Paper 54

The Perthshire Hunt Balls of 1809 and 1810

Contributed by Paul Cooper, Research Editor

Sporting pursuits were an important element of British social life in the early 19th century. Towns across the country hosted race weeks where crowds would flock to indulge their passion for racing, gambling and similar endeavours. Balls were an essential part of these events. In this paper we'll review the reports of the race week Balls that were held by the Perthshire Hunt in Scotland for 1809 and 1810. These representative examples will provide insight into the broader experience around the nation at a similar date.

Figure 1. Ascot Heath Races c.1755-1765, courtesy of the Royal Collection Trust.

The tunes and dances that we'll encounter and consider further in this paper are:

• Tekeli
• Push about the Jorum
• Light and Airy
• La Terza

Going to the Races

The human desire for competition must be as old as civilisation itself. The concept of a Race Week certainly predated the regency era by many decades, perhaps even centuries, the conventions were well established by the start of the 19th century. Provincial towns across the country would each hold their annual race week, it would attract visitors from across the neighbourhood and from further afield. Competitors and visitors might travel from one town to the next to participate in the racing, hunting, prize-fighting, feasting, gambling and partying that were a necessary part of these events. The coaching inns and taverns would be full, shop keepers would see more trade, street-vendors would hawk their wares and the temporary grandstands would fill to overflowing. Racing was a source of prestige for a town, the success of the annual races was indicative of a town's vitality. Figure 1 shows a crowded race meeting held at Ascot in the mid 18th century, it would have been representative of similar events held elsewhere around the country.

The Jockey Club is understood to have been founded around the year 1750 in London, it would go on to become the body responsible for organising and regulating horse racing in Britain. It began life as a Gentlemen's Club that sponsored racing, the first race known to have been sponsored by them was reported on in The Sporting Kalendar for 1753. Earlier references to the club do exist however (or perhaps to different clubs with the same name), e.g. Ipswich Journal for the 2nd August 1729 and the Newcastle Courant for the 27th January 1733. The club's founding date may be unclear but it would eventually go on to regulate England's entire horse racing industry. The process by which the club achieved supremacy isn't obvious, it may (at least initially) have been invited to independently resolve disputes. For example, an incident at the Leeds Races was recorded in 1762 (Newcastle Courant, 12th June 1762) at which a rider fell from his horse and another Jockey remounted that same horse which occasioned a dispute whether or no she was distanced, and is to be referred to the Jockey Club, before the Stakes are delivered. The club was a powerful entity by the start of the 19th Century, so too was Tattersall's auction house for racehorses. Gambling disputes were a significant concern of the Club, its members passed resolutions to avoid problems: bets couldn't be accepted after a race had started, the age of horses had to be accurately recorded, dead heats at Newmarket had to be run off after the last match on the same day. The Jockey Club operated in England, the members of the Caledonian Hunt held a somewhat similar role in Scotland; over time the horse racing and gambling industry became increasingly well regulated.

Figure 2. Rowlandson's 1811 A Two O Clock Ordinary, image courtesy of The Tate.

Two social activities strongly associated with any British race week were the Ordinaries and Balls. These events were routinely mentioned in both the advertising and reporting of the Races, for example the Derby Mercury for the 28th August 1752 reported of the Lichfield Races that Upwards of two hundred Gentlemen dined each Day at the Ordinary, and one hundred and four Gentlemen, and one hundred and twenty-three Ladies, subscribed to the Balls. The whole Meeting was conducted with the utmost Decency and Harmony; the Oxford Journal for the 4th July 1767 advertised for the Wantage Races that Ordinaries for the Ladies and Gentlemen, and Balls the first and last Nights alternately, at the Alfred's Head and Bear Inns; Card Assemblies and Tea at each House the second Night.; the Chester Courant for the 9th August 1793 advertised Ordinaries, Assemblies, Boat-Races, and Balls, as usual for the Conway Races. Such examples could be repeated a thousand-fold. We'll investigate the Balls further shortly, first let's consider the Ordinaries. An Ordinary was a ticketed all-inclusive meal typically held by a local tavern, ticket holders would receive the entirety of their food, drink and entertainment at a fixed price (see Figure 2). Heavy drinking was expected, the nobility and gentry would mingle and carouse with the townsmen, ladies were not expected to be present. The Sporting Magazine of 1835 explained further:

