The Fiddler’s Companion
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Biographical Sketches
Of Early Scottish
(by John Glen, from a
forward to The Glen Collection of
Scottish Dance
Music,
ROBERT
BREMNER. Robert Bremner is stated to
have been born about the year 1720, although it is more likely that the event
took place seven years previously. The
place of his birth is unknown. He is the earliest Scottish musicseller of whom
we have any knowledge, and was probably a musician or teacher of music before
starting in business. The first mention
of his name is in connection with a concert which he gave on
Grove’s Dictionary and other sources
have given earlier dates, which have been frequently copied by booksellers in
their catalogues, and by many others.
These dates appear to be founded upon an assertion by W. Stenhouse, who
says, “Bremner’s Thirty Scots Songs circa
1749. This is genuine copy of the first impression before
Bremner went to
That the date assigned by Stenhouse
to the issue of the Thirty Scots Songs already alluded to is incorrect, may be
proved from the following excerpt, taken from an advertisement which appeared
on 23rd April 1757:--“In the Press, and speedily will be published
Thirty Scots Songs some of which are for two voices, with a thorough Bass for
the Harpsichord or Spinnet, the music taken from the most authentic sets
extant. The words from Allan Ramsay
except a few never before printed.
Edinburgh, Robt. Bremner at the Harp and Hautboy.” Subsequent advertisements announce the
appearance of these songs by the beginning of July of that year.
NEIL STEWART. Is the next musicseller and dealer in
musical instruments in Ediburgh, regarding whom there is any information. The earliest notice observed of him, is in an
advertisement, dated 14th November 1759, his place of business being
then in the Exchange, as appears by an advertisement in February 1765, his shop
then bearing the sign of the Violin and Guitar.
In July 1770, we find “Neil Stewart junior at his shop within the entry
leading to Miln’s Square facing the Tron Church Edinburgh,” but whether this
was the same individual using junior to distinguish him from another of the
same name in Miln’s Square, or a son and successor of the Neil Stewart of 1759,
is not certain. There is no reference to
a “senior” carrying on in the music line either immediately before or after
1770, nor so far as known has “junior” been appended to any music published by
Neil Stewart. The conjecture therefore
is that they may be either one and the same person, or, what is more likely,
father and son. In May 1773, “Neil
Stewart” removes to the Parliament Close, as the following announcement
intimates:--“This is to inform the public that Neil Stewart has removed from
his shop from Miln’s Square to the Parliament Close,” &c.: and from what
follows it is apparent he was a teacher of dancing, “N.B. Neil Stewart who taught dancing in Newcastle upon Tyne for
eight years &c has now opened school in partnership with Mr. M’Lean,”
&c. The partnership was dissolved in
May 1775 having lasted two years only.
In another advertisement, November 1787, the business is announced as
being carried on under the style of Neil Stewart & Company, and it is
stated that one of the partners has lately been in
ROBERT ROSS.
Robert Ross now follows as the third
CORRI
AND SUTHERLAND. The writer has not been able to trace any
additions to the music selling trade in
JOHN BRYSON.
John Bryson, the successor of Robert Bremner, who died in London in May
1789, probably purchased Bremner’s Edinburgh stock, as he carried on business
in the same premises at the head of Old Assembly Close, behind the Cross
Well. Bryson was probably twenty-three
years of age when he became manager of Bremner’s
JOHN RIDDELL.
The earliest name that has come down to us as a composer of Scottish
Dance Music, is that of “John Riddell of Air,” as the name is spelt in the
second edition of his collection, which was published by James Aird, Glasgow,
in 1782. The late Dr. David Laing, in
his Introduction to Blackwood’s edition of Johnson’s “
On computing the
difference between the Old and the New Style, and comparing the dates, we may
plainly see that both of these entries refer to the same individual. When Robert Bremner published in his
Collection of 1757 “The Merry Lads of Air,” John Riddell was 39 years of age, a
circumstance which strengthens the supposition that the first edition of
Riddell’s “Collection” must have been issued considerably before 1776. Riddell’s name appears among the list of
subscribers to the first and third Collections of Niel Gow’s “Strathspey
Reels,” &c. John M’Gill, another
Ayrshire muscian, born in 1707, and said to have composed the tune bearing his
name (now known as “Come Under my Plaidie”), is said to have been associated
with Riddell.
