FRIEND PORTEOUS,
Respecting “Jessie, the Flower o Dunblane,” in all my correspondence with Robert Tannahill I do not recollect of her being mentioned. I have heard it said that an interesting young lady at, or belonging to, that place (Dunblane) had caught his fancy, and inspired, or set a spark to, the muse. Be it as it may, I can, however, give you a little information concerning Jessie's coming out (as Yankees say), or being brought out, or introduced to the admiring public.
About the time that R. A. Smith composed the music for “Jessie,” there were a theatrical party performing in Paisley, and in that company there was a comedian cognomenised Jack Shaw. Jack had also a musical propensity, with a good commanding voice, and qualified for reading music by the voice. He sang on the stage several of our old Scotch songs quite in their true character, and having heard of the new song, he found means (Jack was enterprising) to be introduced to Mr. Smith, and solicited a copy, that he might refresh his old songs by something new. Smith very obligingly gave him the song, with an accompaniment for two violins and bass. Jack of course set it agoing in Paisley; but merrily as things might be going on, Jack left them, came to Glasgow, and was a short time with the circus company. In the meantime the celebrated Braham had made his first appearance in the Theatre Royal, Queen Street. Jack again found his way to an engagement in the Glasgow company, taking his manuscript with him of course. He was not long there till he made bold with Braham for an engagement on the boards in London. Braham, considering on it, thought he might be a good set off in different ways, as being a good native Scotch comedian (a rarish article), and to take part in duets and glees he might be useful. Mr. Shaw being now installed on the London boards, he hoisted up “Jessie,” and when the audiences had taken a good view, he thought she might travel a little further, so he enterprisingly applied to a music publisher, with the copyright in the author's own handwriting, to have her shown off in a broadsheet, which was accordingly done ; but it so happened that previous to this Mr. Steven in Glasgow had his sheet in motion, with an accompaniment for the pianoforte by Mr. Smith, and the full authority of Mr. Steven's holding the copyright as established at Stationers' Hall. Mr. Shaw, supporting the London publisher by boasting of the copy being in the handwriting of the author, threatened a tug at law, which Mr. Smith decided by declaring that, although he obligingly gave a copy to. Mr. Shaw for his individual singing, he gave no authority for him otherwise to publish it. The London publisher, now looking at pro and con, and discomfit, gave up to Mr. Steven the plate, &c., rather than go to law war with the Glasgowites. “Jessie” was, however, by this time doing for herself. “The Flow'r o' Dunblane” consequently got popular, and became a favourite, principally by this introduction to the public. Were the other songs of Smith's composition to Tannahill's verses sufficiently heard in public assemblies, such as concerts, theatres, &c., they would become favourites also. His music is of a soft, flowing style, within moderate compass of voice, and suitably combined with the sentiment of the poetry.
I shall finish by pointing out a few of his songs, viz.:— “the Old Sea¬man,” ’Mongst life's many cares, &c.; “The Harper of Mull,” When Rosie was faithful, &c.; “The Lass o' Arranteenie,” Far lane among the Highland hills (music also by Ross of Aberdeen); Langsyne beside the woodland burn; “The Maniac,” Hark ’tis the poor maniac's song. This, tho' last, not least, was the first attempt at vocal composition by R. A. Smith, followed about the same time by his music to Brown, junr.'s, “Calm dewy morning.” The music for “The Maniac” is quite characteristic of the song, and, to show Smith's enthusiasm, he illustrated the sentiment in China ink—the stormy sea, the rugged perpendicular rock, and wild maniac on the brink of the precipice, beating the storm, were so well delineated as to appear almost actual life. Had, Smith exercised his talent in painting as much as he did in music, he would have attained eminence. “The Maniac,” (the music) I believe, was never printed. The others above were published by the late Mr. Steven, the late Brown, followed by Mitchison, but I am afraid the music copies will not be easily got now. The only gentleman I think likely to give information respecting the plates, or finding copies, are Mr. Lithgow or Mr. Barr, both professors of music in Glasgow, as I understand they were concerned in winding up the affairs of Mr. Mitchison, who probably possessed the plates.
I remain,
DEAR SIR,
Your old friend,
JAS. BARR.