After the sports of the day are over ... the stewards have now other duties to fulfil. The usual custom is, that they should preside alternately at the table of the Ordinary. ... It is better, when the meeting lasts long enough, to have the balls and ordinaries on alternate days, for an ordinary should be well kept up, and that to a pretty late hour, and though it is a good old proverb frigit Venus sine Baccho, still it must be admitted that after such a sit as takes place in a merry and congenial party of the kind to which we have alluded, the partakers of it are sometimes more fit for their beds than for female society in a ball room. An ordinary does not need to be select. Any man should be received who pays his ticket, and knows how to behave himself. In some places, ladies are admitted to the ordinaries, and no one can deny that where it is practicable it adds much to the zest of the party. But it can only be done where the neighbourhood is good, parties well known to each other, and station in life so well understood that improper persons cannot think of intruding themselves. ... The price of tickets should not be too high; and generally speaking, an innkeeper knows that it is his interest that they should not be so. A guinea should cover every expense of dinner, wine, and waiting, especially if venison, game, fruit, &c. are supplied by the neighbouring gentry, as is in most instances the case.

Figure 3. A Horse Race, date unknown. Image courtesy of the British Museum.

The Perthshire Hunt

The balls we'll be studying in this paper were both held by the Perthshire Hunt in Scotland. They have been selected not because the Perthshire races were unusual or special in any way, rather there is surviving text that briefly describe these events and we lack similar information for other race week balls. The Perthshire balls are likely to be representative of what might have been expected elsewhere around the nation.

The 1836 Traditions of Perth by George Penny shared the following about the origins of the Perthshire Hunt:

Horse racing and archery were formerly much practiced in this quarter. It is a well authenticated fact, that the affair of 1745 was concocted at Perth races, which, prior to that period, were attended by noblemen from all parts of the kingdom. The disastrous events of that year put a stop to these amusements, and scattered the Scottish gentry to different parts of the continent; the effects of which were felt for 30 years. About 1784, the exiled families began to return, and many of the forfeited estates being restored, a new impulse was given to the county. Many of the gentlemen formed themselves into a body, styled the Perthshire Hunt; and a pack of fox hounds was procured, and placed under the management of an experienced huntsman. Their meetings were held in October, and continued for a week, with balls and ordinaries every day. When the Caledonian Hunt held their meetings here, the assemblies continued for a fortnight. The present excellent race course was formed after the enlargement of the North Inch, and for a time the Perth Turf was among the best frequented in Scotland. Although races have continued to be held pretty regularly, they have lately greatly declined in point of attraction; seldom extending beyond two days, where they formerly occupied a week.

It alleges that the Perth Races were used as a front for the planning of the 1745 Jacobite rebellion. In the aftermath of the 1746 Battle of Culloden the club ceased meeting, it was reformed around 1784. The Caledonian Mercury newspaper for the 30th October 1786 reported of the reformed club: On Monday last the Perth Hunt met here for the first time, and it continues through the week; they have been out these three days, and been successful. The uniform of the Hunt is a scarlet cloth frock coat, plain silver buttons, a horn in silver, and small fox in gold on the left side, a velvet cap, &c. Their meeting has been very full, most of the nobility and gentry in the neighbourhood having attended; amongst whom are his Grace the Duke of Athole, the Right Hon. the Earl of Kinnoul, the Right Hon. the Earl of Breadalbane, Lord Gray, Sir W. Stirling, Sir John Stewart, J.H. Belsches, A. Murray, Esq; &c. &c.. For 1787 (15th November 1747, with dance references marked in Bold) they reported: The Perth Hunt met here on Monday last. The company is very genteel and numerous, especially the ladies. The weather has been in general very unfavourable, though the gentlemen have been out every day but Thursday. We have had three balls.. The Courier newspaper in London reported in 1801 (24th October 1801) that The Perthshire Hunt, which met last week, was very numerously attended. His Grace the Duke of Athol, Earl of Kinnoul, with the two French Princes, sons of the late Duke of Orleans, and all the principal Nobility and Gentry of the country, were present. Similarly minor references to the race week events can be found in the newspapers for most years.

Figure 4. A Horse Race at Newmarket in 1799, image courtesy of the British Museum.

