At New Year’s Eve the most widespread song in Scottish homes is Auld Lang Syne, a song sung all over the world on many occasions.
The song is accompanied by a collective ritual: in a circle we hold each other’s hands during the first verse. Then the arms must be crossed by grasping the hands of the neighbor during the last verse.
The title is composed of three terms in Scottish that mean old, long, since three words to indicate the past time, “the good old days”. This is an old song that Robert Burns says he heard from an elderly singer, Burns also states that the song had been passed down only orally. Here is the correspondence between Burns and the publisher George Thomson (1793): “The following song, an old song, of the olden times, and which has never been in print, nor even in manuscript until I took it down from an old man’s singing, is enough to recommend any air”
Similar rhymes and melodies date back to 1500: in particular two, the ballad Auld Kyndnes Foryett -in Bannatyne Manuscript 1568- and the ballad attributed to the court poet Sir Robert Ayton (1570-1638) published in 1711 by James Watson in “Choice Collection of Scots Poems” collection; for the latter some verses are the same that are found in the Burns’ ones.
Should auld Acquaintance be forgot,
and never thought upon,
The Flames of Love extinguished,
And freely past and gone?
Is thy kind Heart now grown so cold
In that Loving Breast of thine,
That thou canst never once reflect
On Old-long-syne?
In 1724 Allan Ramsay wrote in his “A Collection of Songs” the song entitled “Should auld acquaintance be forgot” (perhaps taken from the sixteenth-century ballad Auld Kyndnes Foryett) and the song was then published in Vol 1 of the “Scots Musical Museum” 1787, with the title “Auld Lang Syne” but the verses are light years away from those of Burns!
THE MELODIES "O Can Ye Labor Lea" ♪ "For old long Gine my jo" ♪ (from Playford in "Original Scotch Tunes" 1700)
Johnson publishes “Auld Lang Syne” from the first version of Burns in the Scots Musical Museum, vol 5, 1796; but Robert Burns sent his writings about this song even to the publisher George Thomson, and in particular his third version. Later, Thomson learns from Stephen Clarke that Johnson already had a copy of Burns’ song and that the melody was always transcribed by Johnson in the version of Ramsay. Burns, so he replies:‘The two songs you saw in Clarke’s are neither of them worth your attention. The words of ‘Auld lang syne are good, but the music is an old air, the rudiments of the modern tune of that name. The other tune you may hear as a common Scots country dance.’ Burns 1794.
So the first melody that Robbie calls “an old air” is that published by Johnson “O Can Ye Labor Lea“, while the second melody “For old long Gine my jo” is the one in Playford.
THE MARK OF A GENIUS
Burns’ merit was to write a couple of verses and to modify and arrange the others. A fragment written by Robert Burns in 1793 is kept at the Robert Burns Birthplace Museum (see)
THE MERIT OF THE EDITOR
WhenGeorge Thomson published “Auld Lang Syne” in the “Select Collection of Original Scottish Airs”, 1799 replaced the first melody with the much more popular one in the eighteenth century called “The Miller’s Wedding” (formerly in “Scots Reels”, Bremner 1759) and commonly called ‘Sir Alexander Don’s Strathspey’ because also played by the famous violinist Niel Gow: a typically Scottish dance melody the strathspey!
THE EDITOR MELODY WITH BURNS’ VERSES
George Thomson republished “Auld Lang Syne” in 1817 with a new arrangement by the Czech composer Leopold Kozeluch
Burns had already reused the same melody in two songs: “O can ye labor lea” ( “I fee’d a man at Martinmas”) and “Coming thro ‘the rye.
THE LEGEND ON DAVID RICCIO
Lately on the web (of course only on Italian sites) in the wake of Jesse Blackadder’s novel “The Raven’s Heart”, 2011 they have spread the attribution of the melody to Davide Rizzo (or David Riccio as they called in Scotland ). The journalist and writer Renzo Rossotti (in “Assassinio in Scozia” da “Piemonte magico e misterioso”, Newton Compton Editori, 1994 see) in his “Assassinio in Scozia” reports an italian legend according to which David Riccio is the author of “Auld Lang Syne”, but this is indeed a legend.
Two old friends, meeting after many years of separation, remember the youth and toast to the old days!
