Saturday, 28 December 2013

“Bloomfield’s Songs”

Following Bloomfield's death in 1823 a two-volume book, The Remains of Robert Bloomfield, was published (London, 1824) for the benefit of his family. The first volume concludes (pp.191-92) with a “Prospectus” advertising “Bloomfield's Songs” with an appeal for subscribers to a proposed publication of at least twenty-four of “his best songs, set to music”, which Goulding & Co. [i.e., Goulding & d'Almaine] would print.

It notes that
THE Songs of the late MR. ROBERT BLOOMFIELD are justly esteemed for the purity of their sentiment and the beauty of their poetry. No poet displays the influence of the “tender passion” with more feeling, and very few treat the amiable objects of it with so much delicacy and respect;—on this account he has always been a favourite with that sex, whose approving smile he valued as his best reward. 
To render his poetry still more worthy of their patronage, and if possible more available to the wants of his widow and family, it is proposed to publish by Subscription a Collection of his best Songs, set to Music, some by himself, some by his brother Isaac, and some by celebrated living composers.

The collection was intended
to consist of Twenty-four at least, of his best Songs, printed in folio; price 20s.
The following Songs were proposed for the collection.

Æolus   from The Remains (1824)
no setting traced

Dawn of the Day   from The Remains (1824)
music by R. W. Evans (London: Bates, 1824)

Donald   from Hazelwood Hall
no setting traced

Eolian Harp   from The Remains (1824)
no setting traced

Farewell, my sweet, my budding Flower   from The Remains (1824)
Matthew Cooke (unpublished)

Flowers of the Mead   from The Remains (1824)
music by R. W. Evans (London: Bates, 1824)

Gleaner’s Song   from Banks of Wye
no setting traced

The Highland Drover   from Rural Tales (1802)
music by Robert Bloomfield (lost)

The Highland Drover (another setting)   from Rural Tales (1802)
music by Isaac Bloomfield (lost)

Hunting Song   from Rural Tales (1802)
music by Isaac Bloomfield (unpublished)

Irish Duck Woman  from The Remains (1824)
no setting traced

Irish News  from The Remains (1824)
to the traditional tune Yorkshireman

Jenner’s Birth-day  from The Remains (1824)
music by Robert Bloomfield (lost)

Kentish Mary  from The Remains (1824)
no setting traced

Love in a Shower  from Hazelwood Hall
music by Mr. Firth (London: Bates, 1824)

Lovely Shelah  from The Remains (1824)
no setting traced

Lucy  from Rural Tales (1802)
music by Isaac Bloomfield (lost)
another setting by James Adcock (London: Walker, 1810)

Maid of Dunstable  from The Remains (1824)
no setting traced

The Maid of Landoga   from Banks of Wye
music by R. W. Evans (London: Bates, 1824)

The Man in the Moon  from The Remains (1824)
to the traditional tune Ligoran Cosh
another setting by Matthew Cooke (unpublished)

Mary’s Grave  from Banks of Wye
no setting traced

Morris of Persfield  from Banks of Wye
no setting traced

Nancy  from Rural Tales (1802)
music by Isaac Bloomfield (lost)
another setting by James Hook (unpublished)

Norah  from The Remains (1824)
no setting traced

Rosamond’s Song  from May-Day
music by Isaac Bloomfield (lost)

Rosy Hannah  from Rural Tales (1802)
music by Isaac Bloomfield (London: the authors, 1801)
another setting by James Hook (London: Phipps, 1810)

Simple Pleasures  from Hazelwood Hall
music by Matthew Cooke (unpublished)

Soldier’s Lullaby from The Remains (1824)
no setting traced

The Soldier’s Return  from The Remains (1824)
no setting traced

Welcome Silence!  from Wild Flowers
no setting traced

Winter Song  from Rural Tales (1802)
music by Isaac Bloomfield (lost)
also a setting by James Hook (s.l.: s.n., 1810)

Woodland Halloo  from Wild Flowers
music by Miss Nina d’Aubigny (London: Vollweiler, 1806)

Yield thee to pleasure  from The Remains (1824)
music by William Crotch (London: Bowles, 1815)

Of these thirty-three songs, no composer can be traced for thirteen, seven have been lost though their composers are known, and some at least of the rest were already in print. My assumption is that it is unlikely that composers waited until all subscriptions were in before turning their hand to setting Bloomfield’s verse.  Indeed, the multiple settings of the same poems in earlier years suggest that when Bloomfield’s poetry was selling well, composers competed in setting his verse. The number of subscribers presumably did not reach the hundred required, as “Bloomfield's Songs” never appeared. Nevertheless it is probable that song settings exist for all the poems cited and much more work will need to be done revising my earlier list of “Bloomfield set to music”.


Robert Bloomfield, 1766-1823.—The remains of Robert Bloomfield ... In two volumes.—London: printed by Thomas Davison, Whitefriars, for the exclusive benefit of the family of Mr. Bloomfield; and published by Baldwin, Cradock , and Joy, 1824.
2 v. illus. 17-19 cm (8vo)
Edited by Joseph Weston with Bloomfield’s daughter, Hannah, a year after his death.—With half-titles and 6 folding plates of engraved music in vol. 1.—Includes a list of subscribers.

Sunday, 24 November 2013

Bloomfieldiana IV

Advertisement for Player’s Navy Mixture in The Times (London, England), Thursday, Nov 22, 1906; pg. 4; Issue 38184.
As far as I am aware this is the only occasion on which Bloomfield’s words and image have been used in an advertisement, though Center Parcs used “Leisure” by W.H. Davies, and Waitrose has used Keats's “To Autumn”. (I'm sure lots of other advertisers have made use of “To Autumn”.)

Shakespeare has been used to flog everything from Red Bull, Coca-Cola, Stella Artois and Marlboro, to Mercedes Benz and Levis. Walt Whitman is currently selling iPad Airs, in a “Your Verse” campaign entirely based on a Whitman quote in Dead Poets Society. Other unlikely posthumous pitchmen include Darwin (for BMW), Kerouac (Gap), Scott Fitzgerald and DH Lawrence (David Lynch advertisements for Obsession perfume).

Recently, Jeremy Noel-Tod of the University of East Anglia spotted that a photograph of the poet R.S.Thomas had been appropriated by Tyrrells Crisps to promote a competition. “Win a fleeting look of contempt or £25,000,” ran the advertisement alongside a black-and-white photograph of a grumpy-looking Thomas on packets of Tyrrells sweet chilli and red pepper crisps.


“Tyrrells spices up its crisp packets with image of fiery poet RS Thomas”

“Keats's Ode to Waitrose? How brands use writers’ reputations”

Joanna Southcott: a Bloomfieldian canard

In a letter of 4 October 1814, Bloomfield informed T.J. Baker that
My wife is a staunch diciple [sic] of Johanna Southcott (Letter 294).
A note appended to the Romantic Circles edition of the letters explains
Joanna Southcott (1750–1814), a Devon servant who proclaimed herself a prophet and the mother of the new Messiah, the returning Shiloh, attracted a cult-following numbering in the tens of thousands.
Before 1813 Joanna Southcott had pursued a public ministry of the written word—sixty-five “communications” gathered together and published in separate volumes between 1801 and 1814. A conservative estimate puts the number of copies of her writings published during this time at 108,000. Southcott was thus one of the most widely read authors of the early nineteenth century. A figure of ridicule to cultural elites in her own day as well as in ours, she preached a simple message of personal reform and national repentance—though one stigmatized by E.P. Thompson as an icon of the chiliasm of despair that seemingly drove working English men and women into sterile fantasies of supernatural deliverance after the political repression of the 1790s (Juster 250-51). Dorothy Thompson comments on those Marxist historians who "projected their own preoccupations into the past", being "more concerned with what the working class ... ought to have been doing than what it was actually doing". Could she have been thinking of her late husband?

From Bloomfield’s simple statement have been derived ever more elaborate stories about how all his money was given to the Southcottians amid claims of his wife’s “madness”. John Lucas, for example, notes with apparent conviction
Bloomfield’s May-Day with the Muses was published in 1822, a year before his death. By the time he came to write it he was more or less destitute—his wife had given the bulk of his money to Joanna Southcott’s cause—and he had become disenchanted with Shefford, the town to which he had moved with such high hopes some years earlier (123).
What evidence is there for such a claim? Indeed, how could it possibly have occurred? What access could Mary Ann Bloomfield have had to her husband’s savings? I think we can be confident that Robert Bloomfield didn’t have a bank account—and even if he had, his wife would have been unlikely to have had access to it. But I also think it unlikely that he kept his earnings in cash—there was no handful of guineas in a box under the bed.

The most likely form in which Bloomfield would have held his earnings from his poetry would have been in the form of promissory notes from his publishers. One imagines that he held a bundle of promissory notes in a strongbox. Such notes were widely in use at that time as a means of generating credit. Under this system, the drawer (in this case the publisher) gave the acceptor (the author) a written promise (a “promissory bill”) to pay a stated sum on a stated date. Banks were prepared to pay ready money (but less than the full sum stated in the bill) to the acceptor, in exchange for the bill. At the due date, the bank then claimed the promised sum in full from the drawer, thus in effect reclaiming (with interest) a loan of ready cash made on the security of the promissory note. If the publisher had not been keeping his part of the bargain by repaying the banks when the promissory notes became due, these, in effect, post-dated cheques to Bloomfield would have bounced.

Vernor and Hood, Bloomfield’s first publishers went bankrupt in 1812, involving Bloomfield in severe financial loss. Benjamin Crosby, bookseller at 44 Stationer’s Court, near Paternoster Row, bought the rights to Bloomfield’s works, after the failure of Vernor, Hood and Sharpe, but died in 1815 after his own firm went bankrupt. Any promissory notes issued by Crosby instantly became worthless and Bloomfield would have lost all his savings without the need to postulate gifts to Joanna Southcott. (I should welcome correction from people better informed about how writers kept their savings.)

In September 1814, Joanna Southcott announced that she was pregnant with the Messiah. Like Mary Ann Bloomfield, tens of thousands of men and women found the prospect of a miraculous birth compelling enough to invest their hopes and their pennies in her cause. And it was just pennies.

