Alison McMorland and Geordie McIntyre’s Blog

2013-05-15 11.54.16We are very familiar with MSS material, from our own personal and shared researches, and were delighted to be asked to act as consultants to this worthy project. Alison’s family roots and associations with the Dumfries and Galloway area gives her an added interest in this venture.

2013-06-05 11.57.55             The Macmath collection includes printed material from chapbooks and broadsides but is predominantly in MSS form. The first general point to make is that songs, be they in print or MSS, are essentially in shackles and can only be set free when sung! In 1810 Margaret Laidlaw, mother of James Hogg reproached Sir Walter Scott who had printed some of her songs in his published Minstrelsy of the Scottish Border.                                                                                                                             ‘ There were nane o’ my songs prentit til ye prentit them yourself and ye hae spoilt them a’ thegither. They were made for singin’ and no for readin’ but ye hae broken the charm noo and they will never be sang mair’. Fortunately Margaret’s gloomy prediction was proved wrong.                                                                                                                                                                                     On a similar theme, Edwin Muir in his ‘Complaint of the Dying Peasantry’ ( Collected Poems, Oxford 1965) and we quote from the last verse                                                                                                                                                                                     ‘The singing and harping fled                                                                                                                                                                                                                                                                                                Into the silent library                                                                                                                                            But we are with Helen dead                                                                                                                                                                                                              And with Sir Patrick lost at sea.’

2013-05-15 11.54.43   There has been a fruitful inter-action between the oral and printed tradition. However we believe that the oral nature within the Macmath Collection is its artistic strength and dynamic. This is indeed a quality collection which ranges from classic ballads such as Hynd Horn and Sir Patrick Spens to the light hearted The Wedding of the Frogge and the Mouse and children’s songs. The Queen of the Fairies is an excellent and distinctive version of Tam Lin, and Queen Jeannie was in Labour are just some of the many items awaiting liberation. In most cases there are no tunes given and one of our tasks was in marrying airs from our own repertoire or knowledge and in suggesting possibilities for performance. It was interesting to build up a picture of the area where Macmath had collected songs and from whom. His four sisters featured and especially his mother’s sister Jane Webster.                                                                                                                                                                                                                         The process we undertook in reading the handwritten texts of this professional copyist, giving our comments and melodies for items throughout, was recorded and filmed for immediate and future reference. The English and Scottish Popular Ballads edited by Francis James Child (5 vols Dover New York 2003) and the Traditional Tunes of the Child Ballads edited by Bertrand Bronson (4vol s reprint 2009 Loomis Press) proved to be both fitting and invaluable.

fd2w7LxKcOAGktXHzFRaFtj1kD4Q1HY7Sp1qaM9J7FMAlison Burns has assembled a talented group of singers and musicians to bring the songs back to the living oral tradition via public performance and compact disc where they belong. We are sure William Macmath would have approved!

May 2015 A McM and G McI


The Carrying Stream – Blog by Tom Pow

In her work with the Feral Choir, Ali Burns has frequently used the spoken word as counterpoint to song. In Macmath – The Silent Page, she uses the spoken word again, but this time to carry the narrative of William Macmath’s work as a recorder of the oral tradition. The story David Sumner will tell in the Ryan Centre in Stranraer (26 May) and that I will tell in Langholm (Buccleuch Centre, 27 May) and in Dumfries (Easterbrook Hall, 31 May) is the story of how a seemingly unlikely man from the Stewartry, who worked most of his life as a legal clerk in Edinburgh, collaborated with the foremost song collector of his time – the Harvard Professor, Frances Child. What is remarkable about the songs that are given voice (from The Silent Page to the Singing Page) in this concert-ceilidh is that all of them were sung to Macmath by people living in the Glenkens.