The Observer newspaper in London reported in 1807 of an unfortunate accident: At the Perthshire hunt, which commenced on the 30th ult. an accident occurred, which had nearly been attended with serious consequences. The scaffold erected on the race-course, for the accommodation of the Stewards of the hunt, gave way soon after the horses had started, and all the spectators, amongst whom was the Duke of Athol and several others persons of distinction, were precipitated to the ground. Only two persons, however, were seriously hurt, and the Gentlemen of the hunt collected for them upwards of 30l the same evening.. The hunt evidently survived that indignity as the Caledonian Mercury the following year reported (17th October 1808, dance references have been marked in Bold) of Perth: Last week this city presented a busy scene of elegant amusement. The annual meeting of the Perthshire hunt commenced on Tuesday. On Thursday and Friday there were hack races, which afforded much sport. The Theatre, under the management of Mr Beaumont, was open every night, and the Corps Dramatique boasted of the names of Talbot, Henry E., Johnston, Oxberry & Campbell. We cannot pretend to give an accurate list of the Nobility attending the hunt. Among other personages were the Duke of Athole, the Earl of Mansfield, Lords Keith and Gray, Sir Patrick Murray, A. Muir McKenzie, and John McGregor Murray, Generals Robertson, Stewart, and Drummond, Honourable Mr McDonald, &c. Balls were held every night, and numerously attended.

The balls were evidently of some importance to the race week festivities. The Perthshire Courier in 1811 (10th October 1811, once again with dance references in Bold) offered the following fascinating detail concerning the race week balls: The company, with laudable impartiality, dined on each of the three days at a different Inn, and removed in the evening to the ball-room which the Magistrates had provided for them at the public schools.. The hall of a public school had been made available to host the dancing in 1811, the same was presumably true for the race week balls of 1809 and 1810 that we'll study in a moment. The city of Perth was well prepared for dancing and hosted several professional dancing masters, we've written of them elsewhere (you might like to follow the link to read more). It's likely that both Barclay Dun and Alexander Strathy were active as dancing teachers in Perth in 1810 (both of whom went on to author important dance manuals later in the 1810s). In addition to the Perthshire Hunt the city of Perth would periodically host the annual Caledonian Hunt, this included the year 1813 when the Perthshire Courier wrote of the associated balls that: The band at the assemblies consisted as usual of Messrs Gow and Bowie, with other select hands, and gave the greatest satisfaction. The prevailing dances were chiefly of Scots reels as medleys, which were generally played in the common or quick time, with the addition of a few waltzes.. We'll read more of the named musicians John Bowie and Nathaniel Gow shortly, let's first turn our attention to the race week balls of 1809 and 1810.

The Perthshire Hunt race weeks of 1809 and 1810

Figure 5. An Extensive View of the Oxford Races c.1820 by Charles Turner. Image courtesy of the Yale Center for British Art.

The Perthshire Hunt met here on Wednesday last. It was attended by a very great assemblage of the Nobility and Gentry of this and other counties; among whom were the Duke and Duchess of Athol, the Earl and Countess of Mansfield, Lord and Lady Gray, Lord Ruthven, Sir Alexander and Lady Mackenzie of Delvin, the Miss Mackenzies, Sir George Clark, Sir George Abercromby, the Hon. P. Drummond Burrel, the Hon. Archibald Macdonald, the Hon. Mr Douglases, General Murray, Col. Murray Stirling, &c. &c. &c. The usual entertainments of Public Breakfasts, Dinners, and Assemblies took place. There was also some racing on Thursday, which afforded little sport. But on Friday, the race, by five Gentlemen, riding their own horses, for a purse of fifty guineas, gave considerable entertainment. It was won by Captain Boyd's grey horse, Dick. The Hunt, according to their benevolent custom, left a donation to the poor.

The Band, conducted by Mr J. Bowie, gave universal satisfaction. The following were the leading tunes danced: Miss Johnston's Reel, Cameronian Rant, Fight about the Fireside, Lady Mary Ramsay's Strathspey, Morgiana and the Prime of Life (Medley), Tekeli, Push about the Jorum, Scotch Medley, &c. &c.

Once again we read that John Bowie led the band for this event. The following year the Perthshire Courier for the 8th of October 1810 wrote of the event (once again with dance references highlighted):

The uncommon fineness of the weather was extremely favourable to the late meeting of company at the Hunt, who notwithstanding, were chiefly occupied with indoor amusements. There were some hack races on Thursday, and on Friday the whole company went to breakfast with Lord Kinnoull, at Dupplin Castle. On both days after the public dinners, most of the gentlemen and many of the ladies visited the Theatre, from which they proceeded to the dancing rooms.

The Band consisted of Messrs Gow and Bowies, with a number of other select performers, who gave general satisfaction.

The following are a few of the leading tunes which were called by the dancers; Atholl House; Light and Airy; La Zerza; Do. Waltz; Mrs McLeod of Rasay's Reel, &c. &c.

