Fling by the Duchess of Bedford, Sir William Kier, Mr Thomas Sheridan, Captain Macdonald, Miss Maxwell, and Miss Fordyce. It was six o'clock before the whole company had retired. The philanthropic hostess was elegantly dressed in white and silver, and it was remarked that her Grace never appeared in better health and spirits.

Lord Alexander Gordon called the first dance in compliment to the Nobleman present, from whose name it was taken.

The Prince of Wales and the Duke of Cambridge retired before supper, but the Duke of Sussex staid until a late hour. His Highness praised the wine, and said that he never drank better Champaigne in his life. Lord Kinnoul was taken ill after supper, but by some restoratives administered by the Duchess of Devonshire, he was entirely recovered before he departed.

Among the most beautiful women present was Lady Hamilton-Dalrymple, the celebrated Scotch beauty. Her Ladyship's stature is at least six feet, and she is reckoned one of the handsomest women in that kingdom. Her first appearance in the fashionable circles in London, we hear, was on Thursday night.

We're also informed that sixteen couples formed up for the first country dance. The couple at the top were the juvenile daughters of the Duke and Duchess of Manchester, they were the granddaughters of the Duke and Duchess of Gordon. Lady Jane Montagu (1794-1815) would have been about twelve years old at the date of the ball and her sister Lady Elizabeth Montagu (1795-1857) would have been about eleven. The second country dance was reported to have involved two sets of around twenty couples each. That second dance would have involved around eighty people dancing from a total attendance of between four and five hundred.

The tall scotch beauty was Lady Jane Dalrymple-Hamilton (d.1852), the wife of Sir Hew Dalrymple-Hamilton (1774-1834). Jane and her husband had recently been presented at court by the Duchess of Gordon (The Sun, 8th of March 1806), possibly on the same day as our ball. Multiple newspapers commented on her unusual stature.

Several country dancing tunes are named as having been danced at this ball. We've studied some of them in the past, namely O'er Bogie wi' my Love and Miss Johnston of Huttonhall's Reel. Towards the end of the event they danced unspecified Reels and Strathspeys that were given, with the true Highland Fling, we've discussed this concept elsewhere too. The remaining two named dances will be considered further below.

Sir Windsor and Miss Charlotte Hunloke's Ball

A little later in March of 1806 Sir Thomas Windsor Hunloke (1773-1816) and his sister Miss Charlotte Hunloke (1774-1862) hosted a grand ball at their address in Albemarle-street, London. The British Press newspaper for the 22nd of March 1806 wrote quite extensively of the event. This newspaper carefully described the furnishings of the house, the list of guests, it even reported that the first dance had been led off by Lord Archibald Hamilton with Miss Hunloke to the tune of The Devil among the Tailors (a tune that we've written about before). Curiously though, a rival newspaper printed a couple of days later wrote a different account of the same event and claimed that the earlier newspaper had contained significant errors. The later report went into even more detail on each of the particulars, we'll therefore rely on that second report for this investigation. Most embarrassingly, the first account claimed that the Prince of Wales and the royal dukes had been present, the later account makes clear that none of them could attend. The implication seems to be that the early newspaper assumed some facts and went to print early, whereas the later newspaper had more time to discover a fuller picture of events.

Figure 2. The German Waltz, 1806. Rowlandson's image from the 1806 A Selection of the Most Admired and Original German Waltzes by Edward Jones.

The Oracle newspaper for the 24th of March 1806 wrote of the ball (with dance references in bold):

The erroneous account in one of the Morning Prints of this splendid entertainment induces us to gratify our Fashionable Readers by the following statement:-

The Inner Hall, under the stair-case, was lined with scarce and fragrant exotics, with growing lemon trees, ever-green and sweet briars in full bloom; and lighted up with a suspended Grecian lamp, and a bell lamp supported by a bronze Egyptian figure.

The Winding Stair-Case was lighted up with globe lamps.

The Front Drawing-Room was also brilliantly illuminated with a magnificent diamond cut lustre chandelier and side lights; in the centre of the mantlepiece stood a figure of Apollo, and at each corner were two bronze figures on Marble pedestals, supporting wax lights; in this room, between the windows, we also noticed two grand mirrors with cabinets under them covered with the choicest exotics.

At 10 o'clock the Ball Room was thrown open, which communicated, by winding doors, with the front drawing room, the floor of which was simply chalked with Catherine Wheels. On the left were flower stands of wonderful beauty, filled with moss roses, lillies of the valley, with American and Egyptian exotics, &c. At the end of the room we observed two beautiful alcoves, lighted up with wax lights, flower stands of singular beauty, loaded with sweet scented flowers; in the centre of which was a mirror of the greatest magnificence. From the ceiling was suspended a large chandelier of cut glass, the brilliancy of which, aided by the variety of wax tapers and exotics, made it appear more like the Garden of Eden than a Ball Room.

On the left, we observed a room that was appropriated for Refreshments of All Sorts. In the room the eye was struck by the splendour of a complete Double Tea Service of Gold, just finished by Rundell and Bridge, being the third of the pattern which has appeared in England; the first was made for Lord L. Gower, on his embassy to Petersburg, and the second for the Marquis of Wellesley, on his arrival from India. The following outlines will aid in describing the two Salvers, Tea Service, &c. which are of immense size:-

A very elegant richly chased tea urn, a la Grecque border, supported by three sphinxs on a tripod, with a rich lotus batton; at the top is a laurel border, with Elegant Egyptian devices, richly enbroadered. Two very superb gilt salvers, with rich ope pattern, chased vine borders, with elegant leopard and cornucopia handles, supported by four richly chased feet of Bacchanalian heads, and hind's feet, with Sir Windsor Hunloke's arms, crest, &c. engraved in the centre. A very elegant Grecian Lamp, shaped tea-pot, rich a la Grecque border, Grecian female figure. A vert superb richly chased coffee-pot, stand and camp, supported by three sphinxs; rich shell and scroll border, with honey-suckle in front. Two very superb gilt vases, after the Landsdowne vase, with rich scroll border, and vine on top, richly chased.

At eleven o'clock, the Ball was opened by Miss Hunloke and Lord A. Hamilton, followed by:
Lady C. Stewart - Lord John Thynne
Lady C. L. Gower - Lord Fitzharris
Lady G. Cecil - Lord J. Murray
Miss Drummond - Lord Ossulston
Lady C. Primrose - Lord Primrose
Miss Temple - Lord Brooke
and 20 couple, to the tune of Miss Johnson of Neuton-hall. The company continued dancing till two o'clock.

