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THEE j
A Reconstructed Piano-vocal Score withCommentary on the Historical Background
Edited by
O Robert E. Knox, Jr. e
The Observer PressAnson, Texas, 1978
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Copyright 1978 byRobert E. Knox, Jr.
Knox, Robert Erskine, Jr., The Lady of the Lake: A Reconstructed
Piano-Vocal Score with Commentary on the Historical Background. Master
of Music (Musicology), May, 1979, 137 pp., 11 half leaves, 2 plates,
1 table, bibliography, 42 titles.
The document consists of a commentary on the historical background
of the work and an edition of the restored score. The commentary treats
its relationship to the ballad opera, sources and alternate settings of
the music and libretto, a history of the development of "Hail to the
Chief," biographical sketches of the primary composers, and a section on
early productions in England and America. The commentary includes a
history of the English and American premieres, lengths of the first-runs,
and the names of the theatres in which the performances were mounted.
The reconstructed score is a piano-vocal performance edition with
dialogue, cues, scenery, costume and property plots indicated in detail.
* TET r
I wish to thank William Lichtenwanger of the Library of
Congress for his assistance in locating many of the musical scores
used in the preparation of the edition, and Mr. Lester Levy for his
invaluable help in supplying me with reproductions of musical
movements only available from his private collection. Also I wish to
thank Dr. Thurman L. Morrison whose encouragement and initial
suggestion gave rise to this project.
This document was prepared as a master's thesis in musicology
at North Texas State University.
jtqlt: i i i =Ih
CONTENTS
ACKNOWLEDGEMENTS iii
LIST OF ILLUSTRATIONS vii
Chapter
I RECONSTRUCTION OF THE LADY OF THE LAKE
The Relationship to the Ballad Opera 1
The Music and Libretto 4
Development of "Hail to the Chief" 9
Composers and Librettist 11
Early Productions 16
II MUSIC OF THE LADY OF THE LAKE
A Keyboard Score of the Reconstructed Workwith Libretto 22
Critical Notes 129
APPENDIX 131
BIBLIOGRAPHICAL SOURCES OF ADVERTISEMENTAND PRODUCTION DATES
BIBLIOGRAPHY 134
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LIST OF ILLUSTRATIONS
Table
1. Musical Numbers and Composers used in the
Reconstructed Score
Plate
1. The Surrey Theatre, London, ca. 1810
2. The Chestnut Street Theatre, Philadelphia,
ca. 1820 6
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RECONSTRUCTION OFTHE LADY OF THE LAKE
The Relationship to the Ballad Opera
The Lady of the Lake, in this first setting for the musical stage,
is basically a ballad opera.' Comprised of an overture, arias and
aria-like ballads, recitatives, trios, choruses, and later optional
extemporized incidental music, the work also exhibits some early
characteristics of Romantic musical theatre. These are the usage of
extensive spoken dialogue, spectacle scenes, dances and marches,
spoken dialogue accompanied by music, and a real or mythical
setting in an earlier time. 2 The last, recalling man's great deeds andconflicts, utilizes nobility and honor as stimuli for plot and character
development.
The Lady of the Lake, though more romantic in nature, followsin the tradition of Gay's Beggar's Opera of 1728, Barker's The
1 Willi Apel, Harvard Dictionary of Music (Cambridge, Mass., 1969), p. 72. "Ballad Opera,A popular form of eighteenth-century stage entertainment in England, consisting of spokendialogue alternating'with musical numbers taken from ballad tunes, folksongs, or famousmelodies by earlier or contemporary composers."
467. 2 C. Hugh Holman, "Romanticism," A Handbook to Literature (New York, 1972), p. 465 -
3 Donald J. Grout, A Short History of Opera (New York, 1965), p. 158.
Indian Princess, 1808 4 and Benjamin Carr's The Archers or
Mountaineers of Switzerland, 1796.
It was first billed as "A New Grand Melo-Dramatic Romance in
Two Acts."6 In spite of its romantic leanings, the idea of the Ballad
Opera, in its original sense of altering English serious opera of the
eighteenth century for the enjoyment of the masses, is still
maintained in The Lady of the Lake. The work in Dibdin's setting
uses an artful mixture of lengthy direct quotes from the original 1810
poem of Sir Walter Scott, as well as extensive paraphrases. The
aspect of parody, however, in the sense of its present day meaning,
is not fulfilled as The Lady of the Lake is quite sombre in its tone,
and is very serious in its portrayal of the events that led to the
subjugation of Sir Roderick Vich Alpine Dhu to Fitzjames I, regent
of Scotland, 1394-1437.'
4 Ibid., 491-492.
5 Gilbert Chase, America's Music, From the Pilgrims to the Present, Rev. Second edition(New York, 1966), p. 118.
6 "Surrey Theatre," The London Times, 9-24-1810, p. 2, col. 5.
Robert C. Pooley and George K. Anderson, Paul James and Helen Thornton. "TheTriumph of the Romantic Revolt, Sir Walter Scott," England in Literature (Glenview, Illinois,1968), 371-373.
8 "James I," Encyclopedia Britannica, Micropaedia (Chicago, 1976), V, 508.
In his study of the English musical drama,' MichaelWinesanker extensively described the beginnings, development, andculmination of the ballad opera until 1800. The Lady of the Lake was
composed after the period covered by Winesanker, and is part of theperiod when the form was changed and assimilated into musicaldrama or musical theatre. By mid-century, ballad opera was nolonger a major genre. Even though its libretto was taken from an
earlier source, George F. Bristow's Rip Van Winkle, produced in1855, is generally considered an opera. A notable exception, and
really a re-incarnation, is Kurt Weill's Die Dreigroschenoper of1928,," which mimics all of the elements of the early ballad opera.
9 Michael Winesanker, The Record of English Musical Drama, 1750-1800 (Ithaca, NewYork, 1944).
10 Chase, 329.
11 Apel, 72.
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The Music and Libretto
Sir Walter Scott wrote the epic poem of The Lady of the Lake in
late 1809; the first published edition appeared in 1810. This work was
produced during Scott's period of metrical romances and drew its
subject matter from the medieval history of Scotland."
The stage production of The Lady of the Lake, with libretto by
Thomas Dibdin and music primarily by James Sanderson,' was
mounted on Monday, 24 September 1810, at the Surrey Theatre
(Plate 1) in London,14where it ran until 10 December. A "very ample
success" for both Dibdin and the manager of the Surrey Theatre,"
The Lady of the Lake was then transferred to America, where it
opened in Philadelphia at the Chestnut Street Theatre (Plate 2) on
Wednesday, 1 January 1812. After its American premiere, the
production was given frequent performances until 29 January 1812.1"
The numerous subsequent productions in Philadelphia and other
American cities will be discussed later in this study.
12 Pooley and Anderson, p. 372.
13 Donald William Krummel, Philadelphia Music Engraving and Publishing, 1800-1820: Astudy in Bibliography and Cultural History (Michigan, 1958), p. 348. Mr. Kummel postulatesthat The Lady of the Lake was actually a pastiche work and mainly composed of six set pieceswritten by Dr. John Clarke-Whitfeld, John Bray, John Whitaker, James Sanderson, and JohnHook.
14 "Surrey Theatre," London Times, p. 2.
15 Thomas John Dibdin, The Reminiscences of Thomas Dibdin (New York, 1828), p. 199. Inhis letter to Thomas Henry, a friend and co-producer, Dibdin describes his success with TheLady of the Lake at the Surrey Theatre in London.
16. Charles Durang, A History of the Philadelphia Stage, from 1749-1855 (Philadelphia,1854-8), p. 91, col. 2.
17 Aurora General Advertiser (Philadelphia, 1-29-1812), p. 3, col. 4.
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The Dibdin and Sanderson version of The Lady of the Lake is byno means the only dramatic setting of this popular Romantic story.
Immediately following the Surrey Theatre success, a musicaldrama entitled The Knight of Snowdoun, with music by Henry
Bishop and libretto by Thomas Morton, was performed at CoventGarden in 1811." Simultaneously, the producer-musical playwrightEdmund John Eyre brought out a three-act version of The Lady ofthe Lake in New York City;,,numerous later versions of The Lady ofthe Lake are extant, but none of them date from as early a period asthese two examples.
The Dibdin libretto, used as the basis for the reconstruction ofthe edition found in Chapter Two, interprets the text of the Scott epicpoem with reasonable accuracy. It does not utilize, however, all ofthe dramatic action or suggested musical numbers allowed for in thepoem. Scott indicates twelve places in the text for the inclusion of setpieces. "Dibdin calls for music in only seven of them, and even threeof that number are not specified in his libretto save for stage
18 Jerome Mitchell, The Walter Scott Operas, An Analysis of Operas Based on the Worksof Sir Walter Scott (Tuscaloosa, 1977), p. 10.
19 Edmund John Eyre, The Lady of the Lake; A Melodramatic Romance, in Three Acts(New York, May, 1811) This work is found in the collection of the New York Public Library andlisted in the New York Public Library, Reference Dept. Dictionary Catalogue of the MusicCollection, XVI, p. 713.
20 Walter Scott, The Lady of the Lake, Favorite Works of Sir Walter Scott (New York,1942), pp. 352, 354, 350, 369, 371, 373, 377, 381, 396, 400, 402, 403. The specified places for themusical insertions in the poem are as follows: Canto 1, Stanza XXXI, "Soldier Rest"; Canto 2,Stanza II, "Not Faster Yonder Rowers"; Canto 3, Stanza XVI, "Coronach"; Stanza XXIII,"The Heath this Night," Stanza XXIX, "Hymn to the Virgin"; Canto 4, Stanza XII, "AliceBrand or Merry it is in the Good Greenwood," Stanza XXII, "They Bid Me Sleep"; Canto 6,Stanza V, "Our Vicar STill Preaches," Stanza XV, "Battle of Beale' and Duine," Stanza XXII,"And Art Thou Cold and Lowly Laid," and Stanza XXIV, "Lay of the Imprisoned Huntsman."
