Author | John Collingwood Bruce and John Stokoe |
---|---|
Country | United Kingdom |
Language | English, many in Geordie dialect |
Publisher | Society of Antiquaries of Newcastle upon Tyne |
Publication date | 1882 |
Media type | |
Pages | 206 pages |
Northumbrian Minstrelsy is a book of 18th and 19th century North East of England folk songs and pipe music, intended to be a lasting historical record. The book was edited by John Stokoe and the Rev John Collingwood Bruce LL.D., F.S.A., and published by and on behalf of the Society of Antiquaries of Newcastle upon Tyne in 1882. It was reprinted in 1965 by Folklore Associates, Hatboro, Pennsyslvania, with a foreword by A. L. Lloyd.
Northumbrian Minstrelsy was written with the intention of providing a historical record of some of the North Country songs and music. "A book for the collection and preservation of the old music and poetry of the North of England" was what Algernon Percy, 4th Duke of Northumberland had suggested.
The book is divided into two sections; the first giving the lyrics (with some music) of local, now historical songs, and the second part giving the music to many Northumbrian smallpipes tunes with very few lyrics. The book was edited by John Stokoe and the Rev John Collingwood Bruce, with the help of committee members, and published by and behalf, of the Ancient Melodies Committee of the Society of Antiquaries of Newcastle upon Tyne in 1882. [1]
The project first started in 1855 after Algernon Percy, 4th Duke of Northumberland, patron of the Society of Antiquaries of Newcastle upon Tyne expressed a desire that the Society should turn its attention to the collection and preservation of the old music and poetry of the North East of England. A committee was appointed, consisting of Robert White, John Clerevaulx Fenwick, and William Kell (1797–1862); with Bruce, a member of the society, acting in an ex-officio role.
Robert White, was a farmer's son from Kirk Yetholm, Northumberland, worked all his life in a brass foundry in Newcastle. He was an avid researcher into Northumberland legends, folk lore and folk songs, writing regularly for local newspapers on local matters. John Clerevaulx Fenwick was the son of a lay-preacher, a lawyer by profession, a lover of pipe-music and author of a small (18-page) book "A few remarks upon bagpipes and pipe music". William Kell was the first Town Clerk of Gateshead, elected 1836 to 1854, and also a pipe-music lover, and collector of music relating to the Northumbrian smallpipes. Bruce was a pillar of society: a headmaster, a Moderator of the Presbyterian Church, a founder of the Y.M.C.A., a workhouse guardian, a respected antiquary, etc., etc., and consequently gave much credence to the committee and its work. He was possibly an influence in the omission of slightly bawdy ballads from the final works.
In 1857, after two years there was still no book, and the delays caused some embarrassment to members of the committee. The reasons given in the committee’s apologies included the fact that they did not want to credit any of the work as "Northumbrian" if it were not. As time went on, Kell (1862) and White (1870) died, and Fenwick moved his law practice to London. In the meantime, John Stokoe had been appointed to the Committee. He had for many years been transcribing and copying out, by hand, many songs, lyrics and/or music, and had collected a large number.
The committee now had numerous other sources to choose from, including Joseph Ritson's Bishopric Garland and Northumberland Garland, John Bell's Rhymes of Northern Bards and Joseph Crawhall II's Tunes for the Northumbrian small Pipes. These then, together with the collected papers of its committee members, were the main sources of Northumbrian Minstrelsy, but works from other similar compilations were considered and used. There appears to have been relatively little collecting in the field.
When John Stokoe joined the team on the committee, the work moved forward. The various sources and manuscripts were sifted, collated and ordered. A final selection was made, enabling publication too occur finally in 1882.
Northumbrian Minstrelsy [2] is a book of Border ballads, Northumbrian folk songs and Northumbrian pipe music consisting of over 200 pages. It contains 132 song lyrics and over 100 pieces of music, and was published in 1882. It is divided into the two sections; the first song lyrics, the second pipe music where only a handful of pieces have lyrics. There is little in the way of biographies of the writers of the music or lyrics, but some information on the histories of the events and a considerable amount on the history of the music.
The selection however has been made from the point of musical and prose quality rather than the popularity of the (sometimes slightly coarse) songs of the period. In addition several of the songs have been "modified" from the original versions for inclusion in this book.
Note – The page numbers refer to those in the 1965 reprinted edition, and may differ from the original 100+ year old edition.