The Supper Rooms were thrown open at two o'clock, when 306 Persons of the first Distinction sat down to a hot supper, served up on solid silver, which, upon the smallest estimation, cost £30,000; consisting of every delicacy the season could produce, with a sumptuous desert, and wines of all sorts. The front parlour, intended for the Prince and his Royal Brothers (who were prevented attending by the Installation at Windsor) and Party, was laid out with a horse-shoe table for 63, highly ornamented with devices, stands, temples, and flower-baskets. Among the dainties of the season were apricots, pines, peas, asparagus, and young potatoes, in great plenty. In the adjoining room, communicating with the front parlour by large folding doors, was a table for 94 persons; in the centre we noticed a silver Egyptian temple, after a drawing designed by Sir Windsor, which weighed 480 ounces, supported by four Ionic pillars, with female figures at the corners, each holding a branch of two lights, the whole supported by four Sphinxes, on the gilt plinths, with a rich scroll border, surmounted at the top with Sir Windsor's crest. At each of the four corners of the temple was a gold bottle-stand with wove vine border; also, on each side, two gold ice-pails of immense size, so large that each pail would contain six quarts, with a very beautiful a-la-grecque border and honey-suckles in the front, having the worthy Baronet's arms embossed in the centre. The whole of this table was equally as brilliant as the Prince's table, on the right of which we observed two tables more, laid out in a superior manner, with emblematical devices for 63; on the left was a similar table for 56; in the left hand room were two oval tables for twenty-nine persons.

At three o'clock the Company hailed the festive morn, and retired to commence the dance on the fantastic toe, when the second dance was opened by Lord Saltoun and Lady A.M. Cotton, to the tune of I'll gang to yon town nae mair, and followed by about sixteen couple.

At six o'clock Miss C. Hunloke, with the Rev J. Beresford, went down the last dance to the favourite tune of Speed the Plough. The dancing concluded with a German Waltz by the beautiful Mademoiselle Voyskoff, Lord Burghersh, Miss Peton, and Lord Portarlington.

And at seven o'clock the Company, with reluctance, departed, each exclaiming How happy, and when shall we meet again.

Putting aside the lengthy descriptions of furniture and lighting, there remains much of interest. We know, for example, that the ballroom featured a chalked dance floor with images of catherine wheels. The artistic chalking of floors was a common preparation for a ball at this date, it was an ephemeral form of art that would be destroyed by the feet of the dancers as the event progressed. The first dance began at around 11pm and was led off by the co-host Miss Hunloke to the tune of Miss Johnson of Hutton Hall (misspelled in the report), a tune that we've written about before. Perhaps 27 couples danced to that first tune. The second dance (after supper) was I'll Gang Nae Mair to Yon Town, another tune that we've written about before, it was danced by around 17 couples. The final country dance of the event was Speed the Plough, a tune that we'll investigate further below, this was followed by a German Waltz by two couples (perhaps as imagined in Figure 2). We've written more of the couple Waltz in another paper.

A curiosity of this ball is the detail to which the furniture was described in the newspapers. This might imply that the principal decorations were available to be viewed at the craftsmen's workshop in the days leading up to the event. It was common for furnishings to be borrowed or rented for this type of event (even the richest of hosts might struggle to provide the tables and dinner services for hundred of guests). Professional event organisers could be hired to handle the necessary arrangements. It's possible that whoever wrote the newspaper report had chance to study the furnishings at a separate location and date.

Figure 3. Lady Frances Vernon depicted c.1820, Image courtesy of the National Trust

Lady Vernon's Ball

Lady Frances Vernon (1784-1837) hosted a ball in April of 1806 at her home in Park Place, London. Frances had been born Frances Maria Warren, the daughter of Admiral John Warren (1753-1822), she married George Venables-Vernon (1779-1835) in 1802. Much later in life (in 1826), after her husband's death, she inherited a large fortune from distant Warren family relatives, her surname was changed back to Warren at that time.

The Morning Herald newspaper for the 12th of April 1806 wrote of her ball (with dance references in bold):

Lady Vernon gave an elegant Ball and Supper on Thursday evening, at her house in Park Place, which was attended by about 150 persons of distinction and fashion. The grand Drawing Room was fitted up with great taste for dancing, and the floor was chalked in a very tasteful manner. The Ball was opened at eleven o'clock by Lord Palmerston and Miss Vernon, who led down the favourite dance of Lady C. Lee's Waltz. Between one and two o'clock Supper was announced, which was prepared in the dining-parlours on the ground floor, where covers were laid for 110. The Supper consisted of every delicacy in season, and the wines were of the first quality. Dancing was resumed at three, and continued past six.

The first dance at the Ball was led off by a Miss Vernon, she was presumably the daughter of a Vernon family relative though it's unclear who she would have been. Her partner was Lord Palmerston (1784-1865), a future Prime Minster. They led off a dance named Lady Caroline Lee's Waltz together, we've investigated that tune in a previous paper.

Mr Sheridan's Fete

Richard Brinsley Sheridan (1751-1816) was a celebrated Irish born playwright and politician, he was also a regular guest at society balls. He was appointed Treasurer of the Navy in March of 1806, with this role came an official residence at the mansion building within the Somerset House complex. Sheridan hosted a grand theatrical fete in this mansion in May of 1806. The lavish ball was held in celebration of the baptism of his infant grandson, his theatrical colleagues helped to make it a unique experience quite different to most other balls of the season. He is best remembered today as the author of such plays as The Rivals (1775) and The School for Scandal (1777).

The Morning Post newspaper for the 27th of May 1806 wrote of the event:

Figure 4. Richard Brinsley Sheridan depicted c.1790. Image courtesy of Wikimedia Commons.

One of the most costly and singularly elegant divertisements took place last night at the house of the Treasurer of the Navy, in Somerset-place. About seven o'clock in the evening, the infant son of Mr. Thomas Sheridan was christened.

From the entrance hall to the foot of the grand staircase, the ground was covered with rich scarlet cloth. At the basement of the staircase appeared a most beautiful statuary figure of the Piping Fawn, standing on a pedestal, in the midst of a grove of flowers and shrubs. Passing up the staircase, the eye was attracted by several very fine bronze figures, placed in nitches in the walls. An infinity of chrystal lamps, and Grecian lustres, illuminated the admirable objects.