On all the different days of the Hunt, the County Meeting held long sittings on the details of the Road Bill.

It appears that the Courier cared more for the dancing than the racing, we're barely informed of the sporting at all. We instead read of the people who attended the races and the tunes that they danced to in the evenings. Some thirteen or so unique dancing tunes are named across the two events, most of which we have written about in previous papers. We'll go on to consider those tunes we've not already studied shortly. The tunes and dances from the 1809 and 1810 seasons that we have already investigated are: Miss Johnston's Reel, The Cameronian Rant, Fight about the Fireside, Lady Mary Ramsay's Strathspey, Morgiana, The Prime of Life, Scotch Medley, Athole House, La Waltz and Mrs McLeod of Rasay's Reel (you might like to follow the links to read more). Each one of these tunes was genuinely popular around the entire nation at around these dates, the same play-list could easily have featured at a Ball in London without being out of place.

Two band leaders have also been named, John Bowie and Nathaniel Gow. We're written of Nathaniel Gow (1763-1831) before, he was one of the most celebrated musicians of his generation. The Gow brothers in London and Edinburgh, between them, had significant influence over Britain's entire social dancing industry. Their country dancing bands were the most prestigious performers of their generation, they routinely played for the balls of the aristocracy and even those of the royal family. Let's now spend a moment investigating the life and career of Nathaniel Gow's friend John Bowie.

John Bowie (1759-1815)

We don't know a great deal about John Bowie. He was born, according to his gravestone at the small village of Tibbermore near Perth, in the year 1759. John (1759-1815) and his brother Peter (1763-1846) both played with the celebrated band of Niel Gow (the father of Nathaniel Gow). The talents of the Gow Band were appreciated in London as well as in Edinburgh, by the 1800s the Gow band was considered to be the best Country Dancing band in the entire nation.

Figure 6. A Collection of Strathspey Reels & Country Dances by John Bowie, c.1789

Bowie was not just a musician, he was also a composer of dancing tunes. He published his Collection of Strathspey Reels & Country Dances around the year 1789 (see figure 6). This collection of dance tunes was particularly noteworthy as it included suggested dance figures for a few of the tunes, this was the normal practice for tune collections issued in London but was almost unheard of in Edinburgh at the time. Perhaps Bowie saw value in arranging dance figures after the London fashion, he may perhaps have hoped to sell his books into the London market.

One (or perhaps both) of the Bowie brothers also formed the partnership of Bowie & Hill to sell printed music in Perth somewhere around the end of the 18th Century. One of their broadsheet publications was simply named Four New Tunes, it included a copy of Lady Caroline Lee's Waltz that was described as being as danced at the grand Fete given by the Knights of the Bath on their installation, 1st June 1803. This work was itself described as being Published by John Bowie with the Permission of the different Composers. Other music collections issued by Bowie at uncertain dates include: Six Favorite New Tunes, Four Composed by John Bowie, Perth, also Mrs Hen. Home Drummond's Reel & Waltz, Composed by J. Bowie, the c.1801 Perthshire Yeomanry and Lady Herriot Hay's Reel and the c.1797 Four New Tunes Composed by John Bowie, Huntingtower near Perth. Other collections may also have been issued. Indeed, Bowie is credited with having composed the celebrated Miss Murray of Auchtentyre's Strathspey, a tune that we've written about before; this tune is not found within any of Bowie's surviving publications, it may therefore have been first published in a now lost work.

Niel Gow died in 1807 shortly before the dates of our Perthshire Hunt Balls. It's possible that Niel would have led the band for the Perthshire Hunt Balls in the preceding years, Bowie and Nathaniel Gow may have inherited the responsibility from Niel. The Perthshire Courier (15th February 1816) published the following poem in tribute to Bowie after he in turn died:

Ah, Bowie! so lately the life of the Ball,
How deeply lamented thy loss is by all;
No wonder pale Bertha in sable should morn
The soul of her music will never return.

Alas! our Assemblies how spiritless now,
Compared with the times of a Bowie and Gow,
How dull is the dance, and how heartless the Hall,
How lifeless the Music, and cheerless the Ball.

Their Lives like their Music gave pleasure and mirth,
'Tis now when departed we think of their worth;
Just so with the comforts, this life does bestow,
When no more, then we prize them, like Bowie and Gow.