DANIEL DOW.
Daniel or Donald Dow first comes under our notice in connection with a
series of concerts (probably annual) which he was in the habit of giving. The earliest advertisement discovered appears
under date
Dow appears to
have been a man of considerable energy and attainments. His concerts were usually held in St. Mary’s
Hall, Niddry’s Wynd, Edinburgh.
Of the several
books which he published no advertisements appear in the newspapers, but a
notice appears in the November and December numbers of the Edinburgh Magazine and Review for 1773, which contains the tunes
“Athol House and Ossian’s Hall,--a New Reel,”
In a foot note appended to this reel is found, “Inscribed to Sir James
Clerk of Pennycuick ‘Ossian’s Hall’ a new country dance composed by Mr. Dow. This piece and the former by the same composer
are inserted at his desire.” His various
publications of Strathspeys, Reels, Jigs, and Minuets. &c., probably did
not appear until after his marriage, which took place in December 1774, to
Susanna Small, from Kirkmichael, Perthshire, of which place he himself is
believed to have been a native. Dow died
from fever, at the age of 51, in January 1783, and is buried in the Canongate
Churchyard, Edinburgh. He was survived
by his widow and four children, for whose benefit a concert was given, shortly
after his death, in St. Cecelia’s Hall.
Regarding the
dubiety attaching to his Christian name, it may be pointed out that in the
Marriage Register for 1774 he is called “Donald,” but on all his books, as well
as in the Recorder’s entry relating to his death, he is named “Daniel.” Many of his tunes are excellent and great
favourites, such as “Athol House,” “Bonnie Annie,” “
JOSHUA
CAMPBELL. Joshua Campbell, musician
in Glasgow, who published three collections, two of which are of dance music,
is brought into notice through his advertisement in 1762, which is as
follows:--“Joshua Campbell Musician proposes to teach the guitar having been at
some expense at
In 1788, James
Aird, Junior,
What are
Campbell’s own compositions can only be surmised from their titles, or from the
fact of their having first appeared in his collection, as he never put his name
to any of them.
In the first
Senex in his Reminiscences (p. 145) says, “They (the
bells) consisted originally of twenty-eight in number, and in my younger days
were played upon by old Joshua Campbell.”
The information about Joshua’s salary was kindly afforded the Editor by
Mr. Nicol, the City Chamberlin of Glasgow.
ALEXANDER
M’GLASHAN. Alexander M’Glashan, who from his stately and
dressy appearance acquired the name of “King M’Glashan,” was long connected
with the musical professions in
ANGUS CUMMING. The only information obtained regarding this
musician is contained (1) in an advertisement,—issued in March 1780—which runs
as follows:--“Strathspey Reels.—On Wednesday next the 22nd instant
will be published, price Five Shillings—A Collection of Strathspey or Old
Highland Reels, with a Bass for the Violincello and Harpsichord by Angus
Cumming, Musician at Grantown in Strathspey.
The Publisher flatters himself, from the advantage he has enjoyed of
being in that country where this species of Scots Music is preserved in the
greatest purity, and by cultivating in with the greatest care and assiduity
from his earliest years, that this Collection will not be found altogether
unworthy of the approbation of the Public.—To be had at the Shop of Mr.
Donaldson, bookseller, and at the house of Mr. McDonald, Musician, Castlehill,
to either of which places such Subscribers as have not yet received their
copies will please to send:” and (2) in the preface to the first edition of his
collection, where it is stated that “The
Publisher follows the profession of his forefathers; who have been for many
generations Musicians in Strathspey;” and he mentions that he had spent several
years in forming this collection.
JAMES AIRD.
James Aird followed the
occupation of Music Seller in
Aird’s first
announcement, which appears in December 1779, is in the following
terms:--“James Aird at his Shop, the
corner of Gibson’s Wynd, New Street, Glasgow, &c.—At the same Shop may be
had, &c.,--also the following Musical Instruments, Spinets, Violins, German
Flutes, fifes, hautboys, Clarionets with books of instructions and a great
choice of Songs, &c.—N.B. J. Aird
removes at Whitsunday next to the Shop presently possessed by Mr. Alexander
Givan, Mr. M’Nair’s Land,
ROBERT
MACINTOSH. The earliest notice of Robert Mackintosh,
alias “Red Rob,” is to be found in Peter Williamson’s Directory ofr 1773-74, where
his profession and address are given as “Musician, Skinner’s Close.” He removed in 1774 to Trunk Close. In February 1775, in conjunction with Mr.