Page | Title | Songwriter | Tune | Comments | Notes | Ref | |||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|
v | Foreword by A L Lloyd | ||||||||||||
iii | copy of cover | ||||||||||||
iii | Introduction | ||||||||||||
iii | comment on | Thomas Doubleday | |||||||||||
iv | comment on | the bag of the bagpipes | |||||||||||
v | comment on | the reed of the bagpipes | |||||||||||
iv | comment on | the drone | |||||||||||
xii | The two Sections | ||||||||||||
1 | PART I – BALLADS & SONGS | ||||||||||||
1 | Chevy Chase – (ancient ballad of) | history of and comments on | |||||||||||
1 | Chevy Chase – (ancient ballad of) | ||||||||||||
3 | Chevy Chase – (ancient ballad of) The first Fit | Chevy Chase | |||||||||||
10 | Chevy Chase – (modern ballad of) | may be Richard Sheale | Chevy Chase | according to Mr Chappell | |||||||||
10 | a mention of | William Chappell | |||||||||||
17 | Battle of Otterburn – (The) | Chevy Chase | a variation on Chevy Chase – about a battle fought 9 August 1388 | ||||||||||
25 | Bewick and the Graeme, the | Transcribed by Sir Walter Scott | taken from the "Minstrelsy of the Scottish Border" possibly 16th century | ||||||||||
29 | comment on | "The Bewick and the Graeme" and chivalry | |||||||||||
31 | Brave Earl Brand and the King of England's Daughter – (The) | ||||||||||||
33 | comment on | The close relationship between the last song and many others | |||||||||||
34 | Hughie the Graeme | Graeme Clan | |||||||||||
35 | short bio | Joseph Ritson | |||||||||||
36 | short bio | Graeme Clan | |||||||||||
37 | Jock o' the Syde | first published 1784 in the Hawick Museum, a provincial miscellany, by John Elliott, Esq., of Reidheugh | |||||||||||
41 | short bio | Jock o' the Syde | maybe a nephew of the Laird of Mangerton, | ||||||||||
42 | Death of Parcy Reed – (The) | ||||||||||||
46 | short bio | Parcy Reed | |||||||||||
48 | Outlandish Knight – (The) | ||||||||||||
50 | short bio | Outlanders | someone from the Outlands or Debatable Lands | ||||||||||
51 | Fair Flower of Northumberland – (The) | Thomas Deloney or T.D. | The English version – there is a Scottish version by Kinlock | ||||||||||
55 | short bio | Thomas Deloney or T.D. | alias the "ballading silk weaver" who died c1600 | ||||||||||
55 | short bio | Kinlock, | A Scottish version of "Fair Flower of Northumberland" | ||||||||||
56 | Laidley Worm (The) (of Spindleston Heugh) | (this version by Robert Lamb, Vicar of Norham) | from an old MSS | ||||||||||
60 | short bio | Reverend Robert Lambe | Vicar of Norham | ||||||||||
60 | comment on | The Worm O Spindleston Heugh | |||||||||||
61 | Binnorie, or, the Cruel Sister, | first published as broadsheet by Mr. Rimbault c 1656. | |||||||||||
63 | a mention of | Mr. Rimbault printer | |||||||||||
63 | comment on | history of Binnorie | |||||||||||
64 | Lord Beichan | ||||||||||||
69 | comment on | versions of "Lord Beichan" | |||||||||||
71 | Derwentwater's Farewell | ||||||||||||
72 | short bio | James Radclyffe, 3rd Earl of Derwentwater | |||||||||||
73 | comment on | Derwentwater's Farewell | |||||||||||
74 | Derwentwater | ||||||||||||
75 | comment on | Derwentwater | |||||||||||
76 | Lay the Bent to the Bonny Broom | ||||||||||||
78 | comment on | simple melodies | |||||||||||
79 | Whittingham Fair | [3] | |||||||||||
81 | Blow the Winds, I-ho | ||||||||||||
82 | Keach I' the Creel – (The) | ||||||||||||
84 | O I hae seen the Roses blaw | ||||||||||||
86 | O the Oak and the Ash and the Bonny Ivy Tree | Goddesses * | * The tune is in Sir James Hawkins' "The Dancing Muster," 1650, under this title | ||||||||||
87 | comment on | history of song "Oak Ash and Bonny Ivy | |||||||||||
88 | Bonny at Morn | ||||||||||||
89 | Water of Tyne (The) | ||||||||||||
