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All Audio

TitleDescriptionSize
A man's a man for a' that (Dewar)

Setting (nd) by J.R. Dewar; performed by David Hamilton

808 KB
Altrive Lake Waltz (Park)

Setting (c. 1835) by Jane Park; performed by David Hamilton

1260 KB
Bird of the Wilderness (Hogg-Dempster) Setting (nd) by W.R. Dempster; performed by Kirsteen McCue and David Hamilton 3665 KB
Bird of the Wilderness (Hogg-Hastings) Setting (nd) by Thomas Hastings; performed by Kirsteen McCue and David Hamilton 3858 KB
Bird of the Wilderness (Hogg-Williams) Setting (between 1854–8) by Langton Williams; performed by Kirsteen McCue and David Hamilton
5520 KB
Bonnie Laddie, Highland Laddie (Live) Recorded Berkeley, CA SEPT 2006 3872 KB
Bonnie Laddie, Highland Laddie (Studio) 12. Bonnie Laddie, Highland Laddie is the second of two versions of ‘Bonny Laddie’ written by Hogg to one of the most popular Jacobite tunes of the period. Hogg’s first lyric, beginning ‘Were ye at Drummossie Muir’, appeared in The Forest Minstrel in 1810 and later in the Second Series of Jacobite Relics in 1821. He then rewrote it for George Thomson who placed this new version with a musical setting by Ludwig van Beethoven (as performed here) in the fifth volume of his A Select Collection of Original Scottish Airs in 1818. And here it becomes a celebration of the Highland Laddie fighting at the recent Battle of Waterloo. 2904 KB
Bonnie Prince Charlie (Dewar)

Setting (nd) by J.R. Dewar; performed by David Hamilton

866 KB
Bonny Prince Charlie (Studio) 6. Bonny Prince Charlie (or Cam[e] ye by Athol) first appeared in the musical publication A Border Garland in c. 1819, with the title ‘Charlie’ to a melody by Niel Gow junior, who also most probably provided its musical setting. Like ‘The Lament of Flora McDonald’ it appeared in several miscellaneous song sheets during the 1820s and ‘30s, and was included in The Border Garland (1828). Its popularity, undoubtedly due to the combination of its jaunty melody and Hogg’s rousing call-to-arms, then encouraged Hogg to include it in Songs by the Ettrick Shepherd in 1831, even though he noted that ‘There can be no dispute that it is one of my worst’. 4236 KB
Came ye o'er frae France (Studio)

2. Came ye o'er frae France was collected by Hogg and included in the First Series of Jacobite Relics in 1819, though Hogg notes that he believed it to be incomplete. As Murray Pittock has argued, the song ‘uses the domestic metaphor of Jacobitism to belittle the threat posed by George I’. The list of names cited in the lyric includes a number of George’s mistresses and the nicknames of several well-known Jacobites.

1652 KB
Donald M'Donald (Live) Recorded Berkeley, CA SEPT 2006 5432 KB
Duchess of Buccleuch (Park)

Setting (c. 1835) by Jane Park; performed by David Hamilton

933 KB
Ettrick Shepherd (Park)

Setting (c. 1835) by Jane Park; performed by David Hamilton

1243 KB
Highland Harry Back Again (Studio) 11. Highland Harry Back Again first appeared in The Scots Magazine in August 1807, and thereafter Hogg included it in his 1810 collection of songs, The Forest Minstrel. It was created to celebrate the birthday of the Earl of Dalkeith, soon to be the 4th Duke of Buccleuch, to whose wife Hogg dedicated this new publication. The tune is known as ‘Highlander’s Lament’ and is often associated with Burns’s ‘My Harry was a gallant gay’ first published in James Johnson’s The Scots Musical Museum of 1790 (no.209). Hogg was known to sing this song himself. 3166 KB
Maggie Lauder (Dewar)

Setting (nd) by J.R. Dewar; performed by David Hamilton

500 KB
O what will a' the lads do (Studio) 5. O what will a’ the lads do (or When Maggy gangs away) appeared in Select and Rare Scot[t]ish Melodies alongside another twelve songs by Hogg with settings by Sir Henry Rowley Bishop. This volume was published in London by Goulding & D’Almaine, during 1828-9, alongside The Musical Bijou (see ‘The Harp of Ossian’). Hogg then included it in Songs by the Ettrick Shepherd in 1831. He claimed that he wrote it after hearing someone sing the first line to his little daughter Maggy. Bishop sets it to the tune ‘I’ll gae nae mair to yon toun’, which was already known with Burns’s ‘I’ll ay ca’ in by yon toun’ from Johnson’s Scots Musical Museum (no. 458) of 1796. 2978 KB
O what will a'the lads do (Live) Recorded Berkeley, CA SEPT 2006 5186 KB
Sir Walter Scott (Park)

