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GOW, NATHANIEL, who,
as a violinist and composer, well deserves a place in any work intended to
perpetuate the names of Scotsmen who have done honour or service to their
country, was the youngest son of the celebrated Niel Gow. His mother’s
name was Margaret Wiseman, and he was born at Inver, near Dunkeld,
Perthshire, on the 28th May, 1763. Nathaniel, and his three brothers,
William, John, and Andrew, having all given early indications of musical
talent, adopted music as a profession, and the violin, on which their
father had already gained so much reputation, as the
instrument to which their chief study was to be directed. All the brothers
attained considerable eminence, and some of them acquired a fortune by the
practice of this instrument but viewing all the circumstances applicable
to each, it will not be looked on as invidious or partial, when we say,
that Nathaniel must be considered the most eminent of his family or name,
not only as a performer and composer, but as having, more than any other,
advanced the cause and popularity of our national music during his time,
and provided, by his publications, a permanent repository of Scottish
music, the most complete of its kind hitherto given to the world.
Nathaniel was indebted to
his father for his first instructions. He commenced on a small violin
commonly called a kit, on which his father Neil had also made his
first essay, and which is still preserved in the family. At an early age
he was sent to Edinburgh, where he continued the study of the violin,
first under Robert M’lntosh, 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, better known by the appellation of king M’Glashan,
which he acquired from his tall stately appearance, and the showy style in
which he dressed; and who besides was in high estimation as an excellent
composer of Scottish airs, and an able and spirited leader of the
fashionable bands. He studied the violoncello under Joseph Reneagle, a
name of some note in the musical world, who, after a long residence in
Edinburgh, was appointed to the professorship of music at Oxford. With
Reneagle he ever after maintained the closest intimacy and friendship. The
following laconic letter from the professor in 1821, illustrates this:—
"Dear Gow, I write this to request the favour of you to give me all
the particulars regarding the ensuing coronation, viz...Does the crown of
Scotland go? Do the trumpeters go? Do you go? Does Mrs Gow go? If so, my
wife and self will go; and if you do not go, I will not go, nor my wife
go." Gow’s first professional appearanee it is believed, was in the
band conducted by king M’Glashan, in which he played the violoncello.
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; but having been cut off about the
year 1791, at the early age of forty, Nathaniel took his place, and
maintained it for nearly forty years, with an eclat and success far beyond
any thing that ever preceded or followed him.
So early as 1782, when he
could not have been more than sixteen years of age, Gow was appointed one
of his majesty’s trumpeters for Scotland, a situation which required
only partial attendance and duty, being called on only to officiate at
royal proclamations, and to accompany the justiciary judges on their
circuits for a few weeks, thrice in each year. The salary is small, but it
is made up by handsome allowances for travelling expenses, so that in all
it may yield the holder about £70 per annum. This situation he held to
the day of his death, although during some of his later years, he was
forced to employ a substitute, who drew a considerable portion of the
emoluments.
He had for many years
previously, by assuming the lead of the fashionable bands, become known
not only as an excellent violin player, but as a successful teacher, and
as having arranged and prepared for publication the first three numbers of
the collection of reels and strathspeys published by his father. So much,
however, and so quickly did he advance in reputation after this, and so
generally did he become acquainted with the great and fashionable world,
that in 1796, without giving up or abating his lucrative employment as
leader, he commenced business as a music-seller on an extensive scale, in
company with the late Mr Wm. Shepherd; and for fifteen or sixteen years,
commanded the most extensive business perhaps ever enjoyed by any house in
the line in Scotland. In 1813, however, after his partner’s death, the
business was wound up, and whatever profits he may have drawn during the
subsistence of the partnership, he was obliged to pay up a considerable
shortcoming at its close.
It was in 1799 that he
continued the work commenced by his father and himself; and from that time
till 1824, in addition to the three first collections, and two books of
Slow Airs, Dances, Waltzes, &c., he published a fourth, fifth, and
sixth Collection of Strathspeys and Reels; three volumes of Beauties,
being a re-publication of the best airs in the three first collections,
with additions,— four volumes of a Repository of Scots Slow Airs,
Strathspeys, and Dances—two volumes of Scots Vocal Melodies, and a
Collection of Ancient Curious Scots Melodies, besides a great many smaller
publications, all arranged by himself for the harp, piano forte, violin,
and violoncel1o. During the life of his father, he was
assisted by him, and the first numbers were published as the works of Neil
Gow and son. Many collections had been published previously by ingenious
individuals, the best of which, perhaps, was that of Oswald; but Gow’s
collections, beyond all dispute, are the most extensive and most complete
ever submitted to the public; embracing not only almost all that is good
in others, but the greater part of the compositions of Neil and Nathaniel
Gow, and other members of that musical family.