We find a number of references to Joanna Southcott in the annotated letters and essays on the Romantic Circles website. Thus, in his essay “The Talk of the Tap-Room: Bloomfield, Politics, and Popular Culture”, Peter Denney writes
In a series of letters of 1821, Lloyd Baker demanded that the poet, then experiencing severe poverty and ill health, clarify his beliefs for the peace of mind of his supporters. The letters implied that Bloomfield’s wife’s devotion to the provincial servant-prophetess, Joanna Southcott, had somehow rubbed off on the poet, leading him to forgo church attendance, as if religious heterodoxy were a natural stepping stone to infidelity.
Joanna Southcott insisted throughout her life that she was a loyal daughter of the Church of England. The Southcottians were also anxious to affirm their political orthodoxy. Southcott declared in a pamphlet published in 1807, “His majesty has no better subjects in his kingdom, or who wish more for the perfect happiness of the nation, than the true believers in my visitation”. The police magistrate Sir Richard Ford agreed that there was little to fear from them. He remarked to a fellow magistrate, “The principles of these Gentlemen (however erroneous) seem founded with so much Love to their fellow Creatures, and the Good of the World at Large; that was it not for my Official Capacity—I should think it no Disgrace to Belong to men of such Inoffensive principles” (Hopkins, 191).
Note how the Romantic Circles writers refer to Southcott
“His wife, never an easy presence, had become a follower of the self-proclaimed prophet Joanna Southcott”.—Tim Fulford
Bloomfield, Mary Ann, née Church: Bloomfield’s wife, ... a follower of the self-proclaimed prophetess and mother of Shiloh, Joanna Southcott.—Index of People
Whence this irritating description of Joanna as “self-proclaimed” (Romantic Circles) or “self-styled” (other writers)? Aren’t all prophets self-proclaimed? Certainly, in the Old Testament, both Elijah and Elisha style themselves prophets.
Then said Elijah unto the people, I, even I only, remain a prophet of the Lord; but Baal’s prophets are four hundred and fifty men (1 KINGS 18:22).
And it was so, when Elisha the man of God had heard that the king of Israel had rent his clothes, that he sent to the king, saying, Wherefore hast thou rent thy clothes? let him come now to me, and he shall know that there is a prophet in Israel (2 KINGS 5:8).
“Prophet”, “prophetic”, “prophesy”—these are key words too for William Blake, occurring eighty-eight times in his writings. In his Annotations to Bishop Watson, Blake explains what the word means to him
Prophets in the modern sense of the word have never existed Jonah was no prophet in the modern sense for his prophecy of Nineveh failed Every honest man is a Prophet he utters his opinion both of private & public matters / Thus / If you go on So / the result is So / He never says such a thing shall happen let you do what you will. a Prophet is a Seer not an Arbitrary Dictator (E 617).
In America (1793) Blake identified his own work as “prophecy”—and he identifies himself as “prophet” in “The Little Girl Lost” (I prophetic see) in the Songs of Experience of that same year.
Nobody ever refers to the prophetic writer Lady Eleanor Davies (1590-1652) as a “self-styled prophetess”. Nor thus to Jane Leade, Philadelphian, nor Elizabeth Barton, the Holy Maid of Kent, nor to “Our Lady of Ipswich”, a sixteenth-century child prophet.

Only Joanna Southcott is so dismissed. The reason is obvious. It’s there in Peter Denney’s “provincial servant-prophetess”. She had worked as a maid-servant and so English snobbery reveals itself again. The casual unthinking snobbery apparent in E.P. Thompson’s famous claim
I am seeking to rescue the poor stockinger, the Luddite cropper, the “obsolete” hand-loom weaver, the “utopian” artisan, and even the deluded follower of Joanna Southcott, from the enormous condescension of posterity (12).
It’s a bit condescending, is it not, to describe Southcott's followers as “deluded”. From a broader historical perspective, the life of Joanna Southcott does not appear as aberrant or fantastical as it did to Southey, or to E.P. Thompson following Southey. She's a working-class Englishwoman writing directly about her spiritual experiences in a tradition that stretches back to Mother Julian of Norwich. I'll give Susan Juster the last word
Even after the bitter disappointment of her death, the Southcottians continued to be a force in British millenarian culture, supporting first one then another of the many claimants to her prophetic mantle who appeared in the 1820s and 1830s. And in many private and (to historians, at least) obscure moments, women and some men continued to have visions of spiritual communion that can only be called mystical (287).

Tim Fulford & Linda Pratt.—The letters of Robert Bloomfield and his circle.—A Romantic Circles electronic edition.
All Bloomfield’s extant letters plus a selection of those written to him.

John Goodridge & Bridget Keegan, eds.—Robert Bloomfield: the inestimable blessing of letters.—A Romantic Circles Praxis volume
A set of essays published as a companion to the edition of Bloomfield’s letters.

James K. Hopkins.—A woman to deliver her people: Joanna Southcott and English millenarianism in an era of revolution.—Austin TX: University of Texas Press, 1982.

Susan Juster, “Mystical Pregnancy and Holy Bleeding: Visionary Experience in Early Modern Britain and America”, The William and Mary Quarterly, Third Series, Vol. 57, No. 2 (April 2000), 249-288.

Dorothy Thompson.—The dignity of Chartism.—London : Verso, 2015.

E.P. Thompson.—The making of the English working class.—London : Gollancz, 1963.

Simon White, John Goodridge & Brigid Keegan, eds.—Robert Bloomfield: lyric, class, and the romantic canon.—Lewisburg : Bucknell University Press, 2006.
Essays including: John Lucas, “Hospitality and the rural tradition: Bloomfield’s May-Day with the Muses”, 113-141.

Saturday, 23 November 2013

Bloomfieldiana III

H. BROWN [del. & sc.] | MR. W.H. WILLIAMS | AS GILES | IN THE MILLER’S MAID | Published by H. Brown. [c.1824.]
Plate 165 x 95mm.
William Henry Williams (1797-1846), actor, entertainer and magician; as Giles in John Faucit’s “Miller's Maid”, after Bloomfield. (See my “Provisional list of musical settings” for 1821: John Marks Jolly, 1790-1864, composer.)
Harvard Volume IV. p.273: 4.
Purchased from Grosvenor Prints (London): [Ref: 20957] “A very rare hand-coloured etching.”


Catalogue of dramatic portraits in the Theatre collection of the Harvard college library / by Lillian Arvilla Hall ...—Cambridge, Mass. : Harvard university press, 1930-1934.—4 v. ; 26 cm
“A descriptive index to the engraved dramatic portraits in the Theatre collection ... arranged alphabetically according to names.”—Pref.
Contents: Vol. 1 A-E.—vol. 2 F-K.—vol. 3 L-R.—vol. 4, S-Z.

Robert William Evans

Robert William Evans, baptised 17 June 1787 at St Mary, Whitechapel. He is recorded in the parish register as the son of George Bland and Rachel (surname not given). R.W. Evans we can then assume is the illegitimate son of the minor actor, George Bland, the brother of Dora (Dorothy) Jordan, actress and mistress of William IV. His mother is presumably one Rachel Evans, a plausible enough name in view of the Bland family's west Wales connections.

The following list of music by R.W. Evans suggests to me that he was a professional musician working in the theatre. Angus Whitehead comments that the “elegy” commemorating the death of Princess Charlotte may possibly have a connection with the Deer tale from May Day with the Muses.


And art thou then, celestial spirit, flown? : an elegy (written by a young lady,) on the much lamented death of Her Royal Highness the Princess Charlotte of Wales ; composed, and most humbly dedicated to His Serene Highness the Prince Leopold of Saxe Cobourg by R. W. Evans.—London : Printed for the Author (No 17, Charles St Covent Garden), [1818?].

Beneath a weeping willow's shade : a ballad written by W. Bygrave Esqr ; sung by Mr. Nelson, at the Nobility's Concerts ; & composed expressly for him by R. W. Evans.—London : Printed by R. W. Evans, No. 53, Cheapside, near Bow Church, [1821].

Beside the foaming dashing Wave, a ballad, written by I. Belgrave Junr.—London : Printed by R. W. Evans, [c. 1825].

The celebrated Sicilian Air on which is founded the ... Song of 'Sweet Home'. A Fantaisie and Rondo for the Piano Forte, with accompaniments ... for the Flute and Violoncello, etc.—London : R. W. Evans, [1824?].

The Dawning of Day. [Song, words by R. Bloomfield]..—[London] : T. C. Bates, [1824].—Pp. 4 and 5 of the Appendix to vol. I of The Remains of Robert Bloomfield.

The deserted cottage : a ballad ; the words by W. Bygrave Esqr ; composed with an accompaniment for the piano forte by R. W. Evans.—London : Printed by R. W. Evans, [1820?].

Evans's twenty four intirely new country dances, waltzes, quadrilles &c. for the year 1822 : with proper figures set to each by an eminent master.—London : R.W. Evans, [1821?].

Five bumper toasts, for the English gentleman : a duett with a chorus as sung by Mr. Broadhurst ; the words by Dr. Henry Fick, Professor of the German Language & Literature ; the music, partly founded on an old German tune, respectfully dedicated to every English gentleman, in word and deed with a grateful sense of the hospitality the Author met with in this country ; arranged for the piano forte, 2 voices & a chorus, by Mr. R. W. Evans.—London : Printed for the Author, by R. W. Evans (146, Strand), [1823].

The Flowers of the Mead. [Song, words by R. Bloomfield].—[London] : T. C. Bates, [1824].—Pp. 2 and 3 of the Appendix to vol. I of The Remains of Robert Bloomfield.

His Majesties welcome to Scotland : the melody by G. S. Pollock ; arranged for the piano forte, as a rondo, by R. W. Evans.—London : Printed by Ware & Evans, [1822].

Let us haste to Kelvin Grove, bonnie lassie : the admired Scottish ballad sung by Mr Braham, in the opera of Guy Mannering at the Theatre Royal Drury Lane ; arranged for the piano forte, with variations and a rondo by R. W. Evans.—London : Printed by R. W. Evans, [1823].

The Maid of Landoga. From Mr. Bloomfield's Banks of Wye.—[London] : T. C. Bates, [1824].—Pp. 6 and 7 of the Appendix to vol. I of The Remains of Robert Bloomfield.

The Mid Lothians, a new set of quadrilles, containing The maid of Glenconnel, Lassie wi the link[recte lint]-white locks, Riggs o'barley, Peggy's love & auld Robin Gray, The Campbells are coming, Lewie Gordon & over the hills...arranged for the piano forte...with new figures in French & English.—London : Evans, 1821

Serenada Espanõla [sic], No. 1 : for the piano forte, in which is introduced a new Guaracha dance, with an accompaniment for one or two flutes (ad libitum) ; composed and dedicated to His Excellency the Spanish Ambassador, by R. W. Evans.—London : Printed by Evans & Lucas, [1821].

Serenada Espanõla [sic], No. 2 : for the piano forte, in which is introduced a new fandango, with an accompaniment for one or two flutes (ad libitum) ; composed and dedicated to His Excellency Dn. Luci de Onis, The Spanish Ambassador, by R. W. Evans.—London : Printed by R. W. Evans, [1822].

