Titles not on your list. Some quotations from introductions etc included



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Titles not on your list.

Some quotations from introductions etc. included.

(My notes appear in italics)

1) Violoncello accompaniment to a select collection of Welsh airs adapted for the voice united to characteristic English poetry never before published with introductory & concluding symphonies and accompaniments to each air for the pianoforte or harp, violin & violoncello / composed chiefly by Joseph Haydn. Vol. 1

[Printed & sold by Preston … and by George Thomson …]
2) The beauties of Cambrian melodies / with English words by F.P. Douglas ; arranged … for the piano forte by Henry Hulse

[Carnarvon : H. Humphreys]


3) Hên ganiadau Cymru = Cambro-British melodies, or the national songs and airs of Wales; consisting of … songs, euphonies, flowers, elegies, marches, delectables, themes, pastorals and delights; enriched with curious historical illustrations, and never before published …/ by Edward Jones. 3rd vol [i.e. continuation of the 2 vols. Musical & Poetical relicks]
Note on t.p.

“The bardic melodies of Wales, of which the present volume is an important continuation, are interesting, not only on account of their antiquity, but for their distinctive native style peculiar to the national instrument the harp; they are likewise so generally connected with remarkable incidents relative to persons, and places in Wales, and on the Borders, that thay tend to illustrate the history, customs, and manners of our ancestors.”


There is also a note which states that these melodies have been transmitted through oral tradition and that some have been taken from ancient manuscripts.
4) Musical relicks of the Welsh bards: preserved, by tradition and authentic manuscripts, from very remote antiquity … / by Edward Jones (teacher of the harp,) and Bard to the Prince. 2nd ed.

[London : Printed for the author … 1800]


The term “Bard to the Prince” seems to indicate a wish to preserve ancient Welsh social structures.
5) A special collection of original Welsh airs, adapted for the voice, united to characteristic English poetry, never before published: with symphonies and accompaniments to each air, for the piano-forte or harp, violin, and violoncello / composed chiefly by Haydn & Beethoven. The whole collected and published, in three volumes, by G. Thomson, Edinburgh.
6) A selection of Welsh melodies with appropriate English words, adapted for the voice, with symphonies & accompaniments for the piano forte or harp / by John Parry.

[London: Printed & sold at Bland & Wellers Music Warehouse, 1809]


Contains picture of King Cadwalader residing at an Eisteddfod or congress of the bards in the seventh century and presenting the successful candidate with a medal for his superior skill in music & poetry

Also contains “Observations on the present state of music and poetry in Wales” and a list of influential bards and musicians etc.
7) A collection of Welch airs, arranged on a plan never before attempted, forming six divertimentos, each consisting of three of the most favorite airs, expressly adapted for the piano forte … / by John Parry.

[London: Printed by Goulding & Compy]

+ 2nd ed. [London. Printed by Goulding D’Almaine Potter & Co.]
8) A selection of Welsh melodies, with symphonies and accompaniments by John Parry, and characteristic words by Mrs. Hemans.

[London : J. Power, 1822]


9) A selection of Welsh melodies, with symphonies and accompaniments / by John Parry, and characteristic words by Mrs. Hemans.

[London: J. Power, 1822]


Contains ‘Advertisement’ which gives a detailed explanation of some skills of penillion singing and references to traditions of ancient Britons.
10) Ancient national airs of Gwent and Morganwg; being a collection of original Welsh melodies … / collected and arranged for the harp or piano forte / by M. Jane Williams of Aberpergwm.

[Llandovery: William Rees: London, D’Almaine and Mackinlay, 1844]


T.p. note: “obtained the prize at the Eisteddfod held in celebration of the fifth anniversary of the Abergavenny Cymreigyddion, October, 1838 …”
Introduction

“ … songs are given … in their wild and original state”

“ … the poetical portion of this collection has no claim to be ranked with the highly polished lyrics of the Welsh bards …”
11) Cambrian minstrelsie = Alawon Gwalia: a national collection of Welsh songs / the music in old and new notations / edited and harmonised by Joseph Parry; the words in English and Welsh edited by David Rowlands. In six volumes

[Edinburgh: T.C. & E.C. Jack : Grange Publishing Works, 1893]


Preface

“Wales is pre-eminently the land of song; in no other country in the world has poetry and music entered so largely into the national life of its inhabitants. In ancient times bardism was intimately associated with its religions, legislative, and educational institutions; and in later times its minstrels played quite as prominent a part in its national struggles as its armed forces did …”


