Tag Archives: Thomas Moore

Lalla Rookh on the Dublin Stage

28th February 2017

The first stage work inspired by Lalla Rookh opened at the Theatre Royal, Dublin on 10 June 1818. This was M.J. Sullivan’s adaptation of Moore’s text as Lalla Rookh; or the Cashmerian Minstrel, as set by the popular singer-composer Charles Edward Horn. He was the son of a musician, also named Charles Horn, who had moved to London from Nordhausen in 1780. Horn senior counted amongst his pupils members of the Royal Family as well as the young tenor John Braham. Charles junior, born in 1788, became a versatile musician eventually famed for his tenor voice: his first position, however, was as a double-bass player at Covent Garden theatre; he was then appointed as second violoncello at the Italian opera under Lindley; at the age of 17, he published his first ballad, “The Baron of Mowbray”. The New York Mirror (vol. 12, 1834, pp. 294-95) credits Horn with setting at least a dozen theatrical works performed in London, including Moore’s comic opera, The MP; or, The Bluestocking in 1811. (Horn’s taste in poetry, we are told, was “most refined”.) In the role of the poet Feramors for his opera Lalla Rookh, Horn would have treated his audience to his “veiled” or “husky” voice, which, combine with his “good manners and gentleman-like address” (New York Mirror), would have conveyed a certain appeal to the part.

A theatre audience, 18th or 19th century; hand-coloured etching
Victoria and Albert Museum, London, Museum number: S.384-2009. Source=http://collections.vam.ac.uk/item/O182414/print-etching-h-beard-print-collection/ Wikimedia Commons.

We get a mixed impression regarding the success of Horn’s Lalla Rookh. Freeman’s Journal of 11 June 1818 proclaimed two or three of the airs “beautiful”, and described the “plaudits … on every side” when Moore was observed in situ on opening night, with a further “three distinct rounds of applause” two nights later, when Moore sat in the manager’s box. The publication of the score is a further marker of expectations for the work; the title-page records its dedication to that most illustrious of society patronesses, Lady Morgan:

“The Overture, Songs, & Duets, / In the Operetta of / LALLA ROOKH, / Performed with unbounded applause / AT THE / Theatre Royal, Dublin. / FOUNDED ON T. MOORE, ESQ.’S celebrated Poem; / The Words by M. J. Sullivan, Esqr. / The Music Composed, and Dedicated to / Lady Morgan, / By Charles Edward Horn. / Dublin, / Printed for the Author, by I. Willis, 7. Westmoreland Street”

Yet there is no firm record of Horn’s opera entering the repertory on a long term basis, and T. Walsh (Opera in Dublin 1798-1820, p. 192) insists it did not “become a favourite”.

While Horn’s opera may not have exerted an enduring appeal, during the nineteenth century every new generation of Dublin theatre-goers had the chance to engage with Moore’s Lalla Rookh as a stage work. Freeman’s Journal for 10 March 1843 contains an advertisement for a

“New Grand Equestrian Spectacle, / in Two Acts, called / LALLA ROOKH: / Or, The AMBASSADOR OF LOVE, AND GHEBER FIRE WORSHIPPERS / In which the entire Stud will appear.”

This work featured Lalla Rookh and her poet-lover Aliris, her father the Mughal emperor Aurungzebe, as well the added characters of Zerapghan, Himlah, and Meenah. We find another kind of poplar stage entertainment in the burlesque Lalla Rookh, Khoreanbad styled as “A Grand Divertissement” and staged on 4 Oct. 1858 at the Queen’s Royal Theatre.

The Gaiety Theatre would seem to have produced the most popular entertainment founded on Moore’s poem. On 22 December 1881 Freeman’s Journal announced

“This Evening … (at 7:30) / The Enormously Successful / The Grand Annual Christmas Pantomime, / LALLA ROOKH. / Bul Bul, the Peri: Hafed, the Gheber: and the / Feast of Roses, / Founded on Thomas Moore’s Oriental Poem. / New and Gorgeous Scenery. Magnificent Costumes. / Powerful and Specially Selected Company. / Kaleidoscopic Ballet. Exquisite Panorama. Gorgeous Marriage Revels. The celebrated Pet Elephant.”

This work was repeated at least nine times before the following notice appeared in Freeman’s Journal for 31 January 1882:

“This evening … SECOND EDITION / Of the enormously successful Pantomime / LALLA ROOKH . New Songs! New Dances! / New Medley of Moore’s Irish Melodies / New Topical Song! / New Dances and Comic Business by / The pet Elephant.”