Wandle's wave : a new ballad, as introduced & sung with the most rapturous applause, by Mr Pyne, in the opera of Inkle & Yarico, at the Theatre Royal Covent Garden, the words by a gentleman ; composed with an accompaniment for the piano forte, by R. W. Evans.—London : Printed by R. W. Evans (No 53, Cheapside), [1821].

What is Prayer, the poetry by Montgomery ... With an accompaniment for the piano forte, etc.—London : R. W. Evans, [c. 1825].

The White Rose, a ballad ... the poetry by D. A. O'Meara ... with an accompaniment for the harp or piano forte.—London : R. Evans, [1827].

Sources (for Whitechapel parish register).

Copac Academic & National Library Catalogue <>.

Nina d'Aubigny von Engelbrunner

Composer, performer, singing-teacher, Jana Wynandine Gertraud (“Nina”) d’Aubigny von Engelbrunner was born in Kassel, 14 April 1770, the second child of Johann Caspar Engelbrunner and Sabine Jacobine d’Aubigny.

The Engelbrunner family were enthusiastic travellers and in 1803 Nina, accompanied by her sisters Emilie and Susette, her brother-in-law Carl Gottlieb Hortstig, and nephew Eduard, travelled to France and on to England. In London, Emilie decided to accept a teaching job in Calcutta and left for India. The others travelled via Holland, where they visited the Dutch branch of the family, back to Bückeburg. The same year saw the publication of Nina d'Aubigny's Briefe an Natalie über den Gesang, a pedagogical work for singers that Beethoven is said to have admired. (A second edition was to appear in 1824.)

Nina d'Aubigny published a series of articles between 1804 and 1806 in the magazine London und Paris on her travels to London and on life in the capital. (Her brother-in-law Carl Gottlieb Horstig contributed the first German language review of Bloomfield’s poetry, “Der Dichter Bloomfield”, to London und Paris, 12. Bd., 1803, 30-34). She made a second visit to London in 1806 when she met Bloomfield, if the dedication “in[s]cribed to Mr Bloomfield” of her setting of “The woodland hallò” can be so interpreted. The “Prospectus” included in The Remains of Robert Bloomfield, Vol. I (London: Baldwin, Cradock & Joy, 1824) states that Miss d’Aubigny’s setting was to be published as part of a subscription collection.

Unusually for her time, Nina d’Aubigny von Engelbrunner made settings of English, French and Italian poetry in their original languages. By setting Bloomfield’s poetry, she places him firmly in a context of cosmopolitan European high culture. Of course, Haydn and Beethoven had set English words in their folksong arrangements, but her contemporary, Schubert, set Ossian in German translation, as Schumann did Thomas Moore (“Das Paradies und die Peri”).

An inveterate traveller, she visited her sister Emilie in Calcutta in 1810, making a return visit to India in 1818. She later journeyed through Asia and Africa, returning to Germany in 1819 and settling in Dresden in 1820.

By 1826, she was in Vienna, and close to Schubert and his circle of friends. At an evening party (10 April 1827) given by her nephew Eduard Horstig, Nina d’Aubigny played the harp, and Ludwig Tietze sang songs by Schubert accompanied by the composer himself.

She died, unmarried, 29 January 1848 at Nestelbach bei Graz.


Nina d’Aubigny von Engelbrunner, 1770-1848.—Deutsche, italienische und Französische Gesänge mit Begleitung des Pianoforte, etc.—Augsburg : In der Gombartischen Musik-Handlung, [1797].

Der neue Teutsche Merkur.—1790-1810.
“Amsterdam. Literatur in Holland”.—1. Bd (1799), 172-175.
Nina’s first signed venture into journalism. There may have been earlier anonymous contributions.

Susette Horstig, 1767-1845, & Nina d’Aubigny von Engelbrunner, 1770-1848.—Tagebuch einer Reise durch die Portugiesische Provinz Alentejo im Januar 1797, mit einer Beschreibung der Stiergefechte in Portugal.—Hildesheim : Gerstenberg, 1799.

London und Paris.—1798-1815.
Nina contributed 30 pieces to this journal.
“Transfiguration einer teutschen Reisenden ins englische Kostum. Bemerkungen über Decenz und stehende Nationalmode der Engländerinnen.” 11. Bd. (1803), 294-305.
“Allerlei Bemerkungen und Ansichten. Das Seebad zu Margate. Lächerlicher Unfall dabei. Unglücksfall im Meer. Lustpartie auf der Themse. Ansicht der großen Stadt. Härte des englischen Charakters und dadurch nöthige Strenge der Kriminaljustiz. Ursachen des Selbstmords.” 12. Bd. (1803), 15-22.
“Militairische Wache für London.” 12. Bd. (1803), 216-222.
“Fehlschlagungen bei der Eröffnung der Parliamentssitzung durch den König im Oberhause. (Aus dem Briefe einer Teutschen Dame in London).” 12. Bd. (1803), 222-232.
“Der Royal-Cirkus. Bemerkungen über englischen Körperbau und Hang zur Verzierung.” 12. Bd. (1803), 233-236.
“Das Foundling-Hospital, Findelhaus in London.” 12. Bd. (1803), 237-242.
“Winter's Oper: Il triompho del amor fraterno als Benefiz-Vorstellung der Mistriß Billington.—Ueber den musikalischen Sinn der Engländer.—Mrs. Billington und der Sänger Braham.—Achille et Deidamia, ein historisches Ballet von d'Egville und Winter.” 13. Bd. (1804), 100-116.
“Einige Bemerkungen über Englische Erziehung.” 13. Bd. (1804), 183-187.
“Schilderung des Monat Mai in London. Versammlung der eleganten Welt in Kensington-Garden. Umzug der Kaminfegersknaben. Einrichtung der Subscriptions-Konzerte. The Ladies Concert. Harrissons Konzert. Die Harmonic Society.” 13. Bd. (1804), 195-209.
“Schilderung eines Morgens in London.—Ueber physische Erziehung der Kinder und ihre Kleidung.—Die Stunde des Frühstücks.—Dr. Willis Bemerkungen über den Thee.—Beschäftigungen der schönen Welt vor dem Mittagsessen.—Wanderungen nach der Truchsessian Gallery, in Thomas Hope's Pallast, und zu den Gemälden der Frau von Tott.” 13. Bd. (1804), 311-330.
“Vertheidigung der City von London. Fahrt nach den Westindian Docks. Das Hospital von Greenwich. Der Park und das Observatorium zu Greenwich.” 13. Bd. (1804), 331-348.
“Land-Aufenthalt der Engländer. Exkursionen in die Badeplätze. Fulham bei London. Bischoff Scherlock's Grab. Wasserfahrt auf der Themse. The water fencibles. Hamerschmidt, Landsitz der Markgräfin von Anspach. The ghost of Hammersmidt. Das neue Schloß zu Kew. Richmont, der Park daselbst. Twikenham, wo Pope wohnte.” 14. Bd. (1804), 16-37.
“Der kühne Kaper Blackmann. Krankheit der Mrs. Billington und Mrs. Siddons. Der junge Roscius.” 14. Bd. (1804), 110.
“Fliegende Bilder. Die Centaurin Mrs. Smith. Die Messen um London. Croydon Fair. Brighton. Maria von Schottland's Andenken. Ihr Aufenthalt im Schlosse zu Carlisle. Freudenfeuer zum Andenken der entdeckten Pulververschwörung. Die Waßerparthien auf den Theatern. Der Hund Carlo.” 14. Bd. (1804), 207-213.
“Die Kunst zu verbessern, ein Nationalzug der Brittischen Nation. Societäten für jedes Fach. Smithfield Society. Der Maler Moreland. Die Ackerbau-Societät zu Bath. Besuch des Indianers Teyoninhoke. Seine Rede an den Präsidenten.” 14. Bd. (1804), 286-298.
“Etiquette am Englischen Hofe.—Mittagstafel des Königs.—Ueber eheliche und häusliche Verhältnisse der Britten.—Ueber Einrichtung des Tisches und der Küche in England.” 15. Bd. (1805), 207-233.
“Englischer Nekrolog.” 15. Bd. (1805), 293-298.
“Papirus Manuscripte.” 15. Bd. (1805), 298-302.
“The brother's steps in London.” 15. Bd. (1805), 302-303.
“Anbau des Mahagony-Baumes.” 15. Bd. (1805), 303-306.
“Gesellschaft der Alterthümer.—Graf Essex Ring.—Zusammenkunft Heinrich VIII. mit Franz I.” 15. Bd. (1805), 307-312.
“Die Forty thieves von Sheridan.” 17. Bd. (1806), 271-274.
“Reise von London nach Teutschland. Erster Brief. Fahrt von London nach Gravesend.—Mannichfaltige Bemerkungen über Engländer und Englische Sitten.” 18. Bd. (1806), 97-115.
“Zweiter Brief. Aufenthalt in Gravesend.—Die französische Familie.—Die Lesebibliothek. Bemerkungen über die Mode-Schriftsteller.” 18. Bd. (1806), 116-125.
“Dritter Brief. Abfahrt von Gravesand.—Beschreibung der Einrichtung auf dem Schiffe.” 18. Bd. (1806), 196-203.
“Vierter Brief. Der Traum wird Wirklichkeit-Ein fürchterlicher Sturm. Ankunft an den Ufern der Weser.” 18. Bd. (1806), 203-221.
“Bemerkungen über das Badeleben in England.” 18. Bd. (18060, 309-318.
“Schilderung der Tagesordnung in Ramsgate.—Ungeselligkeit der Engländer.” 18. Bd. (1806), 318-333.
“Ende der Bade-Saison in Ramsgate.—Mstrs. Siddons in Broadstairs. Ihre Vorlesung des Hamlet.—Running Races, eine Art Wettlauf.—Esel-Cavalcaden.—Concerte.—Einschiffen der Truppen.” 18. Bd. (1806), 334-344.
“Fortgesetzte Bemerkungen über die Teutschen in London im Jahr 1806.” 19. Bd. (1807), 10-23.

Nina d’Aubigny von Engelbrunner, 1770-1848.—Briefe an Natalie über den Gesang, als Beförderung der hauslichen Glücklichkeit und des geselligen Vergnügens, etc.— Leipzig, 1803.

Nina d’Aubigny von Engelbrunner, 1770-1848.—Deutsch-englische Gesänge. Seven Songs.—Leipzig, Offenbach, [1805/06].

Nina d’Aubigny von Engelbrunner, 1770-1848.—Weep no more : a song, the words from Beaumont and Fletcher.—London, [1806].
Words from John Fletcher's play of the Queen of Corinth.