The first apartment which the company entered was the Music Room. It was fitted up with every ornamental device applicable to the occasion. A range of music-desks were placed in appropriate situations, and the floor painted in distemper colours with great taste and beauty by an unrivalled artist. The adjoining room, which is the Drawing Room, was decorated with festoons of artificial flowers, and illuminated by variegated lamps, and a magnificent chandelier of unrivalled beauty. The former were interspersed amongst the window lattices. This room is of very large dimensions, and calculated to contain a numerous company. It was the Prince's supper-room. This leads to the Ottoman Room, or Boudoir, which was fitted up completely in the Turkish style. The fourth and last room represented a Turkish tent. This apartment was designed for the occasion, and was erected under the colonnade which bears so prominent a feature in the architectural arrangements in that part of Somerset House. This tent was composed of scarlet and white stripes, and its dimensions were 30 feet long by 18 wide; its height 20 feet. It was painted by Mr Johnston, the admirable Machinist of Drury-lane Theatre.

In the interior was placed a supper table with 40 covers. In the centre, elevated about one foot, appeared the Prince of Wales's plume, composed of the finest ostrich feathers which could be procured. The regal coronet which was affixed underneath was decorated with appropriate ornaments, representing pearls, diamonds, rubies, sapphires, amethysts, and emeralds, all proper. All these were most excellent imitations of reality, and were taken from the crowns of kings, princes, and other great potentates, in the dramatic treasury. A most brilliant crescent surmounted the whole. The effect produced by two immensely large mirrors, each reflecting the length of three rooms and the company therein contained, comprehending an area of upwards of 100 feet, can better be conceived than described. Taking a circle by means of a winding passage to the left, lead the stranger to three other supper-rooms. These apartments, although not so spacious as the state rooms we have already described, were nevertheless not undeserving notice. The tables were set out with a variety of ornamental decorations, and the whole was lighted up by Grecian lamps, and illuminated alabaster vases. All the state apartments, in addition to other lights, had superb candelabras and girandoles of exquisite workmanship and beauty.

The curtains, and other Roman draperies, were executed by Mr Demay, Mr Sheridan's upholder. The company began to arrive at ten o'clock, and about eleven the entertainments commenced with a Masque performed in the music-room, by characters in appropriate dresses, representing Aerial Spirits, Venetian Gondoliers, and a group of Witches in Macbeth. The performers were Morelli, Rovedino, Kelly, Bartolozzi; Misses Tyrer, Jacobs, and Davies. About one dancing commenced in the grand drawing room, wherein the floor was painted with the Prince's Plume in the centre, and surrounded by Etruscan borders and Roman trophies. It was very late before the supper took place; at the Prince's table 30 supped. Two tables were placed at opposite angles of the same room, and at the principal one, Mr Thomas Sheridan presided. Here sat Anacrean-Moore, Mr Walsh-Porter, Mr Maddocks, Mr Dan King, and several other amateur singers; who, after supper, sang catches and glees in their usual inimitable style.

Figure 5. Somerset House as seen from the River Thames, c.1791.

The Morning Post continued the report the following day, on the 28th of May 1806 they wrote of the event (with dance references in bold):

Mr Sheridan's Fete was the subject of conversation throughout the circles of fashion during the whole of yesterday. We regret that we cannot devote to it that portion of our Paper which its superior gaiety and splendour deserve. We must, therefore, content ourselves with adding a few particulars to the account of the preparations we gave yesterday. In the first part of the entertainment, it was intended by Mr Sheridan, that the scene of ariel spirits, in Dryden's play of the Tempest, should form one of the most prominent features in the masque intended to be performed, and for which purpose the property-man belonging to the theatre, attended with the characteristic dresses. From the lateness of the hour at which the company began to arrive, eleven, it was found absolutely necessary to proceed without these supernatural intelligencers. The Witches in Macbeth, the Venetian Gondoliers, and a numerous group of Italian Peasants, formed a strong dramatic host, but they did not appear until the time of supper. The first entertainment consisted entirely of a Vocal and Instrumental Concert. The performers were the same persons we have already mentioned. The Concert was under the direction of Mr Kelly. The Ball commenced at half-past twelve o'clock, with The Miller of Drone and Keep the Country Bonny Lassie. These two dances were arranged as a medley, and were led off by Mr Thomas Sheridan and Lady Emily Murray. Among the couples who followed were:
Mr Sheridan - Countess of Jersey
Sir John Shelley - Lady Percy
Mr Whitbread - Miss Fordyce
Lord James Murray - Miss Orde
Mr Mellish - Lady Howick

The second dance was a real Highland reel, the music to which was the Highland pipes, by performers in the costume of the country. Nearly twenty couple danced. At two o'clock supper took place. During the time the Prince of Wales sat at table, the Duke of York's Band, habited in the Turkish costume, played martial airs and other favourite pieces of music with a very fine effect. Dancing commenced after supper, for the first time in the Ball Room. The first dance was, I'll go no more to yon town. It was led off by the Lord Chancellor, and Miss Drummond of the House of Perth. The excessive heat and fatigue of long exertion began to overpower the eager votaries of pleasure's sportive train about five o'clock, when the greater part of the company retired to their respective carriages. At half past five the music had ceased entirely. It was then proposed by Mr Sheridan to the Prince and a select party, to adjourn to the Music Room and have a song over a glass of claret and a gril.

The party consisted of about 30 persons. Here catches and glees were sung by Messrs T. Moore, Walsh-Porter, T. Sheridan, J. Crampton, and other Gentlemen amateurs. Kelly, the Composer, joined in the glees, as did likewise the Prince, who has a most excellent tenor voice. His Royal Highness sang a very admirable song in particularly good style. Thus the time passed and reiterated flashes of wit and merriment. In the collision of so many ardent spirits and enlightened minds, we need not wonder that the party did not break up until half past eight o'clock in the morning, the hour at which the Prince departed. The fete was given in compliment to Mr Thomas Sheridan, previous to his departure for Ireland. Earl Moira and Mr R. B. Sheridan stood sponsors for Mr Thomas Sheridan's infant son. For Mr Henry Scott's child stood Lord and Lady Howick, and the Honourable Mrs Bouverie.