90 | Willow Tree or Rue ard Thyme – (The) | attributed to Mrs Francis Habergham, of Habergham, Lancashire (died 1703) | according to William Chappell | ||||||||||
90 | Rue ard Thyme – (The) | attributed to Mrs Francis Habergham, of Habergham, Lancashire (died 1703) | Alternative title of "Willow Tree" | ||||||||||
91 | short bio | William Chappell | |||||||||||
91 | comment on | history of "The Willow Tree" | |||||||||||
92 | Sair Fail'd, Hinney | Actually titled "Sair Fyel'd, Hinny" in the book | |||||||||||
93 | I Drew my Ship into a Harbour | ||||||||||||
94 | Miller and His Sons – (The) | ||||||||||||
95 | comment on | The Miller in poetry and satire | |||||||||||
96 | Shoemaker – (The) | ||||||||||||
97 | My Love is Newly Listed | no lyrics – music only – first published when Thomas Doubleday placed it in "Blackwood Magazine" 1821 | |||||||||||
97 | a mention of | Thomas Doubleday | |||||||||||
97 | comment on | history of My Love is newly listed | |||||||||||
98 | Broom, Green Broom | ||||||||||||
100 | O the Bonny Fisher Lad | ||||||||||||
102 | Hexhamshire Lass – (The) | ||||||||||||
104 | Mode o' Wooing – (The) | ||||||||||||
107 | Northumberland Bagpipes – (The) | ||||||||||||
108 | a mention of | William Chappell | |||||||||||
108 | comment on | pipes | |||||||||||
109 | Durham Old Women | ||||||||||||
110 | Aboot the Bush, Willy | ||||||||||||
111 | Christmas Day in the Morning | Traditional Carol | |||||||||||
112 | Elsie Marley | Elsie Marley | to its own tune | An Alewife at Pictree, near Chester-le-Street | |||||||||
113 | short bio | Elsie (or Alice) Marley | first published by Joseph Ritson in "Bishopric Garland" 1784 | ||||||||||
113 | comment on | short history on "Elsie Marley" | |||||||||||
115 | Bobby Shaftoe | Traditional | |||||||||||
116 | Up the Raw | ||||||||||||
117 | Dol Li A | ||||||||||||
118 | Broom Buzzems – (or Buy Broom Busoms) | ||||||||||||
119 | short bio | William Purvis | |||||||||||
120 | A You A, Hinny Burd | named as "A U Hinny Burd" in this book | |||||||||||
121 | Ca' Hawkie through the watter | The title given is "Water" in this book | |||||||||||
122 | Anti-Gallican Privateer (The) | ||||||||||||
123 | comment on | The ship, first to sail fitted and manned from Newcastle | |||||||||||
124 | Adam Buckham, O! | ||||||||||||
125 | Captain Bover | ||||||||||||
125 | short bio | Thomas Doubleday | |||||||||||
125 | short bio | Captain Bover | |||||||||||
126 | Here's the Tender coming | ||||||||||||
127 | Liberty for the Sailors | John Stobbs | a Shields song for the days of the Press-gang | Tune-Br | |||||||||
128 | Sailors are a' at the Bar (The) | Actually titled "The Sailors are all at the Bar" in book | |||||||||||
128 | a mention of | John Bell | |||||||||||
128 | Lad wi' the Trousers on | ||||||||||||
129 | Twelve Days of Christmas – (The) | ||||||||||||
129 | comment on | history of "Twelve Days of Christmas" | |||||||||||
132 | Ma' Canny Hinny | Actually titled "Maw Canny Hinny" in this book | |||||||||||
134 | Robin Spraggon's Auld Grey Mare | transcribed by Mr Fairless | |||||||||||
135 | comment on | days gone by | |||||||||||
136 | short bio | Mr. Fairless of Hexham | |||||||||||
137 | Sword Dancers' Song – (The) | no lyrics – music only | |||||||||||
137 | Kitty Bo-bo, | no lyrics – music only | |||||||||||
138 | (Weel May) The Keel Row | Traditional | |||||||||||
139 | comment on | history of "The Keel Row" | |||||||||||
140 | Northern Minstrel's Budget – (The) | Henry Robson | |||||||||||
143 | short bio | Henry Robson | |||||||||||
144 | blank | ||||||||||||
145 | Part II – Small pipe tunes | ||||||||||||
the following tunes are music only except where a comment to the contrary is given. | |||||||||||||
145 | Chevy Chase – (pipe tune) | Chevy Chase | |||||||||||
145 | Coquetside | Coquetside | |||||||||||