Nina d’Aubigny von Engelbrunner, 1770-1848.—The woodland hallò. Composed and incribed [sic] to Mr. Bloomfield, author of the farmers Boy, wild flowers etc. etc. by Miss Nina d’Aubigny von Engelbrunner.—London : printed from the stone by and for G. J. Vollweiler at the Patent Polyautographic Press (No. 9, Buckingham Place, Fitzroy Square), [1807?].

Nina d’Aubigny von Engelbrunner, 1770-1848.—Briefe an Natalie über den Gesang, als Beförderung der häuslichen Glückseligkeit und dess geselligen Vergnügens ... Zweite verbesserte ... Auflage.—Leipzig, 1824.

Nina d’Aubigny von Engelbrunner, 1770-1848.—Niet zo erg Hollands : dagboek van een reis naar Nederland (1790-1791) door Nina d'Aubigny ; van een inleiding en aantekeningen voorzien door Helen Metzelaar ; vertaling: H. Metzelaar en E.R. d'Engelbronner.—Egodocumenten ; d. 21.—Hilversum : Verloren, 2001.—ISBN: 9065501746
Dutch translation of Nina d’Aubigny’s French diary recounting her stay in the Netherlands, 1790-91.

Further reading

Otto Erich Deutsch.—Schubert : die Dokumente seines Lebens ; gesammelt und erläutert von Otto Erich Deutsch ; mit einem Geleitwort von Peter Gülke.—Erw. Nachdruck der 2. Aufl.—Wiesbaden : Breitkopf & Härtel, c1996.—ISBN: 3765103020
Previous ed.: Leipzig : Deutscher Verlag für Musik, 1980.
Available English translation: Schubert : a documentary biography; translated by Eric Blom.— Rev. and augmented with a commentary by the author.—London : J. M. Dent, 1946.

Manfred Elsberger.—Nina d'Aubigny von Engelbrunner : eine adelige Musikpädagogin am Übergang vom 18. zum 19. Jahrhundert : Untersuchungen zu ihrem Hauptwerk Briefe an Natalie über den Gesang.—München : Buch & medi@, 2000.—ISBN: 3935284462 (pbk.)
Originally presented as the author's thesis: Universität Passau, 2000.
Includes bibliographical references, chronology and index.

Carl Gottlieb Horstig.—Reise nach Frankreich, England und Holland zu Anfange des Jahre 1803.—Berlin : Maurer, 1806.

Alison E. Martin.—Moving scenes: the aesthetics of German travel writing on England 1783-1830.—Legenda Studies in Comparative Literature; 13.—London : Legenda/Modern Humanities Research Association and Maney Publishing, 2008.—ISBN: 190654008X ; 9781906540081
Particularly chapter 4: “Light and Landscape in Carl Gottlieb Horstig's Reise nach Frankreich, England und Holland zu Anfange des Jahre 1803.”

Die Musik in Geschichte und Gegenwart : allgemeine Enzyklopädie der Musik ; begründet von Friedrich Blume.—Zweite, neubearbeitete Ausgabe, herausgegeben von Ludwig Finscher—18 v.—Kassel : Bärenreiter, 1999-2007.

Eva Rieger.—Frau und Musik. Mit Texten von Nina d'Aubigny, Adele Gerhard, Johanna Kinkel, Alma Mahler-Werfel, Clara Schumann u.a., hrsg. und eingeleitet von E. Rieger.-- Die Frau in der Gesellschaft: frühe Texte.—Frankfurt am Main : Fischer, 1980.—ISBN: 3596222575 (pbk)
Extracts from Briefe an Natalie.

Thursday, 21 November 2013

Bloomfieldiana II

 Richard & Kate a Suffolk Ballad. Engraved facsimile of Bloomfield's manuscript.

Engraved leaf 243 x 208mm max.; Bloomfield's signed manuscript of the first eight stanzas of the ballad first published in Rural Tales, 1804, printed in facsimile, recto only, on heavy wove paper; large engraved vignette after G. Harrison of “Austin’s farm at Sapiston Suffolk the early residence of Robert Bloomfield”.

Purchased from Claude Cox Old & Rare Books (Ipswich), “Lightly foxed & soiled; margins largely cut away just cropping text at left; vertical & horizontal folds with two old unobtrusive repairs to cracks along folds (no loss). Extremely scarce - we have been unable to locate another copy. Presumably produced early in the century at the height of Bloomfield’s popularity. Few copies of this ephemeral piece can have survived.”

Bloomfield wrote at a time when the collecting of writers' autographs had become a mania. I believe this facsimile was produced to satisfy the importunate demands of autograph hunters. Bloomfield, I would say, was the first English poet to achieve “celebrity”; before Byron, let alone Coleridge & Wordsworth, or even Walter Scott. And Bloomfield endeavoured to exploit his fame by the production of this facsimile and the two mezzotint portraits - self-published for sale to “fans” like the Hollywood portraits of the twentieth century.

In August 1834, a Mr William Saunders of Liverpool asked James Hogg for one of Walter Scott’s letters. Hogg told him to get lost. Mr Saunders appears to have been a persistent collector. He had asked Coleridge for something similar during the preceding month, and there he had more luck. The poet sent him the following:
“Rich Men, who keep accounts at various Banks,
Should not give Autographs to Strangers, ne’er!”
So said a shrewd Attorney, one who ranks
High ’mongst the Jews, and in th’Old Bailey Sphere.
But I keep none: and therefore have no fear
In letting loose my hand-writing and name,
To gain such fair Extension to my FAME!
This “Doggerel Letter for an Autograph” is apparently the last verse Coleridge wrote. He replied to other requests. The only known holograph of “Kubla Khan” was forwarded by Southey to an autograph hunter in 1804. Hogg regarded autograph hunters as pests; history has reasons to thank them

The pursuit of autographs was a popular pastime in nineteenth-century Germany too. Goethe was not the first who had to cope with such requests from readers, but he, like Bloomfield, came up with a solution that is both noteworthy and elegant. Tired of scribbling the desired specimen, but unwilling to appear impolite to admirers, Goethe turned to the new technology of lithography. In the 1820s, he would transfer a verse and his signature to a litho stone from which duplicates could be printed. The prints seem to have delivered the author’s aura to the autograph seeker quite successfully. One solicitous correspondent after another around 1830 received this “hand-written” verse:
Was ist denn aber beim Gespräch,
Das Herz und Geist erfüllet,
Als dass ein echtes Wortgepräg'
Von Aug' zu Auge quillet!
Which one might translate as, “What is it in a conversation that fulfills both heart and mind, but this: that genuine words do flow from eye to eye”. Underneath was Goethe’s (lithographed) signature. The lines praise “genuine” words and the fulfilment of conversation. Goethe’s lithograph is therefore twice removed from the authenticity it invokes.

The irony of Goethe’s lithographed verse and signature, satisfying requests from admirers for an autograph was not lost on the poet. No irony in Goethe was ever unintended, even when it is not always obvious. In this case “Wort-Gepräg” alludes to the new technique of reproduction he employed. The irony, however, does not stop there as Goethe, the collector, was not above soliciting autographs himself. In December 1811 he had privately published and distributed among friends and acquaintances several hundred copies of a broadside catalogue of his Autographa, signed and dated in his own hand. It included historical figures, such as Guillaume Budé, Calvin and Colbert, but mostly contemporary writers, scientists, musicians and artists.

The true purpose of this exercise was revealed in the subscription, printed in a larger, cursive font than the catalogue itself: “Mit Bitte um gefällige Beiträge”, which might be translated as “additions will be gratefully received”.

To revert to Bloomfield’s sop to the autograph hunter, what happened to all the copies he must have had printed? Apart from my copy, there are two copies in Suffolk Record Office, Bury St Edmunds Branch (“Print. Austin's Farm at Sapiston the early residence of Robert Bloomfield and facsimile of part of “Richard and Kate” with signature.  1511/205/3  undated”) but apparently no other copies in institutional collections. And are these copies also trimmed close to the text, presumably to convey the impression that they are genuinely hand-written rather than printed?


Indebted to an extended discussion in the TLS, (01.02.2013), 36; (15.02.2013), 36 (01.03.2013), 6.

Tuesday, 19 November 2013

Bloomfieldiana I

Contemporary manuscript of Robert Bloomfield’s poem “Rosy Hannah”.—1p., folio. [1801]. Probable printer's copy.
Purchased from Richard Ford (London), “On laid paper with Britannia watermark. Aged, and with wear to extremities and repair on reverse to fold lines. Headed: ‘Original Poetry | Rosy Hannah * | written by Robert Bloomfield, author of “the Farmers Boy.[“]’. Footnote reads: ‘* This sweetly simple Ballad is charmingly set to Music by Isaac Bloomfield Brother to the author. It is published by Birchall No. 133 New Bond Street price 1s/-’. The presence of the footnote and of the words ‘Original Poetry’ would appear to indicate that this is not a mere transcription of the poem from the magazine. The poem consists of three numbered stanzas of eight lines apiece, and begins:
‘A Spring o’er hung with many a flower, / The grey sand dancing in its bed, / Embank’d beneath a Hawthorn bower,/ Sent forth its waters near my head.’
The paper folds into a packet, with the word ‘Poetry’ on the reverse. This version corresponds to that published in the Monthly Mirror, but differs from that published in 1802 in Bloomfield’s ‘Rural Tales’, by the presence of ‘clouded’ at the fourth line of the last stanza, instead of ‘cloudy’ in the 1802 version. The name ‘Hannah’ is twice-underlined at the end of the second and third stanzas, indicating to a printer that name is to be put into capitals, as it is in the ‘Monthly Mirror’, but not in the 1802 version.”

Monday, 11 November 2013

A Bloomfield chronology


3 December: Robert Bloomfield born in Honington, Suffolk. His father, George, was a tailor; his mother, Elizabeth, a village schoolteacher.


Bloomfield's father dies of smallpox.


Bloomfield sent to Mr Rodwell's school at Ixworth to be 'improved in writing', where he stays for three months.


Bloomfield's mother marries John Glover at Ampton, Suffolk.


Bloomfield sent to the nearby farm of his uncle, William Austin, at Sapiston. Bloomfield was too small and frail for field labour.


Bloomfield joins his brothers, George, a shoemaker, and, Nathaniel, a tailor, in London. He works as shoemaker under his brother George at No. 14 Great Bell Alley, Coleman Street. 


Trade dispute over apprenticeships among the shoemakers. Bloomfield returns to Suffolk, where he first conceives his poem The Farmer's Boy. Bloomfield stays with William Austin for two months, before returning to London as an apprentice.


Bloomfield sets up on his own as a shoemaker.
24 May: Bloomfield's poem 'A Village Girl' printed in Say's Gazette.


12 December: Bloomfield marries Mary Ann Church.


25 October: Birth of Hannah, Bloomfield's first child.


July: Birth of Mary, Bloomfield's second child.