The Prince of Wales complimented Mr Johnston respecting the disposition of the whole of the arrangements in the most enthusiastic terms of praise. It must be acknowledged, that every credit was due to that artist's taste and judgement.

The mastermind of the ingenious devices for this singular ball was Alexander Johnston (d.1810), the machinist from the Drury Lane Theatre. It was Johnston that the Prince of Wales particularly complimented at the end of the event. Numerous celebrated performers from the Theatre attended and performed for the guests. We're told that the first Country Dance was performed to a medley of two different tunes, we'll investigate them further below. The second dance was a Highland Reel, we've written of both the Reel of Three and the Reel of Four in previous papers. After supper a country dance was enjoyed to the tune of I'll Gang Nae Mair to Yon Town, the Prince's favourite dance tune, something that we've also written about before.

We will now investigate the various tunes and dances that we've encountered across these four events.

Lord Macdonald's Reel / Sir Alexander McDonald's Reel

About a quarter before twelve o'clock the dancing commenced, the Ball being opened with Lord Macdonald, by the two Ladies Montague, the juvenile daughters of the Duke and Duchess of Manchester ... Lord Alexander Gordon called the first dance in compliment to the Nobleman present, from whose name it was taken. (The Duchess of Gordon's Ball)

The opening dance of our first ball was named Lord Macdonald and was chosen in compliment to a guest of the same name. This guest was most probably Alexander Macdonald (1773-1824), the 2nd Baron Macdonald of Sleat. Alexander's younger brother Godrey Macdonald (1775-1832) may have been the Captain Macdonald who was also described as dancing (though he had probably been promoted above the rank of Captain by the date of the ball). At this point things get a little complicated as multiple tunes existed that were either named for, or composed by, a Lord Macdonald. It's uncertain which would have been danced at our ball. There are two strong contenders that we'll consider, of those the second is the most likely.

Figure 6. Sr Alex McDonald's Reel (top) from Thompson's c.1789 The Caledonian Muse; Strath Sprays Rant (left) from Walsh's c.1744 Caledonian Country Dances, Book the Third and Lord McDonald's Old Reel (right) from Nathaniel Gow's c.1806 Part Third of the Complete Repository of Original Scots Slow Strathspeys & Dances.

The first of our two candidate tunes was published across the 18th century and into the 19th century under various names, most commonly as Sir Alexander McDonald's Reel. One of the later publications was by Nathaniel Gow in his 1806 Part Third of the Complete Repository of Original Scots Slow Strathspeys & Dances under the name Lord McDonald's Old Reel (see Figure 6, lower right). It was probably composed by, and named in reference to, our Lord Macdonald's grandfather Sir Alexander Macdonald (1711-1746). I gather that it first appeared in print back in the 1730s in John Walsh's Second Book of the Compleat Country Dancing Master under the name Mac Donald's Rant (I've not been able to independently confirm this, I instead relied on information from the excellent Traditional Tune Archive). It would also be published by Walsh in his c.1744 Caledonian Country Dances, Book the Third under the name Strath Sprays Rant (see Figure 6 bottom left, which is especially interesting as being perhaps the earliest use in print of the term Strathspey). It would go on to be published by Johnson in the c.1751 sixth volume of A Choice Collection of 200 Favourite Country Dances as McDonald's Rant. It then appeared under its most commonly used name of Sr. Alexr. McDonald's Reel in the c.1758 third part of Robert Bremner's A Collection of Scots Reels or Country Dances. It appeared under this new and preferred name in Niel Stewart's c.1761 A Collection of the Newest and Best Reels or Country Dances, in Skillern & Straight's c.1770 Volume 1 of Two Hundred & Four Favourite Country Dances, in T. Smith's 1773 Country Dances For Her Majesty's Birth Day, in Angus Cumming's 1780 A Collection of Strathspeys or Old Highland Reels, in Longman & Broderip's c.1781 second volume of their Compleat Collection of 200 favorite Country Dances, Cotillons and Allemands, in James Aird's 1782 first volume of A Selection of Scotch, English, Irish and Foreign Airs and in Thompson's c.1789 The Caledonian Muse (see Figure 6, top). It probably also appeared in William Campbell's collection of 24 Country Dances for the year 1791 (I don't have a copy to check but the name has been indexed as appearing in that collection). The tune that Nathaniel Gow published as Lord McDonald's Old Reel was clearly an old favourite in both London and Edinburgh and likely to have been known to many musicians.

Figure 7. Lord Macdonald's Reel from William Campbell's c.1793 8th Book.

The second candidate tune was published under several names but most commonly as Lord McDonalds Reel. It is understood to have been composed by our Lord MacDonald's father Alexander Macdonald (c.1745-1795). It appeared in print from the early 1790s. One particularly early appearance was in John Anderson's c.1791 Second Selection of the most Approved Highland Strathspeys, Country Dances, English & French Dances, it would also appear at a similar date in both Niel Gow's 1792 A Third Collection of Strathspey Reels &c and in William Campbell's c.1793 8th Book (see Figure 7). It would also appear in 1793 in the Preston collection of 24 Country Dances for the Year 1793 but did so under the unexpected name of Lord Macdonald's Rant, the same name under which the first of our two candidate tunes originally circulated. It's possible that the two tunes were already being confused for each other by this 1793 date. The tune was published at least twice more in it's usual name in James Aird's 1794 fourth volume of A Selection of Scotch, English, Irish and Foreign Airs and in John Gow's c.1795 A Fourth Collection of Slow Airs, Strathspey's and Reels. It would then appear under the new name of Little Peggy in Lavenu's Twenty Four New Country Dances for the year 1798 (the name Little Peggy is usually associated with a completely different tune, the new name is therefore unexpected). It went on to be published as Lord Macdonald's Reel in an array of further London publications including: Kauntze's c.1799 Collection of the most favorite Dances, Reels, Waltzes &c., in Walker's c.1805 5th Number, in Napier's c.1806 Selection of Dances & Strathspeys, in Hannam's c.1806 2nd Number and in Dale's c.1806 8th Number. It would reappear under the name Little Peggy's Love in Monzani's c.1806 2nd Number. It was also named as a popular tune in Thomas Wilson's 1809 Treasures of Terpsichore. It appeared in Goulding's c.1813 31st Number and in both Thomas Wilson's 1816 Companion to the Ballroom and Nathaniel Gow's 1818 Part First of The Beauties of Niel Gow. The tune was even published in America under the name Virginia Reel, one of several different tunes to adopt that name.