This revision generated a further eight performances before, some fifty-five years after its source of inspiration was originally published, the Dublin public’s interest in the pantomime waned.

Lalla Rookh’s 200th at Queen’s University Belfast

13th February 2017

The Department of Music at Queen’s University Belfast is running a new module in spring 2017, called ‘A Night at the Opera’. For this module, final-year BMUS students collaborate on a concert for their assessed project. The core text for this year’s cohort of sixteen students is none other than Moore’s ‘Lalla Rookh’ (1817), which inspired numerous songs (for the domestic market), cantatas (for choral societies of the time), and operas (for opera houses in Dublin, Paris, London, Dresden, etc.) from the early romantic period through to the Edwardian era. With two sopranos, a mezzo, one tenor, one bass, two pianists, two violins, and one each playing flute, clarinet, and oboe, we will have to arrange some of the existing music to suit our forces. So some of the students are performing, some are arranging music, and others will be acting as presenters to provide a narrative as well as some visual display to support the selection of music. One of the students, who has taken sound engineering modules in our BSc, will record the event to add to the ERIN project website. At our planning meeting last week we came up with a provisional list of repertory, which will be refined further over the next couple of weeks as we begin rehearsals.

Lalla Rookh Bicentennial Concert, 11 May 2017 @ 13:10 Harty Room

Cover, Lalla Rookh: an oriental romance, illustrated by John Tenniel

Provisional Programme

Part I. Lalla Rookh and Feramors

Ballet music from Anton Rubinstein’s opera Feramors (Dresden, 1863)

“Sous le feuillage” from Félicien David’s comic opera Lalla Roukh (Paris, 1862)

“I’ll sing thee songs of Araby” from Frederic Clay’s cantata Lalla Rookh (Brighton, 1877)

Part II. The Veiled Prophet

‘Bendermeer’s Stream’ from Charles Villiers Stanford’s opera The Veiled Prophet of Khorassan (Hanover, 1881).

Part III. Paradise and the Peri

“Vom Eden’s Thor”, from Robert Schumann’s oratorio, Das Paradies und die Peri (Leipzig, 1843)

“The glorious Angel” (recit.) > “Nymph of a fair but erring race” (aria)

“Sweet said the Angel” (arietta)

“True was the maiden” (recit and arietta), from John Barnett’s cantata, Paradise and the Peri (pub. London, 1870)

“Schumcket die Stufen zu Allahs Thron”, from Schumann, Das Paradies und die Peri

The Peri Pardon’d, cantata by John Clarke (pub. London, 1818)

Part IV. The Fire Worshippers

“Her hands were clasped”, a recit.-aria by Thomas Attwood (pub. London, 1818)

“’Twas his own Voice”, recit.-aria by Sir John Stevenson (pub. London, 1817)

“Farewell to thee Araby’s Daughter”, duet for soprano and tenor by Lady Flint, Five Songs from Lalla Rookh (pub. London, 1818)

Part V. The Light of the Harem

‘Namouna’s Song’ “I know where the winged visions dwell”, from Lady Flint, Five Songs.

“Fly to the Desert”, song by George Kiallmark (pub. London, 1817)

Image courtesy of Special Collections, McClay Library, Queen’s University Belfast

NB: Future blog posts may be written by some of the students enrolled in ‘A Night at the Opera’.

Moore and McDonagh

20th December 2016

The Irish peasant to his mistress (Thro’ grief and thro’ danger) is from the Third Number of the Irish Melodies which was first published in the Summer of 1810. An undated manuscript copy of the lyrics to the first verse in the hand of poet, playwright and 1916 signatory Thomas McDonagh is extant at the National Library of Ireland; http://www.nli.ie/. A digitised version of this source is available to view online by following this link; http://catalogue.nli.ie/Record/vtls000615205

The lyrics to many of Moore’s Irish Melodies are well known for their political and nationalistic content and themes; subjects which may well have resonated with McDonagh. The lyrics for the complete song are transcribed below.

THE IRISH PEASANT TO HIS MISTRESS

Thro’ grief and thro’ danger thy smile hath cheer’d my way,
Till hope seem’d to bud from each thorn that round me lay;
The darker our fortune, the brighter our pure love burn’d
Till shame into glory, till fear into zeal was turn’d;
Oh! salve as I was, in thy arms my spirit felt free,
And bless’d e’en the sorrows that made me more dear to thee.