146 | Wylam Away | Wylam Away | referred to as "Gingling Geordie" in an old ms of 1694 | ||||||||||
146 | Cockle Geordie | Cockle Geordie | |||||||||||
147 | I saw My Love passing by Me | I saw My Love passing by Me | two lines of lyrics discovered | ||||||||||
147 | Jockey lay up in the Hay Loft | Jockey lay up in the Hay Loft | |||||||||||
148 | Pelton Lonnin' | Pelton Lonnin' | two verses also located, Title actually given as "Felton" but verses say "Pelton" | ||||||||||
148 | Kye's Come Home (The) | Pelton Lonnin' | two verses also located | ||||||||||
148 | a mention of | Cuthbert Sharp | given as "Pelton Lonin" in "Bishoprick Garland" | ||||||||||
149 | Stay a Wee Bit, Bonnie Lad | Stay a Wee Bit, Bonnie Lad | |||||||||||
149 | Broken-legged Chicken – (The) | The Broken-legged Chicken | |||||||||||
150 | Bonny Pit Laddie – (The) | Bonny Pit Laddie | two verses given | ||||||||||
150 | Bonny Keel Laddie – (The) | Bonny Pit Laddie | three verses given | ||||||||||
151 | Dorrington Lads | Dorrington Lads | [4] | ||||||||||
151 | Blackett o' Wylam | Blacket o' Wylam | erroneously spelt "Blacket" in this book | ||||||||||
152 | Peacock followed the hen (The) | William Midford | The Peacock followed the Hen | two verses given | Tune-Cr | ||||||||
152 | history of tune | "The Peacock followed the Hen" | |||||||||||
152 | Meggy's Foot | Meggy's Foot | |||||||||||
154 | Because he was a Bonny Lad | Because he was a Bonny Lad | one chorus given | ||||||||||
154 | Fair Maid of Whickham – (The) | Fair Maid of Whickham – (The) | |||||||||||
155 | My Dearie Sits Ower Late Up – or My Bonnie Bay Mare and I | My Dearie Sits Ower Late Up | four verses given | ||||||||||
155 | history of tune | "My Dearie Sits Ower Late Up" | |||||||||||
156 | Newburn Lads | Newburn Lads | also known as "The Braw Lads o' Jethart" | ||||||||||
156 | a mention of | Thomas Doubleday | |||||||||||
156 | Cut and Dry Dolly | Cut and Dry Dolly | |||||||||||
157 | I'll have Her in Spite of Her Minnie | I'll have Her in Spite of Her Minnie | |||||||||||
157 | Lads of AInwick – (The) | The Lads of AInwick | |||||||||||
158 | Sir John Fenwick's the Flower amang them | Sir John Fenwick's the Flower amang them | "Sir John Fenwick's the Flower amang them" | ||||||||||
158 | history of tune | ||||||||||||
159 | Sir John Fenwick's the Flower amang them (newer lyrics) | Sir John Fenwick's the Flower amang them | one chorus given | ||||||||||
159 | Cuddie Clauder | Cuddie Clauder | |||||||||||
160 | All the Night I lay awake | All the Night I lay awake | |||||||||||
160 | Ail Hands upon Deck | Ail Hands upon Deck | |||||||||||
161 | Noble Squire Dacre | Noble Squire Dacre | |||||||||||
161 | short bio | The Dacre Family | |||||||||||
162 | Go to Berwick, Johnnie | Go to Berwick, Johnnie | |||||||||||
162 | Parks o' Yester – (The) | Parks o' Yester – (The) | |||||||||||
163 | Wedding o' Blyth – (The) – or Blue's gaen oot o' the Fashion | Wedding o' Blyth | |||||||||||
163 | Blue's gaen oot o' the Fashion | Wedding o' Blyth | Alternative title of "The Wedding o' Blyth" | ||||||||||
163 | a mention of | Thomas Doubleday | transcribed the tune "Wedding o' Blyth" with one verse | ||||||||||
163 | Lousy Cutter – (The) | Wedding o' Blyth | two verses given | ||||||||||
164 | Black Cock of Whickham – (The) | The Black Cock of Whickham | |||||||||||
164 | Coffee and Tea – or Jamie Allen's Fancy | Coffee and Tea | |||||||||||
164 | Jamie Allen's Fancy | Alternative title of "Coffee and Tea" | |||||||||||
164 | Jamie Allen's Fancy | Coffee and Tea | alternative name vof "Coffee and Tea" | ||||||||||
165 | Keelman Ower Land – (The) | The Keelman Ower Land | |||||||||||
165 | Small Coals an' Little Money | Small Coals an' Little Money | |||||||||||
166 | Shew's the Way to Wallington | Shew's the Way to Wallington | |||||||||||