Two different tunes strongly associated with Lord Macdonald were in circulation around the date of our ball. The plurality of London publications of the second tune around the year 1806 is fairly compelling evidence of the second tune being the most likely to have been danced at our ball. There were other tunes in circulation named in reference to Lord Macdonald, the two we've studied were by far the most significant variants, most others only being known from a single source.

In addition to our ball of 1806 a tune named Lord Macdonald's Reel was also danced at a Ball held in 1802 by the Dowager Duchess of Chandos (Morning Post, 26th April 1802), at a Masqued Ball held by Mrs Hamilton in 1805 (Morning Post, 29th June 1805), at a Ball held in Brighton Castle in 1806 (The Sun, 14th of August 1806), at a Ball held in Ramsgate in 1807 (Morning Post, 26th September 1807), a Ball held in 1808 by Lord Macdonald himself (Morning Post, 23rd April 1808) and at a Ball held at Hillsborough Races in 1811 (The Globe, 1st August 1811). It was also advertised as having been included on a barrel organ for sale in 1798 (Caledonian Mercury, 24th March 1798).

We've animated a suggested arrangement of Smith's 1773 version of the first dance and Campbell's c.1793 version of the second dance (see Figure 7).

Note: we've previously studied this tune in another paper, you can read more here.

For further references to the first tune, see also: Lord MacDonald [1] at The Traditional Tune Archive. For further references on the second tune, see also: Lord Macdonald's Reel [4] at The Traditional Tune Archive.

Lord Moira's Welcome to Scotland / Earl of Moira's Welcome to Scotland / Lord John Campbells new Strathspey

The Next was likewise a new dance called Lord Moira's Welcome to Scotland (The Duchess of Gordon's Ball)

Our second tune was also enjoyed at the Duchess of Gordon's Ball, it involves a new tune named Lord Moira's Welcome to Scotland. This tune is readily identified as it was widely published from around 1803 or thereabouts.

Figure 8. The Earl of Moira's Welcome to Scotland, A Favorite Strathspey, to which is added Five New Dances and a Waltz, published by Goulding, Phipps Dalmaine & Co in 1805.

The name of the tune refers to Francis Rawdon-Hastings (1754-1826) who was granted the title of Lord Moira in 1793. He was a decorated officer who had served in America during the American War of Independence. Back in Britain he was promoted to a full General in 1803 and, in October of 1803, it was announced that he had been appointed as the Commander-in-chief, Scotland. Shortly after this promotion he visited Edinburgh in an official capacity, it's likely that our tune was enjoyed at around that time. The visit was commented upon by various newspapers, for example the Hampshire Telegraph wrote: On Friday last Earl Moira assumed his station of Commander in Chief, at Edinburgh by a grand general review of all the regulars, yeomanry and volunteers in that neighbourhood. They were four brigades under Major General Sir J. St. Clair, Erskine; Brigadier Gen. Lord Dalhousie; Colonels Lord Dalkeith and Campbell. The number on the ground (Porto Bello Sands) was beyond 10,000. It was an exhibition so new to Scotland, that the city was nearly emptied of its inhabitants to attend it.. The parade outside of the city was clearly quite the spectacle, no doubt there were balls and other gatherings held in the evenings during the visit, our tune was likely played at such an event. In early November the newspapers reported on the General's approval of his troops; for example, the Morning Post for the 11th of November 1803 wrote: Lord Moira has expressed, in General Orders, the highest gratification at the appearance of the troops, whom he reviewed last week in Scotland. To the Volunteers he pays the highest compliment, for the perfection they have attained. He concludes in these words: Lord Moira declares to these young troops, that he would now lead them against the enemy with entire confidence..

One of the first publications of our tune was probably issued in Edinburgh in or around the year 1804. It was issued by Nathaniel Gow as The Earl of Moira's Welcome to Scotland. A Favourite Strathspey. Gow credited the composition of this tune to the late Mr D. Mackentyre teacher of dancing, Author of the Tune called Niel Gow, and other favorite tunes. This was Duncan Macintyre (c.1765-c.1803). Not much is known of Macintyre except that he published A Collection of Slow Airs, Reels & Strathspeys in London c.1795 and on the cover described himself as being a Teacher of Scotch Dancing. Our tune is not found within that collection so Gow may have been the first to issue it in print (we'll come back to this point in a moment). It was issued again in 1805 by Goulding & Co as The Earl of Moira's Welcome to Scotland, A Favorite Strathspey, to which is added Five New Dances and a Waltz (see Figure 8); this Goulding publication was advertised in Dublin in Saunders's News-Letter for the 14th of October 1805. It would go on to be issued regularly in London over the next few years. But before considering that we have a small mystery to consider...

The mystery involves another early publication of the tune that was issued in London within William Campbell's c.1803 18th Book (see Figure 9). There are two sources of confusion: the first is that Campbell named the tune Lord John Campbells new Strathspey in reference to John Campbell (1777-1847), the Duke of Argyll; the second consideration is that Campbell declared the composer to have been the Late Mr Macintyre. This leads to a confusion both of chronology and title. The c.1803 publication date of Campbell's book is an estimate, though one with a fairly high degree of confidence (you can read more about that here), it's unlikely to be more than a year out. The probability exists that Campbell was the first to publish Macintyre's tune, especially if we consider that Macintyre was active in London and almost certainly knew Campbell. Maybe, when first published, it was dedicated to the Duke of Argyll and it only came to be associated with Lord Moira a few months later. Indeed, perhaps it was Nathaniel Gow who popularised the tune in Edinburgh and selected the new name. Furthermore, Campbell leads us to understand that Macintyre had died prior to the c.1803 date of publication, this may imply that he had died prior to the date of Lord Moira's trip to Scotland entirely. Or perhaps Campbell's Mr Macintyre and Gow's Duncan Macintyre were different people (perhaps father and son) and one of them was confused in their attribution of the tune. There's no clear answer. One way or another, Campbell published the tune in London at a similar date to Gow publishing it in Edinburgh, under different names but both including a similar composition credit; Campbell indicated that the composer was recently deceased, thus the name of the tune may have been changed without the composer's knowledge and to mark a current event. It is of course possible that the name of the tune did not refer to Lord Moira's reviewing of the troops in 1803 at all, perhaps the name had been in use for some years prior (despite the tune being described as new at our 1806 ball)... it's a mystery to which the answer may never be known.