Setting (c. 1835) by Jane Park; performed by David Hamilton

940 KB
The Bonny Moorhen (Studio) 4. The Bonny Moorhen is a fragment collected by Hogg and included in the First Series of his Jacobite Relics in 1819. He claimed that he took down the song from oral tradition, from the singing of a ‘half-daft man’ called Willie Dodds. Hogg’s note explains the allegory of using the moorhen (though it probably should have been the moorcock!), whose feathers are coloured like ‘the tartans of the Clan-Stuart’. 3216 KB
The Captive Recorded Berkeley, CA SEPT 2006 5280 KB
The Ettrick Shepherd in Soho Square -1 (Live) Recorded Berkeley, CA SEPT 2006 1208 KB
The Ettrick Shepherd in Soho Square -2 (Live) Recorded Berkeley, CA SEPT 2006 8046 KB
The Ettrick Shepherd in Soho Square -3 (Live) Recorded Berkeley, CA SEPT 2006 9334 KB
The Ettrick Shepherd in Soho Square -4 (Live) Recorded Berkeley, CA SEPT 2006 3120 KB
The Ettrick Shepherd in Soho Square -5 (Live) Recorded Berkeley, CA SEPT 2006 19568 KB
The Ettrick Shepherd in Soho Square -6 (Live) Recorded Berkeley, CA SEPT 2006 1740 KB
The Flowers of Scotland (Studio) 7. The Flowers of Scotland was apparently written at the request of an unnamed, but ‘most beautiful young lady’. It appeared in Songs by the Ettrick Shepherd of 1831 where Hogg commented that it was created to match the tune ‘The Blue Bell[s] of Scotland’. This melody was very popular at the time, normally sung with Anne Grant’s lyric ‘Oh where, tell me where, is your Highland Laddie gone?’. 2372 KB
The Harp of Ossian (Live) Recorded Berkeley, CA SEPT 2006 7504 KB
The Harp of Ossian (Studio) 3. The Harp of Ossian appeared with a setting by English theatre composer Sir Henry Rowley Bishop in The Musical Bijou for 1829, an annual produced by the London music publisher Goulding & D’Almaine. Hogg noted that he liked this setting very much. He also chose to include the lyric in Songs by the Ettrick Shepherd in 1831, where he provided an impassioned head note bemoaning Scotland’s loss of nationhood and ‘the domination of the English’. 6344 KB
The Lament of Flora McDonald (Studio) 8. The Lament of Flora McDonald is one of Hogg’s most popular Jacobite songs, first produced as a song sheet and later included in the Second Series of his Jacobite Relics in 1821. The tune and its accompaniment were written by Niel Gow junior, who apparently told Hogg that the melody was an ‘ancient Skye air’. Hogg is said to have written new lyrics for it, even though Gow provided original Gaelic verses, and Hogg was very proud of this song, noting in 1831: ‘I could hardly believe my senses that I had made so good a song without knowing it’. Its popularity is evident in a number of independent song sheets throughout the 1820s and ’30s. It also appeared in George Thomson’s Select Melodies of Scotland (1822), in The Border Garland (1828) and in Songs by the Ettrick Shepherd in 1831 where he calls it ‘Flora Macdonald’s Farewell’. 6176 KB
The Minstrel Boy (Studio) 10. The Minstrel Boy is Hogg’s very different alternative to Thomas Moore’s more famous ‘The Minstrel Boy to the war is gone’ which was first published with a musical setting by Sir John Stevenson in the fifth part of Moore’s A Selection of Irish Melodies in 1813. Hogg sets this lyric to the same Irish melody, ‘The Moreen’, and it appeared in the first edition of Robert Archibald Smith’s The Irish Minstrel in c.1825 before Hogg included it in his Songs by the Ettrick Shepherd in 1831. 2296 KB
The Skylark (Hogg-Hay) Setting (nd) by Walter Hay; performed by Kirsteen McCue and David Hamilton 3387 KB
The Skylark (Hogg-Limpus)

Setting by Revd Henry F. Limpus (accessioned 1878); performed by Kirsteen McCue and David Hamilton

4582 KB
The Skylark (Hogg-Wilson) Setting (c.1845) by Wilson; performed by Kirsteen McCue and David Hamilton 4537 KB
Tweedside (Park)

Setting (c. 1835) by Jane Park; performed by David Hamilton

919 KB
When the Kye Come Hame (Dewar)

Setting (nd) by J.R. Dewar; performed by David Hamilton

1050 KB
Yarrow Braes (Park)

Setting (c. 1835) by Jane Park; performed by David Hamilton

904 KB
Ye Jacobites by name (Studio) 9. Ye Jacobites by name, one of the best known of all Jacobite songs, first appeared in James Johnson’s Scots Musical Museum of 1792 (no. 371) with lyrics written by Robert Burns
. Hogg then included it in the First Series of Jacobite Relics in 1819 where he noted that the melody was very popular, but more often sung to non-Jacobite lyrics. Often performed as a rousing Jacobite song, it can be interpreted differently (as it is here) being the voice and opinions of a disappointed Jacobite.
2954 KB