Bowie had evidently been a cherished part of the social life of Perth. John Bowie was survived by his younger brother Peter. When Peter in turn died in 1846 the Perthshire Courier (as quoted in the Glasgow Herald for the 16th March 1846) wrote:

Death of one of Niel Gow's Band - Mr Peter Bowie, the only surviving member, with one exception, of Niel Gow's celebrated reel band, died here, on the 1st inst., at he advanced age of 83. The survivor is old Peter Murray, of Inver, now also an octogenarian, and who, with his namesake now deceased, have long outlived all the rest of that corps, without whose exhilarating strains no joyous meeting, from the fashionable assembly to the humble penny wedding, could be said to be rightly constituted. It has been often a subject of regret that none of this famous coterie had the turn to leave on record any of the multifarious adventures which befell them in the exercise of their calling, which, from want of the facilities for travelling at the time, necessarily partook much of the characteristics of the gaberlunzie. After breaking up of the band, upon the death of its head, John and Peter Bowie, brothers, took up a shop in Perth as music sellers and teachers of the violin and piano forte, and from their talents, as well as their former popular connexion, enjoyed a large share of public support. The elder brother deceased upwards of thirty years ago, unmarried, and the survivor, being a man of frugal habits, and continuing in the exercise of his profession till lately, amassed a considerable fortune, the greater part of which we understand, he has bequeathed to the charities of this place.

That eulogy was syndicated in newspapers across the whole of Britain. John Bowie was evidently loved by the people of Perth, his loss remained lamented several decades later.

We will now turn to investigate the named tunes that were danced to at the Perthshire Hunt balls of 1809 and 1810. We've written about many of these tunes in previous papers, we'll therefore study the remainder now.

Tekeli

Figure 7. Carrying the Sacks over the Bridge from James Hook's 1806 score to Tekeli (above) and Tekeli from Skillern & Challoner's c.1807 4th Number (below).

The following were the leading tunes danced: ... Tekeli ... (1809 Perthshire Hunt Balls)

The first tune we'll study was danced at the 1809 race week balls, it is named Tekeli. The tune is readily identifiable. The melodrama of Tekeli, or The Siege of Montgatz by Theodore Hook was produced at the Drury Lane Theatre in London from late November 1806 (The Times, 21st November 1806), it was an instant success. The story followed the adventures of the Hungarian nobleman Emeric Thököly (1657-1705). The associated advertisements promised new music, scenery, machinery, dresses, and decorations. The Overture and Music composed by Mr. Hook. The Ballet and Action under the direction of Mr. D'Egville.. The leading character of Count Tekeli was played by Mr Elliston, the score was by Theodore's father, James Hook. The production was sufficiently successful that one haberdasher even advertised a Tekeli Hat as being available to opera goers in 1806 (Morning Post, 19th December 1806), by May of 1807 the British Press newspaper (1st May 1807) would report in a column on fashion that Tekeli caps, in crape or fine picket, are very becomming.

The Hampshire Chronicle for the 1st of December 1806 included a summary of the plot and the following review: This piece is said to be a translation by Mr Hook jun. and adapted by him to the English stage. The interest is supported with much ingenuity through the whole performance. The music is pretty, and well adapted to the action. The dialogue abounds with loyal and noble sentiments. It was very well received; it was announced for a second representation amidst repeated bravos. That same day the Morning Post reported The Theatre overflowed on Saturday night, at the repetition of the new melo-drama of Tekeli, the increasing popularity of which has exceeded any recent piece.. Over the following few months productions of Tekeli would be performed throughout Britain.

Several melodies from the production were adapted into popular Country Dancing tunes and enjoyed in 1807 and 1808. Two in particular were readily available from London's music shops. One of the tunes was named Pandean Dance in Tekeli, the other took the simpler name of just Tekeli. It's this second tune that was danced in Perth in 1809. Our tune was derived from a movement in Hook's score that was associated with the direction Carrying the Sacks over the Bridge from the second Act (it's a pivotal moment in the plot where Tekeli is smuggled into Montgatz Castle in a sack, see Figure 7). This particular tune was modified for Country Dancing c.1807 (having been initially published in Hook's December 1806 score); the precise sequence of publication is unknowable but examples issued in London include: Monzani's c.1807 4th Number, Goulding & Co's c.1807 10th Number, James Platts's c.1807 3rd Number, Davie's c.1807 15th Number, Walker's c.1807 14th Number, Skillern & Challoner's c.1807 4th Number (see Figure 7), Dale's c.1808 11th Number, Button & Whitaker's c.1807 6th Number, Andrews's c.1808 15th Number, Wheatstone & Voigt's c.1807 2nd Book, Clementi's c.1808 5th Number and Goulding & Co's collection of 24 Country Dances for 1808. It would also be mentioned in Thomas Wilson's 1809 Treasures of Terpsichore, in Edward Payne's 1814 New Companion to the Ballroom and, in Edinburgh, in Anderson's c.1810 Budget of Strathspeys, Reels & Country Dances.