Figure 9. Lord John Campbells new Strathspey from William Campbell's c.1803 18th Book.

That mystery aside, the tune itself was widely published from around 1806, especially in London and potentially as a result of being featured at our ball. Other publications include: in Hannam's c.1806 1st Number, in Dale's c.1806 8th Number (under the compound name of The Earl of Moira's Welcome to Scotland or Lord John Campbell's new strathspey), in William Napier's c.1806 Selection of Dances & Strathspeys, in Monzani's c.1806 3rd Number, in Broderip & Wilkinson's 1806 Selection of the most Admired Dances, Reels, Waltz's, Strathspeys & Cotillons, in Charles Wheatstone's Sixteen Favourite Country Dances, in Skillern & Challoner's c.1806 2nd Number, in Campbell's c.1807 22nd Book (this time under the more common name for the tune), in Button & Whitaker's c.1807 6th Number, in Walker's 1807 12th Number, in John Paine's Annual Collection of Twenty Four Country Dances for 1807, in James Platts's c.1808 7th Number and in Clementi's c.1808 5th Number. It was also mentioned in both Thomas Wilson's 1809 Treasures of Terpsichore and his 1816 Companion to the Ballroom amongst other places. Goulding issued it under the alternative name of Lord Moira's Welcome Home in his c.1813 30th Number and Nathaniel Gow included it in his c.1817 Part Fourth of the Complete Repository of Original Scots Slow Strathspeys and Dances, this time as The Marquis of Hastings Strathspey in recognition of Lord Moira's 1816 elevation to the title Marquis of Hastings.)

This Country Dance did feature at some additional balls in addition to the Duchess of Gordon's Ball from 1806. It was danced on the lawn at an event to mark the opening of the South London Water Works in 1807 (The Star, 17th June 1807) and at the annual ball of the Northern Shooting Club in Aberdeen (Morning Post, 16th October 1807). It was danced at Mr Ferguson's ball in 1807 in which it was kept up with considerable spirit (Morning Post, 14th October 1807), it was also danced at Mrs Crawford Bruce's Ball in 1810 (Morning Post, 22nd January 1810) and at a ball held by Mrs Beaumont (British Press, 3rd May 1810).

We've animated a suggested arrangement of Skillern & Challoner's c.1806 version.

For further references see also: Lord Moira at The Traditional Tune Archive.

Speed the Plough

At six o'clock Miss C. Hunloke, with the Rev J. Beresford, went down the last dance to the favourite tune of Speed the Plough (Sir Windsor and Miss Charlotte Hunloke's Ball)

Our next tune was featured at the Hunloke ball of 1806, it's named Speed the Plough. The tune itself is easy to identify as it was published many times across the first decade or so of the 19th century, with only a few minor variations. The origins of the tune are a little more complicated however.

Figure 10. Speed the Plough from James Platts's c.1815 45th Number (upper) and The Naval Pillar from Hime's c.1800 Collection of Favorite Country Dances for the present Year (lower).

The immediate source of the tune was a popular comedy performed at Covent Garden from the year 1800 that was also named Speed the Plough. The play was written by Thomas Morton (1764-1838) in 1798, it went on to be a huge success. The Lady's Monthly Museum wrote of the play in 1800 that A new comedy, entitled Speed the Plough was brought forward for the first time. It is from the pen of Mr Morton, ... Morton has wrought up a Comedy, so various in its incidents, so strong in its characters, so witty yet so chaste in its dialogue, and so correct in its sentiments, as justly to entitle it to the very warm applause it has ever since received.. It would go on to be performed at theatres around the country. It was advertised of an early production in Portsmouth (Hampshire Telegraph, 31st March 1800) that In Act II will be introduced A Ploughing Match, And Country Dance, by the Characters.. It's possible (though uncertain) that the country dance performed by the characters was a standard part of the performance and that the tune used was our Speed the Plough tune. A similar advertisement for a production in Manchester (Manchester Mercury 25th March 1800) offered that After a Ploughing Match the second act will conclude with a Rustic Dance incidental to the piece. This rustic dance may be the same country dance enjoyed once again to the same tune. A curious early reference to the tune can be found in Aris's Birmingham Gazette for the 12th of January 1801 in which a dancing master named D. Mackorkell advertised that He teaches the much admired Scotch and Irish Steps, and the beautiful new Hornpipe, called Speed the Plough, &c.&c.. This might imply that a stage hornpipe had been choreographed to the tune and was becoming popular in its own right.

The tune was sufficiently famous that Thomas Dibdin (1771-1841) shared an anecdote of its origins in his 1837 Reminiscences. He was writing of a slightly earlier production named the Naval Pillar when he wrote that: The new music in the Naval Pillar was composed by John Moorhead; and one dance was so popular, that it was afterwards introduced in Speed the Plough; changing its name from the Naval Pillar to that of the comedy; and remains an established favourite.. Presumably, if Dibdin was correct, Moorhead composed our tune. This production was staged at Covent Garden from 1799, the Ipswich Journal for the 12th of October 1799 wrote: A new musical entertainment, called the Naval Pillar, in allusion to the monument which is intended to be erected by national gratitude, in celebration of British valour and loyalty, was performed at Covent Garden Theatre on Monday night, and received with unbounded applause. The Naval Pillar is devoid of any regular plot or just sentiment, but it abounds in patriotic sentiment, humourous repartee, and epigrammatic point.. Several country dancing tunes named Naval Pillar were published in London around the year 1800, presumably derived from the stage production; I have yet to find any that are a match for our Speed the Plough however. There was a tune published in Dublin in Hime's Collection of Favorite Country Dances for the present Year which contains a The Naval Pillar (see Figure 10, lower) with some passing resemblance to our Speed the Plough tune, it's not very similar though. The Hime publication is difficult to date, it could have been printed in the 1790s or it could have been published in the 1800s, there's insufficient evidence for certainty. It seems unlikely that the tune could have been published before Naval Pillar appeared on stage, hence I'd date it to about the year 1800.