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directions that indicate a certain character sings an appropriate air."
Then, with the aid of Sanderson, Dibdin adds eight more numbers for
a total of fifteen - actually three more than the number called for in
the original. The Dibdin-Sanderson truncation (from twelve pieces to
seven) stemmed from the setting and paraphrasing of only those
stanzas of the poem that suggested an inherent musical treatment;
but they augmented the whole with an overture, a march, some
flourishes, three ballet movements, as well as several arias. All of
the later group are the original creations of Sanderson and Dibdin."
The optional incidental music not originally indicated in the
Sanderson-Dibdin libretto has been deleted from the reconstructed
score because of a lack of any indication of the exact nature of the
music or the way in which it was to be performed or improvised. 3
Indeed, all attempts to discover and obtain a complete score of The
Lady of the Lake were frustrated, and the reconstruction resulted
from a compilation of separately published musical numbers and
21 Thomas Dibdin, The Lady of the Lake, A Melodramatic Romance, In Two Acts (NewYork, 1812?), pp. 5, 6, 11, 13, 14, 23. The musical numbers indicated in the libretto are: Act I,"Soldier Rest," "Hail to the Chief," "Not Faster Yonder Rowers," "Merry it is in the GoodGreenwood;" Act II, "They Bid Me Sleep," "Coronach," and "My Hawk is Tired."
22 Ibid. The numbers created by Sanderson, Dibdin, Carr, Clarke-Whitfeld, Whitaker andSchetky are the overture, "March," "Rustic Dance," "Morris Dance," "Hornpipe," "WhatGroans Shall Yonder Vallies Fill," and "My Hawk is Tired."
23 Richard J. Wolfe, Correspondence of 19 March 1977. In his letter he writes: "The scoresof American ballad operas are practically non-existent," a conclusion reached after manyyears of extensive study and research for the preparation of his Secular Music in America,1801-1825, A Bibliography (New York: New York Public Library, 1964), 3v. However, Wolfedoes say in the beginning of the letter that "In going through millions of pieces of music for my1801-1825 list, I remember coming across an English vocal score (piano score) of this balladopera, and various parts of it which were reprinted separately;" unfortunately he could notrecall where the score was located as it had been too many years since he had encountered it.
librettos.14 Further, the horn calls, flourishes, and trumpet fanfarescalled for in the libretto are here comprised of examplesauthentic tothe late eighteenth and the early nineteenth century, and werechosen because they seemed suited to the theatrical nature of thestage production of The Lady of the Lake.
Development of "Hail to the Chief"'
Most of the Sanderson-Dibdin set pieces became popular during
the tenure of the production and were subsequently published apart
from the complete work. Over the years, all of them except "'Hail to
the Chief" have fallen into obscurity. This march with chorus seems
to be the only remnant of the work generally known to the public,
though few, if any, know the actual source of the celebrated music.
"'Hail to the Chief"' seems to have been introduced to the
American public in 1810, shortly after the English premiere. It first
appeared in the collection of Six Ballads from the Lady of the Lake,
published in that year by Carr and Schetky of Philadelphia.! This
preceeded by about two years the January 1812 premiere of The
Lady of the Lake in Philadelphia. This was probably the first printed
source of "Hail to the Chief" in America. No English published
source has been found that antedates the American publication.
In early 1812 "'Hail to the Chief" again appeared in another
collection, here entitled Six Favorite Songs from the Lady of the
24 Ibid.
25 James Murray Barbour, Trumpets, Horns, and Music (Michigan, 1964), pp. 39, 43, 44.
26 Robert A. Gerson, Music in Philadelphia (Philadelphia, 1940), Part II, 52.
00% ~V
Lake, published by George E. Blake of Philadelphia." This was
followed by John Paff's separately published version later in 1812."
Numerous publications followed up to the mid-nineteenth century.
After this time, four-part choral arrangements became popular and
appeared in many parlour-song books 2' and hymn tune collections.
During the period 1820-1861, the march was often used to herald
prominent officials and dignitaries?. By the time of the War Between
the States, "'Hail to the Chief" had been unofficially adopted for the
use of the President. Infact, it was one of the last pieces of music
heard by Abraham Lincoln. On the evening of 14 April 1865, its
performance interrupted the first act of Our American Cousin at
Ford's Theatre in Washington, D.C., signaling the late arrival of
Lincoln and his wife as they entered their box in the theatre.?
In the last quarter of the nineteenth century John Philip Sousa
arranged and greatly shortened the march. During his administra-
tion, Chester A. Arthur banned the playing of "Hail to the Chief".
Throughout the late nineteenth and early twentieth century it had
only been unofficially used, but in 1954 Dwight Eisenhower issued an
27 Wolfe, 11, 830.
28 Ibid., 772. The version published by Paff was titled "Hail to the Chief. The Lady of theLake."
29 A version of "Hail to the Chief" is included in the famous 1870 Franklin Square SongCollection.
30 William Lichtenwanger, Correspondence, September, 1975.
31 James Alonzo Bishop, The Day Lincoln was Shot (New York, 1955), p. 195. "ThePresident of the United States was leading his party down the side aisle, through the whitedoor, and into the State Box...Professor Withers raised his baton and the band swung into 'Hailto the Chief.' "
order reserving the piece for the Presidential theme. It is not,
however, a mandatory trapping of the Office of the President." It was
used from the Kennedy through the Ford administrations, but has
been deemphasized as a presidential theme and removed from
frequent service during the Presidency of James Carter. Even
though appropriated by the chief dignitary, it has always beenavailable for public use, as it now remains.
Composers and Librettist
The success of The Lady of the Lake as a ballad opera was dueto a great extent to the skill and experiences of its dramatist, Dibdin,
and its composers. The most important of the composers were
Sanderson, Carr, and Clarke-Whitfeld.
James Sanderson, born about 23 April 1769 in Durham, died in
London in 1841. As a self-taught musician, Sanderson must be
praised for his preseverence and innate talent which led him to
become respected as a violinist and theatrical composer in the late
eighteenth century. In 1783 he was retained as a violinist at the
Sunderland Theatre. In 1784-7 he went to South Shields where he was
engaged as a violin and pianoforte teacher, and through his efforts
met with substantial acclaim. By 1787 he was selected as the leader
of the Newcastle-on-Tyne theatre orchestra, and a year later
assumed a similar position at the Royal Salon (later Astley's
Amphitheatre) in London. In the year 1789 he began his career as a
32 Lichtenwanger, correspondence.
composer of music for dramatic works with his illustrative pieces
for Ode on the Passions. His continued success resulted in his
selection as the composer for Astley's Amphitheatre in 1792. A year
later he moved to the Royal Circus, afterwards the Surrey Theatre.
Here he functioned as the resident composer, music director, and
ensemble leader.'It was apparently during his tenure in this position
that he assisted with the 1810 premiere of The Lady of the Lake. As
evidenced from, the differing published34 copies of his own and
other's arrangements of the set pieces, it appears that the music for
The Lady of the Lake differed slightly with each of the revivals after
the premiere and initial run of the show. Because of the majority of
Sanderson publications of the music, it seems most likely that both
the English and American premieres used predominantly his works.
For this reason my reconstruction is principally structured around
the Sanderson music, with the remaining material completed from
the works of Carr, ' Dr. John Clarke-Whitfeld,' John Whitaker, and
Theodore G.C. Schetky.
33 William H. Husk, "Sanderson, James," Grove's Dictionary of Music and Musicians,Fifth Edition (New York, 1960), VII, 400-401.
34 Benjamin Carr, Six Ballads from the Poem of the Lady of the Lake, etc. (Philadelphia,1812?).
The Carr works used in the score are as follows: Rondo from the Overture to the Operaof the Archers.. (being also) No. 7 of Carr's Musical Miscellaneo'us occasional Numbers(Baltimore: B. Carr, 181-?; (Dances and March in the Melo-Drama of the Lady of the Lake(Baltimore: Carr's Music Store, 1813?; (The Archer's Tune, as performed at the Philadelphia(New) Theatre in The Lady of the Lake, Pelissier's Columbian Melodies (Philadelphia: 1812),no. 2, p. 20.
36 Dr. J. Clarke, Blanche of Devon's Song. From the Lady of the Lake. Written by WalterScott, Esqr., etc. (Philadelphia: Published by G.E. Blake, ca. 1812.)
AC~j= 12=
Benjamin Carr, born in London 12 September 1768, made hisdebut as a composer at Sadler's Wells on 16 October 1792. The next
year he emigrated to America with his father and brother, and
opened a publishing firm in Philadelphia, 1793-1812.7
As a youth in England, Carr had studied with Samuel Arnold and
Charles Wesley. This training prepared him for the London debut
and gave him a firm basis for his later endeavours in both England
and America? Prior to his work on The Lady of the Lake, Carr had
distinguished himself as an actor, singer, pianist, organist, arrang-
er, concert manager, and composer in Philadelphia, Baltimore, and
New York. 9 His activities as a publisher in New York lasted from
1794 to 1797, and were resumed during the period 1822-1830. During
the first period he brought out his renowned Federal Overture, 1794,
a medley that included many popular tunes of the period, and
premiered his opera The Archers on 18 April 1796. This was one ofthe earliest versions of the William Tell story in America; the
libretto was by William Dunlap. In 1800 Carr achieved a high point in
his career with the editorship of the Musical Journal for the
Piano-forte in Two Sections. Aside from his publication of the ballads
and several other movements from The Lady of the Lake around1812, Carr's last important activity was the founding of the Musical
Fund Society at Philadelphia in 1820.40
37 Wolfe, 1, 152.
38 Alfred Loewenberg, "Carr, Benjamin," Grove's, II, 91-92.
39 Ibid.
40 Op. cit.
"CIm 13 =Iel
John Clarke, later known as Dr. John Clarke-Whitfeld, was born
in Gloucester on 13 December 1770 and died at Holmes, near
Hereford, on 22 February 1836. He received his early training under
Philip Hayes at Oxford and was granted a Bachelor of Music, also
from Oxford, in 1793. During the interim, he held various
church-music positions in Ireland arid was granted the degree of
Doctor of Music in Dublin in 1795. The Irish Rebellion precipitated
his flight to England in 1799, where he was engaged as organist and
choirmaster at Trinity and St. John's Colleges, Cambridge; here he
was given the degree of Doctor of Music ad eundem from Dublin.