Muschet, he gave a concert of vocal and instrumental music. In 1780, he announces a concert, for which
tickets were to be had at his house in Barranger’s Close. Shortly afterwards, he advertises a public
class for the violin, stating his terms, &c., as follows:—“Admittance to
the public class one guinea per quarter only.
Any gentleman may have a private hour, either at his own lodging or at
Mr. Mackintosh’s house in Barranger’s Close, at one guinea per month.” His residence in 1782 is in Burnet’s
Close. In 1783 he gave a concert of
vocal and instrumental music, at which Mr. Salomon, a celebrated musician of
his time, performed several favourite pieces.
“Tickets 3/- each at Mr. Mackintosh’s lodgings Advocate’s Close.” Before the close of the year he published his
first book, which, along with airs, minuets, and gavottes, contains some
excellent reels. In December 1788, he
advertises as follows:--“Music Teaching, Robert Mackintosh begs leave most
respectfully to inform his friends and the public, that he has again taken up
his residence in Edinburgh after an absence of three years during which period
he led the band in the Gentlemen’s Concerts at Aberdeen.” “Apply at Bremner and Stewart’s Music
Shops.” It was probably while residing
in
In his Memoir of
Nathaniel Gow, prefixed to the posthumous collection of Niel Gow, Junior,
issued in 1837, Joseph M’Gregor has seriously erred regarding certain of his
dates: these inaccuracies we desire to
set to rights. To quote M’Gregor’s own
words:--“At an early age he (i.e. Nathaniel Gow) was sent to Edinburgh, where
he continued the study of the violin, first under Robert M’Intosh, or Red Rob,
as he was called, until the latter, from his celebrity, was called up to London. He next took lessons from M’Glashan….who was
in high estimation as an excellent composer of Scottish airs, and an able and
spirited leader of the fashionable bands…Gow’s first professional appearance,
it is believed, was in the band conducted by King M’Glashan, in which he played
the violincello. After the death of
M’Glashan, he continued under his elder brother William Gow, who succeeded as
leader,--a situation for which he was well fitted by his bold and spirited
style.”
Mackintosh, as
previously stated, left
That Gow could
have taken lessons from M’Glashan after 1803 was an impossibility, as the
latter died in 1797; neither could William Gow have succeeded M’Glashan after
his death as William Gow died in 1791, but it is probable that M’Glashan
retired from the leadership about the last mentioned date, and that William Gow
held it for a short time.
Instead of
Nathaniel Gow being taught my M’Glashan after Mackintosh went to London, it is
more than likely to have been after he went to Aberdeen.
By his wife,
Margaret Mill, Mackintosh had 13 children, born between 1767 and 1797. Three of these were named Robert, the first
being born in 1771, the second in 1774, and the third in 1797. The second and third Roberts were alive at
the same time. The former (who followed
the musical profession) married an “Edward” Johnston, and on 18th
January 1799 a son was born to them, named James.
The Editor
ascertains from Mr. James M’Intosh, of Boatlands, near Coupar-Angus,
Forfarshire, that he is the great-grandson of James M’Intosh (a brother of Red
Rob), who followed the vocation of blacksmith at Tinereoch, in the Vale of
Athole (near Tullymet), and had five sons, all of whom were violin players. Of
these, John was at one time bandmaster to the 42nd Highlanders
(Black Watch), and afterwards settled as a musicseller in Dublin. Another, David, was pipe-major to the 93rd
Highlanders; he died in Portugal. The
other three nephews did not follow the profession of music.
PATRICK
MACDONALD. Patrick MacDonald was born in the Manse of
Durness, Sutherlandshire, on 22nd April 1729. His grandfather and father were musically
inclined. The latter, the Rev. Murdo
Macdonald, to whose memory Rob Donn composed an elegy, was a man of wonderful
talents, and he taught his children the principles of music, besides
encouraging them in that art.
