Enthusiasms No. 79|
A collection of shorter pieces on subjects of
interest, outrage or enthusiasm ...
ON HIS MAJESTY'S APPROACH TO DUBLIN; WRITTEN
IMPROMPTU ON THE 5TH AUGUST BY MR. W. KERTLAND
Air - "There's nae luck about the House."
"LET DISSENSIONS BE FORGOT."
IMPROMPTU, BY WM. KERTLAND.
Appointed to be sung or said in all convivial and
small Kind-hearted Meetings on St. Patrick's Day.
As far as Miss Bailey ... is concerned, it appears that the 'original' piece was actually contrived by a Thomas Simpson Cooke (1768-1848), Irish-born composer who eventually settled in London (also responsible, it seems, for a favourite broadside entitled Love's Ritornella - first aired in The Brigand of 1829). Cooke's piece was entitled The unfortunate Miss Bailey and begins!
"Love Laughs at Locksmiths" is a tale from a French piece, in two acts, called "Une Folie," performed lately, with great applaufe, at Paris, and written by J. N. Brouilly.
Given the somewhat tangled history of the printed pieces, there is still more information that underlines the popularity of the 'marry' version in performance. Dorothy Jordan is known through attribution on copy (in the Bodleian archive) to have sung Laurie's and Whittle's 'Marry' version of August 1806 at the Theatre Royal Drury Lane 'with unbounded applause'. Also in 1806 the Morning Post noted a performance at The Royal, Haymarket of ' "Nobody coming to Marry Me," by a Miss Tyrer...'25 There was another 1806 performance, advertised in the Bury and Norwich Post
as 'A GRAND CONCERT', in which 'Miss DAVIES will sing "Nobody coming to Woo"; and in the same newspaper during the same year there was an advertisement for 'New songs sung at Vauxhall' including 'Nobody coming to marry me'.26 In 1807 The Hull Packet advertised a concert during which 'In the course of the evening the admired Ballad of "NOBODY COMING TO MARRY ME",' would be sung by 'Mrs. Fofter'.27 Still in 1807, the Caledonian Mercury advertised the appearance of Mrs Atkins and a Mifs Nicholson, both singing the songs at Corri's.28 A Mrs. Liston also sang the piece at the Royal, Haymarket, in 1807. Mrs. Cooke's 1808 contribution has already been mentioned. Nobody Coming to Woowas sung at the Sans Pareil Theatre, Strand in 1809.29
The distribution and sharing of performance amongst various singers is typical enough. Each of the lives may be interesting but not quite relevant to discussion here.
However, a note on Mrs. Dickons would not, perhaps, go amiss. She, one of a number of singers who was prominent during the earliest part of the century, and was discussed at more length in the MTarticle on Crazy Jane, featured during a benefit night for her person in 1809 at the Royal, Edinburgh in a performance of Lionel and Clarissa. 'During the course of the evening' Mrs. Dickons was to sing several songs. This, as indicated above in the case of the Mathews and Fawcett contributions, was normal procedure (and as very much found in connection with Crazy Jane), a favourite song being dropped into an unrelated performance. So, on this occasion, Mrs. Dickons is recorded as singing Nobody's Coming to marry me, nothing to do with the essential narrative of Lionel and Clarissa.30
In a connective advertisement in 1807 the Caledonian Mercury had noted the publication of Nobody ... marry amongst a series of airs J. H. Butler. Further, Thomas Latour, turned his own attention to Nobody ... Both these composers also produced versions of the Crazy Jane song.31 Composers were fond of re-setting a song or a written piece throughout this period in time.
These are the occasions found on record and whilst, obviously, nothing can be said about possible unrecorded ones, if the dates given above for printings and performances are computed then a period is exposed when Nobody seems to have been particularly popular. It is worth re-emphasising that the sung version of the ballad seems to have been the one that substituted 'marry' for 'bury' - not, then, Kertland's parody which, in one way, turns out to have been a slight aberration or, at least, a close joke.
Such was the popularity of the piece that it seems almost inevitable that Jane Austen, an enthusiastic theatre-goer and frequently ready to cite aspects of popular entertainment, had a copy of the song in her collection of printed and manuscript material and this was the very same that Dorothy Jordan had sung in London. It should be noted that on the Austen copy the name of the writer is given as 'T. Coke' (sic) and the publisher as Walker in Great Portland Street. There is no date but the archive consulted here indicates that the piece was included in an Austen collection made between c.1795 and 1810.32
Roly Brown - 27.4.17
Oradour sur Vayres, France.
2. See Freeman's Journal and Daily Commercial Advertiser, 7th February 1821.
3. For the two Kertland pieces see the Morning Post, 10th August 1821 and the Lancaster Gazette , 1st September 1821.
4. Kertland's involvement in deciding matters of dress was noted in the Morning Chronicle, 8th April 1821. The welcome meeting was recorded in the Morning Post, 11th August 1821. The King's departure was noted in both the Morning Chronicle and the Morning Post, 6th September 1821.
5. For Kertland and the window- tax see Freeman's Journal... for 3rd April 1821 and for the Recorder's Court, Freeman's ... for 6th November 1821.
6. See the Morning Post for 12th March 1828.
7. Kertland's work in the The Mendicity Association was noted by Freeman's for 8th and 11th September 1821; and again throughout January and February of 1830.