In 1805 Clarke published four volumes of cathedral services and
anthems. In subsequent years he also published numerous glees and
songs."' Among the songs of the 1810-12 period one finds his settings
of several movements from The Lady of the Lake. By 1820 he had
become organist and choirmaster at Hereford Cathedral. At the
death of Hague in 1821, Clarke-Whitfeld was also elected Professor of
Music at Cambridge. He maintained both positions, continuing in his
appointment at Hereford until 1832, when he was forced to resign due
to paralysis, but held his post at Cambridge for the rest of his life.'
The final biographical sketch is that of Thomas John Pitt Dibdin,
the librettist of The Lady of the Lake. Born in London on 21 March
1771," he first "trod the boards" at the age of four in the role of
41 ,Grove, II, 334.
42 Ibid.
43 James D. Brown and Stephen S. Shatton, British Music Biography: A Dictionary ofMusical Artists, Authors and Composers, born in Britain and its Colonies (Birmington: 1897),p. 124.
rCSle 14=l
Cupid. He soon became a choirboy at St. Paul's, but later was
apprenticed to an upholsterer. His apprenticeship was short-lived, ashe finally ran away to become an actor, scene-painter, and always
"a dramatist of a fatal facility."
A first he used the stage name S. Merchant, but later, in 1800, he
resumed the name of Dibdin, much to his estranged father's
consternation. Although he composed some 2,000 songs, he was most
successful as a writer, and the 1806-7 Covent Garden production of
Mother Goose was regarded as his best work. Other popular works
were The Mouth of the Nile, 1798, Nelson's Glory, 1805, and of course,
The Lady of the Lake, 1810.44 Meanwhile, Dibdin was the joint45
proprietor of Sadler's Wells "Theatre after 1802. Later he married an
actress named Nancy Hilliar, who bore him four children, alldestined for the stage under the name of Pitt.16 After a long and
prolific career, Thomas Dibdin died at Clerkenwell, London, on 16
September 1841.
44 Phyllis Hartnoll, The Oxford Companion to the Theatre, Third Edition (London, 1967),pp. 239-40.
45 Brown, British Music Biography, p. 124.
46 Hartnoll, Oxford Companion to the Theatre, p. 240.
47 Brown, British Music Biography.
tkSI 15 =*?),
Early Productions
The initial performance of The Lady of the Lake occurred on
Monday evening, 24 September 1810, at the new Surrey Theatre in
London. Unfortunately few details concerning the opening are
available; however, the public advertisement states,
This Evening, the Entertainrrients willcommence with a New Grand MeloDramatic Romance, (taken from the cele-brated Poem by Walter Scott, Esq.) calledTHE LADY OF THE LAKE. Mr. Willig,Roderick vich Alpine. With entire newmusic, scenery, and stage actions; principalcharacter, Fitzjames. 48
The American premiere was staged in Philadelphia on Wednesday
evening, 1, January 1812, at the '"New Theatre" (Chestnut). The
contemporary advertisement is extensive in its description of the
stage actions and scenery plot. Further, instances of musical
numbers and characters in their roles are also indicated. Subsequent
credits reveal the librettist of the work, the original author of the
poem, the composers of the music, and the directors of the various
technical aspects of the production. Following is the list of credits in
its entirety:
48 "Surrey Theatre," The London Times, p. 2.
klm 16r"lh
THE LADY OF THE LAKEWritten by John Edmund Eyre,4 1 (from-themuch admired Poem of that name, byWalter Scott, Esq.) performed at theTheatre Royal, Edinburgh, with the mostdistinguished success. With entire newscenery, Dresses and Decorations. TheScenery designed (exactly after the poem)by Mr. Robbins, and executed by him,assisted by H. Warren and T. Reinagle. TheDances and Processions by Mr. Francis,assisted by Mr. Harris. The Dresses byShraeder and assistants. The Music by thecelebrated Sanderson & Dr. Clarke of Cam-bridge, and Mr. Pellesierre /_sic7 , theaccompaniments by the latter."
Further information appeared in another description of this
premiere:
On the first of January, 1812 (the first nightof the new Olympic,) the Chesnut (sic) streettheatre produced, for the first time inAmerica, "THE LADY OF THE LAKE.''This piece was very beautifully put upon thestage. The scenery, dresses, properties, etc.,were entirely new and costly. Without anyexaggeration, it was unparalleled at thatday. Nor have we seen the neatness ofbusiness since equalled. Mr. Wood appearedas Fitz James, Mrs. Waits as Ellen Douglas.
The celebrated Tramp March was, on thisoccasion, made and arranged by old Mr. J.Durang, which was a very original thing inits way . .
49 John Edmund Eyre is listed as the librettist in this instance as it was his rendition,substantially different from Dibdin's, that was used at this particular performance.
50 "New Theatre," Aurora General Advertisers (Philadelphia, 1 January 1812), p. 3, col.4.
51 Durang, The Philadelphia Stage, 91.
After the American premiere in Philadelphia, The Lady of the
Lake toured many major cities along the eastern seaboard. One ofthe most unique productions occurred in Baltimore, Maryland, on 2
May 1812. On the fourth night of the run, an elephant was introduced
into the evening performance. The advertisement for this notable
production boasted,
This evening, by Request, will be presented,(for the 4th time) A celebrated DramaticRomance, in 3 acts, called THE LADY OFTHE LAKE. ... In the course of which will beintroduced, A LIVING ELEPHANT, Now inthis city richly caparisoned- attendedby Guards, Drivers, &c. 52
In what capacity the elephant was used is not definitely known;however, it was probably as a member of the procession in the
march in the first act, where Roderick Dhu makes his grand
entrance through the mountain pass.
By the end of the first quarter of the nineteenth century, The
Lady of the Lake had become a repertory piece. As such it no longer
got the special, attention from producers and audiences that it had
enjoyed in previous years. This remained its fate until "the first
important 'production'- in all that the term implies - on
Barriere's enlarged stage, was shown on September 19th 1825 ; this
was an imposing revival of The Lady of the Lake..."" A period
account reveals,
52 "Baltimore Theatre", The Baltimore American & Commercial Advertiser (Baltimore, 2May 1812), p. 2, col. 5.
53 George C.D. Odell, Annals of the New York Stage, 1798-1821 (New York, 1927), II, 202.
vCj= 18 =la,7
* . . when Mr. Henry Wallack produced thepiece at Chatham Garden, in New York, inthe summer of 1825, the march was verycleverly constructed by Ferdinand Durang.Certainly "The Lady of the Lake,"' asproduced by Wallack at the above theatre,was one of the most precious melo-dramaticgems every contemplated or beheld on anystage. That point has been fully conceded bymany excellent judges. It ran consecutivelythrough one entire season, almost withoutany falling off in the receipts, comprehend-ing neatly one hundred and fifty nights, andwas equally patronized during the great partof the ensuing season, 1825-'26."
After these productions, The Lady of the Lake received fewer
and fewer performances, but existed in the repertoire until the early
1880's.5 Like its genre, the ballad opera, The Lady of the Lake did
not survive the nineteenth century. Futher, all traces of it seem to
have been concealed by time save the much altered "Hail to the
Chief."
54 Durang, p. 91.
55 Odell, Annals of the New York Stage, XII, 358, 675.
lC,0= 191-4
MUSIC OF THE LADY OF THE LAKE
c
tn
A Keyboard Score of the Reconstructed Work
with Libretto
Table 1.
Musical Numbers and Composers
Used in the Reconstructed Score
Composer or Attr buion
Rondo (Overture)
Alice Brand
Archer's Tune
Blanche of Devan
Coronach (He is Gone)
Dances and March
1. Hornpipe2. Rustic
Dance3. Morris Dance4. March
Hail to the Chief
I Hate to Learn the Ebb ofTide
The Imprisoned Huntsman
The Invisible Chorus
Not Faster Yonder Rowers
What Groans Shall YonderVallies Fill
Benjamin Carr
Attr. James Sanderson
B. Carr
Attr. J. Sanderson 9
Attr. J. Sanderson,
Attr. B. Carr
J. Sanderson
Attr. John Clarke-Whitfeld orJ. Sanderson
John Whitaker
J. Sanderson
Theodore G.C. Schetky
Attr. J. Sanderson
Piece
28
67
94
7, 103
99
91
923745
122
125
40
53
117
A 1Re AEM, T ATS
FRoM SIR WALTER SCOTT
BY
MR. THOMAS DIBDIN
TO WHICH IS ADDEDMUSIC COMPOSED PRIMARILY
BY
MR. JAMES SANDERSON, et al.
TO WHICH ARE FURTHER
ADDED:
A Description of the Costume-Cast of the Characters-Entrances
and Exits-Relative Positions of the Performers on the Stage,and
the whole of the Stage Business.
Dramatic Personae
FITZJAMES, monarch of Scotland
SIR RODERICK VICH ALPINE DHU, a Powerful Outlaw
DOUGLAS, father of Ellen
MALCOLM GRAEME, suitor to Ellen
ALLAN BANE, a Minstrel attached to Douglas
BRIAN, a fiend-like Hermit (Elf), attached to Roderick
NORMAN .
MALSE Followers of RoderickMURDOCHi
HERBERTLUFENESS 4Attendants on Fitzjames
HERRIES
LADY MARGARET, mother to Roderick (a mystic)
BLANCHE of DEVAN, a Maniac
ELLEN, the Lady of the Lake
Scotch Lords, Ladies, Outlaws, Soldiers, etc.