AULD LANG SYNE
Robert Burns 1799 (George Thomson)
Dougie MacLean in Tribute– 1996
Velvety voice, pronounced seductively scottish, guitar background, a delicate arrangement
AULD LANG SYNE Robert Burns in SMM vol 5 1796 (James Johnson)
Jim Malcolm in Acquaintance
Velvety voice, pronounced seductively scottish, a splash of notes on the piano, guitar and violin background. The melody is slightly different as the sequence of strophes I, IV, II, III, V and the theme of the Waltz is recorded in the final played by the guitar alone
Paolo Nutini
Eddi Reader
I Should auld acquaintance be forgot, And never brought to mind? Should auld acquaintance be forgot, And days auld lang syne? CHORUS: For auld lang syne, my dear(1), For days auld lang syne, We’ll tak a cup of kindness yet, For days auld lang syne! II We twa hae run about the braes(3) And pou’d the gowans(4) fine, But we’ve wander’d monie a weary fit(5), Sin days auld lang syne. III We twa hae paidl’d in the burn Frae morning sun till dine, But seas between us braid(6) hae roar’d, Sin days auld lang syne. IV And surely ye’ll be your pint-stowp(2) And surely I’ll be mine, And we’ll tak a cup o kindness(8) yet, For days auld lang syne! V And there’s a hand my trusty fiere(7), And gie’s a hand o thine, And we’ll tak a right guid-willie waught(8), For days auld lang syne |
NOTE 1) or “jo” 2) stowp= vessel, 3) braes= hills, 4) gowans= daisies, 5) monie a weary fit= many a weary foot, 6) braid= broad 7) fiere= friend, 8) right guid-willie waught= “cup of kindness” good toast, friendly draught, |
POPULARITY IN THE WORLD
The song has been translated all over the world (in at least forty languages). The popularity of “Auld Lang Syne” derives most probably from its inclusion with the title “Farewell Waltz” in the film “Waterloo bridge” (1940) directed by Mervyn LeRoy, with Vivien Leigh and Robert Taylor. This film was the prototype of the typical Hollywood melodrama.
The famous scene of the waltz.
The Farewell Waltz version was arranged by Cedric Dumont (1916-2007) Swiss composer, author and conductor and it was translated / arranged in Italian by the authors Larici & Mauri in 1943 like danceable. At the time, the Anglo-Saxon melodies were forbidden in Italy by the war censorship, but it was enough to change the title and arrangement and here is “Il valzer delle candele”!
IL VALZER DELLE CANDELE
Tati Casoni
| I Domani tu mi lascerai e più non tornerai, domani tutti i sogni miei li porterai con te. II La fiamma del tuo amor che sol per me sognai invan è luce di candela che già si spegne piano pian. III Una parola ancor e dopo svanirà un breve istante di felicità. |
IV Ma come è triste il cuor se nel pensare a te ricorda i baci tuoi che non son più per me. V Domani tu mi lascerai e più non tornerai, domani tutti i sogni miei li porterai con te. VI La fiamma del tuo amor che sol per me sognai invan è luce di candela che già si spegne piano pian. |
Nini Rosso.
The melody has finally become a new song titled “Il Canto dell’Addio” well know by all those who have been scouts, or have spent their summer in the italian colonies, or at the shelters run by priests and the like.
| I È l’ora dell’addio, fratelli, è l’ora di partir; e il canto si fa triste; è ver: partire è un po’ morir. RITORNELLO Ma noi ci rivedremo ancor ci rivedremo un dì arrivederci allor, fratelli, arrivederci sì. II Formiamo una catena con le mani nelle man, stringiamoci l’un l’altro prima di tornar lontan. III Perché lasciarci e non sperar di rivederci ancor? Perché lasciarci e non serbar questa speranza in cuor? |
IV Se attorno a questo fuoco qui, l’addio ci dobbiam dar; attorno ad un sol fuoco un dì sapremo ritornar. V Iddio che tutto vede e sa la speme di ogni cuor; se un giorno ci ha riuniti qui, saprà riunirci ancor. VI Ma non addio diciamo allor che ancor ci rivedrem: arrivederci allor, fratelli, arrivederci insiem! VII Fratello non dolerti se la fiamma langue già: doman la stessa fiamma ancor fra noi risplenderà. |
LINK
http://sarahannelawless.com/2009/12/31/happy-hogmanay/ http://www.electricscotland.com/HISTORY/articles/langsyne.htm http://www.electricscotland.com/history/articles/langsyne.htm http://www.robertburns.org/encyclopedia/AuldLangSyne.5.shtml http://www.themorgan.org/exhibitions/ online/AuldLangSyne/default.asp?id=4 http://burnsc21.glasgow.ac.uk/online-exhibitions/auld-lang-syne/ http://mudcat.org/thread.cfm?threadid=16346 http://mudcat.org/thread.cfm?threadid=29124 http://www.kultunderground.org/art/305 http://www.kultunderground.org/art/395 http://www.renzorossotti.it/notetorinesi.htm#menestrello http://www.eddireader.net/tracks/erALS.htm
And this is what the harp sung:
It is reasonable to assume that in the Scandinavian versions the instrument was in reality an arched crwth or lyra: also called “Germanic crwth” – to underline its northern origin – the instrument can also be equipped with a central keyboard and you play with the bow being probably the ancestor of the violin. In Wales it is called crwth (while in Ireland it is called cruith) and the central keyboard bears six strings, two of which the drone strings (“loafer string”). This instrument, which scholars are uncertain if they consider it to be completely indigenous and attributed to the Scandinavian area, (
The analysis of the text unravels the dynamics of the relationship between the two lovers (according to my point of view): the night of Lammas, as usual in the Celtic tradition, is the night of August 1, a day of celebration for the farmers of the Scotland, day of rest and party before the beginning of the harvest.
4) or “you tie up to a tree”, “Where you make fast to a tree”;