The tune was also being danced to socially. The Morning Post for the 22nd June 1807 reported of a Ball held by The Countess of Camden at which All the dances were Scots, except in the first one, after supper, viz. Tekeli.. The Countess Dowager of Ormond and Ossory also featured the tune at her Grand Ball and Supper (British Press, 4th July 1807), as did the Countess Spencer at her Fete Champetre (Morning Post, 6th July 1807) and Mr Angerstein at his Grand Fete (Morning Post, 24th July 1807). Aberdeen's Northern Shooting Club also featured the tune at their annual Ball in 1807 (Morning Post, 16th October 1807). It was danced at a juvenile ball held by Mrs Miles (Bristol Mirror 9th January 1808) where it was led off by Master Miles and Miss Rowe, followed by about 32 couple from the ages of four to thirteen years, at Mrs Leigh's ball (Morning Post, 26th January 1808) and Princess Charlotte even led off a dance to the tune at Lady Mary Bentinck's Ball (Saint James's Chronicle, 11th June 1808) with Viscount Ebrington. It was danced at Mrs T. Hope's Grand Ball and Supper (British Press, 20th June 1808), at Sir Thomas Wilson's Entertainment (Morning Post, 24th August 1808) and at the Master of the Ceremonies Ball at Margate (Morning Post, 6th of October 1808). Social references are rare thereafter but it was clearly a favourite tune for a couple of years.

We've animated suggested arrangements of Skillern & Challoner's c.1807 version (see Figure 7), of Wheatstone & Voigt's c.1807 version and of Button & Whitaker's c.1807 version.

For futher references to the tune, see also: Tekely at The Traditional Tune Archive.

Push about the Jorum

The following were the leading tunes danced: ... Push about the Jorum ... (1809 Perthshire Hunt Balls)

The next tune to consider from the 1809 Balls is Push about the Jorum. The earliest publication of the tune that I can confirm was in the 1750 5th volume of Johnson's A Choice Collection of 200 Favourite Country Dances where it appeared under the name Lads and Lasses (see Figure 8, right). A highly similar tune would resurface in the 1770s in a under the new and better known name of Push about the Jorum.

Figure 8. Push about the Jorum from the c.1780 fourth volume of Thompson's Compleat Collection of 200 Favourite Country Dances (left), and Lads and Lasses from the 1750 5th volume of Johnson's A Choice Collection of 200 Favourite Country Dances (right).

The new name originated in a song. Miss Catley sang a bawdy song to the modified tune of Lads and Lasses named Touch the Thing, you Bastard in the 1773 burletta The Golden Pippin. It was performed at Covent Garden in early 1773 (The Scots Magazine, 1st February 1773). This song introduced the refrain push about the jorum (a jorum was a drinking vessel). The song was evidently a hit, most subsequent references to the tune used the new name in place of the more risqué title that had been proposed. For example, the Irish newspaper Saunders's News-Letter for the 22nd of April 1777 referred to a production of Love in a Village at Dublin's Theatre Royal that would be followed by several songs including Push About the Jorum, and an additional Verse suitable to that Night. The Hibernian Magazine for 1775 also included a copy of the score as sung by Miss Catley (sadly the versions of this work I've accessed have lost the associated plate (number LXIII) though the reference to the song remains within the index). Robert Burns went on to use the same tune (under the new name) for several of his songs.

The tune was also used for Country Dancing in London from around the year 1780. Arrangements can be found in the c.1780 fourth volume of Thompson's Compleat Collection of 200 Favourite Country Dances (see Figure 8, left) and in Longman & Broderip's c.1781 200 Favorite Country Dances, Cotillons and Allemands. It can also be found in similar collections issued by Thomas Skillern and Bride at around the same date. It would also be published in Glasgow in the 1782 first volume of Aird's Selection of Scotch, English, Irish and Foreign Airs. Thereafter the tune would seemingly disappear from published collections until the early 19th Century when it appeared in William Campbell's c.1803 18th Book and also in the Astor collection of Country Dances for 1804. It would also appear in Newcastle based Abraham Mackintosh's c.1805 Collection of Strathspeys, Reels, Jigs, &c., then, tellingly, in Nathaniel Gow's 1809 A fifth Collection of Strathspeys, Reels &c.. This final publication was issued shortly before the date of the 1809 Perthshire Hunt balls, this might imply that the tune was enjoying a resurgence in Edinburgh at around our date.