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Costume
FITZJAMES- Green hunting-dress, bound with gold- cap andfeathers-russet boots---spurs--leather belt-small bugle-sword, etc.
SIR RODERICK DHU-Complete Highland chieftain's green plaiddress, with green tartan-bugle-sword and shield.
DOUGLAS-Ditto, with red tartan.MALCOLM GRAEME Highland dress and cuirass.ALLAN BANE White cloth mantle, trimmed with blue--gray
hair blue belt---flesh-colored arms and legs.BRIAN-Dark brown mantle-naked arms and legs--black wig.NORMAN, SANDY, MALISE, MURDOCH Highlanders.HERBERT, LUFFNESS, DEVAUX, HERRIES-Scotch gentlemen
-fringed plaids-cuirasses.HIGHLAND OUTLAWS-Plaid skirts-breast-plates.
SCOTCH LORDS-Similar to Luffness.
LADY MARGARET Dark green robe scarlet plaid sash.
BLANCHE Maniac's torn light blue and white dress.
ELLEN--White, with light plaid shoulder sash and trimmings.
LADIES--Silk plaid dresses and robes, various.
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SCENE I.-Romantic View on Loch Katrine--horns and distanthunting-cries heard-Hunters, seen passing on the ridges of themountain above the lake--the broad red sun is seen to go downbehind the brows of the hills-a solitary horn sounds.
A voice without. Hillio! hillio!
/The horn sounds nearer, and the voice is heard loudej7
Enter FITZJAMES. R., quite weary, and leans against the rock.
FIT. So, crossing yonder rugged dell,My gallant horse exhausted fell;I little thought, when first thy reinI slack'd upon the Banks of Seine,That Highland eagle e'er should feedOn thy fleet limbs, my matchless steed.Woe worth the chase, woe worth the day,That cost thy life, my gallant Gray!
Z He looks around, and sounds his horn (as above) it is echoed-helistens all is quiet.
'Twas echo mock'd-the war and chaseGive little choice of resting-place;But foes may in these wilds abound,Such as are better missed than found.To meet with Highland plund'rers here,Were worse than loss of steed or deer.Well, fall the worst that may betide,E'en now this faulchion has been tried.
LSounds his horn again (as above)-he listens, looks, and sees alady in the Highland costume navigating a little skiff, L.--at thesame time the white-robed figures of an ancient bard (allan Bane)appears on the mountain, L., with a cross in his hand---he points
35 =4tl7l
Fitzjames out to the lady, who gracefully beckons him to enter theboat-he is too much employed with gazing on her, to look at thebard, who disappears, L. the Lady rouses him from hisastonishment by beckoning again--he steps into the boat, which sheis going to push off--he gently takes the boat-hook from her-shepoints out the way-he pushes off the boat, L., and the scene closes7
SCENE II.--picturesque Entrance to a retreat, half covered withcopse-wood, birch, willows, etc.--A lodge on one side, formed ofrough half-hewn materials, fronted with a portico of fir, twinedwith clematis, ivy, and wild vines. C. a mysterious airdistinguishes every footstep, look, and action.
Enter ALLAN BANE, the bard, cautiously, L., step by stepdistinctly, looking back as if expecting some one-he sees themcoming-seems pleased, and exits hastily into the retreat, C.Enter the Lady in the same way, L., followed at a distance bythe wondering and anxious Fitzjames she points to theportico, C.
LADY. On heaven and the lady call,And enter the enchanted hall.
FIT. My hope, my heaven, my trustmust be,My gentle guide, in following thee.
Music.
Exit Fitzlames, following the Lady into the portico, C.
SCENE Ill. The Hall of the Retreat, hung around withinstruments of war and hunting--trophies, banners, heads andskins of animals, etc.
Enter THE BARD, L.-he taps at a door in the flat, which opens.Enter the LADY, L., conducting Fitzjames-as he approaches atrophy, a large Highland sword, falls at his feet with a terrificclang-he starts-the Bard seems struck with horror, and goesoff at the door in the flat Fitzjames takes the sword up,examines and seems struck with the form and workmanship of it
jt&jim 36 mw4iA
-while he is thus employed, Ellen opens the door in the flat.-Enter LADY MARGRET, D.F., dressed handsomely, but in therude masculine style of the ancient Highland dames--sheapproaches Fitzjames, who, turning to Ellen, is amazed atseeing her-Ellen goes off, R.-- -Fitzjames is about to follow,when he is repelled by Margaret.
LADY M. Think not you unexpected comeTo this lone isle, our desert home.Before the heath had lost the dewThis morn, a couch was pulled for you.On yonder mountain's bed,Have ptarmigan and heath-game bled;And our broad nets have swept the mere,To furnish forth your ev'ninp cheer.
FIT. No right have I to claim, misplaced,The welcome of expected guest;A wanderer here by fortune tossed,My way, my friends, my courser lost.I ne'er before, believe me, fair,Have ever drawn your mountain air,Till on this lake's romantic strandI found a fay in fairy land.
LADY M. A gray-haired sire, whose eyeintentWas on the vision'd future bent,Foresaw your steed, a dapple gray,Lie dead beneath the Birchen way;Painted exact your form and mien,Your hunting-suit of Lincoln green;And bade that all should ready be,To grace a guest of high degree.
lMusic.-(Morris Dance)--
Morris DanceV '~'orri4 lAn Ce _
IM
-It 371
II
Fitz james seems absorbed in thought---he asks Lady Margaret in action whose is the sword that fell--she, in a mysterious manner, imposes silence, and takes the swordfrom him--te is more thoughtful.-Enter ELL EN, L.---sheintimates to Lady Margaret that all is ready within--Fitzjamestakes the two ladies by the hahd-leads them forward, and seemsearnestly to inquire who they are--Music stops~7
-vt,90:=38 np4(A
LADY M. Wierd women, we, by dale anddown,We dwell afar from tower and town;We stem the flood, we ride the blastOn wondering knights our spells we cast;While viewless minstrels touch the string,'Tis thus our charmed rhymes we sing.
DUET--(Without.) Accompanied by the Harp.
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SCENE IV.-A Mountainous Pass-the Lake at a distance.
GRAND HIGHLAND MARCH. Enter the Procession, R.U.E.Pipers and Minstrels arrange themselves, R. and L.
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Chorus. (Spoken over the, music). Welcome, chief of early fame,Matchless, bonny, Malcolm Graeme.
The Banner of Douglas (a Bleeding Heart).
DOUGLAS.
HIGHLANDERS two and two during the chorus.
Chorus. Welcome Chief of ancient fame,-Welcome, Douglas' glorious name.
The Banner of black Sir Roderick (a Green Pine).
RODERICK DHU.
HIGHLANDERS two and two during the chorus.
OFFICERS and SOLDIERS.
Chorus. (Sung) Hail to the Chief, etc.
March and Chorus ofHail To The Chief
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SCENE V.-The view on the Lake, as at first-Sunrise.ALLAN BANE discovered, seated on a fragment of rock, tuninghis harp-he rises and advances, C.
Vainly I strive to wake the strain,Till now unwont to strive in vain;Alas! than mine some mightier handHas tuned my harp, my strings has spanned
To mournful melody.
The gladsome march which victors treadSinks into wailings for the dead;Sad harp! shouldst thou my fate foretell,Then welcome be the minstrel's knell,
With mournful melody.
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Enter ELLEN and FITZJAMES, in the boat, L.U.E.-they land-Ellen points the road out to Fitzjames-he unwillingly takesleave-is going to kiss her hand---Allan strikes all the stringsof the harp--Fitzjames starts, looks up, and perceives AllanBane, who, with some degree of respect, mingled with firmness,bids them begone--Fitzjames seems to struggle with his pride,but subdues it.
FIT. Hear, lady, yet a parting word.It chanced, in flight, that my poor swordPreserved the life of Scotland's lord;This ring the grateful monarch gave,And bade, when I had boon to crAve,To bring it back, and boldly claimThe recompense that I would name.Poorly, with this, my hosts I pay:Shouldst thou to Stirling every stray,Ask of the king, with spirit free,And claim thy suit, whatever it be,In ransom of this pledge to me.
ixit, R. Allan Bane watches his departure, comes down themount, and approaches ElleW~
ALLAN. Daughter of Douglas, woe thewhileThat brought yon stranger to our isle.Thine outlawed father's sword of yore,Forg'd by the art of fairy lore,Did, self-unsheath'd, fall down, to showThe footsteps of a secret foe.If courtly spy, and harbour'd here,What may my lord the Douglas fear?If neither spy nor foe, I prayWhat yet may jealous Rod'rick say?
ELLEN. From James of Scotland'swrathful ire,Sir Rod'rick sheilds my banished sire,And to his mother's care I oweAll that a mother can bestow:For which, Sir Rod'rick shall commandMy blood, my life, but not mv hand.
t* 6 1 iJa
ALLAN. Yet though might guide, withsilken thread,Slave of thy will, this chieftain dread.And who, in all this western wild,Nam'd black Sir Rod'rick's name, andsmiled?
ELLEN. Allen, thou well may'st ask mewho?In Holy Rood a knight he slew.The hand that for my father foughtI honor as a daughter ought;But, ere I clasp it, reeking redFrom peasants slaughtered in their shed,An outcast pilgrim will I rove,Nor wed the man I cannot love.
ALLAN. Yet, should thy love of MalcolmGraemeOnce more light up fell Discord's flame--
ELLEN. Allan, no more.A bugle sounds.
From Mainland east,I hear my father's signal blast;And see, to meet her son's fierce band,Where Lady Marg'ret seeks the strand.