8. As examples, for ink see Freeman's ... for 8th August 1821 and Freeman's ... during January and February; blacking in Freeman's for 16th January 1830 and the months following; soda in Freeman's for 28th August 1821; and tickets in Freeman's ... for 18th July 1820 and 4th April 1821.
9. See the Caledonian Mercury: 12th January 1801 - a subscription concert; 26th January 1807 - a concert by Mr. and Mrs. Corri themselves; 15th June 1816 - a Grand Fete and Ball on the first anniversary of Waterloo; 29th October; and there are many more occasions. Tickets for all of these were to be had at Mr. Corri's Music Shop in Edinburgh.
10. The Laurie and Whittle printing is found in the Bodleian archive as Harding B 10(1). The illustration is by George Cruickshank (1792-1878).
11. For Blanchard, see the Theatrical Examiner for 1st May 1808; for Mathews, the Hull Packetfor 21st January 1812; for Oxberry (an example only) the Aberdeen Journal 12th October 1808..
12. See (online) The European Magazine and London Review, Vol. 44, July to December 1803.
13. The Rowlandson etching, dated 20th August 1811, can be found on-line: from the Royal Collection Trust.
14. Colman the Elder lived from 1732 until 1784. He was a dramatist, essayist and theatre manager at Covent Garden.
15. Love Laughs is one of many pieces that sped across the Atlantic. So did Cooke's song of Nobody , published by G. E. Blake in NewYork. Mathews performed in more than one Colman production - The Jew (1803), All the World's a Stage (1803) and Actor of all Work (1817)...
16. Both ballad references can be found as entries in a National Library of Ireland catalogue. Goodman was still active as a music publisher in Dublin in 1810-1811.
17. The Jones ballad is found in the Bodleian archive as Harding B 10(61) and Johnson Ballads 87. Jones references are found in the Morning Chronicle for 6th October 1807 (his transfer from Dublin); 28th October - the extended comment; 18th December 1807 with Incledon, Fawcett and Mrs. Dickons; 27th August 1808 - a Jones benefit night at the Royal, Covent Garden; and subsequently in presentations associated with Astley.
18. The reference is to copy from Alice Swindells in the Bodleian archive as Harding B (1372)
19. The young squire version is found in the Bodleian archive as Harding B 25(1368) and Harding B 24(1369). Printers of 'breeches' ballads include Hurd, Oxlade, Pitts, Pollock and Catnach - and there is copy without imprint, mostly different copy.
20. See W. Thomson: Orpheus Caledonius, published in London in 1733; Robert Ford (ed.): Vagabond Songs and Ballads of Scotland, 1899 ('Yestereen the dogs they were barking'); the Greig-Duncan Collection, Vol. 7 (also 'Yestereen...'), 1997.
21. The Laurie and Whittle printing is found in the Bodleian archive as Harding B 10(39) dated 1st August 1806.
22. The 'Weft-fmithfield' copy is found in the Bodleian archive as Harding B 17(220a).
23. Mate's Miss Bailey is found in the Madden collection as Volume 89, Number 61.
24. All these versions of text are online: on p. 459 in the Encyclopaedia , on p.232 in the Universal Songster,in Vol. 1, pp.230-1 of The London Magazine , in Ashburner's, p. 21(?) - and so on. American references can also be found online.
25. See the Morning Post for 9th August 1896.
26. The two Bury and Norwich Post references are dated 13th August 1806 and 5th November 1806.
27. See the Hull Packet for 27th January and 2nd March 1807.
28. See the Caledonian Mercury for 21st February and 12th March 1807.
29. For Mrs. Liston, who appears in newspaper reports elsewhere, sometimes solo and sometimes with her husband, see the Morning Postfor 20th and 29th August 1807. For the Sans Pareil occasion, see the Morning Post for 28th August and 18th November 1809.
30. For Mrs. Dickons, see the Caledonian Mercury for 29th June 1809. Previously, the same newspaper had recorded her (19th January 1807) singing the ballad as No body cumming to marry me. Both occasions were in Edinburgh.
31. The Butler advertisement is found in the Caledonian Mercury for 14th March 1807. Latour's arrangement was published by Bland and Weller in London, c.1800-1806. Latour was also referred to in MT articles 299, on Porter, and 308, on Crazy Jane.
32. The Jane Austen music books are kept in the University of Southampton. The online reference is to 'Jenkin 05'.
33. See Alfred Williams: Folk Songs of the Upper Thames, 1923 (Republished by S. R. Publishers Ltd., Wakefield, n. d.), pp.226-227. Andrew Bathe (Cirencester) kindly furnished details of David Sawyer's life.
34. See Michael Pickering: Village Song and Culture, Croom Helm, London, 1982. The particular references are to page 53 (Aris) and page 99 (Newman). Pickering got details from Sam Newman's son, Ernest, in Banbury).I must thank Tim Radford, one time closely associated with the Adderbury Morris dances, now resident in America, for reminding me of Michael Pickering's book.
35. See Mary Ann Carolan: Songs from the Irish Tradition, recorded 1978, issued by Topic in 1982, as 12TS362.
36. For Silly Sisters, see No More to the Dance, Topic TSCD 50, 1988; reissued 2004; again in 2009 for Topic's 70th anniversary; and on Shanachie 79069.
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