After an interval of a few
years, Gow commenced music-seller once more, in company with his only son
Neil, a young man of amiable and cultivated mind, who had received a
finished education at Edinburgh and Paris for the profession of surgeon,
but who, finding no favourable opening in that overstocked calling, and
having a talent and love for music, abandoned it and joined his father.
This young gentleman, who was the composer of the beautiful melody of
"Bonny Prince Charlie," and a great many others, was not long
spared to his father and friends, having been cut off by a lingering
disease in 1823. The business was afterwards continued until 1827; but,
wanting a proper head—Gow himself being unable to look after it—it
dwindled away; and poor Gow, after a long life of toil, during which he
had gathered considerable wealth, found himself a bankrupt at a time when
age and infirmity prevented him from doing anything to retrieve his
fortunes.
It is difficult to describe
the influence, success, and reputation of Nathaniel Gow, during all the
time he conducted the fashionable bands in Edinburgh and throughout
Scotland; but certain it is, that in these respects he stands at the head
of all that ever trode in the same department. Not only did he preside at
the peers’ balls, Caledonian Hunt balls, and at the parties of all the
noble and fashionable of Edinburgh, but at most of the great meetings and
parties that took place throughout Scotland; and in several instances he
was summoned to England. No expense deterred individuals or public bodies
from availing themselves of his services; and it appears from his
memorandum books, that parties frequently paid him from one hundred to one
hundred and fifty guineas, for attending at Perth, Dumfries, Inverness,
&c. with his band. One of the first objects in the formation of
fashionable parties, was to ascertain if Gow was disengaged, and they
would be fixed, postponed, or altered, to suit his leisure and
convenience. He visited London frequently, although he resisted many
invitations to settle there permanently. In the year 1797, when in London,
the late duke of Gordon, then Marquis of Huntly, got up a fashionable ball
for him, which was so well attended, that after paying all expenses, £130
was handed over to Mr Gow. He was in the habit, too, during every visit to
the capital, of being honoured by invitations to the private parties of
his late majesty, George IV., when prince of Wales and prince regent; on
which occasions he joined that prince, who was a respectable violoncello
player, in the performance of concerted pieces of the most esteemed
composers. In 1822, when his majesty visited Scotland, Gow was summoned,
with a select portion of the musical talent of Edinburgh, to Dalkeith
palace, and the king evinced his enduring recollection of the musician’s
visits to him in London, by quitting the banquet table to speak to him;
ordering at the same time a goblet of generous wine to the musician, and
expressing the delight he experienced not only on that, but many former
occasions, in listening to his performances. Gow was overcome by his
majesty’s familiar address, and all he could do was to mutter in a
choked manner, "God bless your majesty." At the peers’ ball,
and the Caledonian Hunt ball, his majesty took pleasure in expressing the
satisfaction he derived from Gow’s music; so that when the latter
rendered his account for his band, he added, "my own trouble at
pleasure, or nothing, as his majesty’s approbation more than recompensed
me."
Gow had an annual ball at
Edinburgh during all the time he was leader of the bands; and, until a few
years before his retirement, these were attended by all the fashion and
wealth of the country, there being frequently above one thousand in the
room, many of whom, who were his patrons, did not stint their
contributions to the mere price of their tickets. He received, besides,
many compliments beyond the mere charge for professional labour. At his
ball in 1811, the late earl of Dalhousie, who was his staunch supporter on
all occasions, presented him with a massive silver goblet, accompanied by
the following note:—"An old friend of Gow’s requests his
acceptance of a cup, in which to drink the health of the thousands who
would wish, but cannot attend him to-night." He was presented with a
fine violoncello by Sir Peter Murray of Ochtertyre, and a valuable Italian
violin by the late Sir Alexander Don.
While his evenings were
occupied at the parties of the great, his days were not spent in idleness.