DISTANT MILITARY MUSIC (as above)-Enter Lady Margaret,with Ladies who land from a boat, L.--Ellen goes to her-Douglas and Party land, R.--his daughter runs to him-theyembrace-Allan Bane kneels to him--Douglas raises him withregard and respect-Sir Roderick Dhu lands, R., is received byhis mother, and pay particular attention to Ellen, who receiveshim with great respect Malcolm Graeme Lands, R.---isgreeted by Allan and Douglas--he bows, with emotion, to Ellen,who receives him with. supressed regard--,Douglas seemsrather pleased with their mutual emotion, and claps Malcolm onthe shoulder to encourage him--Sir Roderick Dhu looks on
ItSJ 62 =siaN
them with jealous fury--his mother, also marks them, butseems to counsel her son to hide his anger-a horn sounds
Enter a Courier, L., and gives a letter to Roderick Dhu---hereads and seems disturbed-they mark his emotion.
SI R R. Kinsman and father- if suchnameDouglas vouchsafe to Rod'rick's claim,
L Illen turns away7And Graeme, in whom I hope to know,Full soon, a noble friend or foe,List all:The king who sways the Scottish throne,So faithless and so ruthless known,Comes hither; for his spies, I ween,By some mischance, have Douglas seen.
DOU. Then, in some forest cell,We will, like hunted quarry, dwell;Till, on the mountain and the moor,The stern pursuit be passed and o'er.
SIR R. No, never! Blasted be yon pine,-My father's ancient crest, and mine,If either go! Grant me this maidTo wife, thy counsel to mine aid;And, when I light the nuptial torch,The guards shall shake in Stirling porch,And thousand villages in flamesShall seare the slumbers of King James!
DOU. It may not be. Forgive me, chief,Nor hazard aught for our relief:Against his sov'reign, Douglas ne'erWill level a rebellious spear.'Twas I who taught his youthful handTo rein a steed, and wield a brand;Though injur'd by base slanderous tongues,I love him still, despite my wrongs.
j 63 = L-*)
Noderick Dhu exhibits anger, and again consults with his mother-Allen Bane respectfully grasps his master's hand in approbationof his loyalty--Ellen seems terrified---Malcolm Graeme runs tosupport her-Sir Roderick Dhu darts furiously on him-Malcolmrecovers himself, and draws his sword-Sir Roderick also draws-Douglas interposes--Ellen runs to Lady Margaret, who haughtilyreiects her, as the cause of the quarrel-the Chiefs of the soldiersform a picture of agitation, each half drawing his sword, and Allankneels, with a look to plead for forbearance, in front of the group-they at length separate, indignantly sheathing their swordB
SI R R.fETo MalcolfJ. Rest safe till morn!To court! and tellHow Roderick keeps the lake and fell;Next, all our strength and passes show,Then come and meet they mortal foe.Give him safe conduct, Malise, ho!
LMalcolm Graeme shows his honest scorn of Sir Roderick Dhu--hetakes a respectful leave of Douglas and Ellen, refuses the escort, andplunges into the lake, from L. Douglas, seemingly much hurt atRodericks conduct, takes his daughter by the hand--Allan Bane,who is equally concerned for his master, takes her other hand-theFollowers of Douglas arrange behind their chief, and are going off-Sir Roderick Dhu offers his hand-Lady Margaret, also, Ellen-she deplores the probably fate of Malcolm--suddenly, he is seen onthe distant hills of the opposite shore, waving his scarf-he kisseshis hand, and disappears--Douglas, Allan, and Ellen, return hissalute, and look after him-Lady Margaret, with one hand, iswaving to him, and, with the other, pressing Sir Roderick's, with ashort significant look---he takes the hint, points out the distantfigure to Malise, his henchman, and, placing a poniard in his hand,the other receives it, and nods, as if he perfectly understood hismaster
SIR R. /Aside to Malise . Speed, Malise!speed o'er barren fells,To where ferocious Brian dwells.Bid the dread monk prepare the rite,Our chiefs and vassals to invite;With cross of fire to bless or ban,
64 4aol
And call a gather of each clanWho own no oath but by this hand,No law but Roderick's command.
Alou47 . The muster-place is LanrickMead.-Speed for the signal, Malise!-Speed!
Exit Malise, R. Douglas brings Roderick forward.
DOU. Roderick, my king I'll ne'er oppose,Yet pledge I will not join your foes.Be Ellen still your mother's care,While Douglas and his few repairTo yonder wild and strange retreat,Scarce trod by even outlawed feet;Happy to counsel means of peace,And bid these jarring discords cease.
fAfter great reluctance on all sides, Ellen is permitted to go on withLady Margaret and Norman, an Attendant, in the boat. L.--Roderick leads his men off, R., and Douglas remains-he sends offall his friends but Allen Bane,fL
DOU. And think ye, gallant clansmanWill, in the strife, stand idle by?My debt to Roderick must be paid,Yet Malcolm Graeme shall wed the maid.Lest fiery Roderick should feelThe vengence of the royal steel,And lest--heav'n grant me not too late!Malcolm may rue a rival's hate,I'll risk my life. My king once smiledOn Douglas. But to leave my childWith Margaret
ALLAN. Surely, heaven forefendBut wonan should be virtue's friend!Yet, 'would young Malcolm's gallant armHad charge to guard the maid from harm!..
ZMalcolm suddenly comes from behind the rock- Douglas isdelighted, and receives his assurances to follow and protect Ellen-
&qm 65 a
Malcolm explains that his distrust made him return----he borrowsAllan Bane's long white robe, and goes off in a boat, L.-Douglas,now confident of his daughter's safety, goes off with Allan Bane. R]
SCENE VI. Entrance tolthe Retreat, as before.
Enter NORMAN, the Lady Margaret, and Ellen, L., sorrowing torher father and lover-Lady Margaret consoles her---Norman givesa signal----Ellen goes into the retreat, C.F.-Margaret isthoughtful, calls Norman, and shows him a large stone turning on acentre, with which she bids him close the entrance-he asks howshe is to get in then-she fiercely bids him do as he is ordered---heobeys, and, while he is slowly moving the stones, she hangs a labelon a branch, and, suddenly opening another entrance, she goeshastily in--Norman, coming forward, is amazed at missing theLady Margaret, and reads on the tablet:
"ADMIT NO ONE, ON THY LIFE: THOU SHALT BE SPEEDILYRELIEVED."
He shrugs his shoulders, shows his mull and bottle both empty, goestowards the stone as if he meant to move it, hesitates, comesforward, says "Heigho!" and sings.
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NOR./Seeing Malcolm Graeme, L. Oh, Lord!
Enter MALCOLM GRAEME, cautiously, L., in the long white robe ofAllan Bane-Norman starts--Malcolm retires, R.-Norman pullsoff his plaid, and, with all his might, lowers the stone.
NOR. Calling softl7j. Hoot, Sandy!
Enter SANDY, C.
SANDY. Weel.NOR Tiirembling7. My flask and mull
Yestreen, ye ken, were baith right fullThey're empty noo, and I were wishingJust a wee puckle drink and snishing.
SAN. What gars ye, dither? What's thematter?
NOR. I've seen the de'el, mon.SAN. Haud ye chatter! Gi' me your mull,
I'll fill it.NOR. Aw in white.SAN. Stay, gin I fetch my Andrew. I
delight I' threshing devils, coward?
Exit, C.F.7
NOR. Coward! what!I'd face the de'el, ere pass for that.And there he is again. Odswuns! I'll tryWhich is the best mon, Beelzebub or I.
NJ\alcolm Graeme is seen ascending an eminence, R. and standingat the top, with his arms extended-Norman beckons him down--he returns no sign--Norman threatens to fetch him, and goes off, R.-Malchm Graeme is now seen to descend on the other side, catcneshold of a bough, and drops down, having left the white robe and hoodstretched on the cross branches above, which, be ig waved by thewind, deceive Norman-he approaches, cuts at the robe with hisbroadsword---Malcolm, below, utters a hollow groan--in themeantime, he picks up Norman's plaid, and is going into the recessC., frown whence Sandy returns--Malcolm runs off, L.7
S~:87 =jagh
SANDY. /Taking Malcolm for Normafj.Wuns, what a coward!
LSees the robe, which Norman is trying to disengage from thebushes7
There's his cause o' fright;We'll see, now, with what spirit ghosts canfight.
He sees Norman coming with the white robe, runs at him, and driveshim back---Malcolm returns, running in at the centre entrance, andthe scene changes.
SCENE VI 1-.-The Gathering of the Clans---a Rocky Dell, forminga vast, grand, natural Amphitheatre-in the centre, a rude Altar,with the bones of an animal burning.
BRIAN, The Monkish Hermit, discovered standing near the altar,wild and terrific in hisdress and manner-by his side Sir RoderickDhu, in a widely extended semicircle of Chiefs, Soldiers, Minstrels,Women and Children-Groups of Highlanders are seen on all thesurrounding hills, looking down at the ceremony.
Roderick takes a cross of yew from an attendant, lights it at thealtar, and presents It to Brian.
SI R R. Brian, this is burying cross of yew,When quenched in blood, by ritual due,Will give thee power to bless or banEach chief or vassal of my clan.
2Brian advances, holds up the burning cros7
RECIlTATIVE.-(spoken)--BRIAN.
Woe to the clansman who shall viewThis symbol of sepulchral yreForgetful that its branches grewWhere weep the Heav'ns their holiest dew,
On Alpine's dwelling low!
AftJM88 =AaN
Woe to the wretch who fails to rearAt this dread sign the ready spear!CHOR. Woe to the traitor, woe!BRIAN. Sunk be his home in embers red,
And cursed be the meanest shedThat e'er shall hide his houseless head.
CHOR. Woe to the traitor, woe!
Brian quenches the cross in a vessel at the foot of the altar-hecives it to Sir Roderick Dhu, who hands in to Malise7
FULL CHORUS. (spoken).