166 | Shew's the Way to Wallington | Mr Anderson, a miller at Wallington | Shew's the Way to Wallington | 5 verses given | |||||||||
167 | short bio | Mr Anderson, a miller at Wallington | |||||||||||
167 | Jockey stays lang at the Fair | Jockey stays lang at the Fair | |||||||||||
168 | Stagshaw Bank Fair | Stagshaw Bank Fair | |||||||||||
168 | We'll all away to Sunniside | We'll all away to Sunniside | |||||||||||
169 | Miller's Wife o' Blaydon – (The) | The Miller's Wife o' Blaydon | three verses given | ||||||||||
170 | Holey Halfpenny – (The) | The Holey Halfpenny | |||||||||||
170 | Hoop Her and Gird Her | Hoop Her and Gird Her | |||||||||||
171 | Fenwick o' Bywell | Fenwick o' Bywell | also known as "Newmarket Races" and "Galloping ower the Cow Hill" and similar to Irish air "Garryowen" | ||||||||||
171 | history of tune | Fenwick o' Bywell | |||||||||||
172 | Drucken Moll Knox | Drucken Moll Knox | |||||||||||
172 | Lass and the Money is all my own – (The) | The Lass and the Money is all my own | |||||||||||
173 | Canny Hobbie Elliot | or Canny Hobby Elliott | |||||||||||
173 | comment on | Thomas Doubleday | |||||||||||
173 | comment on | John Bell | named as "Hobby Elliott" | ||||||||||
173 | Peacock's March | John Peacock | Peacock's March | ||||||||||
174 | Peacock's Tune | John Peacock | Peacock's Tune | ||||||||||
174 | short bio | John Peacock | |||||||||||
175 | Peacock's Fancy | John Peacock | Peacock's Fancy | ||||||||||
175 | Footie | John Peacock | Peacock's Fancy | a mention only | |||||||||
175 | Pipers' Maggot or Fancy | Pipers' Maggot or Fancy | |||||||||||
176 | Green Brechans o' Branton | Green Brechans o' Branton | |||||||||||
176 | Jackey Layton | Jackey Layton | |||||||||||
177 | Till the Tide comes in | Till the Tide comes in | |||||||||||
177 | short bio | Cuthbert Sharp | |||||||||||
177 | Till the Tide comes in | Henry Robson | Till the Tide comes in | ||||||||||
177 | Lamshaw's Fancy | Lamshaw's Fancy | |||||||||||
178 | Morpeth Lasses | Morpeth Lasses | |||||||||||
178 | Major – (The) | The Major | |||||||||||
179 | Andrew Carr | Andrew Carr | two verses given | ||||||||||
179 | Follow Her over the Border | Follow Her over the Border | |||||||||||
180 | Little Fishie | Little Fishie | |||||||||||
180 | Leazes Hopping | Leazes Hopping | |||||||||||
181 | Cooper o' Stannerton Heugh – (The) | The Cooper o' Stannerton Heugh | |||||||||||
181 | Mile to Ride – (A) | A Mile to Ride | also known as Stannerton (or Stamfordham) Hopping, Stanhope, Weardale and The Fleet's a coming | ||||||||||
181 | Stannerton (or Stamfordham) Hopping | A Mile to Ride | alternative name of "A Mile to Ride" | ||||||||||
181 | Stanhope | A Mile to Ride | alternative name of "A Mile to Ride" | ||||||||||
181 | Weardale | A Mile to Ride | alternative name of "A Mile to Ride" | ||||||||||
181 | Fleet's a coming – (The) | A Mile to Ride | alternative name of "A Mile to Ride" | ||||||||||
182 | Sandhill Corner | Sandhill Corner | |||||||||||
182 | Lang stay'd away | Lang stay'd away | |||||||||||
183 | Blaw the Wind southerly | Blaw the Wind southerly | one verse given – usually spelt as "Blow the Wind Southerly" | ||||||||||
183 | comment on | Cuthbert Sharp | |||||||||||
183 | history of tune | Blaw the Wind southerly | |||||||||||
183 | Cuckold come out o' the Amrey | Cuckold come out o' the Amrey | |||||||||||
184 | Ower the Border | Ower the Border | |||||||||||
184 | Sunderland Lasses | Sunderland Lasses | |||||||||||
185 | New Highland Laddie | New Highland Laddie | |||||||||||
186 | Little wot ye wha's coming | Little wot ye wha's coming | |||||||||||
186 | history of tune | ||||||||||||
186 | Little wot ye wha's coming | Little wot ye wha's coming | a mention of Scottish version listing clans | ||||||||||