He had as his pupils the children of the first families in the country,
for the violin and piano-forte accompaniment; from whom he received the
highest rate of fees known at the time; indeed, it appears from his books,
that at one time he went once a week to the duke of Buccleugh’s at
Dalkeith palace, a distance of only six miles, and received two guineas
each lesson, besides travelling expenses.
Although engaged, as
already said, in the most extensively patronized musical establishment in
Scotland, it is questionable if he ever at any time realized profit from
it, while it is certain, that towards the close he was a great loser;
indeed, it can seldom be otherwise where the proprietor has other
avocations, and leaves the management to his servants. But from his balls,
teaching, and playing, the emoluments he derived were very great, and he
was at one time worth upwards of 20,000 pounds; but this was ultimately
swept away, and he was forced, while prostrated by a malady from which he
never recovered, to appeal to his old patrons and the public for their
support, at a ball for his behoof in March, 1827, which he did by the
following circular: "When I formerly addressed my kind patrons and
the public, I had no other claim than that which professional men
generally have, whose exertions are devoted to the public amusement. By a
patronage the most unvarying and flattering, I was placed in a situation
of comfortable independence, and I looked forward without apprehension, to
passing the decline of my days in the bosom of my family, with competence
and with happiness. Unfortunately for me, circumstances have changed. By
obligations for friends, and losses in trade, my anxious savings have been
gradually wasted, till now, when almost bed-rid, unable to leave my house,
or to follow my profession, I am forced to surrender the remnant of my
means to pay my just and lawful creditors. In this situation some generous
friends have stepped forward and persuaded me, that the recollection of my
former efforts to please, may not be so entirely effaced, as to induce the
public to think that my day of distress should pass without notice, or
without sympathy."
The appeal was not in vain—the
ball was crowded, and handsome tokens of remembrance were sent by many of
his old friends, so that nearly £300 was produced. The ball was continued
annually for three years afterwards, and though not so great as the first,
they still yielded sufficient to prove the deep sympathy of the public,
and to afford him a consolation and support in his hour of trial and
sickness. It should not be omitted, that the noblemen and gentlemen of the
Caledonian Hunt, who had, during all his career, been his warmest patrons,
voted fifty pounds per annum to him during his life; and we will be
forgiven for lengthening this detail a little, by quoting one letter out
of the many hundreds received, which was from his ever-generous friend Mr
Maule of Panmure: "Your letter has given me real uneasiness, but
although Scotland forgot itself in the case of Burns, I hope the
present generation will not allow a Gow to suffer for the want of
those comforts in his old age, to which his exertions for so many years
for their amusement and instruction, so well entitle him. My plan is this,
that an annuity of £200, should be got by subscription, and if the duke
of Athol, lords Breadalbane, Kinnoul, and Gray, (all Perthshire noblemen,)
would put their names at the top of the list, it would very soon be filled
up; this in addition to an annual ball at Edinburgh, which ought to
produce at least 200 pounds more, would still be but a moderate recompense
for the constant zeal, attention, and civility, which you have shown in
the service of the public of Scotland during a long period of years. I,
for one, shall do my part, because I never can forget the many happy hours
I have passed, enlivened by the addition of your incomparable music."
The subscription did not take place, but Mr Maule did his part indeed,
for every year brought a kind letter and a substantial accompaniment.
In estimating the
professional character of Nathaniel Gow, it will be more just to his memory
to consider his merits in that department which he made his peculiar
province, than as a general musician; for although he was well acquainted
with the compositions of the great masters, and joined in their
performance, and taught them to his pupils, yet his early aspirations, and
his more mature delight and study, were directed to the national music of
Scotland. As a performer he had all the fire and spirit of his celebrated
father in the quick music, with more refined taste, delicacy, and
clearness of intonation in the slow and plaintive melodies. To an equally
fine ear, and deep feeling of the beauties and peculiarities of Scottish
melody, he added the advantages of a more general cultivation of musical
knowledge, with more varied and frequent opportunities of bearing the most
classical compositions, executed by the most able performers. These, while
they did not tempt him to sacrifice any of the character or simplicity of
his native music, enabled him to give a taste and finish to the execution
of it, which placed him, by general and ungrudging consent, as the master
spirit, of that branch or department which he had selected, and in which,
for a long course of years, he walked in unapproachable triumph. There are
many living, contemporaries to whom less than even the little, we have
said, will be necessary to make them concur in this statement; those who
never listened to his playing, can only be referred to the universal
subjugation of the world of fashion, taste, and pleasure, to his sway for
so long a period, as a pretty certain testimony in support of our humble
opinion.