Speed! Malise, speed!the muster-place be Lanric Mead.Speed! Malise, speed!Herald of battle, fate, and fear,Stretch onward on thy fleet career,For danger, death, and warrior deed,Are in thy track. Speed! Malise, speed!
END OF ACT I
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SCENE I. A Pass in the Mountains.
Enter BRIAN, ferociously, L.---he sees some one coming, andretires, L.
Enter FI TZJAME S, L.--he seems bewildered, and looks out as if hesaw something surprising.
AIR.- A female voice (Blanche) faintly heard without, R.
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Your followers guard each pass's mouth,To east, to westward, and to south;Yonder he winds, and seeks a guide;Murdoch shall lead his steps aside,Till, in deep path or dingle brown,I'll wait with those shall bring him down.
Exit Brian, R
SI R R. 'Tis well---who comes his news toshow?
Enter MALISE, L.
Malise! what tidings of the foe?MAL. At Doune, o'er many a spear and
glaive,Two barons proud their banners wave:I saw the Moray's silver starAnd mark'd the sable pale of Mar.
SIR R. By Alpine's soul! high tidingsthose-I love to hear of worthy foes.Where is the Douglas?
MAL. He is gone. (Advances and sings).
He Is Gone Upon The Mountain
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,FIT. Looking off, R.S.J7 Where winds thepath its dizzy ledgeAround yon precipice's edge.At distance, lo! a female form,Blighted by wrath of sun and storm,In tattered weeds and wild array,Stands on a cliff beside the way:But now, her hands she wildly wrung,And then she wept, and then she sung.Perchance deranged-more mad were 1,The skill of such a guide to try.She winds the cliff-bewildered lost.I'll follow her, be life the cost!
JExit, R.S.E
Re-enter BRIAN. L.-he strides across in busy meditation, scowlsaround him, looks out, R., follows some object with his eye, but losesit, and turns round.
Enter SIR RODERICK DHU, L., meeting Brian.
SIR R. Well, Brian, since last eventide,Hast thou the promised augury tried?That horrid rite which must not beUnless in dread extremity;The Taghairm called, by which, afarOur sires foresaw the event of war?
BRIAN. Yes; witness every quaking limb,My sunken pulse, mine eyeballs dim,And shapes that sought my fearful couch,Which human tongue may ne'er avouch.At length the fateful answer came,in characters of living flame!Not spoke in word, nor blazed in scroll,But borne and branded on my soul?
"WHICH SPILLS THE FOREMOST FOEMAN'S LIFE,THAT PARTY CONQUERS IN THE STRIFE."
At91 101 =I'aN
SIR R. Thanks Brian for thy zeal andcare-Good is thy augury and fair:Clan Alpine ne'er in battle stood,But first our broadswords tasted blood.
Meditatin~g
"WHICH SPILLS THE FOREMOST FOEMAN'S LIFE,THAT PARTY CONQUERS IN THE STRIFE,"
Said'st thou?BRIAN. Ah, and a victim sure I know,
Self offered to th' auspicious blow;A youth hath crossed our lands this morn,No eye shall witness his return;With Lady Margaret left aloneHis daughter mourns-
SIR R. His daughter!-whyDoes thus the breeze affect mine eye?Or dost thou come, ill-omen'd tear,A messenger of doubt or fear?No! sooner may the Saxon lanceUnfix Benlodi from his stance.Than doubt or terror can pierce throughThe unyielding heart of Roderick Dhu?'Tis stubborn as his trusty targe.-Each to his post, all know their charge!
Exeunt Sir Roderick Dhu and Malise, 7
SCENE III .- Another part of the Mountain-the remains of a GrayHorse lying among the underwood.
Enter BLANCHE, L., wildly habited-a garland of broomflowersand heath upon her head-she is sorting eagle's feathers andmountain flowrets, as she sings
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BLANCHE. They've slain my William!and I heard some sayThat comely youth must die today LLooking ouf
'Twere pity, too---they're coming- see!'Tis pity!!, ah! who pitied me?
/Exit, R:J
Enter FITZJAMES, L., following Murdoch, distrustfully--Murdochputs is horn to his mouth.
FIT.fArresting his arm!. Why wouldst thou sound?MUR. /Ferociousljy. Why? 'Twas to scare
Yon coming raven from his fare. /Pointing to the gray horse]FIT. My own brave steed, my gallant gray!
And art thou, then, the raven's prey?I doubt this guide--poor steed! weree well,We'd neither cross'd this dreary dell.Move forward, sir! and silently, 3raws Jis sword_7Or whoop, or sound, and thou shalt dieThey are going, R
Re-enter BLANCHE, R. she crosses to C., and catches hold ofFitziame's arm.
BLANCHE. The toils are pitched and thestakes are set,
Ever sing merrily, merrily!The bows they bend, and the knives theywhet, Hunters live so cheerily!
FITZ. LTurning to Murdoci~hi Who is thismaid?Her mournful layThus thrice has crossed the hollow way.
MUR.jLJ 'Tis Blanche of Devan as 'tissaid,A crazed and captive lowland maid,Ta'en on the morn she was a bride,When Roderick ravaged Devan side.The bridegroom gay resistance made,And felt our chief's unconquered blade.
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FIT. Hush thee, poor maiden, and be still.BLANCHE. Ay! thou look'st kindly, and I
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FITZ. fStopping his arm, L.C] Hold! ifthou offer'st but a blow,I'll pitch thee from a cliff as farAs ever peasant pitch'd a bar!
BLANCHE. W.Q Thanks, champion!thanks!
these I prepare Pointing to the featherj7To seek my true love through the air:I will not lend yon savage groom,To break his fall, one single plume.The stag he met with a wounded doe,
Ever sing warily, warily!She warned him of the toils below,
Where hunters watch so narrowly.
/Lxit R., looking at Fitzjames significantly 7
FIT. This caution must to me relate-Traitor ! one step is certain fate.
LExit, after Blanche, R.-Murdoch looks after them-is irresolute-at length he draws his bow, takes aim, shoots off, R.-a faintscream is hear-he listens, looks, and is just going to blow his horn,when Fitzjames rushes on with the rapidity of lightning, cutsMurdoch's bow asunder, and pursues him, 7Re-enter BLANCHE. R., pale and trembling, supporting herself
r-jM108 :*a
against the trees, with the arrow in her hand, and falling against aledge of rock.
Re-enter FITZJAMES, L., with his sword bloody, looking terrific inhis anger, which softens on seeing Blanche--he advances towardsher, drops his sword, and kneels by her side.
BLANCHE. Stranger, this hour of deathgives moreOf reason's power than years before;A helpless, injured, wretch I die,And something tells me, in thine eye,That thou wert mine avenger born.Take this blood-stain'd tress--once worn
{Giving a braid of haiU
By murdered William! it shall waveLike plumage on thy helmet brave.And when thou see'st a darksome man,The Outlaw Chief of Alpine's Clan,By thy heart bold thy weapon strong,And wreak poor Blan'the of Devan's wrong.They watch for thee by pass and fellAvoid the path--oh, Heaven! farewell!
[Die 7s
FIT. Kneels . By all of good and truth IswearNo other favor will I wear,Till this sad token I imbrueIn the best blood of Rod'rick Dhu!
/Shouts at a distance
But hard! what means yon faint halloo?The chase is up, but they shall knowThe stag at bay's a dangerous foe.
LE xit, 7
Cj=109 =lall
SCENE III. -The Pass in the Mountain, as before--Evening----awatchf ire burning.
Enter RODERICK DHU, R., meditating.
SIR R. "WHICH SPILLS THE FORE-MOST FOEMAN'S LIFE THAT PARTYCONQUERS IN THE STRIFE."Would my indulgent stars decreeThe victim might but fall by me!Hark!
He retires, R.U.:7
Enter FITZJAMES, L.
FIT. Of all my rash adventures past,This frantic feat will prove my last.Like bloodhounds, now, they search me out!I've heard the signal and the shout.Well! I can perish sword in hand.
fAs he turns his strength fails-he leans on his sword7
SI R R. IComing forward. Thy name andpurpose, Saxon? Stand!
FIT. A stranger,SIR R. What dost thou require?FIT. Rest and a guide, and foodand fire,
My life's beset, my path is lost,The gale has chilled my limbs with frost!
SI R R. Art thou a friend to Roderick?FIT. No!SI R R. Thou dar'st not call thyself his foe?FIT. I dare! To him, and all the band
He brings to aid his murderous hand.SI R R. Bold words! Brave youth, they
SI Im t0 l
surely lie,Who say thou cam'st a secret spy?FIT. They do, by heaven! Bring Roderick
Dhu,And of his clan the boldest two,
And let me but till morning rest,I'll write the falsehood on each crest.
SI R R. Stranger, I am to Roderick DhuA clansman born, a kinsman true.Yet more: upon thy fate, 'tis -said,A mighty augury is laid:It rests with me to wind my hornThou art with numbers overborne.It rests with me, here, brand to brand.Worn as thou art, to bid thee stand:But not for clan, or kindred's cause,Will I depart from honour's laws.
To assail a wearied man were a shame;And stranger is a holy name!Then rest thee here, till dawn of day;Myself will guide thee on the way.
FIT. I take the courtesy, by heavenAs freely as 'tis feely given;And, though thy foe, will proudly shareThy soldier's couch, they soldier's fare.
/Roderick spreads skins-they lie down by the fire-sceneclose
SCENE IV.-Exterior of the Retreat.
Enter LADY MARGARET, from the private opening she looksaround, and sees, with astonishment, the stone removed at the otherentrance.
LADY M. Open! no guard! What treach-erous handHas dared, despite of my command-
Enter MALCOLM GRAEME, leading Ellen from the retreat, C.
LADY M. [Aparjj. So, traitress! ./|raws a dagger thouwouldst thus depart!