Mr. Murdo’s
career is worthy of notice. He was born
on 3rd May 1696, educated at St. Andrews, licensed to preach the
Gospel of 25th September 1725, and ordained minister of Durness on
28th September 1726. On 23rd
May 1728, he married Agnes, daughter of
the Rev. Patrick Cooper of Pittenweem, by whom he had four sons and seven
daughters. He dept a Diary extending to
7 volumes, and which contains numerous entries of remarkable interest. It was during his ministry that Robert
Calder, usually called Rob Donn, the bard of the Reay country, composed his
songs; and the poet’s intercourse with the family was, no doubt, of mutual
advantage.
Patrick and his
brother Joseph (who was born on 26th February 1739) were at an early
age the pupils of Kenneth Sutherland of Cnocbreac, who was known for his
remarkable skill in violin-playing.
Joseph was the more apt pupil, however, and in addition to being a good
violinist, he had some ability as a vocalist.
His father relates that, at the age of eight, Joseph led the psalmody in
church.
Their sister
Flora, afterwards married to Dr. Touch, minister of St. Cuthbert’s Chapel of
Ease, equaled, if she did not excel, her brothers as an instrumentalist; and
the father not infrequently held a musical evening, when the musicians of his
family competed with one antoher, not only in playing airs, but also in
composing them. Joseph excelled in composition,
and not a few of his airs enjoyed the distinction of having the songs of the
local poet made to suit them.
Joseph was
educated at the Grammar School of Haddington, the master of which was a friend
of his father’s. Receiving an
appointment in India, he proceeded thither in 1760, leaving a collection of
airs,—compositions of his youth—as a parting gift to one of his sisters. In Persia he got the natives to make for him
two or three whistles (Feadain meaghra)
on which he practised, and thereby revived and sustained his recollections of
the airs he used to play. His career in
India, however, was destined to be short; for in 1762 he was seized with a
malignant fever, from which he did not recover.
A Treatise on the Theory of the Scots Highland Bagpipe written by him,
was discovered in Bengal by Sir John Murray Macgregor, Bart., and delivered by
him to Patrick, who published it in 1803.
From the preface to the collection of Patrick Macdonald, published in
1784 (which is referred to in the Chronological List appended to this work), it
may be inferred that the whole of the North Highland Airs—eighty-six in
number—were those given by Joseph to his sister.
Patrick (the
subject of this article) was in 1737 sent to his grandfather’s at Pittenweem,
where he spent some time. On his return
home, his father took charge of his education, and in 1747 sent him to the
University of Aberdeen. He was duly
licensed a preacher, and on 12th October 1756 was presented to
Kilmore, where he laboured as a minister of the parish for the long space of
sixty-nine years. He was married to
Barbara M’Donald, bu whom he had a family of nine sons and four daughters. He died father of the Church, on the 25th
of September 1824. His ministerial
office appears to have deterred him from becoming a bagpipe player like his
brother Joseph, but in his handling of the violin, he is acknowledged to have
been unexcelled among his presbyterial brethren. An anecdote is related of him, that being in
Ediburgh on the one occasion as a member of the General Assembly of the Church,
he was urged by Stabilini (who was indisposed) to act as his substitute for the
evening. He agreed to do so, and it is
said that he executed his part so well that his audience were charmed and
delighted. It is also said that there
was some talk of his clerical brethren taking him to task for this performance
in a playhouse, but that the general esteem in which he was held saved him from
being brought to book.
ROBERT
RIDDEL of Glenriddel. Robert Riddel of Glenriddel was a gentleman
of antiquarian tastes, and a musical amateur.
He was a descendant of the famous Sir Robert Lawrie of Maxwelton, the
successful opponent of the Dane who brought over the whistle and challenged the
Bacchanalians of his time to contest the same over their wine; and at his house
at Friars Carse the whistle was last contended for, as celebrated by our
National Bard, Robert Burns, in his well-known poem of “The Whistle.” Riddel was an intimate and esteemed friend of
Burns.