As a composer, his works
remain to support his claims. He has published in his collections, and in
sheets, upwards of two hundred original melodies and dancing tunes, and
left nearly a hundred in manuscript; which, along with his more recent
collections, became the property of Messrs Robertson of Prince’s Street,
Edinburgh. Of these we may only refer to a very few —his "Caller
Herring," which was so much admired, that it was printed in London,
and imitated by celebrated composers—"Sir George Clerk," and
"Lady Charlotte Durham," as specimens of his slow compositions,—and
to "the Miller of Drone," "Largo’s Fairy Dance," and
"Mrs Wemyss of Castlehill," to which last air the song of
"St Patrick was a Gentleman," is sung, as specimens of his
lively pieces. There are many of our finest melodies, of which the
composers are unknown; but we are persuaded that few will
contradict us when we say, that from the number and talent of his
compositions, no known Scottish composer, not even his celebrated
father, can contest the palm with him, as the largest and ablest
contributor to the already great stock of our national music.
Independently of these, he
has claims upon our gratitude, not only for perpetuating in his very ample
collections, so large a proportion of the scattered gems of national
music; but for giving it, during his whole career, such prevalence and
eclat, by his admirable execution, and constant encouragement, and
exhibition of its spirit and beauty to the public. In all these respects
he is entitled to the first praise as its greatest conservator and
promoter. It is no doubt true, that of late years the introduction of
foreign music and dances, has for a time neutralized his exertions, and
kept somewhat in abeyance the native relish for our own music and.
dancing. But there are such germs of beauty in the former, and such spirit
and character in the latter, that we have little fear of their being soon
revived, and replaced in all their wonted freshness and hilarity in their
proper station among our national amusements. It is painful to hear some
of the young ladies at our parties, reddening with a kind of horror at
being asked to join in a reel or country dance, and simpering out, "I
can’t dance reels—they’re vulgar;" at the same time that their
attempts at the foreign dances are perhaps little superior to the jolting
pirouettes of stuffed dolls, or pasteboard automatons in a raree show. How
different from the time when the first nobles in the land were proud when
a reel or strathspey was named after them, and would pay considerable sums
for the composition. We have before us a letter of the late duke of
Buccleugh to Nathaniel Gow, in which he says—"I wish that at your
leisure you would compose (start not, gentle misses!] a reel according
to the old style. It should be wild, such as your father
would have liked—highland,---call it "the Border Raid;" and we
are happy to learn that the present duke and duchess encourage the
resumption of our national dances, whenever they have an opportunity. The
neglect of them has no way improved the openness and cheerfulness of our
female character.
Nathaniel Gow was a man of
great shrewdness and good understanding—generally of a lively
companionable turn, with a good deal of humour—very courteous in his
manners; though, especially latterly, when misfortune and disease had
soured him, a little hasty in his temper. He was a dutiful and
affectionate son, as his father’s letters abundantly prove—a kind
brother, having resigned his share of his father’s succession to his
sister, who wanted it more than he did at the time; and indulgent and
faithful in his duties to his own family. In his person he was tall and
"buirdly"—and he dressed well, which, added to a degree of
courtliness of manner on occasions of ceremony, gave him altogether a
respectable and stately appearance. His illness came to a crisis in the
beginning of 1831, and finally terminated in his death, on the 17th of
January of that year, at the age of sixty-five. He was buried in the
Greyfriars’ churchyard; but no stone points out to the stranger where
the Scottish minstrel sleeps.
He was twice married. By
his first wife, Janet Fraser, he had five daughters and one son, of whom
two of the daughters only survive—Mary, married to Mr Jenkins of London;
and Jessie, to Mr Luke, treasurer of George Heriot’s Hospital. By his
second wife, Mary Hog, to whom he was married in 1814, he had three sons
and two daughters, only two of whom survived him—namely, John, who was
educated in Heriot’s Hospital; and Augusta, who became a teacher of
music in Edinburgh, after having undergone five years’ training in
London. A spirited likeness of Mr Gow was painted by Mr John Syme of
Edinburgh, which, with the portrait of his father Niel, the Dalhousie
Goblet, and small kit fiddle, are in the possession of Mrs Luke. |
