Rook manuscript

The Rook manuscript, compiled by John Rook, of Waverton, Cumbria in 1840, is a large collection of traditional music from Scotland, Northern England and Ireland.

John Rook

Little is known of the author, beyond his name and home village. Two John Rooks, aged 35 and 50, were registered in the census the following year living near Wigton, but it is not known which of these was the author, or whether they were related.

The manuscript

The location of the original manuscript is unknown, however a scanned photocopy, lacking one page, is online.[1] The title reads MULTUM IN PARVO, or a Collection of old English, Scottish, Irish and Welsh tunes, for the... (there is then an illustration of various musical instruments, a fiddle, Northumbrian pipes, a trumpet, an accordion, a flute and a piccolo) ... containing upwards of 1260 airs, selected by John Rook, Waverton. Written by the selecter for his amusement on the above instruments, 1840. A note at the bottom of the illustration reads 'not to be lent on any account'. The selection of tunes is both wide and varied, and gives a detailed picture of the repertoire of a knowledgeable musician, who seems to have had access to an extensive collection of sources. While many of the tunes are common in printed and manuscript collections of the time, a significant number are, as the title page says, 'old'. They include a significant number of long variation sets, many dateable to the previous century.

Northumbrian tunes

It is clear from the title page that Rook played the Northumbrian pipes. Many of his Northumbrian pipe tunes are close to the versions in Peacock's Collection from about 1800, but often differing in details. One, The Bonny Pit Lad, is identical to, and probably derives from, a version published by Abraham Mackintosh early in the 19th century. Two tunes, Paddy O'Rafferty and Horse and away to Newmarket correspond to parts of the versions in the Lionel Winship manuscript, from Wark, in North Tynedale, suggesting that both compilers learned them from the same source. Other tunes, including Dorrington Lads, and Cut and Dry Dolly, are in versions not found in print. Dorrington Lads, in 5 strains,[2] is similar to the larger version in the William Dixon manuscript, of 1733, and identical to a version found in the later 19th century Fenwick manuscript, where it is stated to be the version from the Reid family. Cut and Dry Dolly,[3] while broadly similar to Peacock's version, has a range going higher than the single octave compass of the unkeyed smallpipe chanter, and an extra strain not found in Peacock; two very similar versions are found in a manuscript compiled by the Ancient Melodies Committee of the Society of Antiquaries of Newcastle upon Tyne it is known that James Reid and his sister Elizabeth Oliver were two of the informants when the Committee was collecting the music. It is thus very likely that Rook had direct contact with the Reids. While he lived some 80 miles from their home in North Shields, communication would have got much easier after 1837, when the Newcastle & Carlisle Railway opened between Gateshead and Carlisle.

Another tune, called Captain Fenwick here, Sir John Fenwick's the Flower amang them in Northumberland, and Mary Scott, the Flower of Yarrow in Scotland, appears in a 7-strain version, again with notes beyond the single octave compass of the unkeyed pipes; the same version also appears in the Antiquaries' manuscript, as well as a manuscript of tunes compiled in 1872 by the Northumbrian artist Joseph Crawhall II, while its first 4 strains appear in the somewhat earlier Robert Bewick manuscript. It thus seems that an older single octave 4-strain version which was known to Bewick, was elaborated before 1840 by some other piper, possibly one of the Reid family, to use the extra compass of the keyed chanter. As Robert Reid was the principal developer of the modern keyed instrument, it would have made sense for him or his children, pipers themselves, to compose extra strains to existing pipe music exploiting the instrument's increased range. An alternative reading is that this version is older, originally to be played on Border pipes - it would require two notes above the instrument's normal range, but on some instruments, these could be played by overblowing.

Cumbrian and West Border tunes

Some tunes are local to Cumberland and the West Border region, indeed the first tune in the book is Canny Cummerlin. The slow 6/8 march Squire Dacre's, often called Noble Squire Dacre elsewhere, commemorates a local noble family; having 4 strains, rather than the two found in the Northumbrian Minstrelsy, it is the most elaborate version known, though similar to a three-strain version in Riddell's Scotch, Galwegian and Border Tunes, from Moffat, a little north of the Border. There is also an early version of John Peel,[4] marked, unlike most tunes in the book, 'from memory'. As it is close in date to the tune's composition - Peel was still alive in 1840 - and somewhat different from the substantially reworked version published in 1866, this version is of interest. Rook also includes a Scottish tune, from which the song air was adapted: Where wad Bonnie Annie lie?[5] Rook evidently regarded the tunes as distinct enough to include both. The fact that John Peel is marked "from memory", suggests that the other tunes were taken predominantly from printed or manuscript copies, which is corroborated by the closeness of some of them to known earlier versions.

Scottish tunes

Besides many dance tunes found in collections from the end of the 18th century, such as those of Niel Gow, and Aird, the manuscript also includes a significant number of earlier 18th-century tunes. Among these are a variation set on Lasses likes nae Brandy, deriving indirectly from a composition by David Young, in the Macfarlane manuscript,[6] probably via a later printed collection by McLean - the following tune, a minuet, is attributed to McLean; a variation set on Further Benn the Welcomer, deriving from a version in Flores Musicae, or The Scots Musician, published in 1773, of which a copy is in the Wighton Collection at the University of Dundee; and a tune here called Nea Good Luck, but generally known as Up and war them all Willie, a version deriving from Oswald's Caledonian Pocket Companion of about 1750.[7] Rook's title may derive from the fact that this tune, and the song in 6/8 time, Nae Good Luck, use the same passamezzo moderno ground bass. Versions of Alloway House, The Deukes dang ower my Daddie[8] are also taken from Oswald,.[9][10] as well as Love is the Cause of my Mourning.[11][12] It thus seems that Rook had access to either a printed copy of the Caledonian Pocket Companion, or good manuscript copies of tunes from it.

References
  1. "Rook Manuscript - title page". Cl.cam.ac.uk. Retrieved 2017-03-16.
  2. "Rook Manuscript - page 126". Cl.cam.ac.uk. Retrieved 2017-03-16.
  3. "Rook Manuscript - page 158". Cl.cam.ac.uk. Retrieved 2017-03-16.
  4. "Rook Manuscript - page 161". Cl.cam.ac.uk. Retrieved 2017-03-16.
  5. "Rook Manuscript - page 103". Cl.cam.ac.uk. Retrieved 2017-03-16.
  6. MacDonald, Ronald. "The Collection :: RMacD.com". Rmacd.com. Retrieved 2 August 2017.
  7. "Up and ware them a Willie". National Library of Scotland. Retrieved 2 August 2017.
  8. "Rook Manuscript". Cl.cam.ac.uk. Retrieved 2 August 2017.
  9. "Alloway House". National Library of Scotland. Retrieved 2 August 2017.
  10. "Denkers dang over my deddie". National Library of Scotland. Retrieved 2 August 2017.
  11. "Rook Manuscript". Cl.cam.ac.uk. Retrieved 2 August 2017.
  12. "Love is the cause of my mourning". National Library of Scotland. Retrieved 2 August 2017.
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