May: Bloomfield begins composing The Farmer's Boy.


His brother George in a biography prefacing the Poems 1809 says that in 1798 'Robert is a ladies shoemaker & works for Mr Davies of Lombard Street'.
22 April: Bloomfield finishes The Farmer's Boy.
June: Bloomfield sends The Farmer's Boy to several London booksellers, hoping they will publish the poem. He is unsuccessful.
15 September: Birth of Charles Bloomfield, Bloomfield's third child.
16 September: Bloomfield sends the manuscript of The Farmer's Boy to his mother as a present. En route it is read by George Bloomfield, who approaches the classical scholar, poet and political activist, Capel Lofft, in the hope of obtaining patronage. Lofft is interested in the poem and his influence helps secure a publisher.


Bloomfield writes to George about his expectations for the poem and the debts incurred by his growing family.


1 March: The Farmer's Boy: A Rural Poem published by Vernor and Hood, with an introduction by Capel Lofft. Bloomfield quickly becomes a literary sensation.
12 September: Third edition of The Farmer's Boy published. 26,000 copies were sold in three years, and translations appeared in French, Italian, and Latin. After this, Bloomfield was unable to repeat his success.


Birth of Charlotte Bloomfield. Publication of Nathaniel Bloomfield's An Essay on War, in Blank Verse; Honington Green, a Ballad; The Culprit, an Elegy; and other Poems, with an introduction by Lofft.
February: Bloomfield learns that Dr William Clubbe has translated the first quarter of The Farmer's Boy into Latin. Bloomfield's son, George, develops 'an unusual swelling' on his right knee, which eventually leads to his becoming lame.
24 May: William Windham refers to Bloomfield during a Parliamentary debate on bull-baiting.
October: Bloomfield and Capel Lofft quarrel over notes intended for Bloomfield's next publication, Rural Tales, and editorial matter introduced by Lofft into editions of The Farmer's Boy.


January: Publication of Bloomfield's second volume of poems, Rural Tales, Ballads and Songs.


The Duke of Grafton secures a clerical post for Bloomfield Under-sealer in the Stamp Office, but a combination of ill health and frustration with the job force him to resign after only a few months. Reports in the press suggest that his appointment to this 'handsome situation' prove 'he has not courted the Muses unsuccessfully.'


21 January: Birth of Robert, Bloomfield's second son, who dies on 27 September.
27 November: Death of Bloomfield's mother.
December: Publication of Bloomfield's poem on smallpox vaccination, Good Tidings; or, News from the Farm, dedicated to Edward Jenner.


Bloomfield's wife, Mary, takes their son Charles to Worthing for the summer in the hope that his leg can be treated there.


9th edition of The Farmer's Boy. Bloomfield begins making Aeolian harps & embarks unsuccessfully in the book-trade. Publication of Views in Suffolk, Norfolk, and Northamptonshire; Illustrative of the Works of Robert Bloomfield; Accompanied with Descriptions: To which is Annexed, A Memoir of the Poet's Life, by Edward Wedlake Brayley, edited by James Storer and John Grieg. Publication of Wild Flowers; or, Pastoral and Local Poetry.
May: Bloomfield quarrels with his brother George, over George's siding with Capel Lofft.
November: After prefatory material he had wished to be included in the latest edition of The Farmer's Boy is omitted, Capel Lofft declares: 'As to the Farmers Boy & all future works of Mr Bloomfield I have done with them'.


Publication by subscription of Isaac Bloomfield's Six Anthems: for the use of Choirs where there is
no Organ.
23 March: Birth of Robert Henry, Bloomfield's third son.
August: Bloomfield tours the Wye Valley and the Welsh border country with his Mr and Mrs T. J. Lloyd Baker and their friends.


Publication of Nature's Music: Consisting of Extracts from Several Authors, with Practical Observations and Poetical Testimonies, in Honour of the Harp of Aeolus assembled and edited by Bloomfield.


Bloomfield brothers satirised in Byron's English Bards and Scotch Reviewers. Publication in two volumes of the stereotype edition of Bloomfield's Poems, containing new prefaces and revised texts of some of his work.


Death of Bloomfield's brother Isaac. Publication of The Banks of Wye, a poem based on Bloomfield's tour of Wales.
14 March: Death of Bloomfield's patron, the Duke of Grafton.
August: Death of the bookseller Thomas Hood.


Death of Mary Lloyd Baker.
April: Bloomfield leaves London and moves to Shefford, Bedfordshire.


Death of Bloomfield's daughter, Mary.
June: Travels to Dover with his friend Joseph Weston, where he witnesses the landing of Tsar Alexander, ruler of Russia, and other leaders after the defeat of Napoleon.
October: Bloomfield informs T. J. Lloyd Baker that his wife has become a disciple of Joanna Southcott.


His last years are dogged by illness and partial blindness. Although temporarily corrected through the use of spectacles, his sight continues to deteriorate until the end of his life. Publication of The History of Little Davy's New Hat, a prose-work for Children.


September: Sir Egerton Brydges issues an appeal for a public subscription to aid Bloomfield who finds himself in financial distress, owing largely to 'the failure of his former booksellers'. This proves less successful than planned, and in November Bloomfield writes to his daughter, Hannah: 'I am afraid that my friends have been too sanguine in their hopes of the subscription'.


20 January: William Wordsworth writes to Benjamin Haydon about the 'considerable distress' Bloomfield finds himself in, and laments the current state of patronage.
February: The Poet Laureate, Robert Southey, involves himself in raising funds to aid Bloomfield and his family.


William Cobbett's Political Register incorrectly reports that Bloomfield has been 'taken in tow' by the government and 'pensioned for fear he should write for the people'.
April: Bloomfield spends time in London with his son Charles, who has been appointed as a teacher at the National School in Putney.
November: An application on Bloomfield's behalf is made to the Royal Literary Fund. The Fund awards him £40.


8 March: Bloomfield writes to Samuel Rogers, informing him that he has 'composed nearly a thousand lines of a new work'.
July: Despite his failing eyesight, Bloomfield finishes writing a new work, a play. This was finally published in 1823.
September: Bloomfield travels to London to search for lodgings for his family and to find a publisher for his latest work. 


George Bloomfield anonymously publishes Thetford Chalybeate Spa: a Poem by a Parishioner of St. Peters.
July: John Clare receives a letter from Bloomfield addressing him as 'Brother Bard, and fellow labourer'. 'Nothing upon the great theatre of what is called the world (our English world)', wrote Bloomfield, 'can give me half the pleasure I feel at seeing a man start up from the humble walks of life and show himself to be what I think you are.'


Bloomfield is forced to defend himself to T. J. Lloyd-Baker over rumours of his radical sympathies and lack of religious attendance.


Publication of May Day with the Muses, Bloomfield's final volume of poetry.
February: Bloomfield writes to his brother Nathaniel, to inform him that the 'old house at Honington is going, or gone to the hammer'. In fact, the sale did not go smoothly and added to Bloomfield's worries during his final years.
October: Bloomfield tells George: 'I have lost both my sons from my fireside, and though they are not buried I miss them sorely, and feel as if I had killd them both, and I cannot yet get over it!' 


Publication of Hazelwood-Hall, a Village Drama, in Three Acts.
26 January: death of Edward Jenner.
19 August: Bloomfield dies at home in Shefford.
September: Bloomfield's literary reputation is attacked in the Monthly Magazine.


Bloomfield's friend Joseph Weston edits the Remains of Robert Bloomfield for the benefit of the Bloomfield family, though sales are poor.
28-29 May: Bloomfield's family are forced to sell their possessions, including manuscripts and books belonging to Bloomfield, in order to pay off their debts. The family leave Shefford for London.

The engraved portraits of Robert Bloomfield

The following sequence represents those portraits of Robert Bloomfield listed by Freeman O'Donoghue as being in the collection of the British Museum Department of Prints & Drawings. Illustrations are from my own collection.


DESCRIPTION Bust, to r.; oval. Pl. to Monthly Mirror ; pub. Vernor & Hood 1800.
NOTES S. Drummond (painter); W. Ridley (printmaker)

DESCRIPTION H. L., to r. ; oval frame irradiated. Pub. Vernor & Hood 1800.
NOTES S. Polack (painter); Brown (printmaker)
DESCRIPTION Similar to O’Donohue 4; plain oval.
NOTES Proof before inscription. S. Polack (painter)

DESCRIPTION Portrait; bust, head turned to the right; in oval frame; illustration to the European Magazine. 1801
TECHNIQUES Etching and stipple
INSCRIPTIONS Lettered with title, followed by "Author of the Farmers Boy". At top "European Magazine", and with production detail: "Drummond pinx / Ridley sc / Pub by J. Sewell 32, Cornhill Dec 1. 1801".
DIMENSIONS 155 x 108 millimetres (trimmed)
DESCRIPTION Portrait after John Rising, half length, in square border, directed and facing slightly to left, looking towards front, own hair, white neckcloth, black coat, two books on table to left. 1805
INSCRIPTIONS Lettered with title and production details below image: "Painted by Jno. Rising."; "Engraved by Jno Young Engraver to H. R. H. the Prince of Wales."; "London Oct 1st 1805. Published by R. Bloomfield, near the Shepard & Sheperdess City Road & for him by the Engraver No 65 Upper Charlotte Street, Fitzroy Square, & Vernor & Hood Poultry." and eight lines of verse beginning "Where noble Grafton...Farmers Boy"
DIMENSIONS 456 x 327 mm, plate size; 467 x 343 mm, paper size
NOTES John Rising (1753-1817), publisher and printer; John Young (1755-1825), mezzotint engraver.
BIBLIOGRAPHIC REFERENCE Chaloner Smith 7; O’Donoghue 6.