Some years ago, Tom Leonard, working as writer in residence in Renfrew libraries began to unearth a mass of poems from a popular working class tradition. He published them in a book called ‘Radical Renfrew’ – a book that carried the social and political voices of the time. It was a remarkable book, but it also suggested that the work that Leonard did reflected a small part of what must lie in libraries and archives across Scotland, waiting to be discovered. The fact that all these ‘Macmath’ songs have such a local provenance shows the richness of the oral tradition in these parts, while suggesting, as does ‘Radical Renfrew’, that there are further riches still submerged in many other areas of Scotland.


That is the local dimension. But there is the other – the aspect of the transference of oral culture elsewhere. It is, I think, a particular thrill to hear the ‘Ballad of Lord Ronald’ and to recognise the unmistakable structure of Bob Dylan’s ‘A Hard Rain’s A-Gonna Fall’. This is but one example of the echoes and resonances the songs and tunes carry that I picked up; those with greater depth of knowledge will hear far more.

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It is very moving to hear songs that have never been sung together before – sung and played by outstanding musicians from this region. The story is indeed one that is worth hearing, but of course the music is the thing. These songs – which will also be recorded and released – now have the chance to become part of the repertoire of the musicians who deliver them and others who will hear them: in other words they will become part once more of what Hamish Henderson called ‘the carrying stream’ of a living, oral culture. In a recent talk on Radio 3, titled ‘About Song and Laughter’, John Berger said, ‘Songs have a dimension which is uniquely theirs. A song, whilst filling the present, hopes to reach a listening ear in some future somewhere. It leans forward further and further. Without the persistence of this hope, I believe, songs would not exist. Songs lean forward.’


Come and hear Macmath’s story – it is a story of uncompromising commitment – but it is a small part of the evening. The greater reason by far is to come and hear what was lost given life. These are beautiful, lively and powerful songs, delivered with terrific skill and passion. This is a project of which D & G Arts Festival, Creative Scotland, The National Trust for Scotland and The William Grant Foundation can be very proud of supporting.

Tom Pow

Claire’s Blog

This week saw the beginning of the final intense rehearsals before our ‘World Premiere’ of Macmath: The Silent Page at the end of May. The first two days saw a return to Wallaceton Village Hall where we set about playing through the songs, finalizing the arrangements and structuring the set that we will perform. After the last rehearsals we had all been working independently, learning lyrics and fine tuning our parts for the songs so it was lovely to put it all together and hear the songs really coming to life.

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As well as bringing the collection to life musically, the performance will incorporate information on Macmath’s background and include selected passages from his correspondence with Francis Child, the song collector for whom Macmath so feverishly set about notating and collecting the local songs of Dumfries and Galloway. Ali has worked very hard, not only to script the spoken passages, but also to thread them into the concert so that it remains informative and fun without affecting the flow of the music. Not to give anything away but I think the audience are in for a treat!

Macmath was not originally from Dumfries and Galloway but he loved the region and, like myself, considered it ‘home’ and so it has been very special to us all that we are the first to breathe life into his collection. It’s clear from the considerable number of sources that Macmath credits, that song and storytelling were an important part of daily life in nineteenth century Dumfries and Galloway. Our regions musical legacy can only benefit from this considerable re-injection of it’s traditional song and it’s exciting and an honour to be a part of that revival.

Alongside the final tweaking of the concert set we also made time for a photo shoot. Not exactly the weather for a photo shoot this week but when in Scotland! Yes, it was blustery and rainy but we did manage to get a brief break in the weather to head outside into the beautiful countryside and get some nice shots taken. So, look out for us in various press over the next few weeks in the lead up to the premiere.

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The final day of rehearsals was a technical run through at Berkeley 2 Studios in Glasgow. Our three hour slot, in a building bustling with Glasgow’s finest pub bands and ‘future stars’ all busy honing their licks, was a chance to run the music through a PA system to give us a great idea of how things will sound on the night. The good news is it is all sounding great, everyone contributing and creating a synergy and ensemble sound that I’m sure William Macmath would have been very happy to listen to.

