Seven British Songs

by Ludwig van Beethoven (1770 - 1827) 

Note provided by Laura Prichard: Edinburgh-based publisher George Thomson (1757-1851)
commissioned Beethoven to compose 179 arrangements of Scottish, Irish, Welsh and
continental folk songs. He first made contact with Beethoven in 1803 and first sent 
a collection of 21 un-texted traditional melodies in 1806. Beethoven’s first reply 
(dated 1 November 1806) mentions that ‘Mr. Haydn was given a British pound for each 
air’. Beethoven finally agreed to collaborate in 1809. Sending these consignments 
back and forth during the Napoleonic wars required three copies by different routes 
(sometimes even via Malta and Paris); the English Channel was the most difficult link 
in the chain, as the only way of sending consignments at the time was to enlist 
the aid of smugglers.

For many songs Beethoven was not sent the intended text, which often was not yet 
written, as Thomson commissioned contemporary Scottish poets, principally Robert Burns, 
to write new verses to the original airs. Beethoven repeatedly demanded the texts
from Thomson, however, arguing that he could not compose proper arrangements without 
them. As Barry Cooper points out in his book Beethoven’s Folksong Settings, 
Beethoven described his settings as compositions, which suggests that he took the 
commissions seriously.  Beethoven’s arrangements include violin and cello parts 
(designed to be optional), which are independent of the piano.

1. Adieu my lov'd harp
 (Sung text)

Language: English 
Adieu my lov'd harp, for no more shall the vale,
Re-echo thy notes as they float on the gale;
No more melting pity shall sigh o'er thy String;
Or love to thy tremblings so tenderly sing.

When battle's fell strife launch'd its thunders afar,
And valour's dark brow wore the honours of war;
'Twas thou breath'd the fame of the hero around,
And young emulation was wak'd by the sound.

Ye daughters of Erin soon comes the sad day,
When over the turf where I sleep ye shall say:
"Oh! Still is the song we repaid with a tear,
And silent the string that delighted the ear."

Text Authorship:

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Researcher for this page: Ferdinando Albeggiani

2. Castle O'Neil

— Tacet —

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Note provided by Laura Prichard: “Castle O’Neil” is an Irish air in triple time. It is named for an historic site in County Antrim, Ulster, Northern Ireland. The earliest printing is in collector Edward Bunting's A General Collection of the Ancient Music of Ireland (1796, No. 27, p. 15). The air also was published in Crotch's Specimens of various styles of music referred to in a Course of Lectures read at Oxford and London, and adapted to keyed instruments by W. Crotch, Mus. Doc., Prof. Mus. Oxon. Crotch, who was Principal of the Royal Academy of Music (London) from 1823-1832 delivered lectures on various types of national music from 1800-1804 and 1820, and had them bound in three volumes, familiarly referred to as "Crotch's Specimens". The Irish "specimens", of which this was one, are contained in volume 1.


3. O was not I a weary wight! (Oh ono chri!)
 (Sung text)

Language: English 
O was not I a weary wight! Oh ono chri!
Maid, Wife and Widow in one night, oh ono chri!
When in my soft and yelding arms, oh ono chri!
When most I thought him free from harms, oh ono chri!

Even at the dead time of the night, oh ono chri,
They broke my bower, and flew my Knight, oh ono chri,
With ae lock o'his jet black hair, oh ono chri,
I'll tye my heart for ever mair, oh ono chri!

Nae fly-tongued youth, or flattering swain, oh ono chri,
Shall e'er untie this knot again, oh ono chri,
Thine still, dear youth, that heart shall be, oh ono chri,
Nor pant for aught save heaven and thee, oh ono chri!

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Researcher for this page: Ferdinando Albeggiani

4. Red gleams the sun on yon hill tap
 (Sung text)

Language: English 
Red gleams the sun on yon hill tap,
The dew sits on the gowan;
Deep murmurs thro' her glens the spey,
Around Kinrara rowan.
Where art thou, fairest, kindest lass?
Alas! wert thou but near me,
Thy gentle soul, thy melting eye,
Would ever, ever cheer me.

The lavr'ock sings among the clouds,
The lambs they sport so cheery,
And I sit weeping by the birk,
O where art thou, my dearie?
Aft may I meet the morning dew,
Lang greet till I be weary,
Thou canna, winna, gentle maid,
Thou cann be my dearie.

Text Authorship:

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Researcher for this page: Ferdinando Albeggiani

5. Erin! O Erin!
 (Sung text)

Language: English 
Like the bright lamp that lay on Kildare's holly fane,
And burn'd thro'long ages of darkness and storm,
Is the heart that sorrows have frow'd on in vain,
Whose spirit outlives them, unfading and warm.
Erin, O Erin, thus bright thro'the tears
Of a long night of bondage thy spirit appears.

The nations have fallen, and thou still art young,
Thy sun is but rising, when others are set;
And tho' slav'ry's cloud o'er thy morning hath hung,
The full noon of freedom shall beam round thee yet.
Erin, O Erin, tho'long in the shade,
Thy star will shine out when the proudest shall fade.

Unchill'd by the rain, and unwak'd by the wind,
The lily lies sleeping thro' winter's cold hour,
Till the hand of Spring her dark chain unbind,
And daylight and liberty bless the young flow'r.
Erin, O Erin, thy winter is past,
And the hope that liv'd thro'it shall blossom at last.

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Researcher for this page: Ferdinando Albeggiani

6. O Mary, ye's be clad in silk
 (Sung text)

Language: English 
O Mary, ye's be clad in silk,
And diamonds in your hair,
Gin ye'll consent to be my bride
Nor think on Arthur mair.
Oh, wha wad wear a silken gown,
Wi' tears blinding their ee?
Before I'll  break my true love's heart,
I'll lay me down and die.

For I have pledg'd my virgin troth,
Brave Arthur's fate to share,
And he has gi'en to me his heart
Wi' a' its virtues rare.
The mind whose every wish is pure,
Far dearer is to me,
And e'er I'm forced to break my faith,
I'll lay me down and die.

So trust me when I swear to thee,
By a' that is on high,
Thoug, ye had a'this warld's gear,
My heart ye couldna buy;
For langest life can ne'er repay,
The love he bears to me;
And e'er I'm forced to break my troth,
I'll lay me down and die.

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7. Lament for Owen Roe O'Neill

— Tacet —

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Note provided by Laura Prichard: “Lament for Owen Roe O’Neill” (in Irish Gaelic: "Uaill Cuma Eogan Ruaid Ua Niall”) is a slow Irish air in the Dorian mode. It is attributed to Irish harper Turlough O’Carolan (1670–1738) by Bunting’s General Collection of the Ancient Irish Music (Dublin, 1796) and Hardiman’s Irish Minstrelsy (London, 1831). However, Gratten Flood’s History of Irish Music (Dublin, 1905), says that the lament was composed soon after O’Neill’s death in 1649, predating O’Carolan's birth.

The tune commemorates Owen Roe O'Neill (Eoghan Rua Ó Neill, 1582–1649), was a member of the noble O'Neill family of County Tyrone. He fought in the Spanish Netherlands, and returned an officer in 1642 to mastermind the Confederation of Kilkenny rebellion against the Stuarts. After winning an important victory at Benburb (1646), he died at Cloughouter, County Cavan, just before he was to campaign against Oliver Cromwell's Roundheads (and thus his death was considered a national catastrophe). Legend maintains that O’Neill’s shows were poisoned before a banquet. After he danced vigorously for several hours, the poison was absorbed into his skin, leading to his death several days later.


Total word count: 632