Aside: I'm aware that multiple authorities across the internet offer three publications of Speed the Plough from the late 18th century, in so doing they suggest that the tune predated the c.1800 stage production. These authorities reference Aloys Fleischmann's 1998 Sources of Irish Traditional Music c1600-1855 as the source for their information. I've not been able to independently confirm any of them. One of the sources is Edward Light’s Introduction to the art of playing on the harp, lute, guitar which Fleischman dates to 1785, however I believe that's the same work that was advertised for sale in London as a new work in 1811 (eg in the Morning Post newspaper for the 2nd of November 1811, though the given name is slightly different to that given by Fleischman). The estimated publication date for Light's work is therefore suspicious. The other suggested publications are estimated to date to the mid 1790s. One of them is the undated Hime publication already discussed (see Figure 10, lower), I see little reason to date it to as early 1797 and it's a dissimilar tune anyway. I haven't found a copy of the third publication to study. Our Speed the Plough tune may have Irish origins that predate its use in the 1799 Naval Pillar stage production in London, I've yet to encounter compelling evidence in favour of this theory however. It seems more likely that our Speed the Plough tune came into existence c.1800 and was only loosely derived from The Naval Pillar.

Regardless of its origins the tune was certainly popular from around the turn of the 19th century. Publications include: in Budd's 1801 31st Book, Cahusac's 12 Country Dances for 1801, Bland & Weller's 24 Country Dances for 1802, Walker's c.1802 2nd Number, Davie's c.1802 1st Number, Preston's 24 Country Dances for 1803, Abraham Mackintosh's c.1805 A Collection of Strathspeys, Reels, Jigs &c., Napier's c.1806 Selection of Dances & Strathspeys, Monzani's c.1806 2nd Number, John Paine's Annual Collection of Twenty four Country Dances For 1807, Walker's 1807 12th Number, Anderson's c.1807 Budget of Strathspeys, Reels & Country Dances, Andrew's c.1810 16th Number, Duff's 1812 Part First of A Choice Selection of Minuets & Favourite Airs, Goulding's c.1812 28th Number and in James Platts's c.1815 45th Number (see Figure 10, upper). It was also mentioned within Thomas Wilson's 1809 Treasures of Terpsichore and in his 1816 Companion to the Ballroom.

It was also being danced at balls. Examples include The Duchess of Chandos's Ball in 1801 (Morning Post, 5th May 1801), Mrs Thellusson's Ball in 1801 (Morning Post, 18th of June 1801), at Lady Cathcart's Ball in 1802 (Morning Post, 12th March 1802), at Mr Lushington's Ball in 1802 (The Star, 16th March 1802), at Mrs Knox's Rout in 1802 (Morning Post, 19th March 1802), at Lady Milner's Ball in 1802 (The Courier, 23rd March 1802), at Lady Bridget Bouverie's Ball in 1802 (The Courier, 5th April 1802), at Mrs Knox's Ball in 1802 (Morning Post, 9th April 1802), at The Queen's Ball in 1802 (The Courier, 21st May 1802), at Marchioness Headfort's Ball in 1802 (Morning Post, 26th May 1802), at The Portuguese Ambassador's Ball in 1802 (Morning Post, 31st May 1802), at The Royal Rural Fete in 1802 (Morning Post, 16th June 1802), at The Duchess of Devonshire's Fete at Chiswick in 1802 at which it was described as being the Duchess of Devonshire's favourite tune (Evening Mail, 28th of June 1802) and at The Master of the Ceremonies's Ball in Brighton in 1802 (Morning Post, 30th August 1802). It went on to be danced at The Queen's Ball at Frogmore in 1803 (Salisbury and Winchester Journal, 10th of January 1803), at Mrs Thompson's Ball in 1803 (Morning Post, 19th March 1803), at The Master of the Ceremonies's Ball in Brighton in 1803 (Morning Herald, 30th August 1803), at Mrs Pole's Ball in 1804 (The Courier, 29th February 1804), at Mrs Duff's Masquerade in 1804 (The Chronicle, 24th July 1804), at a Ball at Yarmouth in 1806 (The Oracle, 6th January 1806) and at The Countess of Temple's Grand Ball and Supper in 1806 (Oracle and Daily Advertiser, 9th June 1806). It was clearly a popular tune.

We've animated a suggested arrangement of Platts's c.1815 version (see Figure 10, upper) and of Wilson's 1809 version.

For further references see also: Speed the Plough [1] at The Traditional Tune Archive.

The Miller of Drone

The Ball commenced at half-past twelve o'clock, with The Miller of Drone and Keep the Country Bonny Lassie. These two dances were arranged as a medley, and were led off by Mr Thomas Sheridan and Lady Emily Murray. (Mr Sheridan's Fete)

Our next tune was danced to at Mr Sheridan's Fete and was named The Miller of Drone. This is another tune that is simple to identify as it was widely published across the first decade of the 19th century. Before we consider that tune it's interesting to note that a different tune had been published back in the 1740s named The Miller of Dron. Despite the similarity in name it is unrelated to our Miller of Drone, a tune that became popular from around 1806 or thereabouts.

Figure 11. The Miller of Drone from Niel Gow's 1802 Part Second of the Complete Repository of Original Scots Tunes, Strathspeys Jigs and Dances.

One of the first publications of our tune, possibly the very first, was issued in Edinburgh by Niel Gow in his 1802 Part Second of the Complete Repository of Original Scots Tunes, Strathspeys Jigs and Dances (see Figure 11). This publication identified the composer of the tune as being Niel's son Nathaniel Gow (1763-1831). Nathaniel was actually the editor of his father's book, he had therefore identified himself as the composer. There was however a second early publication of the tune, a work which is sometimes used to justify the argument that Gow did not compose our tune.

This second early publication was issued in Edinburgh by John Pringle in his A Collection of Reels Strathspeys & Jigs. The publication date of Pringle's work is unclear however. It is usually estimated to have been issued in 1801 and therefore predates the Gow publication, one might therefore suspect that Pringle composed the tune himself. It's unclear (to me) why the date of 1801 is usually associated with this work though. It's possible, perhaps even likely, that it was actually issued after the Gow publication. Indeed, Pringle issued a second publication that is usually dated to 1802, his A Second Collection of Strathspeys, Reels, Jiggs &c, and yet I'd argue that publication can't have been issued prior to 1805 (due to the inclusion of The Honey Moon, a tune that we've investigated elsewhere). I tend to think that the second volume was probably published in 1806. If the traditional date given to the second volume is inaccurate, it's reasonable to suspect that the date of the first volume is similarly inaccurate. Dating these publications is sometimes an art as much as it is a science! It's possible that Pringle published the tune first, it doesn't much matter, I don't see any reason to question Nathaniel Gow's claim to having composed the tune though.