And so we parted until the next rehearsal, each one of us with our list of things to do, harmonies to remember and lyrics to memorise. We meet again in Stranraer on the day of the premiere where we will get to rehearse with the choir and our fantastic narrator for the evening, David Sumner. Although it’s already sounding fantastic, these additions will be the icing on an already exciting cake and I for one cannot wait to hear the concert. I hope you feel the same and we’ll see you there!

Getting Started

Finding a day when 7 busy musicians are all free is the biggest challenge of meeting up! We finally managed to nail everyone down to a day a couple of weeks ago and holed up at Emily and Jamie’s cottage in the wilds of Galloway. It was a bleak old blustery day outside but the wood stove was lit, the coffee was on and everyone was looking forward to getting started.

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We’re working from photocopies of the original manuscripts, not only to cut down on handling of the hundred-year-old fragile books but also as the photocopies have enlarged print.
Although Macmath’s handwriting is beautifully clear and legible the books also have songs written down by others. Here’s Macmath’s writing (top) and (below) examples of some of the other hand’s we’re working to decipher. The enlarged print – and a magnifying glass – really helps when you’re stuck on a word.

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Altogether the 2 books we’re looking at have 56 songs or song fragments between them. We decided to choose which ones we thought were worth working on for the project. This entailed going through each song and looking at 1) Was it unusual or rare or unique to the collection? 2) Was the text complete? 3) Did it have a tune included or referred to by Macmath or did we know of a tune to a similar song or version? By pooling our knowledge of tunes, similar versions of the songs and ‘people who might know’ missing information we gradually made a clear choice of 20 songs we’re interested in taking further.




Some of the songs in the collection are just small fragments of songs. You get the impression that Macmath was very meticulous in his research and wrote down everything he knew or found out – sometimes just one verse of a song that differed slightly from other versions he’d already found.


Emily Smith searches for alternative versions of a song.


So we then divided the songs up between us – we all had favourites or ones we were interested in ‘taking on’. Some were drawn to songs without tunes that need new tunes writing. I work with choirs, so was particularly looking for texts that were simple, not too wordy and that would lend themselves to folk-choir settings. Robyn’s choice included 3 versions of The Death of Queen Jeanie – an extraordinary song about Queen Jeanie going into to labour, an account of an emergency caesarean and the Queen’s subsequent death. An amazing glimpse into another time. (It is thought that the queen may be Jane Seymour the third wife of King Henry VIII. If that is the case the birth referred to would have taken place in 1537). Aaron took on the ‘Lads of Whamfrey’ – an epic composition contemporary to Macmath rather than a ballad – that was included in the books as a newspaper cutting. In other circumstances we might not have included it but for the fact that Whamfrey is local to Dumfries and Galloway and so of interest to us as local musicians.


Wendy Stewart and Aaron Jones researching songs.

We also decided that our criteria for this project is about making a collection of singable songs with good arrangements and to make that we are allowing ourselves the freedom to edit and tweak songs. We’re coming at it as musicians who are singing the collection back to life rather than academics striving for ‘correct’ versions.

The Photoshoot Day

One of the first tasks to be done for the project was to take some photos of the musicians taking part in The Silent Page project.  The copy deadline for the Dumfries and Galloway Arts Festival programme is coming round soon and we need a great photo that can be used for publicity, posters and a cd cover.

2014-11-11 11.27.08So on a wet miserable Tuesday in November we gathered at Broughton House. The light was gloomy even though we were meeting in the morning. We’d chosen the library to work in – it overlooks the wonderful garden. Here’s a shot of Wendy Stewart – who’s a keen gardener as well as an amazing harp player – admiring it from the second floor up.  In the far right of this photo you can see the extension on the back of the house that Edward Hornel used for a studio. It has north facing skylights – giving a steady, even light for painting by – and opens onto the garden.