Yet-hold a while, my bursting heart---5bserves themELLEN. Malcolm, though dear my life must be,
Since it is worthy care for thee,Yet, while my father is a man,Outlawed and exiled, under ban,The price of blood set on his head,With me 'twere infamy to wed!No--mark! A stranger gave this ring;He said 'tis passport to the king.My father! oh, should it be true,That this has power to pardon you!Then, Malcolm, from each danger free-
LADY M. Hold! Grateful Ellen, ere you flee,Ask Margaret's leave. Rash youth, for you,Who dare my vassal's faith subdue,Advance not! All of strife is vain;This dagger proves thy Ellen's bane.
Enter NORMAN AND SANDY, C.--Margaret forces Ellen off, L.--Malcolm engaged the two Men, and they follow off, fighting, R.
SCENE V.-A picturesque Assemblage of Craggy Rocks, etc.-Daybreak.
Enter SIR RODERICK DHU and FITZJAMES, THROUGH ADEFILE, C.
SI R R. Now, stranger, say why wondered you,Without a pass, from Roderick Dhu?
FIT. My safest pass, in danger tried,Hangs on my belt here, by my side.Perhaps I sought a greyhound stray'd;Perhaps I seek a Highland maid.
SIR R. Yet, stranger, if you peaceful came,Bewildered in the mountain game,Whence the bold boast, by which you showVich Alpine's vow'd and mortal foe?
FIT. He's chief of a rebellious clan;A savage outlawed, desperate man,Who, in the regent's court and sight,With ruffian dagger stabb'd a knight.
SI R R. What reck'd it, if he shed that bloodOn Highland heath or Holyrood?
-ItIM1 12 mmt3
He rights his wrong, wherever given.FIT. He is a robber!SI R R. By yon heaven! -Curbs his ange~UFIT. What deem ye of my path waylaid,
My life given o'er to abuscade?SI R R. Free hadst thou been to come and go,
But secret path marks secret foe.Nor yet, for this, even as a spy,Hadst thou, unheard, been doomed to die.
FIT. /Satirically7. Save to fulfil an augury.I am, by firmest promise, tiedTo match me with this man of pride.Twice have I sought Clan Alpine's glenIn peace; but, when I come again,I come with banner, brand and bow,As leader seeks his mortal foe!For love-lorn swain, in lady's bow'r,Ne'er panted for the appointed hourAs I do, till before me standThis rebel chieftain and his band.
SIR R. Have, then, they wish! thy rashness rrue1
Blows a whiste:7
Enter the whole Band of Highlanders, amongst the Rocks, so ascompletely to fill every part.
SI R R. These are Clan Alpine's warriors true;And, Saxon, I am Roderick Dhu.
F-itzjames is astonished, and draws his sword7
FIT. LRecollecting himself. Come one, come all thisrock shall flyFrom its firm base as soon as I!
Roderick waves his hand--the Warriors all disappear]7
SIR R. You seem surprised! I only meantTo show the reed on which you leant.Deeming this path you might pursue,Without a pass from Roderick Dhu,This murderous chief, this ruthless man,This head of a rebellious clan,Hath led thee safe through watch and ward,And now dismiss's my every guard;
;
itei 1 3:4?)
Man against man, and steel to steel,A chieftain's vengeance thou shalt feel.
FIT. And yet my debt for life preserved,A better meed has weel deserved.
Can naught but blood our feud atone?Are there no means?
SI R R. None, stranger, none.And hear, to fire thy flagging zeal,The Saxon cause rests on they steel:"WHO SPILLS THE FOREMOST FOEMAN'S LIFE,THAT PARTY CONQUERS ON THE STRIFE."
FIT. The riddle's read: beneath yon cliff,Your faithless guide lies stark and stiff:Thus fate has solved the prophecy.Then yield to fate, and not to me:To James at Stirling let us go:I pledge he will not be thy foe.
SIR R. Because a wretched kern ye slew,Think'st thou to conquer Roderick Dhu?He yields not, he, to man nor fate.Thou add'st but fuel to my hate.For Murdoch's blood shall vengeance light,Unless thou art some carpet knight,Whose proudest boast may be to wearThat braid of some fair lady's hair.
Strikes the tress in Fitzjames helmeU)
FIT. I thank thee, Roderick, for that wordIt nerves my heart, it steels my sword:For I have sworn this braid to stainIn the best blood that warms thy vein.Then, doubt or score e'en as thou wilt,We'll try this quarrel hilt to hilt.
LA desperate combat ensues-Roderick is at length disarmed andthrown down, when he suddenly springs up, and catches atFitz james's throat-they struggle, and fall together--Roderickag3in rises on his knee, draws a dagger, but, exhausted, misses hisaim, and strikes it into the ground, and falls over Fitzjames, who,regaining his fee, stands a moment triumphantly over, then throwshim on his shoulder, and bears him off, Q7
SCENE VI.-That part of the Mountain where the horse lies dead.
"Im :114 nKA
Enter LADY MARGARET, ELLEN, NORMAN, and SANDY, L.-Lady Margaret points to Ellen to go on before-she sitsdisconsolately down on a piece of rock Norman and Sandy tellMargaret they have slain Malcolm Graeme, and show his bonnet andscarf bloody, in proof of it--Ellen rises in despair and snatches it-a distant trumpet sounds, R.-_ _ __L
-- another (as before)-horns- then drums-
a burst ensues, like the roar of thunderall are alarmed but Ellen, who listenswith half-pleased expectations of relief.
LADY MAR. Is it the thunder's solemn soundThat mutters deep and dread?Or echoes from the yawning groundThe warrior's measured tread?
Enter MALISE, who, in action, informs Lady Margaret thatRoderick cannot be found.
LADY MAR. Desert my son? Then Marg'ret's handShall animate the fainting band.Guard well the maid! Clansmen, unite-'Tis Roderick's mother bids ye dare the fight!
/-Exit Lady Margaret, R., followed by Malise.-The battle rageslouder Ellen runs and looks off,. R., in an anxious expectation-shouts
NOR. See hither rolls the battle's tide;Sandy, stay here--l cannot bideA Roderick!
/Draws, and exit R.U. 7.
SANDY. Lady, safe, ye'll be,Till we return. Wuns! stop for me.
rkv9115 lqa
LDraws, and follows Norman, R.U.7Enter ALLAN BANE, L.
ALLAN. 0 lady, stay not here alone,But haste where Douglas bends at Scotland's throne,To buy our safety with his own.
ELLEN. He's gone to do what I had done,Had Douglas' daughter been his son.But Malcolm Z3houtjs7. Approach.
ALLAN. Lady no longer here abide;'I' stay to stem the coming tide.
A minstrel's sacred art can charmE'en savage foes from pow'r to harm.
jHe leads her off, R., then sings7
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SCENE VII. Outside of Stirling Castle.
Enter HERBERT and LUFFNESS, with soldiers, R.---Theceremony of placing a guard-a horn sounds
Herbert sends Luff ness to answer it-he returns with Douglas, wholooks wistfully about-shows a scroll and packet, "TO THE KING"-Herbert bids Luffness take two of the Guard, and conduct him tothe castle-a very lively blast is heard-
the soldiers all stand to their arms-Luffness returns, with twoofficers, C.
:Enter FITZJAMES, gaily, R.,-he pulls off his bonnet to theOfficers, who respectfully bow to him-he looks out, R.,-seessomeone coming---holds up two fingers-the Officers take off theguard.
Enter ALLAN BANE and ELLEN with two soldiers, R.A.-Fitzjames bows to Ellen, who recollects him.
ELLEN. /-To Fitzjame7, Oh, welcome brave FitzjamesNow may an orphan maidPay the deep debt.
FIT. Oh, say not so-To me no gratitude you owe.Nor mine, alas! the boon to give,That bids your gallant father live.I cali but be thy guide, sweet maid,With Scotland's king thy suit to aid.Come, lady, come, 'tis more than time;He holds his court at morning prime.
/He recognizes Allan, shakes hands with him, cheers Ellen, andleads her off, _Li7
Enter LADY MARGARET, guarded, R.-her hair dishevelled-MALCOLM GRAEME, also guarded-Margaret turns back,
120#4)
wishing to speak to him-the Guards prevent her-she clasps herhands, as if in acute agony of mind-they lead her off, C.---Malcolm seems also much distressed-he kisses a riband that hehas before received of Ellen, and is led off, C.
SCENE VII., part ii.-A cell in the dungeon of Stirling Castle.Roderick Dhu is discovered at his couch.-he reclines and staresahead as if fallen into a deep trance.--a mystical chorus is heardoff, L.
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I Hate To Learn The Ebb Of Time
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The Imprisoned Huntsman
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The music ceases-he clasps his head in his hands and falls to hisknees-he despairs.
SCENE Vill. The Royal Presence Chamber-Galleries filledwith Ladies and Spectators--a Magnificent Throne, C.-trumpetssound.
Enter FITZJAMES and ELLEN, who cross from R. to behind thethrone, followed by ALLAN BANE-a Grand Procession of Nobles,Guards, Knights, Ladies, Banners, etc. all recognize Fitzjames,and two Knights put a splendid coronation robe over him, a thirdpresenting him with a royal cap and feathers Ellen fearfullyrecedes-Fitzjames ascends the throne, to a grand flourish oftrumpets-
Ellen throws herself on her knees, and bows her head to the ground.
FIT. Rise, Ellen rise.
ZShe points to DOUGLAS, who enters, L., and kneels opposite to her-- Ellen shows the King his ring-he descends, raises and embracesDouglas, who runs to his daughter_7
ELLEN. /_o the King, still kneeling7. 0, mightysovereign, pardon, too,
For gallant, helpless Roderick Dhu.FIT. Forbear thy suit: the King of kings
Alone can stop life's parting wings.Hast thou no other boon to crave,No other captive friend to save.
Ellen points to MALCOLM GRAEME, who enters, R.
FIT. For thee, rash youth, the lady sues,Put thus shall vengeance claim her dues:Thou, nurtured by our royal smile,
tA91e=12 7 4A-
Hast paid our care with treacherous wile,Dishonoring thy loyal name--Chains, and a wardour, for the Graeme!