DESCRIPTION Portrait after Pierre Violet, half length, in a solid rectangular frame, directed and facing towards right, looking to front, white neckcloth, black coat, right hand raised, resting elbow on table; farmyard in distance to right. Four lines of his verse to each side of title.
INSCRIPTIONS Robert Bloomfield, Author of the Farmer's Boy, &c. "Where noble Grafton spreads his rich domains; Round Euston's water'd vale & sloping plains, There his first thoughts to Nature's charms inclin'd, That stamps devotion on th'inquiring mind.' "And as revolving Seasons chang'd the scene, From heat to cold, tempestuous to serene: Though every change still varied his employ; Yet each new duty brought it's share of joy." Farmers Boy.
Painted by P. Violet. Engraved by Jno. Young Engraver to H.R.H. the Prince of Wales.
London, Jany. 1st. 1805, Published by R. Bloomfield, near the Shepherd & Shepherdess, City Road, & for him by the Engraver, No. 65 Upper Charlotte Street, Fitzroy Square, & Vernor & Hood, in the Poultry.
DIMENSIONS 380 x 280mm.
NOTES Pierre Violet (painter) French artist, 1749-1819; John Young (printmaker) British printmaker, 1755-1825
BIBLIOGRAPHIC REFERENCE Chaloner Smith 8; O’Donoghue 7.
DESCRIPTION Marble bust, same as O’Donoghue 10, l. profile; oval medallion. On title to Views illustrative of Works of Bloomfield ; pub. Vernor, Hood & Sharpe.
NOTES R. H. Cromek (printmaker)


DESCRIPTION Marble bust, copy from O’Donoghue 11. Pub. Vernor, Hood & Sharpe 1808.
NOTES McKenzie (printmaker)
DESCRIPTION Pub. Vernor, Hood & Sharpe 1811.
DESCRIPTION Same picture  as O’Donoghue 1; H. L., to r., cottage and field in background; vignette with account of him. Pub. W. Darton 1823.
NOTES S. Drummond (painter)

DESCRIPTION H. L., to l., face in profile; vignette. Pl. to Ladies’ Monthly Museum; pub. Dean & Munday 1823.
NOTES T. C. Wageman (painter); T. Woolnoth (printmaker)
DESCRIPTION Bust, looking to r.; rect. frame. Ill. to Smecton's The Unique, 1824.

DESCRIPTION Marble portrait bust on a pedestal, directed in profile to left; vignette. 1828
INSCRIPTIONS Lettered below image with facsimile of the sitter's signature, "Engraved by B. Holl." and "Published by S Robinson, Chapter House Passage, Paternoster Row, March 1, 1828.".
DIMENSIONS 191 x 145 millimetres
Freeman O'Donoghue.—Catalogue of engraved British portraits preserved in the Department of Prints and Drawings.—6 vols.—London : British Museum, 1908-25.
John Chaloner Smith.—British mezzotinto portraits, being a descriptive catalogue of these engravings from the introduction of the art to the early part of the present century.—4 vols.—London : Sotheran, 1878-1883.

Thursday, 7 November 2013

R.W. Evans: Bloomfield songs in performance

Wednesday 16th October 10.30--11.00 am
Recital Room NIE 03-01-01
The poetry of Robert Bloomfield: an illustrated lecture by Angus Whitehead
with musical settings of the poetry by R. W. Evans performed by
Joanne Liu, soprano
Peter Stead, piano

With the publication of the Farmer’s Boy in the spring of 1800, ladies’ shoemaker Robert Bloomfield dramatically outsold contemporary volumes of poetry such as Wordsworth and Coleridge’s Lyrical Ballads. Indeed throughout the nineteenth century Bloomfield remained a highly popular poet, his shorter poems being regularly set to music. By the turn of the twentieth century, however, Bloomfield had been forgotten. Only in the last decade or so has a serious reclamation and reappraisal of this vibrant labouring class poet begun.

In this short lecture, illustrated by performances by singer Joanne Liu accompanied by Peter Stead, Angus will explore the story behind composer R. W. Evans’ 1824 settings of Bloomfield’s poems, ‘The Dawning of Day’, ‘The Maid of Landoga’ and ‘The Flowers of the Mead’ and their first publication as part of The Remains of Robert Bloomfield, an ultimately unsuccessful project to raise funds for the late poet’s impoverished family. Excitingly, this lecture will mark the first occasion that these songs have been performed in over a century.

Dr Angus Whitehead is Assistant Professor, National Institute of Education, Nanayang Technological University, Singapore.

Wednesday, 6 November 2013

Robert Bloomfield: a provisional list of musical settings.

This list is intended to provide a basis for more analytical and wide-ranging research and criticism.  It represents the results of searches through Copac, the catalogues of the British Library, and (for manuscripts) the Repertoire Internationale des Sources Musicales.  Not included here are Bloomfield’s settings of his own words, since these are not musical settings in the strict sense in which the literary text is known to be anterior to the music accompanying it.  I have also omitted the instances of Bloomfield devising words for existing music such as folk-tunes and musical exercises by James Hook.  The arrangement is chronological by publication date (mostly derived from the British Library catalogue), or, where possible, the actual date of composition.  The sequence demonstrates clearly how Bloomfield’s reputation grew and then abruptly faded.  Where possible original copies have been examined and form the basis of the bibliographic description.

The list, under the title "Robert Bloomfield set to music", first appeared in The Robert Bloomfield Society Newsletter, no. 16 (Autumn 2008), 2-15, and no. 17 (Spring 2009), 4-15.

early 19th century

Isaac William Bloomfield, 1761-1811.
Ye darksome Woods: Glee.
MS score (2 leaves).
Anonymous.  Probably by Isaac Bloomfield.
Begins: “Ye darksome woods where Echo dwells”.  A setting of “Hunting Song” from Rural Tales [etc.] (London, 1802).
For 3 voices, keyboard optional.
The “Prospectus” included in The Remains of Robert Bloomfield, Vol. I (London: Baldwin, Cradock and Joy, 1824), states that Isaac Bloomfield’s setting was to be published (London: Goulding) as part of a subscription collection; the anonymous MS. listed as Gooch 1939 may be his.
Gooch 1939, 1940.
British Library MS Add 36652, f. 18, 19 [not seen].


Isaac William Bloomfield, 1761-1811.
Rosy Hannah: a favourite new song.  The words written by Robert Bloomfield, author of “the Farmer’s Boy”.  The music composed by his brother Isaac Bloomfield.
(London: Printed for the authors by Rt. Birchall, No. 133, New Bond Street.)
1 score (2-3p); 34cm.
With composer’s initials at foot of p. 2.
Caption title.—First line: “A Spring o’er hung with many a flower”.
Price 1s.—Watermark dated 1801.
Strophic setting (3 stanzas).—For high voice with piano accompaniment.—6/8; D major; “Not too fast”.
Re-engraved in 1824 in oblong format as “Rosy Hanna.  From Mr. Bloomfield’s Rural Tales” ([London] : T. C. Bates), and included as pp. 8 and 9 of the Appendix to Vol. I. of The Remains of Robert Bloomfield (printed by Thomas Davison, for the exclusive benefit of the family of Mr. Bloomfield; and published by Baldwin, Cradock, and Joy: London, 1824).
Gooch 1945.
Description based on British Library G.361.(26.).—Another copy: Cambridge University Library [not seen].

John Langshaw, 1763-1832.
Dear boy throw that icicle down: ballad with an accompaniment for the piano forte or harp.  Composed by W. Langshaw, the poetry by Robt. Bloomfield.
(London: printed & sold by Preston, at his wholesale warehouse, 97, Strand.)
1 score (3 p.); fol.
In a letter to his brother George (30 May 1802), Bloomfield mentions that “Yesterday brought me a very kind letter from Troston, mentioning that a Mr. Langshaw, of Lancaster, had set my ‘Winter Song,’ and that a copy is sent to Mr. Lofft”.
title: Caption title.—First line: “Dear Boy throw that icicle down”.
Pr[ice] 1s.—Watermark 1801.
Strophic setting (4 stanzas).—Solo voice with accompaniment for piano or harp.—F major; 6/8; “Larghetto”.
Description based on British Library H.2818.f.(7.) and H.2401.f.(9.).  In H.2401.f.(9.), the composer’s name has been altered in ink to “Jno Langshaw”.


John Davy, 1763–1824.
Songs, glees, &c. in a comick opera call’d The Miller’s Maid [by Francis Goldolphin Waldron]. Founded on one of the admired “Rural Tales,” written by Mr. Robert Bloomfield, the celebrated author of “The Farmer’s Boy.”  Perform’d at the Theatre-Royal, Hay-Market, on Saturday, August 25, 1804.  The Overture and Musick, entirely new, composed by Mr. Davy ...
(London: printed for the author, by T. Woodfall, No. 21, Villiers-street, Strand, and sold in the Theatre.)
19 p.; 8vo
The first song, a glee, begins: “Push about the brown jug, lads, and merrily sing”.
Price Ten-pence.
Music not included.
Description based on British Library 641.h.13.(10.) and 643.h.6.(1.).


Matthew Cooke, 1761-1829.
Old Ringwood! A favorite hunting song as performed by Mr. Dignum at Vauxhall.  The words taken from Bloomfield’s poems.  Composed by Matthew Cooke, organist of St. George’s Church Bloomsbury and formerly one of the children of his Majesty’s Chapel Royal.
(London: printed for the author by R. Birchall, No. 133, New Bond Street, Oxford Street.)
1 short score (1 leaf, 4 p.); fol.
First line: “Ye shady woods where Echo dwells”.
Price 1s./6d.
Strophic setting (4 stanzas).—For voice and pianoforte.—“The Instrumental parts for a full Band may be had of the Author.”—D major; 6/8.
Description based on British Library G.385.b.(3.).

James Hook, 1746-1827.
Love’s holiday, sung with universal applause by Master Hopkins at Vauxhall Gardens (the words from Bloomfield’s poems.)  Composed by Mr. Hook.
(London: printed for the author by Clementi & Co., 26, Cheapside.)
1 short score (3 p.); fol.
Caption title.—First line: “Thy Fav’rite Bird is soaring still”.
[Price] 4s./6d.
Strophic setting (4 stanzas).—For solo voice with orchestral accompaniment, reduced for keyboard.—B flat major; 3/4; “Andantino piu tosto allegretto”.
Description based on British Library H.2818.a.(72.).


Nina d’Aubigny von Engelbrunner, 1770-1847.
The woodland hallò.  Composed and incribed [sic] to Mr. Bloomfield, author of the farmers Boy, wild flowers etc. etc. by Miss Nina d’Aubigny von Engelbrunner.
(London: printed from the stone by and for G. J. Vollweiler at the Patent Polyautographic Press No. 9, Buckingham Place, Fitzroy Square.)
1 score (3 p.); fol.
Opening line: “In our cottage, first peeps from the skirts of the wood”.  From Wild Flowers (London, 1806).
Price 1s.
Strophic setting (3 stanzas).—For solo voice with piano accompaniment.—G major; 6/8; “Andantino”.
Gooch 1951.  The “Prospectus” included in The Remains of Robert Bloomfield, Vol. I (London: Baldwin, Cradock, and Joy, 1824) states that Miss d’Aubigny’s setting was to be published (London: Goulding) as part of a subscription collection.
Description based on British Library H.1668.(19.).


James Adcock, 1779-1860.
Lucy: a ballad written by Bloomfield.  Composed by J. Adcock of Cambridge.
(London: printed for G. Walker at his Music Warehouse 106 Great Portland Street.)
1 score (4 p.); fol.
Caption title.—Begins: “Thy favourite Bird is soaring still”.
Price 1s./
Through-composed.—For voice and pianoforte.—F major; 4/4.
Description based on British Library: G.808.b.(1.).