186 | Little wot ye wha's coming | Little wot ye wha's coming | a mention of English version with two lines preserved | ||||||||||
187 | Fairly shot of Her | ||||||||||||
188 | Black and the Grey – (The) | Black and the Grey – (The) | |||||||||||
189 | Rantin' Roarin' Willie – or Mitford Galloway – (The) | Rantin' Roarin' Willie – or Mitford Galloway – (The) | |||||||||||
189 | Mitford Galloway (The) | alternative name of "Rantin' Roarin' Willie" | |||||||||||
189 | history of tune | ||||||||||||
189 | Mitford Galloway (The) | Thomas Whittle | Rantin' Roarin' Willie – or Mitford Galloway – (The) | ||||||||||
189 | short bio | Thomas Whittle | |||||||||||
190 | Hen's March – (The) | ||||||||||||
191 | Blanchland Races | ||||||||||||
191 | FINIS | ||||||||||||
193 | Index | ||||||||||||
Here Northumbria is defined as Northumberland, the northernmost county of England, and County Durham. According to 'World Music: The Rough Guide', "nowhere is the English living tradition more in evidence than the border lands of Northumbria, the one part of England to rival the counties of the west of Ireland for a rich unbroken tradition. The region is particularly noted for its tradition of border ballads, the Northumbrian smallpipes and also a strong fiddle tradition in the region that was already well established in the 1690s. Northumbrian music is characterised by considerable influence from other regions, particularly southern Scotland and other parts of the north of England, as well as Irish immigrants.
John Peacock was one of the finest Northumbrian smallpipers of his age, and probably a fiddler also, and the last of the Newcastle Waits. He studied the smallpipes with Old William Lamshaw, of Morpeth, and later with Joseph Turnbull, of Alnwick.
Robert Reid is widely acknowledged as the creator of the modern form of the Northumbrian Smallpipes. He lived and worked at first in Newcastle upon Tyne, but moved later to the nearby town of North Shields at the mouth of the Tyne, probably in 1802. North Shields was a busy port at this time. The Reids were a family with a long-standing connection to piping; Robert's father Robert Reed (sic), a cabinet maker, had been a player of the Northumbrian big-pipes, and an associate of James Allan, his son Robert was described later by James Fenwick as a beautiful player as well as maker of smallpipes, while Robert's son James (1814–1874) joined his father in the business. Robert died in North Shields on the 13th or 14 January 1837, and his death notice in the Newcastle Journal referred to him as a "piper, and as a maker of such instruments is known from the peer to the peasant, for the quality of their tone, and elegance of finish". He is buried in the graveyard of Christ Church, North Shields. His wife Isabella died in 1849, of cholera. There were repeated outbreaks of the disease at this time especially in the poor 'low town', near the river, where the Reids lived.
Jack Armstrong was an authoritative and influential performer on the Northumbrian smallpipes.
Thomas Todd was a noted player of the Northumbrian smallpipes, considered by William Cocks to be 'of highest rank'. One account, from 1890, states that he learned the pipes from Thomas Hair, a blind piper and fiddler of Bedlington, who also taught Todd's contemporary, Old Tom Clough. A photograph of him is in the Cocks Collection, and was visible online. It is known that Todd taught the pipers Tom Clough and Richard Mowat to play, as well as Mary Anderson, known as 'Piper Mary'. W. A. Cocks later noted that she was herself 'well known in her day as a piper of the first order'.
The Society of Antiquaries of Newcastle upon Tyne, the oldest provincial antiquarian society in England, was founded in 1813. It is a registered charity under English law.