1drand Flourish-
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The King takes off his gold chain, places it on Malcolm's neck, andunites him to Ellen--Douglas blesses the lovers-they all kneel tothe King, amidst a tremendous shout accompanied by drums andtrumpets
while the Ladies from the galleries of the court wave theirhandkerchiefs, and the Knights their plumed caps.
DISPOSITION OF THE CHARACTERS AT THE FALL OF THECURTAIN
ThroneFITZJAMES.DOUGLAS.
Guards.ELLEN.
ALLAN BANE.LUFFNESS.DEVEAUX.
Nobles.
MALCOLM GRAEME.A Noble.
HERBERT.KERRIES.Nobles.
Guards.
ZIL.THE END
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CRITICAL NOTES
The notes below show the original printed copy readings for
passages that have been altered in the preparation of the score. The
abbreviated form employed gives the measure number, the voice
(SATB or AT, Accompaniment Treble, or AB, Accompaniment
Bass), the note or portion of the measure, and the original version.
For example, 190 B 2 : B natural indicates that in the one-hundred
ninetieth measure of the copy the second beat of the bass line was a
B natural.
Alice Brand
126 STB AT AB 2: repeat signs
143 S 2 : dotted eighth-note
190 B 2 B natural
I Hate to Learn the Ebb of Time
25 AB 51/2: E flat
Not Faster Yonder Rowers
I AB Pick-up : eighth-rest missing
8 S I : AT chord placed on this line instead of in its correct position
18 AT, AB 13/4 : eighth-rest
31 S 21 : D natural
59 AB 1 : G
65 AT 1 : G
108 AB 1 : B flat
k9|m:129 :4eN
What Groans Shall Yonder Vallies Fill
15 AT 2 F sharp
16 AT 2 C sharp and E missing
23 AB 2: D sharp
24 AT 21/2 : D sharp
30 T 2 : D natural eighth-note
31 T 2 : E natural eighth-note
Mit:130 ah
st 131 $3 4
APPENDIX
BIBLIOGRAPHICAL SOURCES OF ADVERTISEMENT ANDPRODUCTION DATES
CityAlexandria, Virginia
Baltimore, Maryland
Charleston, South Carolina
London, England
PaperAlexandria DailyGazette
BaltimoreAmerican andCommercialAdvertiser
The CharlestonCourier
London Times
+++
Date4 Sept.,5 Sept.,.
22 Sept.,
1815181518'15
3 Apr., 18126 Apr,, 1812
13 Apr., 18122 May, 18124 June, 1812
28 Feb.,2 Mar.,
13 Mar.,
24 Sept.,28 Sept.,
1 Oct.,2 Oct.,3 Oct.,4 Oct.,5 Oct.,9 Oct.,
13 Oct.,15 Oct.,17 Oct.,18 Oct.,19 Oct.,24 Oct.,25 Oct.,
181218121812
181018101810181018101810181018101810181018101810181018101810
3
22
333
222222222322222
+The advertisement for this performance states "TH IS presentEvening, October 12th, will be presented Dibdin's New Ca'edonianSpectacle, (taken from the celebrated Poem by Walter Scott, Esq.),called The LADY OF THE LAKE. ...
++During this production was introduced "the Musical In-fatuation Scene, called the WILDMAN. Prince, Mr. Giroux;Theodore (his son), Miss L. Giroux; and Wild Man, Mr. Boulter."
Page333
t9fr: I32,
City Paper Date Page15 Nov., 1810 219 Nov,,810 226 Nov., 1810 228 Nov., 1810 210 Dec., 1810 2
Philadelphia, Pennsylvania Aurora General 1 Ja 18123Advertisers 2 Jan., 1812 3
3 Jan., 1812 36 Jan., 1812 396Jan., 1812
10 Jan., 1812 323 Jan., 1812 324 Jan., 1812 328 Jan., 1812 310 Feb., 1812 324Oc.,w8127 Nov., 1812 3
Washington, D.C. National 14 July, 1812 2Intelligence 8 Aug.,:1812
, a133 4cy
mbmft
BIBLIOGRAPHY
Books:
Apel, Willi. Harvard Dictionary of Music. Cambridge, Mass.:Harvard University Press, 1969.
Barbour, James Murray. Trumpets, Horns, and Music. Michigan:Michigan State University Press, 1964.
Bishop, James Alonzo. The Day Lincoln was Shot. New York:Harper & Brothers, Publishers, 1955.
Brown, James D. and Stephen S. Shatton. British Music Biography;A Dictionary of Musical Artists, Authors and Composers, born inBritian and its Colonies. Birmington: S.S. Straton, 1897.
Chase, Gilbert. America's Music, from the Pilgrims to the Present.New York: McGraw-Hill Book Co., 1966.
Dibdin, Thomas John. The Reminiscences of Thomas Dibdin. NewYork: Printed by J. & J. Harper for Collins and Hannay, 1828.
Gerson, Robert A. Music in Philadelphia. Philadelphia: TheodorePresser, 1940, 11.
Grout, Donald J. A Short History of Opera. New York: ColumbiaUniversity Press, 1965.
Hartnoll, Phyllis. The Oxford Companion to the Theatre, 3rd ed.London: Oxford University, Press, 1967.
Holman, C. Hugh. "Romanticism," A Handbook to Literature. NewYork: The Odyssey Press, 1972.
Husk, William H. "Sanderson, James," Grove's Dictionary of Musicand Musicians, 5th ed. New York: St. Martin's Press, Inc., 1960,II, Vll.
"James I," Encyclopaedia Britannicp, Micropaedia. Chicago:Encyclopaedia Britannica, Inc., 1976, V.
Krummel, Donald William. Philadelphia Music Engraving andPublishing, 1800-1820; A Study in Bibliography and CulturalHistory. Michigan: University of Michigan, 1958.
9* 134 zW),
Mitchell, Jerome. The Walter Scott Operas, An Analysis of OperasBased on the Works of Sir Walter Scott. Tuscaloosa: UniversityOf Alabama Press, 1977.
Odell, George C. D. Annals of the New York Stage, 1798-1821. NewYork: Columbia University Press, 1927, 11.
Pooley, Robert C., George K. Anderson, Paul James and HelenThornton. "The Triumph of the Romantic Revolt, Sir WalterScott," England in Literature. Glenview, Illinois: Scott Fores-man and Co., 1968, 371-373.
Reese, James D. Old Drury of Philadelphia, William Wood's Diaryof the Chestnut Theatre. Philadelphia: University of Pennsyl-vania Press, 1932.
Scott, Walter. "'The Lady of the Lake," Favorite Works of Sir WalterScott. New York: Book League of America, 1942.
Winesanker, Michael. The Record of English Musical Drama,1750-1800. Ithaca, New York: Cornell University, 1944.
Correspondence
Lichtenwanger, William. September, 1975.
Wolfe, Richard J. March, 1977.
Microform Newspaper Sources:
Aurora General Advertiser 29 January 1812.
"Baltimore Theatre," The Baltimore American & CommercialAdvertiser 2 May 1812.
Durang, Charles. A History of the Philadelphia Stage, from 1749-1855(for the Philadelphia Sunday Dispatch), 1854-8. This historyappeared in a seralized form and was never published as aseparate monograph.
"Surrey Theatre," The London Times 24 September 1810.
ASJ=:135 4Nie
Music Catalogues and Bibliographies:
Board of Music Trade of the United States. Complete Catalogue ofSheet Music and Musical Works, 1870. New York: Da CapoPress, 1973.
Boston Public Library, Dictionary Catalogue of the Music Collection.Boston: G.K. Hall & Co., 1972, X, XVI.
The New York Public Library Reference Department. DictionaryCatalogue of the Music Collection. Boston: G.K. Hall & Co., 1964,XVI, XXVI, XXVII.
Wolfe, Richard J. Secular Music in America, 1801-1825, A Bibli-ography. New York: New York Public Library, 1964, 3 vols.
Librettos:
Dibdin, Thomas. The Lady of the Lake, A Melodramatic Romance,In Two Acts. New York: Samuel French & Son, 1812?
The Lady of the Lake, In Two Acts (from Sir WalterScott) .... London: John Cumberland, ca. 1820.
Eyre, Edmund John. The Lady of the Lake; A Melo-dramaticRomance, in Three Acts. New York: D. Longworth, at theDramatic Repository, Shakespeare Gallery, May, 1811.
The Lady of the Lake; A Romance Founded on the Poem so calledby Walter Scott. London: Printed for T. Tegg and sold by W.Allason, 1810, 2v. in 1.
Sanderson, James. The Lady of the Lake; A Melo-dramaticRomance in Two Acts, (from Cumberland's Minor Theatre.London, ll, no. 4). London: G.H. Davidson, ca. 1820.
Music Editions
Carr, Benjamin. Six Ballads from the Poem of the Lady of the Lake,etc. Philadelphia: Carr & Schetky, [i812J.
Clarke, Dr. J. Blanche of Devon's Song. From the Lady of the Lake.Written by Walter Scott Esqr., etc. Philadelphia: Published byG.E. Blake, ca. 181W.
lp" 36
Dances and March in the Melo-Drama of the Lady of the Lake.Baltimore: Carr's Music Store,18127.
Pellissier, Victoire. "The Archer's Tune," "I Hate to Learn the Ebbof Time," and "What Groans Shall Yonder Vallies Fill,"Pelissier's Columbian Melodies. Philadelphia: ZI81I:7.
Sanderson, James. The Invisible Chorus in the Melo-DramaticRomance, The Lady of the Lake. Baltimore: Carr's Music Store,
1812.
Schetky, T.G.C. The Lonely Isle. London: G. Schetky,j81d7.
Whitaker, John. The Imprisoned Huntsman. New York: JosephWillson,j8--97.
CSle:137 4l24