James Hook, 1746-1827.
Nancy: the words from Bloomfields poems; the music composed by Mr Hook.
Holograph in ink.  1 ms. close score (p. 81-84); 2634cm.
First line: “You ask me dear Nancy”.
Dated ‘Decbr 17 1810’ at top of p. 82.
Marked no. ‘2386’ above date on p. 82.
For solo voice and keyboard.—G minor; “Moderato”.
Music starts on p. 82, and continues on 83-84, and finishes on 81.
Cambridge University Library. Manuscript. MS. Add. 6638; p. 69 [not seen].

James Hook, 1746-1827.
The rose trees: the words from Bloomfield’s poems; the music by Mr Hook.
Holograph in ink.  1 ms. close score (p. 25-27); 34cm.
First line: “When tender rose trees first receive”.—A setting of “A Word to Two Young Ladies”, from Bloomfield’s Rural Tales, Ballads and Songs (London, 1802), pp. 89-91.
Watermark dated: 1810.
For solo voice and keyboard.—G minor; 2/4; “Grazioso”.
Cambridge University Library. Manuscript. MS.Add.6640 ; p. 25 [not seen].

James Hook, 1746-1827.
Rosy Hannah: a much admired song, with an accompaniment for the harp or piano forte, composed for Mr. Braham, by Mr. Hook. (The words from Bloomfield’s poems.)
(London: printed by Messrs Phipps & Co., 25 Duke Street, Grosvenor Square.)
1 score (7 p.); fol.
Begins: “A Spring o’erhung with many a Flower”.
Price 2s./-.
Through-composed.—For solo voice with accompaniment for harp or piano.—A major; 2/4; “moderato”.
A modern edition is included in Hook’s Songs & cantatas: for solo voice with piano, harpsichord or harp accompaniment and optional scorings for flute or guitar; ed. David J. Rhodes. Vocal music; v. 2 (Girvan: Piper Publications, c2000).
Description from British Library G.379.c.(54.).

James Hook, 1746-1827.
Winter: a favourite song.  Sung at various musical meetings with universal applause.  The words from Bloomfield’s poems, set to music by Mr. Hook.
(s.l.: s.n.)
1 short score (2-3 p.); fol.
Caption title.—Begins: “Dear boy throw that icicle down”.
Price 1s./0d.
Strophic setting (3 stanzas).—For solo voice with keyboard accompaniment.—A major; 6/8; “vivace”.
A note on the British Library copy states that song was performed “by Mr. Gibbons and others”.
Description based on British Library G.379.c.(74.).

James Henry Leffler, 1761-1819.
Lucy: a ballad sung by Mrs. Mountain with universal applause.  Composed and respectfully dedicated to Miss Harriot Hutchinson by James Henry Leffler.  The words by R. Bloomfield, the celebrated author of the Farmer’s Boy.
(London: printed & sold for the author by Preston, 97, Strand.)
1 score (  p.); fol.
Caption title.—Begins: “Thy Fav’rite Bird is soaring still”.
Price 1s./-.
For solo voice and keyboard.—F major; 6/8; “pastorale”.
Description based on British Library G.383.h.(62.) [copy incomplete].

before 1811

Isaac William Bloomfield, 1761-1811.
Dear Boy, throw that Icicle down: Song.
A setting of “Winter Song” from Rural Tales [etc.] (London, 1802).
For voice and piano.
Gooch 1950.
The “Prospectus” included in The Remains of Robert Bloomfield, Vol. I (London: Baldwin, Cradock, and Joy, 1824) states that Isaac Bloomfield’s setting was to be published (London: Goulding) as part of a subscription collection.  Now lost.

Isaac William Bloomfield, 1761-1811.
The Highland Drover
A setting of “Song for a Highland Drover returning to England” from Rural Tales [etc.] (London, 1802).
For voice and piano.
Gooch 1948.
The “Prospectus” included in The Remains of Robert Bloomfield, Vol. I (London: Baldwin, Cradock, and Joy, 1824) states that Isaac Bloomfield’s setting was to be published (London: Goulding) as part of a subscription collection.  Now lost.

Isaac William Bloomfield, 1761-1811.
My favourite Bird is soaring still.
A setting of “Lucy” from Rural Tales [etc.] (London, 1802).
For voice and piano.
Gooch 1941.
The “Prospectus” included in The Remains of Robert Bloomfield, Vol. I (London: Baldwin, Cradock, and Joy, 1824) states that Isaac Bloomfield’s setting was to be published (London: Goulding) as part of a subscription collection.  Now lost.

Isaac William Bloomfield, 1761-1811.
You ask me, dear Nancy, what makes me presume..
A setting of “Nancy” from Rural Tales [etc.] (London, 1802).
For chorus and piano.
Gooch 1942.
The “Prospectus” included in The Remains of Robert Bloomfield, Vol. I (London: Baldwin, Cradock, and Joy, 1824) states that Isaac Bloomfield’s setting was to be published (London: Goulding) as part of a subscription collection.  Now lost.


William Crotch, 1775-1847.
Yield thee to Pleasure old care!: glee.
(London: Printed & sold by Rt. Birchall, ...)
1 score (5, [1] p.); fol.
Caption title.—First line: “Yield thee to Pleasure old care”.
Watermark date: 1815.
For SATB, unaccompanied.
Bodleian Library [not seen]


Henry Smith, fl. 1817-1822.
Six canzonets for the voice with an accompaniment for the piano forte, dedicated (by permission) to His Royal Highness the Duke of Sussex, the words selected from Shakespeare, Pope, Bloomfield, &c. &c.  Composed by Henry Smith, organist of the English Chapel, Dundee, Scotland.
(Published for the author: Dundee, Scotland, & may be had of the following music-sellers, Messrs. Muir, Wood, & Co., Leith Street, Edinburgh, Mr. Morris, Aberdeen, & Mr. Preston, 97, Strand, London.)
1 score ([i], 36p.); 35 cm.
The Bloomfield setting begins: “In our Cottage that peeps from the skirts of the wood”.
Through-composed (3 stanzas).—For solo voice with piano accompaniment.—C major; 6/8; “allegretto pastorale”.
Contents: Subscribers’ Names (p. 1).—Music: the words from Shakespeare (p. 3).—Rusticity: the poetry from Bloomfield (p. 8).—The complaint: the words from the Portuguese Luis de Camoens by the Right Honble. Lord Vist. Strangford (p. 15).—Sympathy: the poetry of Dr. Warton (p. 22).—The tear: Brinsley Sheridan Esqre. (p. 27).—Solitude: the words from Pope (p. 34).
Description based on British Library H.1683.(64).—Another copy: Glasgow University Library [not seen].


John Marks Jolly, 1790-1864.
The miller’s maid: a melo-drama in two acts.  Founded on Bloomfield’s poem of that name, and the songs principally selected from his works.  By John Savill Faucit, author of “Justice,” a musical drama in three acts, &c. &c. &c. Performing at the Theatre Royal, English Opera House, with distinguished success.  The overture and new music composed by Mr. Jolly.  The scenery by Mr. Thiselton.
(London: printed for the author; and sold by Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row, 1821.)
[6], 47 p.; 24 cm.
The first song, entitled “Phebe” begins: “How bright with pearl the eastern sky”.  It is modified from Bloomfield’s “Mary's Evening Sigh” which begins: “How bright with pearl the western sky”.
Price 2s. 6d.
Jolly’s music is not included and is apparently lost.
7 men, 2 women.
Faucit’s text was reprinted (Baltimore: printed and published by J. Robinson, Circulating Library and Dramatic Repository ..., 1822) and (New York: S. French, 1856?).
The hand-coloured etching (1824) above shows William Henry Williams (1797-1846), actor, entertainer and magician, as Giles in “The Miller's Maid”.
There is also a version for toy theatre: The Miller’s maid, or, The rustic lovers: a drama in two acts, adapted to Hodgson’s theatrical characters and scenes in the same (London: printed by and for Hodgson & Co, Juvenile Press, No. 10, Newgate-Street, [1825?]).  The few songs are not it seems by Bloomfield.  Music not included. (British Library
Description based on British Library T.1068.(9.).


Matthew Cooke, 1761-1829.
Elegy for Three voices. From Bloomfield’s Remains.  On the death of his infant son Robert.  Matthew Cooke.  August 7th 1824.
Holograph MS in ink.  Short score (2 leaves)
First line: “Farewell Farewell my sweet my budding flow’r”.  A setting of “On the Death of His Infant Son Robert”  from Remains, Vol. I (London, 1824).
For three voices; optional piano.—E flat major; 2/4; “Slow and Pathetic”.
Gooch 1944.
British Library Add. MS. 30,521, fols. 8-9.—“Purchased of W. Bloomfield, Esq.  30 Mar: 1878.”

Matthew Cooke, 1761-1829.
From Bloomfield’s Remains.  A Catch for three voices.  Matthew Cooke.  August 4th 1824.
Holograph MS in ink.  Short score (2 leaves)
First line: “Wine Beauty smiles and social Mirth”.   From Remains, Vol. I (London, 1824)
For three voices; optional piano.—C major; 2/4; “Lively”.
Gooch 1949.
British Library Add. MS. 30,521, fols. 1-2.—“Purchased of W. Bloomfield, Esq.  30 Mar: 1878.”

Matthew Cooke, 1761-1829.
From Bloomfield’s Remains.  A Song.  Matthew Cooke.  August 13th 1824.
Holograph in ink.  MS short score (1 leaf).
First line: “The Man in the Moon look’d down one night”.  From Remains, Vol. I (London, 1824).
Strophic setting; 3 stanzas.—For voice and keyboard (figured bass).—G major; 6/8; “Cheerful”.
Gooch 1947.
British Library: Add. MS. 30,521, Fol. 7.—“Purchased of W. Bloomfield, Esq.  30 Mar: 1878.”

Matthew Cooke, 1761-1829.
Hob’s Epitaph.  From Bloomfield’s Remains.  M Cooke.  Septr 19th 1824.
Ink holograph MS: short score (1 leaf).
First line: “A Grey Owl was I when on earth”. From The Remains of Robert Bloomfield, Vol. I (London, 1824).
Strophic setting; 3 stanzas.—For voice and keyboard (figured bass).—E flat  major; 6/8; “Andante è doloroso”.
Gooch 1938.
British Library Add. MS 30,521, fol. 12.—“Purchased of W. Bloomfield, Esq.  30 Mar: 1878.”