Thy rival was honour’d, while thou wert wrong’d and scorn’d;
Thy crown was of briers, while gold her brows adorn’d;
She woo’d me to temples, while thou lay’st hid in caves;
Her friends were all masters, while thin, alas! were slaves;
Yet, cold in the earth, at thy feet I would rather be,
Than wed what I loved not, or turn one thought from thee.

They slander thee sorely, who say thy vows are frail-
Hadst thou been a false one, thy cheek had look’d less pale!
They say too, so long thou hast worn those ling’ring chains;
That deep in thy heart they have printed their servile stains;
Oh! do not believe them – no chain could that soul subdue;
Where shineth thy spirit, there liberty shineth too!

Image Courtesy of Special Collections, McClay Library, Queen’s University Belfast

Moore and European Art Music part II

29th August 2016

In the previous post we considered Moore’s regular music activities as an appreciative auditor, a well-received performer, and a keen music copyist. This blog will explore the intersection between Moore’s social experience of music and his professional use of it. For Moore, the process of performing songs as he was working on them–and also after they were published as a means of promoting sales — was an established practice. On one occasion over a six-week period we we see him creating lyrics to an instrumental notturne by the contemporary Italian composer Giuseppe Felice Blangini (1781-1841), and testing the piece out in performance with a social acquaintance Miss Canning before sending it off to his usual music publisher James Power.

Decorative book cover from Moore and Henry Bishop’s National Airs, number 3

At times Moore’s Journal is frustratingly sketchy — for example, on 29 July 1822 he merely tells us: “sent off today to Power the slight sketch of a Song to a little air of Beethoven’s”. (Given the date, this probably refers to ‘Like morning, when her early Breeze’ from number 2 of his Sacred Songs, as it came out in 1824.) On other occasions, however, we get some indication how Moore’s creative processes were stimulated. From a series of Journal entries we can glean the story of Moore’s discovery of an air by Neapolitan composer Michele Enrico Carafa, “O Cara Memoira” and his eventual success at writing lyrics for it. Moore first encountered this tune on 31 October 1824 at the Bowood residence of his patron Lord Lansdowne, where Lady Pembroke sang it and Moore was immediately moved to copy it out. On 15-16 November he reported a lack of success at putting words to the song; inspiration struck on 11 January 1825 when, upon walking to Bowood from his own cottage, Moore “wrote a verse of a song to Carafa’s beautiful air in going” [i.e. during his walk]. And so by mid-January a new song was ready to send to James Power.

Opening bars of Moore’s lyrics and Henry Bishop’s arrangement of Beethoven’s ‘Like Morning when her early breeze’ from Sacred Songs, number 2.

In a similar tale of inspiration, Moore records hearing Ferdinando Paer and his daughter sing at the Comte de Flahaut’s residence during his Paris sojourn (23 Dec. 1819); he was struck by their rendition with Flahaut of a “very pretty” trio, a harmonization by Paer of “an air that they sing to bagpipes at Rome in Christmas time”. Moore resolved that he “must have it for my National Melodies” (Dowden has identified this as ‘See, the Dawn from Heaven’ from number 3 of Moore’s National Airs). Moore, who was generally a ‘chatty’ writer in both his journal and in his letters, has likely left us more tales of interest to discover over the course of our project.

Opening bars of Moore and Henry Bishop’s arrangement of the Roman bagpipe air, National Airs, number 3.

Images courtesy of Special Collections, McClay Library, Queen’s University Belfast.

Thomas Moore and European Art Music part I

19th August 2016

Moore had a profound response to music, which could move him to tears–even in a public setting. This blog will sketch its presence in his every-day life. Oddly, he was not given music lessons as a child, but seems to have been stimulated by his sister’s lessons on the piano and the presence of the instrument in his family home. Music for Moore was a form of release. On 27 Sept. 1818, after a day of hard work on his biography of Richard Brinsley Sheridan, he relaxed by copying out a Benedictus of Mozart and the “Et incarnatus est” of Haydn, describing these composers as “both the ‘merum sal’ of music”, playing and singing his new acquisitions before supper with his wife Bessy and one “Mary D”. After the ladies retired that evening, Moore played some piano sonatas of Muzio Clementi, an act which reminded him of hearing his own sister play the very same pieces when he was a child. And so as a youth Moore developed a particular appreciation for the leading European masters of the ‘Classical’ era — Joseph Haydn (1732-1809), Wolfgang Amadeus Mozart (1756-1791), and Ludwig van Beethoven (1770-1827). His Journal frequently details his encounters of theirs (and other’s) music in domestic settings — remember at this time people made their own entertainment in the evening, and informal concerts or music-making sessions amongst friends was common. Continue reading →