In 1787, Riddel published “New Music
for the Piano Forte or Harpsichord, composed by a gentleman,"—which was
advertised as follows by James Johnson on the same day on which the first
volume of the Scots Musical Museum
made its appearance:--“Where also may be had a Collection of Reels, Minuets,
Marches, and Scots Songs with variations for the Harpsichord by a
Gentleman—Price 4/.” He also published a
“Collection of Scotch, Galwegian, and Border tunes for the Violin, &c.,
Selected by Robert Riddell of Glenriddell Esq. Price 7 sh.”:--a work which
Johnson advertised in May 1794, about a month after Riddel’s death (which
occurred on 21st April). For
three songs written by Burns he composed the airs,--“The Blue-eyed Lassie”;
“Nithdale’s Welcome Hame”; and “The Day returns, my bosom burns.” Mr. David Laing in his introduction to
Johnson’s Scots Musical Museum,
states that “Mr. Riddell was an excellent man but no musician, as I have been
assured by a competent judge whose partiality to the Author would have made him
very sensible of any merit his compositions might possess.” Mr. Sharpe, in addition to this note, says
with reference to a poem, “The Bedesman of Nithside,” 1792, 4to, with a
vignette, by Captain Grose—“Sir Walter
Scott told me that this production puzzled him—it was much too good for
the one, and much too bad for the other.”
Whether the above be or be not a true estimate of Riddel’s musical
abilities, his reels and other dances which the Editor has seen in various
Collections have little or no merit.
MALCOLM
M’DONALD. Malcom M’Donald published four collections of
Strathspey Reels, &c. The first of
these, as its title-page indicates, was entirely made up of his own exclusive
compositions; but the subsequent three contain a number of tunes which are
unquestionably the productions of other musicians. Many of the tunes composed by, or attributed
to M’Donald, are of that strange wild nature so characteristic of the
compositions of Daniel Dow.
Of M’Donald’s
personal history little or no authentic information can be obtained. The place of his birth is unknown. His second and subsequent collections,
however, bear on them that, at the time of their appearance, he resided “at
Dunkeld.” The present editor has been informed that his residence was at Inver,
in the Parish of Little Dunkeld; and in the list of Subscribers to Niel Gow’s
Second Collection, we find the entry “Mr. Malcolm Macdonald, Inver.”
In a footnote
appended to M’Donald’s Reel “Lady Haddo,” in Part II of “The Beauties of Niel
Gow” (a work published by Nathaniel Gow), we are informed that M’Donald played
the violoncello to Niel after the death of the latter’s brother Donald Gow.
M’Donald is said
to have died at Inver, but we can find no record of the date of his death. He is supposed, however, to have predeceased
Niel Gow by a few years. The Parish
Registers of the locality were burned or otherwise destroyed about the
beginning of the present century, for the supposed purpose of preventing
information being procured regarding the ages of persons required to join the
Volunteers, Fencibles, or Militia of that period.
JOHN BOWIE.
John Bowie, Musician, Perth, and for some time musicseller there, is
first found advertising in July 1785 as follows:--“John Bowie, Musician, Perth,
tunes Harpsichords, Piano Fortes &c.”
Nothing more appears until he advertised his collection four years
later; and then again, in 1797, he announces a single sheet containing “Four
new Tunes composed by John Bowie, Huntingtower, near Perth, one of which is the
much admired new Strathspey called the Loyal Farmers, with addition of the Slow
Set of the Braes of Mar &c.” In 1801
he issued another single sheet—“Just published and Sold at the Music Shops A
New Strathspey called the Perthshire Yeomanry and Lady Herriot Hay’s Reel
composed by John Bowie, Author of Miss Murray of Ochtertyre’s Strathspey, and
others so much danced of late, to which is added three Favourite New Tunes
&c.”
John Bowie
commenced business as a Musicseller in 1803, as the following advertisement
shews—“Music Shop Perth J. Bowie Musician having entered into Partnership with
T. Hill George Street begs leave to inform the Nobility, Gentry and Public,
that he and his partner will constantly have on hand an assortment of all kinds
of Music and Musical Instruments &c.”