Titles already on your list but with some sub-titles and quotations from introductions etc. added.
1) Musical and poetical relicks of the Welsh bards: preserved, by tradition and authentic manuscripts, from very remote antiquity; never before published … likewise, a general history of the bards and druids, from the earliest period to the present time: with an account of their music and poetry. To which is prefixed, a copious dissertation on the musical instruments of the aboriginal Britons.
Dedicated, by permission, to His Royal Highness the Prince of Wales, by Edward Jones, bard to the Prince. New ed. 1794

[London: Printed for the author, and sold …]


Dedication:
“There was a time, when the Princes of Wales claimed as their prerogative, to preside in the Congress of the Bards, and thought it not unbecoming their station to assign in person those rewards which were decreed to merit in that famed solemnity. The name of the Bard was revered by Royalty itself: and the number and skill of his poets gave dignity to the throne of the Prince, and stability to his renown”.
2) The Bardic Museum.

[London: Printed by A. Strahan … for the author, 1802]


p.[iii] Introduction to the Bardic Relicks.

“The primitive British bards constituted one of the most respected order of men in the ancient British states: they were the fathers of sciences; the national instructors, musicians, legislators, priests, prophets, and often princes. They assuaged savage men to knowledge, with their oratory, and polished human nature by their music and poetry.


These beirdd, or bards, were afterwards a branch of the druidical institution in Britain, and in ancient Gaul; and were called Derwyddveirdd, or Druid-Bards: they also kept an account of the decent of families, and composed songs to commemorate the actions of the worthy and the brave; which they sang and accompanied on the harp, and on the crwth; consequently they were the national chroniclers; and from their songs our ancient annals have been collected …”
3) A select collection of original Welsh airs adapted for the voice united to characteristic English poetry … / composed chiefly by Joseph Haydn.

[London : Printed & sold by Preston and by G. Thomson]



Preface


“The editor’s researches for his Collections of Scottish and Irish melodies, naturally led him to think of the Welsh airs also. Delighted with the beauty, and peculiar character of these, and finding that they had never been given to the public in a vocal shape, he formed the resolution to collect and to adapt them for the voice; to procure masterly accompaniments, and characteristic English verses for them …”
The editor then explains that he had asked friends to send him the English words which were sung to these tunes but found that none were available. One of his correspondents suggested that there were political reasons behind the lack of English words to accompany Welsh tunes. Another correspondent discusses the difficulty of translating the Welsh penillion, or short epigrammatic stanzas:
“And though I want neither words nor will, I must own that I have often thrown aside my pen, discouraged by the deficiency and unequal powers of another language to convey them”.
The consequence of all these difficulties was that the editor had “ to get songs written purposely for every one of the airs”.
Note: This work contains “Cwynvan Brydain: the sorrows of Cambria, on the Welsh bards being put to death by order of Edward the First, when he conquered the country”.
4) Gems of Welsh melody : a selection of popular Welsh songs, with English and Welsh words; specimens of pennillion singing, after the manner of North Wales; and Welsh national airs / by John Owen. 3rd ed.

[Ruthin: Isaac Clarke, 1861-2]


Here are examples of topics covered by the Introduction:

  • Analysis of the special character of Welsh airs

  • Ancient Welsh triads

  • Music and nationality

  • The ancient tradition of penillion singing … “the art of singing irregular verses of different metres and length to the same tune”

  • The social, musical and literary importance of Eisteddfodau (or “Congress of Bards”)

5) Welsh melodies with Welsh and English poetry / by John Jones (Talhaiarn) and Thomas Oliphant; arranged … by John Thomas (Pencerdd Gwalia)



[London: Addison, Hollier and Lucas, 1862]
John Thomas expresses amazement that Wales which has such beautiful and original music should have until now no important collection of national music, arranged in a popular form. Referring to Welsh airs he states:
“Hence it is, that few of them are known out of the Principality; and even then, for the most part, through an unfavorable medium. For example, the graceful “Llwyn Onn” (The Ash Grove) appears in a mutilated form as “Cease your funning,” in Gay’s “Beggar’s Opera” …
J.T. states that attempts have been made to rectify the problem but that the people who undertook the work were “neither sufficiently conversant with the language of the country, nor the peculiar spirit of the music”.
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