The inclusion of the tune at our ball is mildly unexpected, it's not often that such an old tune would resurface in this way. I have no evidence of the tune being used at any other society events. This may well have been an obscure tune in 1809, it's only by luck that a reference to it having been danced survives. Perhaps Burns having referenced the tune was sufficient to bring it back to mind. The anomaly might invite us to question whether other old and obscure tunes were also being occasionally reintroduced at fashionable events.

We've animated a suggested arrangement of Campbell's c.1803 version.

For futher references to the tune, see also: Push about the Jorum (1) at The Traditional Tune Archive.

Figure 9. Light and Airy from Robert Ross's c.1780 Choice Collection of Scots Reels (above) and from William Campbell's c.1804 19th Book (below).

Light and Airy

The following are a few of the leading tunes which were called by the dancers; ... Light and Airy ... (1810 Perthshire Hunt Balls)

The next tune to consider was danced at the 1810 balls, it's another readily identifiable tune named Light and Airy. The phrase light and airy is probably one that had been used by both Dancing Masters and Musicians over the centuries to encourage a nimbleness or sprightliness of movement. For example George Jenkins in his 1822 The Art of Dancing wrote about the importance of an airy, light and easy costume for dancing in and also of a light or airy dancing gait. Matthew Towle in his c.1770 Young Gentleman and Lady's Private Tutor commented that When you are going to any dancing, dress yourself airy, light and decent. The phrase might therefore be thought suitable for a dance tune, one in which dancers are encouraged to be up on their toes.

Several tunes of this name have been published, the Thompson publishing dynasty issued two such tunes in their collections of Country Dances for the years 1766 and 1770. The tune from our ball was neither of these however, it was instead a tune that was republished over about 25 years from around the year 1780. The first publication I can identify of our tune was issued in Edinburgh by Robert Ross in his c.1780 Choice Collection of Scots Reels (see Figure 1, above), it would then reappear in Niel Gow's c.1788 Second Collection of Strathspey Reels &c.. It would next appear in London in Longman & Broderip's 1794 Fourth Selection of the most favorite Country Dances, Reels &c. and also in Thomas Budd's Twenty-fourth Book, For the Year 1794. Back in Edinburgh it would appear in Robert Petrie's c.1796 Second Collection of Strathspey Reels &c (under the name Light and Arie) and in both Edinburgh and London in Corri, Dussek & Co's collection of Twenty Four New Country Dances for the Year 1797. It was also issued in London in Robert Mackintosh's c.1803 Fourth Book of New Strathspey Reels, in William Campbell's c.1804 19th Book (see Figure 9, below) and in Joseph Dale's c.1805 5th Number (Dale's version duplicated that of Campbell). A minor variant of the tune was also published in Dublin under the name Bucks of Westmeath by Maurice Hime in his c.1796 second volume of Forty Eight Original Irish Dances, then again in London in Martin Platts's Book 25 for the year 1798 of Strathspeys, Reels, Waltzs & Irish Jiggs.

The tune is also known to have been danced socially at a few other events. It was the opening dance of Mrs Knox's Rout in 1802 (Morning Post, 19th March 1802) and also at The Mansion-House Ball in 1809 (Morning Post, 5th April 1809). It was reported of the 1809 event that: When the Lady Mayoress departed (12 o'clock) she carried with her her court, i.e. her most intimate female friends. The room was then sufficiently cleared for dancing, which commenced with Light and Airy, by an Officer of the London Militia and Miss Robarts. Four sets were formed, with about forty couple in each. It was not until past four in the morning, that the merry dance concluded.. It's not entirely clear whether the same tune was danced at this Ball for over four hours, it's not impossible given then extreme number of couples who had formed up and the convention by which the leading couple would dance down the whole set, back to the top, then down a second time before a dance would end. It was evidently a favourite tune.

We've animated suggested arrangements of Budd's 1794 version and of Dale's c.1805 version. We've also animated a suggested arrangement of Martin Platts's 1798 version of Bucks of Westmeath.

For futher references to the tune, see also: Light and Airy (1) at The Traditional Tune Archive.

La Terza

The following are a few of the leading tunes which were called by the dancers; ... La Zerza ... (1810 Perthshire Hunt Balls)

The final tune we'll investigate in this paper was named as La Zerza, though I'm not aware of any tunes having been published under this precise name. There was however a very popular and unusual tune circulating from around the year 1810 named La Terza, I suspect that it was this tune that was being danced in Perth that same year.