Thomas Moore in Paris

16th July 2016

This month of national natal days suggests a couple of blog posts about Moore’s reactions — both as a person and as an artist– to other nations in which he lived. He had a strong connection with France, having lived there for the best part of four years (January 1819-November 1822), during which time Moore recorded his impressions in his Journal. Upon arriving in Paris he secured “a little fairy suite of apartments” on the fashionable Rue Chanterine, venturing to the boulevard theatres the very next day, where he was “much amused”. Of Spontini’s Olympie at the Paris Opera Moore declared “Nothing can be more poetically imagined than the scenery and ballet of this opera.” After hearing Rossini’s music at a ball, Moore described it as “delicious”, the socialite in him appreciating “the ease with which all Rossini’s lively songs and choruses may be turned into quadrilles and waltzes”. He quickly made the acquaintance of the fashionable novelist Madame de Souza-Bothello, discussing her current romance (novel) whilst it was in progress. With the arrival of wife Bessy and his brood of children, the family moved to a cottage with a garden on the Champs Elysees. Moore swiftly became part of Madame de Flahault’s social circle, singing at intimate gatherings attended by other ex-pats. By May 1820 Moore had a wide social circle that he entertained at home, al fresco with champagne under the trees when the weather permitted. In the summer of 1820 he joined with the rest of Paris in watching various adventurers travel by hot-air balloon, including the ill-fated Mademoislle Garnerin (who was eventually lost on one such voyage). Moore reported a new-found appreciation for “the charms of inanimate nature” on a walk from St. Cloud to Ville d’Avray (this appreciation of natural scenery certainly comes across in some of the Irish Melodies). Although he was underwhelmed by a ball given by the Gardes du Corps at the Chateau of the Tuileries (“not so fine as a I expected”), Moore expressed complete delight with his family’s summer residence in La Butte, declaring “as far as tranquility, fine scenery, and sweet sunshine go, I could not wish to pass a more delightful summer.” He met Princesse Tallyrand at a dinner in May 1821, taking pleasure in her evident engagement with a French prose translation of his Lalla Rookh, as well as her kindness in praising the beauty of his wife; Moore’s uxoriousness was legendary, and he cheerfully reported in his Journal that an acquaintance declared “every one speaks of your conjual attention, and I assure you all Paris is disgusted with it.” The Journal records Moore’s personal impressions rather than his political views, but he tells with sympathy an anecdote he learned of a French Royalist he met, whose young lady was arrested (and subsequently imprisoned for six months) merely for wearing a tricolore ribbon to a masked ball. Initially admiring of Napoleon (“this thunder-storm of a fellow”), Moore described his exile to St Helena as “unsportsmanlike”. Moore was inspired by his Parisian period to write the epistolary satire, The Fudge Family in Paris, which, as Ronan Kelly notes in his Bard of Erin, has “an autobiographical ring” to certain of its details. Moore also featured no fewer than ten French Melodies in his six-volume series of National Airs (1818-1827). Moore’s presence (through publications of his work) in Paris will be charted further through other outcomes of this project.

Are you aware of the past-times and impressions of other visitors to Paris during the 1810s and ’20s? If so, tell us about it on the blog!

Images reproduced courtesy of Special Collections, the McClay Library, Queen’s University Belfast.

Nora Creina and the two Lesbias

30th June 2016

Picking up on the previous posting by Conor Caldwell, today we will consider further the dissemination of the highly popular tune, “Nora Creina.” Beethoven and Moore appear to have noticed this tune at around the same time, for the former is believed to have acquired it by 1810 (to honour a commission from the Edinburgh-based published George Thomson), while the Moore-Stevenson arrangement of it appeared in Irish Melodies number four of 1811. ‘Nora Creina’ subsequently inspired various transcriptions for piano, including Augustus Meves (London, 1818), William Vincent Wallace (London, 1856), and R.F. Harvey (London, 1872). Its lilting 6/8 metre also made is a popular choice for dance compilations, including Admired cottillions for balls and private parties (Philadelphia, c. 1835), as well as Pop goes the weasel! (London, c. 1850). With Moore’s lyrics, “Lesbia hath a beaming eye,” the tune was circulated in a small 1814 compilation issued by an anonymous Waterford printer ( held in the National Library of Wales); in 1828 an enterprising publisher in Falkirk issued “Lesbia” as part of Three excellent new songs (held by University of Glasgow Libraries). Continued interest in Moore during the Victorian era saw all of Moore’s Irish Melodies subsequently edited by J.W. Glover ( Dublin: Duffy, 1859), as well as by official copyright holder Francis Robinson (Dublin: Robinson and Russell, [c. 1865]). “Lesbia” attracted at least one additional arrangement, by the London-based composer Alexander S. Cooper (1869). While Lalla Rookh (1817) was perhaps the first of Moore’s works to be issued with numerous illustrations, arguably the most famous of such presentations is the mid-century Longmans edition of the Irish Melodies, with one or more illustrations for each and every Melody by Daniel Maclise.