The Mr. T. Hill here referred to was the father of Mr. D.O. Hill,
R.S.A. Bowie appears also to have been
in the habit of giving balls in conjunction with this brother; they advertise
on March 16th 1807 “J. & P. Bowie’s Annual Ball on Thursday the
26th current. Tickets 3s each from Mr. Thomas Hill Stationer George
Street,” &c. The music shop of Bowie
& Hill was next door to that occupied by Thomas Hill (Bowie’s partner), who
carried on therein a separate business as a bookseller and stationer. Other advertisements show that the music
business was continued by Mr. Hill after Bowie’s death. An advertisement of th date 3rd
October 1816 runs as follows:--“T. Hill Bookseller Stationer & Music Seller
Perth…a Large assortment of Piano Fortes from the best London Makers, and other
Musical Instruments, with Sheet Music in its greatest variety at the lowest
prices &c. P.S. Piano Fortes lent out by the month.” Peter Bowie, the brother of John, in the
preceding month announces that he “Commences teaching on Monday the 16th
current, and that he devotes his whole time to teaching the Piano Forte (having
declined to perform at balls &c)…Orders left at his house Atholl Street or
at Mr. John Ross junior grocer, &c. N.B. Musical Instruments tuned on
reasonable terms.” Peter’s resolution to
give up ball playing was doubtless owing to his brother’s death. Bowie died in 1815, in his 56th
year, and was buried in Tibber More (his native place), near Perth.
JOHN ANDERSON.
John Anderson, who published two books of Highland strathspeys, country
dances, English and French dances, &c., the first of which he dedicated to
the gentlemen of the Musical Society of Greenock, cannot be traced either by
advertisements or otherwise; and whether he is the same person who started a
music warehouse in Perth about 1793, and continued there till 1798, is very
doubtful, from the fact that no copy of either of his two collections has been
seen bearing a Perth address. Nor can he
be identified with the Anderson who was associated with James Johnson the engraver,
afterwards as a partner of the firm of
Walker & Anderson, engravers. That
Anderson composed much cannot be said, as in his earliest book there are only
four tunes, and the variations to the Marquis of Huntly’s Farewell, to which he
has adhibited his name, and seven others in his second publication, which was
probably issued between 1790 and 1794, as one of the tunes therein
contained—“Buff and Blue,”—was composed by Captain Riddell, who died early in
the latter year. This work bears the
names of only two Edinburgh musicsellers on the title page, viz., Johnson &
Co., and Bryson. A copy of the Second
Collection is in the British Museum.
CHARLES DUFF.
Charles Duff, who published his Collection bearing his name, was a
Musician. He is stated to have been the
leader of the Musical Dociety in Dendee fro some time. As to whether he combined the teaching of
dancing with music at any time, there is no information. His brother Archibald, however, was a dancing
master in Montrose and Aberdeen. For
reasons deduced from the title page of his Collection, it may be presumed that
the work was published in 1792, or perhaps a short time before that date,
though no advertisement has been discovered relating to it. Duff includes in his Collection a number of
tunes composed by John M’Donald, late dancing master, Dundee, which were
probably given to him by that individual, or purchased at the sale of
M’Donald’s effects, which took place on Thursday, the 22nd October
1789. Prolonged search has failed to
make known where Duff was born, whether in Dundee or about that locality. The John M’Donald above referred to,
advertised in June 1782 for a person properly qualified in playing ball music
on the violin &c., and it is believed that Duff obtained that
situation. In 1798, there appears the
advertisement, that “Charles Duff, Musician, begs to inform the public that he
will remove at Whitsunday next from Dundee to Montrose.” When he again returned to Dundee is not
ascertained, but about ten years afterwards (January 1808), the following
announcement appears:--“Charles Duff Musician and James Chalmers Bookseller No.