Figure 10. La Terza from Dale's c.1810 17th Number.

The first reference I know of to our tune was unexpectedly detailed. A report of Lady Johnstone's Ball in the Morning Post newspaper for the 3rd of July 1809 recorded: Precisely at half-past eleven o'clock the ball was opened with a new dance, composed by the Honourable Miss Bouverie, and then first introduced, called The Laterza; there are two movements in it, and it is a very spirited tune.. If this reference is to be believed then this event of 1809 was the first time the tune had been danced socially, the composer was identified as being a lady of fashion. The composer was Miss Charlotte Bouverie (d.1810), the second daughter of Bartholemew Bouverie (1753-1835). Charlotte would go on to marry Sir Henry St John-Mildmay (1787-1848) later in 1809, she died from complications of childbirth the following year. Nathaniel Gow would identify Charlotte as being the composer of two other popular country dancing tunes (in his collection of The Favourite Dances of 1810), she evidently composed both The Nameless and Morgiana, both of which were immensely popular. She may also have composed The Prime of Life. Charlotte's La Terza tune would go on to feature at Mrs Panton's Ball in 1810 (Morning Post, 8th of June 1810) as well as at the Perthshire Hunt Balls. It would also feature at a Ball at Broadstairs hosted by Mr Forsyth in 1811 (The Globe, 8th of October 1811) where it was reported that La Terzetta followed; it was played first in common time, and next as a waltz.. The 1811 ball was still further unusual as One very singular feature appeared in this assembly, there were three Ladies to one Gentleman. In the first country-dance we noticed six couple, wholly composed of females.. Social references to the tune disappear thereafter but it was evidently something a little unusual. The tune has appeared under several mildly differing names: The Laterza, La Terza, La Zerza and La Terzetta. There can be little doubt that they all refer to the same tune, the detail of there being two movements one in common time and one in waltz time is a little too specific to refer to anything else.

The tune was widely published in 1810. The precise sequence of publication is unknowable but examples include: Dale's c.1810 17th Number (see Figure 10), Goulding's c.1810 18th Number, Walker's c.1810 24th Number, James Platts's c.1810 16th Number, Skillern & Challoner's c.1810 10th Number, William Campbell's c.1810 25th Book and it was also named in Thomas Wilson's Treasures of Terpsichore for 1810. It would also appear in Button & Whitaker's c.1811 16th Number, Wheatstone & Voigt's c.1811 5th Book and in Monzani's c.1811 18th Number. Nathaniel Gow published the tune in Edinburgh in his The Favorite Dances of 1810, Edward Payne mentioned it in his 1814 New Companion to the Ballroom and Hime & Son published it in Dublin in their c.1815 22nd Number.

The tune itself is unusual for being composed half in common time and half in waltz time, it's unlike most other tunes of the period. Nathaniel Gow actually split the tune into two parts and described it as being a Medley in his publication for this reason. He seems to have been better informed about the composer than most of his contemporaries in London, the Gow band did after all enjoy privileged access to the aristocracy.

Some versions of La Terza are arranged in five parts, others in four parts. The Dale arrangement in Figure 10 is in four parts, we've previously commented on Skillern & Challoner's version in five parts elsewhere. The five part arrangements repeat the A strain after the section in waltz time. We've animated a suggested arrangement of Dale's version (see Figure 10) in two parts: Part 1 and Part 2.

Conclusion

We don't have a great deal of information about the dancing at the Perthshire Hunt Balls, what we do have is tantalising however. We know that the band leaders were amongst some of the most capable in the entire nation and that the tunes danced were a combination of fashionable melodies of both Scottish and English derivation. We know of the 1813 Caledonian Hunt ball (which was also held in Perth) that The prevailing dances were chiefly of Scots reels as medleys, which were generally played in the common or quick time, with the addition of a few waltzes, we might expect the same to have been true in 1809 and 1810. We know that a school hall was used for the dancing in 1811, we again might assume the same to have been true in 1809 and 1810. It's likely that similar statements could be made about race week balls throughout the nation at a similar date, though their band leaders in most cases would have been less celebrated than were Nathaniel Gow and John Bowie.

If you would like to recreate a historical race week ball, or indeed any Ball dated to around 1810, the tunes and dances we've explored in this paper would be an elegant accompaniment to your event. We'll leave the investigation here, if you have anything further to share then do please Contact Us as we'd love to know more.