The bibliophiles amongst our readers may enjoy tracking the different variants to Moore’s poem, most of which were promoted by the poet himself–perhaps with some unintentional variants introduced by ‘the printer’s devils’ variously associated with music publisher James Power in London. The very opening of the song, initially presented as “Lesbia hath a beaming eye” in both poem and lyrics, first became “Lesbia has a beaming eye” as early as the letterpress poem of the 1813 J. Power edition. While Moore favoured has exclusively from 1815 in his editions with James Power, by the time the London-based Longmans firm issued his Poetical Works (1840-41), he had reverted to hath. We find both these variants (and others with different dates of origin) live and flourishing in posthumous editions of the Victorian era. And also illustrations celebrating the sophisticated charms of Lesbia as compared with the artless appeal of young Nora Creina.

Do you know of editions or arrangements of ‘Nora Creina’ not mentioned here? Do you think they were stimulated by Moore, or another variant of the tune? Tell us about it on the blog!

Images reproduced courtesy of Special Collections, McClay Library, Queen’s University Belfast.

Lalla Rookh in Europe: the first twenty years

31st May 2016

Lalla Rookh is the story of an oriental princess regaled with several fantastic tales by the handsome young poet Feramorz whilst travelling to her own wedding. It is the quintessential romantic epic. Feramorz (Lalla Rookh’s betrothed, the King of Bucharia, in disguise), successfully courts his bride through his story-telling, and so by the time they reach his kingdom he has captured Lalla Rookh’s heart. Moore, who had started writing Lalla Rookh in 1813, began sending it in installments to Longmans of London between March and May 1817. On the 27th of the month it was ‘out’; by December of that year it was in its sixth London edition.

London was also the site of the initial song sheet publications. The poem itself has several song texts, either sung by Feramorz to the princess or sung by characters within the tales he tells. Moore’s regular music publisher James Power issued songs by Dr John Clarke and well as Sir John Stevenson in 1817; this was swiftly followed by settings from Thomas Attwood (4), J.C. Clifton (1), W. Hawes (2), and G. Kiallmark. 1817 also marked Longman’s first edition of Royal Academician Richard Westall’s engraved ‘Illustrations of Lalla Rookh’.

Lalla Rookh continued to stimulate a notable number of vocal and artistic publications, as well as translations of its poetry, up until the first World War. Possibly the first theatre piece inspired by Moore’s poem was Charles Edward Horn’s Lalla Rookh, or the Cashmerian Minstrel to a text by M. J. Sullivan, which opened at Dublin’s Royal Theatre. The next theatrical setting appears to have been Gaspare Spontini’s ‘Festspiel’, Lalla Rûkh, to a text by S.H. Spicker, which was staged at Berlin’s Royal Palace on 27 May 1822. This stimulated a ‘lyrical drama with ballet’ by Spontini for Berlin’s Royal Opera House in 1822, named after Moore’s enchanting odalisque, Nurmhahal. That beauty continued to inspire the German song market, with Carl Maria von Weber setting “From Chinadara’s warbling fount”, otherwise known as the ‘Song of Nurmahal’, by 1826.

Moore’s Paris agents Galignani included Lalla Rookh in their 1819 English-language edition of Moore’s works; the brothers Schumann of Zwickau issued the first German translation in 1822. Vienna had its own translation, by Baron de la Motte Fouqué, in 1825. In its second decade Lalla Rookh would travel to the orient (literally; Moore reports that the East India Company had named a ship after his creation in 1827); the poem is published in Swedish translation (Turku, 1829), and again in German at Frankfurt-am-Main (1830). Moore’s tale of the hideous (both morally and physically ) ‘Veil’d Prophet of Khorassan’ is translated into Spanish (El falso Profeta de Cora-san, Barcelona, 1836) as well as Italian (Il Profeto velato, Torino, 1838). As the Victorian era advanced, there was a particular emphasis on illustrated editions of Moore’s poem–but that is a tale for another time.