3 Castle Street Dundee have commenced business jointly in the music line.” The firm’s name is to be found in the Dundee
Directory for 1809, as Duff and Chalmers, Music shop, Castle Street. In March 1810, Duff and Chalmers opened a new
shop near the bottom of Castle Street, Dundee, and towards the end of that year
the following advertisement appears:—“New Music—Speedily will be published, A
Selection of Minuets, Slow Scottish Tunes, &c., Dedicated to Miss Russel of
Blackhall,” &c., &c., a work which Duff states to have been the result
of his professional efforts during twenty-five years. He advertised in July 1811, that he leaves
town to tune pianos in the districts of Montrose, Aberdeen, Brechin, and
Forfor. Four years later, he informs us
that he has begun business on his own account:—“Music warehouse—Charles Duff
Musician intimates that he has dissolved Partnership by mutual consent and that
he has opened on his own account on the west side of Castle Street adjoining to
the Theatrem: &c., and he also makes reference to the knowledge which
Alexander Duff, his nephew, has attined in music and tuning, &c. Duff again advertises in August 1817, that he
“will close his instructions in Music on Saturday the 8th and will
resume teaching on Monday 14th September.” In the Dundee Directory for 1818, the entry
“Charles Duff Music-Seller 30 High Street” appears, shewing that he has removed
from Castle Street; and an advertisement, of date November 10th,
indicates another change of address, “Charles Duff, Musician, Music-Saloon
opposite the English Chapel, Nethergate, Dundee.” In March 1821 he makes this announcement,
“Sale of Music and Musical Instruments.
Charles Duff respectfully intimates to his numerous friends and the
public. A Sale of his stock of musical
instruments at a reduction of price, &c., and that the sale will continue
till Whitsunday. Charles Duff will
remove to the flat above Mrs. Wallace, Brewer, South side of the English
Chapel.” Duff’s address appears in the
Dundee Directory for 1822, and he probably died about that time, as all further
trace of him has been lost. The editor
has seen a bill granted to him in November 1821, and has been informed by one
of his pupils that he died an old man in the twenties. Duff was frequently employed at concerts and
balls.
ROBERT PETRIE.
Robert Petrie was born at Kirkmichael, Perthshire, in February
1767. His father was named John Petrie, and
his mother Elizabeth Read; and he was baptised as “Robertus.” There is little known of his early history;
but he was regarded in and about his native place as an excellent violin
player, although from his personal habits and propensities he has been described
as a “ne’er-dae-weel.” He was much
employed at balls, weddings, &c., and was associated with a partner, by
name John Fleming, who played the violoncello on such occasions. Both Fleming and Petrie are said to have
participated with the Hon. William Maule in one of thos mad freaks which were
so characteristic of the latter. On this
occasion a mock resurrection had been organized and was performed in the
churchyard of Logie, Dundee. Fleming it
is said afterwards regretted having been concerned in the frolic, and he
declared that none of those who took part in it would die a natural death. To verify his prophecy, he kept a book, in
which he might record the various deaths.
So far as Maule and he himself were concerned, however, his prediction
proved wrong; but (whatever had been the fate of the rest of their associates)
we know that Petrie was found dead one morning in the end of August or
beginning of September 1830 by the side of a small stream. He had suddenly expired when on his way home
from a party.
Petrie is mentioned as having taken part in a competition for violin playing held in Aberdeen about 1822. Feeling himself somewhat handicapped in the course of it by his opponents, he expressed to his friend Flemming his doubts as to the final result. Fleming, however, reminded him that he had still one tune to play ere the final decision would be made—“The Ewie wi’ the crookit horn.” This Petrie performed so well that amid the plaudits of the audience he was declared the first prize-winner. The cup awarded him, however, never reached Kirkmichael—a fact probably to be attributed to the irregularity of his habits.
ABRAHAM
MACINTOSH. Abraham Macintosh, a son of “Red Rob” and
Margaret Mill, was born in Edinburgh on 15th June 1769. In early life he followed his father’s
profession; and in December 1792, he published a collection of thirty new
strathspey reels, &c., of which he was the composer. A few stray tunes bearing the name of
Mackintosh, junior (But whether this refers to Abrham or to his brother Robert,
it is impossible to say, as the latter never published any collection), are
also to be found in other collections, one of these being “Buckingham House” or
“Athole Brose,” which appears in his father’s third book. It is repeated almost note for note in Gow’s
Collection, and it has sometimes been erroneously attributed to that composer
(although he never claimed it), on account of its being styled “Neil Gow’s
favourite.” From 1793 to 1797, Abraham
Mackintosh, according to “Aitchison’s Directory,” resided in Todrick’s Wynd’
there is no trace of him after the latter year in Edinburgh, but he is
subsequently found in Newcastle, where he was professionally employed as a
teacher of dancing, though probably he also continued as a musician till the
year 1807. In the beginning of this
century, he published other two books or collections, and a sheet or two.