Matthew Cooke, 1761-1829.
“News from Worthing”! From a Beast of Burden to her brother Jack.  Written by the late Robert Bloomfield Author of The Farmer’s Boy.  Rural Tales &c, The above Song taken from his last work, entitled “The Remains”.  The Music composed by Matthew Cooke Organist of St. George’s Church, Bloomsbury.  Entered at Stationer’s Hall  Price 1sh./6d.  London: Printed for the Benefit of the Widow and Family of the Late Mr. Bloomfield; and sold by Goulding and Co. at No. 7. Westmorland Street, Dublin.
Holograph MS in ink.  Short score (2 leaves).
Caption title: “News from Worthing!  In a letter from a Beast of Burden to her brother Jack”.  First line: “Brother Jack, I am going to inform you”.  A setting of “News from Worthing” in Remains, Vol. I (London, 1824).
Strophic setting; 7 stanzas.—For voice and keyboard (figured bass).—E flat major; 6/8; “Cheerful”.
Gooch 1943.
British Library Add. MS. 30,521, fols. 17-18.—“Purchased of W. Bloomfield, Esq.  30 Mar: 1878.”

Matthew Cooke, 1761-1829.
Simple Pleasures.  From Bloomfield’s Remains.  A Song for three voices.  Matthew Cooke.  August 6th 1824.
Holograph MS in ink.  Short score (2 leaves).
First line: “Thus thinks the traveller journeying still”.  A setting of “Simple Pleasures” from Remains, Vol. I (London, 1824).
For three voices.—E flat major; 2/4; “Andante”.
Gooch 1946.
British Library Add. MS. 30,521, fols. 5-6.—“Purchased of W. Bloomfield, Esq.  30 Mar: 1878.”

Robert William Evans, fl. 1817-1827.
The dawning of the day.  Composed by R. W. Evans, June 30th 1824.
([London]: T. C. Bates.)
1 score (4-5 p.); obl. 8vo.
Caption title.—First line: “The grey eye of morning was dear to my youth”.
Inserted as folding plates 4 and 5 of the Appendix to Vol. I of The Remains of Robert Bloomfield (London, 1824).
Through-composed.—Sets first two stanzas.—For high voice with accompaniment arranged for keyboard, with cues for bugle, horns.
Gooch 1934.
Description based on British Library 1467.c.45.

Robert William Evans, fl. 1817-1827.
The flowers of the mead.  Composed by R. W. Evans, June 25th  1824.
([London] : T. C. Bates.)
1 score (2-3 p.;) obl. 8vo.
Caption title.—First line: “How much to be wish’d that the Flow’rs of the Mead”.
Included as Pp. 2 and 3 of the Appendix to Vol. I of The Remains of Robert Bloomfield (London, 1824).
Through-composed.—For high voice with accompaniment arranged for keyboard, with cues for horns and bassoon.
Gooch 1935.
Description based on British Library 1467.c.45.

Robert William Evans, fl. 1817-1827.
The maid of Landoga.  From Mr. Bloomfield’s Banks of Wye.  Composed June 29th 1824, by R. W. Evans.
([London] : T. C. Bates.)
1 score (6-7 p.); obl. 8vo.
Caption title.—First line: “Return, my Llewellyn! the glory”.
Included as Pp. 6 and 7 of the Appendix to Vol. I of The Remains of Robert Bloomfield (London, 1824).
Through-composed.—For voice with accompaniment arranged for keyboard, with cues for bugle.
Gooch 1933.
Description based on British Library 1467.c.45.

R. A. Firth, fl. 1819-1835.
Love in a shower.  R.A. Firth.
([London] : T. C. Bates.)
1 score (10-11 p.); obl. 8vo.
Caption title.—First line: “Love in a show’r, safe shelter took”.—From Hazelwood-Hall (London, 1823), act II, scene III.
Inserted as folding pages 10 and 11 of the Appendix to Vol. I of The Remains of Robert Bloomfield (London, 1824).
Through-composed.—Glee for 3 voices: SAT, optional piano.—G major; 3/4; “Vivace”.
Firth’s holograph MS is British Library Add. 30,521, fols. 19-20.
Gooch 1937.  Also Gooch 1936 (wrongly attributed to Matthew Cooke).
Description based on British Library 1467.c.45.


William Ashton Nield, fl. 1816-1836.
The juvenile musical library ; consisting of national stories, newly set to music, by W. A. Nield ... Embellished with sixty illustrations from original drawings by Cruikshank.
(London : Allan Bell & Co. ; Simpkin & Marshall, 1834.)
1 score (iv, 72 p.); 1925 cm.
Sets “The Fakenham ghost”, by Bloomfield.
For voice and pianoforte.
Contents: “For the voice, 1. John Gilpin by Cowper. 2. Elegy on Madame Blaize, by Goldsmith. 3. The Fakenham ghost, by Bloomfield. 4. The house that Jack built, &c. For the piano forte, 5. Rondino, by Steibelt. 6. Rondino, by Mozart.”
British Library B.241.c. [not seen].


Henry Raper, fl. 1840-1848.
Ye darksome woods where echo dwells.  A Glee for four voices.  The poetry by Bloomfield.  Composed & dedicated to H. S. Wilde, Esqr.  By H. Raper.
(London: published by Cramer, Addison & Beale, 201 Regent Street, and 67, Conduit Street.)
1 score (17 p.); 35 cm.
First line: Ye darksome woods.
Price 4/-
For 4 voices (SATB) with optional piano accompaniment.
Description based on British Library H.1682.(21.).—Another copy: Cambridge University Library [not seen]


James Hamilton Siree Clarke, 1840-1912.
The woodland hallo.  Words by Bloomfield; music by Hamilton Clarke.
(London: Augener & Co., 86, Newgate Street.)
1 score ( [1], 6 p.) ; 36cm.
First line: “In our Cottage that peeps from the skirts of the Wood”.
Price 2/6-.
Plate number: 2032.
For voice and piano.
Description based on British Library H.2511.(4.).—Another copy: Cambridge University Library [not seen].


Thomas Ridley Prentice, 1842-1895.
A Matin song.  The poetry by Robert Bloomfield.  The music by T. Ridley Prentice.
(London: Lamborn Cock, 63, New Bond Street.)
1 score (7 p.); 4to.
First line: “Good morrow to the hills again”.
Price 6d. nett.
No. 47 of Modern Four Part Songs for Mixed Voices.
Through-composed.—For voices (SATB) with piano accompaniment ad lib.
Description based on British Library F.585.b.(46.).


Walter Owen Jones, fl. 1877-1919.
The Fakenham Ghost: cantata for treble voices: the poetry by Robert Bloomfield; the music composed by W. Owen Jones.  Dedicated by kind permission to General the Duke of Grafton, K.G., C.B., Euston Hall, Suffolk.
(London: Hutchings & Romer, 39, Great Marlborough Street.)
1 score ( [2], 21 p.); 4to.
First line: “The lawns were dry in Euston Park”.
Price One shilling net.
For chorus (SA), soprano and contralto soloists, and piano accompaniment.
Description based on British Library E.889.e.(4.).


Bertram Luard Selby, 1853-1918.
The Fakenham Ghost: cantata.  The words by Robert Bloomfield, set to music for soprano solo, chorus and orchestra by Bertram Luard-Selby.
(London: Novello and Company, Limited; New York: The H. W. Gray Co., sole agents for the U.S.A., 1909.)
1 vocal score ( [3], 30 p.); 26 cm.
First line: “The lawns were dry in Euston Park”.—With text of poem on page [3].
Price one shilling and sixpence.
Novello’s original octavo edition.—Plate number 12866
For chorus: SATB; acc. arr. for piano.
“It was with this little cantata that Mr. Luard-Selby won the prize in the recent competition of the Association of Musical Festivals.  Bright music allied to humorous words will never cease to appeal to choralists and their audiences, therefore this latest addition to the category should become a favourite piece, especially as it has more purely artistic virtues than humorous descriptive choral works are wont to possess.”—The Musical Times, vol. 50, no 793 (1 March 1909), 172.
Description based on British Library E.1594.v.(4.).—Another copy: Bodleian Library [not seen].


Henry Holden Huss, 1862-1953.
A little serenade: song for medium voice and piano by Henry Holden Huss.
(New York: G. Schirmer, Inc., 1944.)
1 score (6 p.); fol.
Caption title: A little serenade: Robert Bloomfield, Henry Holden Huss.  To Dr. and Mrs. Maximilian Bloomfield.—First line: “Sleep you, sweet, then sleep you now”.
Plate number: 40497.
For medium voice and piano.
Bloomfield’s authorship of the text could not be confirmed.
Gooch 1955.
Description based on British Library G.1276.(13.).


Patrick Enfield, 1929-1988?
The maid of Dunstable; for female voices in two parts with piano accompaniment.  Robert Bloomfield, set to music by Patrick Enfield.  For Geoffrey Waters and the Dunstable Girls’ Choir.
(London: Elkin & Co., Ltd., W.1.)
1 score (7p.); 26cm.
Caption title.—First line: “Where o’er the hills, and white as snow”.
The Elkin new choral series.  Part-songs for female voices, 2nd series; 2702.—Pl. no. E. & Co. 2702.
For chorus (SA) and piano.
Description based on British Library E.263.q. (31.).—Another copy: Trinity College Dublin [not seen].


Bloomfield, Robert.
The remains of Robert Bloomfield ... in two volumes (London: Printed by Thomas Davison ... for the exclusive benefit of the family of Mr. Bloomfield, and published by Baldwin, Cradock, and Joy, 1824)

Bloomfield, Robert.
Selections from the correspondence of Robert Bloomfield, the Suffolk poet; edited by W. H. Hart (London, Printed by Spottiswoode, 1870)

Copac Academic & National Library Catalogue.

Gooch, Bryan N. S. with David S. Thatcher, Odean Long.
Musical settings of British romantic literature: a catalogue. 2 vols. Garland reference library of the humanities; vol. 326 (New York : Garland Pub., 1982)

Greene, Gary A.
“The musical Huss family in America”, American Music, vol. 12, no. 1 (Spring 1994), 31-57.

Matthews, Betty.
“James Hook and his family”, The Musical Times, vol. 131, no. 1773 (November 1990), 622, 624-25.

Munby, A. N. L.
Poets and men of letters. Sale catalogues of libraries of eminent persons, 1-2 (London: Mansell, 1971)

The new Grove dictionary of music and musicians.  29 vols. (London: Macmillan; Washington DC: Grove's Dictionaries of Music, 2001)

“Obituary: Thomas Ridley Prentice”, The Musical Times and Singing Class Circular, vol. 36, no. 630 (1 August 1895), 549.

Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004)

Rennert, Jonathan.
“William Crotch, 1775-1847”, The Musical Times, vol. 116, no. 1589 (July 1975), 622-623.

Repertoire Internationale des Sources Musicales.
RISM A/II (The UK and Ireland RISM Database: Music Manuscripts, 1600-1800, in British and Irish Libraries)