Regardless of who composed the tune and when it was first published, what's clear is that it became popular in London from around the year 1806, it was regularly republished thereafter. It can be found within Broderip & Wilkinson's 1806 A Selection of the most Admired Dances, Reels, Waltz's, Strathspeys & Cotillons under the name The Miller of Dorne (a minor misspelling), it also appeared in Walker's 1807 13th Number, in Preston's 24 Country Dances for 1807, in Anderson's c.1807 Budget of Strathspeys, Reels & Country Dances, in Campbell's c.1808 No. 1 of Campbell's New and Favorite Original Dances, Strathspeys, Reels &c, in Monzani's c.1809 10th Number, in Dale's c.1809 13th Number, and James Platts's 1809 10th Number and in Hime's c.1810 5th Number. It was also mentioned in Thomas Wilson's 1809 Treasurers of Terpsichore and in Edward Payne's 1814 New Companion to the Ballroom.

It's possible that The Miller of Drone became successful thanks to the personal efforts of the Duchess of Gordon, the host of the first of our 1806 balls. It may be remembered of the second of our 1806 balls, that hosted by Sir Windsor and Miss Charlotte Hunloke, that an allegedly erroneous account in one of the Morning Prints of this splendid entertainment had circulated. That earlier account made reference to The Miller of Drone having been danced. The Morning Post newspaper for the 24th of March 1806 wrote of the ball that: The second dance was two new Scotch dances, arranged as a medley, called for by desire of the bonny Duchess of Gordon, entitled The Miller of Drone, and, Keep the country, bonnie Lassie.. If this account is believed, the tune was danced as part of a medley at the request of the Duchess of Gordon. Indeed, the same medley went on to be danced at the Sheridan ball of 1806, presumably in a deliberate recreation of the arrangement from the previous ball. A medley, in this context, involves two tunes being combined together to result in a single longer tune; typically one might combine a simple two strain tune with a compatible three strain tune to result in a five strain arrangement; that could in turn be danced with a five part arrangement of dance figures, something a good deal more complicated than the norm.

We've animated a suggested arrangement of Platts's 1809 version and of Dale's c.1809 version.

For further references see also: The Miller of Drone [1] at The Traditional Tune Archive.

Keep the Country Bonny Lassie

The Ball commenced at half-past twelve o'clock, with The Miller of Drone and Keep the Country Bonny Lassie. These two dances were arranged as a medley, and were led off by Mr Thomas Sheridan and Lady Emily Murray. (Mr Sheridan's Fete)

Our final tune is the second half of the medley played at the Sheridan Fete and perhaps also at the Hunloke ball. It's named Keep the Country Bonny Lassie and once again it is simple to identify and has an unusual history.

Figure 12. Keep the Country Bonny Lassie from Bland & Weller's collection of Twenty Four Country Dances for the Year 1800 (left) and Let's shak her Weall from Daniel Wright's c.1727 Aria Di Camera.

The curious thing about this tune is that it wasn't widely published in London in the early 19th century. This is unusual. If a tune was danced at society balls in early 19th century London then it would usually be published by the London music publishers at around the same date, that seems not to have happened for this tune (unlike its medley partner The Miller of Drone). Whereas it does appear within many Scottish themed music collections of the second half of the 18th century, both those published in Edinburgh and those issued in London.

The earliest publication of Keep the Country Bonny Lassie seems to have been in London in the c.1758 4th part of Robert Bremner's A Collection of Scots Reels or Country Dances. Shortly thereafter it would be published in Edinburgh in Neil Stewart's c.1761 A Collection of the Newest and Best Reels or Country Dances. Back in London it would be published in the c.1772 third volume of Rutherford's compleat Collection of 200 of the most celebrated Country Dances, then in Edinburgh it appeared within Alexander McGlashan's c.1786 A Collection of Reels. Still in Scotland it appeared within Robert Petrie's c.1796 A Second Collection of Strathspey Reels &c., then probably in London within William Campbell's Twenty Four Country Dances for the Year 1798 (I don't have a copy of this work to check but it's indexed elsewhere as being present). Still in London it appeared in Bland & Weller's collection of Twenty Four Country Dances for the Year 1800 (see Figure 12, left) and then in Edinburgh in Niel Gow's 1802 Part Second of the Complete Repository of Original Scots Tunes, Strathspeys Jigs and Dances. It was also published in London in Napier's c.1806 Selection of Dances & Strathspeys.

The origins of this tune are a little more interesting however as it was published multiple times in London in the first half of the 18th century under the completely different name of Let's shak her Weall. Examples include within Daniel Wright's c.1727 Aria Di Camera publication (see Figure 12, right), in John Walsh's c.1732 A Second Collection of Thirty New and Choice Country Dances, in Walsh's c.1736 first volume of Caledonian Country Dances, in Johnson's c.1740 first volume of A Choice Collection of 200 Favourite Country Dances and in Johnson's c.1748 Caledonian Country Dances. It's unclear why the name changed.

A further curiosity can be found in the Gow publication of 1802 in that Gow published Keep the Country Bonny Lassie on the same page as The Miller of Drone. He had Miller immediately preceding Keep the Country. There's nothing in the Gow publication to hint that the two tunes were expected to be combined as a medley, yet that's what we know to have happened at two London balls in 1806. We also know (see above) that the Duchess of Gordon favoured this particular pairing of tunes. It's unclear whether Gow published the two tunes consecutively because they were already being used in combination at his 1802 date of publication, or whether the Duchess of Gordon (or someone with influence over her) encountered the tunes together in Gow's book and decided that the combination worked. It seems unlikely to have been a coincidence either way.

We've animated a suggested arrangement of Bland & Weller's 1800 version of the dance (see Figure 12).

For further references see also: Keep the Country Bonny Lassie at The Traditional Tune Archive.

Conclusion

If you enjoy recreating the society balls of the early 19th century, any of the tunes named across these balls would be highly suitable for use at your event. If you have anything else to add then do please Contact Us as we'd love to know more.