"Blow the Wind Southerly" is a traditional English folk song from Northumberland. It tells of a woman desperately hoping for a southerly wind to blow her lover back home over the sea to her. It is Roud number 2619.
William Purvis, probably better known as "Blind Willie", was a Tyneside concert hall song writer and performer in England at the end of the 18th and start of the 19th century. His most famous song is "Broom Buzzems". He became known later as the "ancient laureate of the Tyne" and was remembered in the songs of Robert Gilchrist (1797–1844) and Thomas Thompson (1773–1816).
Henry Robson was a Tyneside concert hall poet, songwriter and performer in the late 18th and early 19th century. His best known works were perhaps the narrative poem "The Collier's Pay Week", and a poem "The Northern Minstrel's Budget", describing the repertoire of a travelling fiddler and piper.
Rhymes of Northern Bards is a book of North East England traditional and popular song consisting of approximately 200 song lyrics on over 300 pages, published in 1812. It was reprinted in 1971 by Frank Graham, Newcastle upon Tyne with an introduction by David Harker.
A Beuk o’ Newcassell Sangs is a pictorial book giving details of local songs, including the lyrics and in many cases, the music, and all beautifully illustrated with the author's own woodcuts. It was published in 1888. It was reprinted in 1965 by Harold Hill, Newcastle upon Tyne.
Allan's Illustrated Edition of Tyneside Songs and Readings is a book of Tyneside popular and traditional songs consisting of approximately 400 song lyrics on over 600 pages, published in 1891. It was reprinted in 1972 by Frank Graham, Newcastle upon Tyne, with an introduction by David Harker.
The Reverend John Collingwood Bruce, FSA was an English nonconformist minister and schoolmaster, known as a historian of Tyneside and author. He co-operated with John Stokoe in compiling the major song collection Northumbrian Minstrelsy published in 1882
John Stokoe was a 19th-century Tyneside author and historian. He co-operated with the author John Collingwood Bruce in compiling the hugely important “Northumbrian Minstrelsy” published in 1882.
Ritson's Northumberland Garland or Newcastle Nightingale, Edited and published by Joseph Ritson, is a revised edition of a book on Northumberland music, published in 1809.
The Northumbrian Small Pipes Society was founded in 1893, by members of the Society of Antiquaries of Newcastle upon Tyne to promote interest in, and playing of Northumbrian smallpipes, and their music. As it only continued in existence for seven years, it is now regarded primarily as a short-lived precursor to the Northumbrian Pipers' Society. However, despite its short life, it played a significant role, publishing the first tutor for the instrument, J. W. Fenwick's Instruction Book for the Northumbrian Small-Pipes (1896), holding regular meetings, and organising annual competitions. In 1894 and 1896-7, the society published Transactions, as well as publishing an account of their Annual Meeting of 1897. As well as Members, who paid an annual 5s. subscription, there was a category of Honorary Playing Members. Since the society's records include the names and addresses of all members, of either kind, they have listed the names and addresses for 37 known pipers. Two articles in the Newcastle Courant, in April 1900, gave an account of their Annual General Meeting, at the Literary and Philosophical Society, and referred to the society as flourishing, with 200 members, of whom almost half were pipers. Officers were elected for the following year; however there is no subsequent record of any formal activity of the society, such as meetings or competitions. In 1906, when the Cloughs played for King Edward VII at Alnwick Castle, an account of this in the Berwickshire News stated that the Northumbrian Small Pipes Society had done some good work in reviving interest, but that 'seven winters had passed without it giving any signs of life'. This suggests that the society had been largely inactive for some time before its final AGM.
The J.W. Fenwick manuscript, compiled in the second half of the 19th century, is a compilation of Northumbrian pipe music, together with other material associated with the instrument. Fenwick was a tailor, who lived in North Shields from about 1841. The same town was the home of the Reid family of pipers and pipemakers, and several other prominent pipers lived nearby. By 1894 Fenwick was described as "one of the oldest and best-known small pipes players in the county"; by this time he seems to have been playing for about 50 years. The manuscript was apparently being compiled throughout this period.
The Rook manuscript, compiled by John Rook, of Waverton, Cumbria in 1840, is a large collection of traditional music from Scotland, Northern England and Ireland.
Cornelius Stanton was a mid-19th-century Northumbrian piper.