Broughton_House_01Kim Ayres from Castle Douglas was photographer for the day. You can see more of his work on his website or Facebook page

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We spent some time talking about where and how we’d take the shot and then left Kim to set up in the library while we headed to the toilets to change and get ready.  Broughton House was closed to the public that day so we had the run of the building. Even when the house is full of visitors it’s not hard to slip into a ‘wouldn’t it be wonderful to live here’ fantasy, but when you’ve got the run of the place to yourselves it’s impossible not to imagine living in those lovely rooms!

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The library has a whiff of that wonderful old fashioned slightly musty smell – and lots of old books, polished wood and beautiful carpets in soft colours. We’d shared a photo of the library before the photoshoot day so that we could all choose something to wear that would fit with the soft colours and the mahogany bookshelves. No patterns or very bright colours!

As you can imagine – it can take a while to get a good photo of one person but when there are  seven of you to capture the time frame extends.       I think it took us about an hour in the end to get to the final shot. Kim kept an eye on what he was shooting and directed us carefully – trying to make a visual dialogue appear between us. And here’s the result – thanks Kim! I love they way they yellows work together – Emily’s cardigan, Jamie’s fiddle and the edge of the book I’m holding.



The Story So Far


I first came across the Macmath collection of songs and letters back in 2004. I think I’d heard or read mention of it somewhere and was curious as to who he was and what was there. It was a wet rainy afternoon in March and I’d spent the day with primary school kids on an explorative songwriting trip to a local river. I was finished by 2.30 so decided as I was nearby to go and have a look at Macmath. If you’ve never been to Broughton House it can take your breath away the first time. It’s a beautiful example of a Georgian townhouse in the stunning little town of Kirkcudbright on the Solway Firth in S.W. Scotland.



The house was formerly the home of the Scottish Painter E A Hornel – one of the ‘Glasgow Boys’ – a dynamic group of painters who had all studied together at Glasgow School of Art. The house is packed with paintings by him and his contemporaries as well as his vast library. Hornel often bought collections of papers and books at auctions and it was in this way that he acquired papers and books belonging to William Macmath.

Macmath 1844 – 1922 was brought up in Galloway. As a child he learnt many ballads and songs from his Aunt Jane Webster. He obviously developed a fascination for them, for when an advert appeared in Notes and Queries in 1873 stating Wanted, Old Ballads he immediately presented himself to offer his services as a researcher. This led to a long correspondence and working relationship between himself and Francis Child who had placed that advert.

UnknownFrancis James Child 1825 -1896 was an English professor at Harvard with a special interest in ballads. He eventually published his large collection The English and Scottish Popular Ballads in 6 volumes between 1882 and 1898 and Macmath contributed hugely to that work. A large part of the Macmath collection at Broughton House is the correspondence between Child and Macmath.

Over the years I made several vista to the collection and sketched out some possible ideas for ways to use the songs. Finally, in 2012 the Dumfries and Galloway Arts Festival heard about my plans and offered to do the huge leg work of funding applications. They’ve commissioned the performances for 2015 and found funding from Creative Scotland, The Barfil Trust and The National Trust for Scotland.

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Geordie and Alison looking at the collection in 2013

My immediate reaction on seeing the song books all those years ago was ‘wouldn’t it be great to bring this page-bound collection back to life’. At that point though I had no idea if any of the songs were ‘valuable’ – were there unpublished or unique versions of any songs? Was it worth putting a lot of effort into finding out? I called on Scot’s song experts and singers Geordie MacIntyre and Alison MacMorland to come and have a look. Over the summer of 2013 we spent several days pouring over the books and with growing excitement I listened to what they had to say – there were some unique songs and song fragments along with many unusual and rare versions of songs. And with their huge knowledge of Scot’s song they were able to come up with tunes or likely tunes for many of the songs. (There are some tunes written down but most songs just have words.)

This blog is the story of bringing these songs back to life. Please join me over the next 6 months as we untangle the songs,  write new tunes, ‘mend’ missing verses, make a recording and put together a performance of this long forgotten collection.

Alison Burns


Broughton House Garden