Campbell, Fentum, Birchall, and Andrews, and others published his yearly books. James’ Street, Golden Square, in 1782 and died in1787. Werner was a dancing master and master of the ceremonies at Almack’s and the Festino Rooms. This runs to twenty seven books, and was re-issued, and probably continued from the 22nd up to this number by Robert Birchall. Besides these, the bulk of Andrews’s publications between 1804-1810 included a sseries of ” Five Favourite Dances,” folio, Numbers i to 39 (7, 8, and 9 dated 1805), and a small oblong volume for the flute ” The Gentleman’s Vade Mecum.” William Campbell published principally minor books dances, and include a series “Campbell’s Country Dances and Reels,” in oblong quarto. In 1790 Andrews and Birchall published sheet songs bearing their name. Like record producers and composers today, music publishers issued thousands of new songs for vocal performance and music for dances per year. Many a chaste lady sang a bawdy song with an accent or impersonated a Scottish girl, with no one thinking the worst of her. These musicales allowed them a freedom of expression and role playing that Jane Austen could have included in her novels. ) Unmarried ladies sang songs in accents or impersonating Scottish girls. Scored for a soprano voice, these popular ditties spoke of love and pursuit, sexual invitation, and people declaring their love openly – “some sexually, some chastely, some sweetly, some comically, some sentimentally, some melodramatically–a wildly “forward” thing for ladies to do in speech but apparently not in song.” (- I burn with contempt for my foes – Jane Austen Music Collections. Many of the songs that were popular during the Regency era were franker than the topics that ladies of the Regency were allowed to conduct in polite conversation. “In the evening she would sometimes sing, to her own accompaniment, some simple old songs, the words and airs of which, now never heard, still linger in my memory.” (James Edward Austen Leigh Memoir 330) Robin Adair, Scots Melody, Caroline Keppel ( Music: What Was Popular When Jane Austen Was Writing?) Bach, and owned Steibelt’s ‘Grand Concerto, Haydn’s English Conzonets, glees music of John Wall Callcott, and Che Faro from Gluck’s Orfeo ed Euridice. She also collected works from Piccinni, Sterkel, and J.C. She played folk songs, Scotch and Irish airs (many arranged by Haydn and Beethoven), and songs from the popular stage by such composers as Dibdin, Arne and Shiled. Jane favored Ignaz Pleyel over Haydn, and had included in her musical collection 14 of his sonatinas. That some of yesteryear’s tunes have become today’s classical music (Haydn, Mozart, and Beethoven) happened purely by chance, for many of the composers whose music and songs Jane Austen preferred have faded into obscurity. Jane’s musical preferences tended towards the songs and dances that were popular at the time. A Regency musicale or parlor performance could include a traditional Irish air popularized by Thomas Moore, a piano sonata by Pleyel, a favorite song from a ballad opera, or a setting of a popular dance tune.” – Anthea Lawson “Through most of the 19th century, the lines between ‘popular’ and classical music were much more blurred than they are today.
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