Are you aware of any translations of Lalla Rookh not mentioned here? Please tell us on the blog!

Irish Song Project at Queen’s (by guest contributor Conor Caldwell)

18th May 2016

The Irish Song Project at Queen’s University (irishsongproject.qub.ac.uk/) sought to redefine the parameters through we which we view the history of singing in Ireland. While the majority of studies of Irish song, such as Hugh Shields’ monumental Narrative Singing in Ireland, are rooted in an examination of texts, the Irish Song Project concentrated on melodic development.
A second innovation in the project was the attempt to redefine what is meant by the term ‘Irish song’. This term is loaded with connotations of a politico-religious nature, as well as being further complicated by aspects of eighteenth and nineteenth century social class and linguistic divisions in Irish society. In addressing the concept of Irish song, we mapped out a holistic approach which included many forms of music previously excluded from discussion in this field, including medieval plainchant, eighteenth century parlour songs and, of course, the works of Thomas Moore.
The historically contested nature of Moore’s work has led to his exclusion from considerations of ‘traditional’ singing in Ireland, with the poet occupying his own space in scholarly discussion. The overtly literate nature of his work, wedded with a performance aesthetic so widely popularised by the mid-twentieth century through singers such as John McCormack, caused further distantiation between Moore and the traditional music world.
However, Moore’s rehabilitation in recent years, firstly from within the art music community and more recently within traditional music circles has been aided by the breaking apart of the false oral/literate dichotomy that has existed in scholarship of Irish music. In particular, Julie Henigan’s elucidating Literacy and Orality in Eighteenth-Century Irish Song (2013), deconstructs this conceptual position and lays the foundations for a reconsideration of Moore as not only relevant within the context of the history of Irish song, but also, as has been considered by the Irish Song Project, an influence upon the emergence of a dance music canon throughout the nineteenth century.
In my next post, I will explore this idea further by looking at some musical examples from across Moore’s Irish Melodies which are demonstrative of Moore’s impact on this dance music canon.

The Irish Melodies in Europe: 1808-1880

20th April 2016

Although Moore himself was adverse to the separation of music and text for his Irish Melodies, by 1817 J.P. Reynolds – an enterprising publisher in Salem, New York— had issued Irish Melodies, Sacred Melodies, and other Poems. This appeared to open the way for a spate of similar publications across Europe, led by Moore’s Parisian agents the Galignanis, who issued various compilations of his poetic works in 1819, 1820, 1823, and 1829. This firm and Baudry’s European Library—also based in Paris—appeared to be addressing an English-language market. Moore’s four titles with Baudry (1821, 1841, 1843, and 1847) made him—along with Walter Scott and Washington Irvine—their fifth most represented author. The 1820s was the most intense decade for English-language publications of the Irish Melodies, which—in combination with the poems for the National Airs—were issued in Brussels (1822), Pisa (1823), and Jersey (1828).

Title-pages for the Jersey (1828) and Paris (1841) editions

of Moore’s Poetry

By 1825 we also have an actual translation of Moore’s poetry, Louise Swanton Belloc’s Les amours des anges et les Mélodies irlandaises. It is interesting to note that Belloc, whose father was Irish, also translated selected works of Moore’s Irish contemporaries Oliver Goldsmith and Maria Edgeworth as well as Moore’s own Memoirs of Lord Byron for various Parisian publishers. By 1835 we have the first Swedish translation of the Irish Melodies; by 1839 the first German. Leipzig (1839, 1843, and 1874), Berlin (1841) and Hamburg (1875) each published Moore’s Irish Melodies in translation. Added to the polyglot profile of Moore’s Irish Melodies were a new French translation by Henri Jousselin (1869), a Spanish translation issued in New York (1875), and an Italian translation issued in Pisa (1880). By a strange quirk of market forces, the first Latin translation of the Irish Melodies (1835) preceded the first in Irish (1842) by some seven years. If we add to this the some seventy editions of the Irish Melodies issued by Moore’s London-based publisher Longmans, and the over 100 editions issued in Dublin, we can appreciate that Moore’s response to the native tunes of his own country held a universal appeal.

“The Harp that once in Tara’s Halls” in Latin and Irish

Are you aware of editions of the Irish Melodies at locations or in languages not mentioned here? If so, we would welcome a comment on the blog.