Inglis Collection of printed music > Printed music > Songs of Scotland adapted to their appropriate melodies > Volume 1
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SAW YE JOHNNIE COMIN'?
133
fflafet
I3S
^
a^zi
And his dog-gie rin - nin'?
f
3
r o-^1 — FS
■ _• *
S§
jjyl-'
azr=t
dim.
V
t- * — ^-
Fee him, father, fee him, quo' she,
Fee him, father, fee him ;
Fee him, father, fee him, quo' she,
Fee him, father, fee him ;
For he is a gallant lad,
And a weel-doiu' ;
And a' the wark about the house,
Gaes wi' me when I see him, quo' she,
Wi' me when I see him.
What will I do wi' him, quo' he,
What will I do wi' him ?
He's ne'er a sark upon his back —
And I ha'e nane to gi'e him.
I ha'e twa sarks into my kist,
And ane o' them I'll gi'e him ;
And fur a merk o' mair fee
Dinna stand wi' him, quo' she,
Dinna stand wi' him.
For weel do I lo'e him, quo' she,
Weel do I lo'e him ;
For weel do I lo'e him, quo' she,
Weel do I lo'e him.
fee him, father, fee him, quo' she,
Fee him, father, fee him ;
He'll haud the pleugh, thrash in the barn,
And crack wi' me at e'en, quo' she,
And crack wi' me at e'en.
"Saw ye Johnnie comin'?" "This song, for genuine humour, and lively originality in the air, is unparalleled.
I take it to be very old." — Uurns's Reliqves. This observation has been hastily made; for the air, either when
played or sung slowlj', as it ought to be, is exceedingly pathetic, not lively. Burns afterwards became sensible
of this ; for, in one of his letters to Thomson, inserted in Currie's edition of his works, he says, " I inclose you
Fraser's set of this tune ; when he plays it slow, in fact he makes it the language of despair. Were it possible
in singing, to give it half the pathos which Fraser gives it in playing, it would make an admirable pathetic song.
I shall here give you two stanzas in that style, merely to try if it will be any improvement." These stanzas begin
" Thou hast left me ever, Jamie," &c. " Mr. Thomas Fraser, to whom Burns alludes, was an intimate acquaintance
of the poet, and an excellent musician. He still lives, and is at present (1820) the principal oboe concerto player
in Edinburgh, of which city he is a native. His style of playing the melodies of Scotland is peculiarly chaste and
masterly." See Museum Illustrations, vol. i. pp. 5, 6. The Editor of the present work can speak of the abilities
of Thomas Fraser as an excellent oboe player. For him, expressly, were written several solo passages in Orches-
tral Symphonies by the Editor, which were performed at the public Edinburgh " Fund Concerts," &c. Fraser
died in 1825.
The following are the two stanzas written by Burns for this air, and sent to Mr. Thomson in September 1793 :
Thou hast left me ever, Jamie,
Thou hast left me ever ;
Thou hast left me ever, Jamie,
Thou hast left me ever.
Aften hast thou vow'd that death
Only should us sever ;
Now thou's left thy lass for aye —
I maun see thee never, Jamie,
I'll see thee never.
Thou hast me forsaken, Jamie,
Thou hast me forsaken ;
Thou hast me forsaken, Jamie,
Thou hast me forsaken.
Thou canst love anither jo,
While my heart is breaking :
Soon my weary e'en I'll close,
Never mair to waken, Jamie,
Ne'er mair to waken.
133
fflafet
I3S
^
a^zi
And his dog-gie rin - nin'?
f
3
r o-^1 — FS
■ _• *
S§
jjyl-'
azr=t
dim.
V
t- * — ^-
Fee him, father, fee him, quo' she,
Fee him, father, fee him ;
Fee him, father, fee him, quo' she,
Fee him, father, fee him ;
For he is a gallant lad,
And a weel-doiu' ;
And a' the wark about the house,
Gaes wi' me when I see him, quo' she,
Wi' me when I see him.
What will I do wi' him, quo' he,
What will I do wi' him ?
He's ne'er a sark upon his back —
And I ha'e nane to gi'e him.
I ha'e twa sarks into my kist,
And ane o' them I'll gi'e him ;
And fur a merk o' mair fee
Dinna stand wi' him, quo' she,
Dinna stand wi' him.
For weel do I lo'e him, quo' she,
Weel do I lo'e him ;
For weel do I lo'e him, quo' she,
Weel do I lo'e him.
fee him, father, fee him, quo' she,
Fee him, father, fee him ;
He'll haud the pleugh, thrash in the barn,
And crack wi' me at e'en, quo' she,
And crack wi' me at e'en.
"Saw ye Johnnie comin'?" "This song, for genuine humour, and lively originality in the air, is unparalleled.
I take it to be very old." — Uurns's Reliqves. This observation has been hastily made; for the air, either when
played or sung slowlj', as it ought to be, is exceedingly pathetic, not lively. Burns afterwards became sensible
of this ; for, in one of his letters to Thomson, inserted in Currie's edition of his works, he says, " I inclose you
Fraser's set of this tune ; when he plays it slow, in fact he makes it the language of despair. Were it possible
in singing, to give it half the pathos which Fraser gives it in playing, it would make an admirable pathetic song.
I shall here give you two stanzas in that style, merely to try if it will be any improvement." These stanzas begin
" Thou hast left me ever, Jamie," &c. " Mr. Thomas Fraser, to whom Burns alludes, was an intimate acquaintance
of the poet, and an excellent musician. He still lives, and is at present (1820) the principal oboe concerto player
in Edinburgh, of which city he is a native. His style of playing the melodies of Scotland is peculiarly chaste and
masterly." See Museum Illustrations, vol. i. pp. 5, 6. The Editor of the present work can speak of the abilities
of Thomas Fraser as an excellent oboe player. For him, expressly, were written several solo passages in Orches-
tral Symphonies by the Editor, which were performed at the public Edinburgh " Fund Concerts," &c. Fraser
died in 1825.
The following are the two stanzas written by Burns for this air, and sent to Mr. Thomson in September 1793 :
Thou hast left me ever, Jamie,
Thou hast left me ever ;
Thou hast left me ever, Jamie,
Thou hast left me ever.
Aften hast thou vow'd that death
Only should us sever ;
Now thou's left thy lass for aye —
I maun see thee never, Jamie,
I'll see thee never.
Thou hast me forsaken, Jamie,
Thou hast me forsaken ;
Thou hast me forsaken, Jamie,
Thou hast me forsaken.
Thou canst love anither jo,
While my heart is breaking :
Soon my weary e'en I'll close,
Never mair to waken, Jamie,
Ne'er mair to waken.
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Special collections of printed music > Inglis Collection of printed music > Printed music > Songs of Scotland adapted to their appropriate melodies > Volume 1 > (149) Page 133 |
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Permanent URL | https://digital.nls.uk/94708760 |
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Shelfmark | Ing.127 |
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Attribution and copyright: |
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More information |
Description | Scottish and English songs, military music and keyboard music of the 18th and 19th centuries. These items are from the collection of Alexander Wood Inglis of Glencorse (1854 to 1929). Also includes a few manuscripts, some treatises and other books on the subject. |
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Description | The Glen Collection and the Inglis Collection represent mainly 18th and 19th century Scottish music, including Scottish songs. The collections of Berlioz and Verdi collected by bibliographer Cecil Hopkinson contain contemporary and later editions of the works of the two composers Berlioz and Verdi. |
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