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A manuscript in several hands from the North East of England; many tunes not found elsewhere.
Transcribed into ABC Music Notation for The Village Music Project
by Peter Dunk, of that incomplete part of the C.J.Surtees
manuscript as it appears on the Farne
website
Go to ABC file
Go to PDF
of transcription
Some tunes are numbered in the MS, and that numbering has been
retained. Many pages are missed out by Farne, so it has been
decided to number the remaining tunes in provisional square
brackets until such time as a more complete copy may obtained.
Description by Matt Seattle,
taken from Farne:-
"This book is part of the Cocks Collection and is now in the Northumberland Record Office at Gosforth, with photocopies at the Black Gate and Morpeth Chantry. It is signed C J Surtees and dated 1819, but is the work of many different hands. It contains some standard tunes, especially Scottish ones, some obscure tunes (probably taken from obscure publications) and a few more interesting items, some of which seem to be local, which are reproduced here.
Shooters Hornpipe -the earliest
appearance of this hornpipe seems to be William Vickers'
manuscript where the composer is given as Morgan. It is thought
that the tune is named after Edward (Ned) Shuter (1728-76), a
renowned comic actor.
Height : 14 cm
Width : 23 cm
Held by : Gosforth
Records Office"
An article from "English Actors: From Shakespeare to Macready",
New York: Henry Holt and Co., 1879:-
"NED SHUTER (1728-1776)
GARRICK pronounced NED SHUTER to
be the greatest comic genius he had ever known. He was the
original Old Hardcastle and Sir Anthony Absolute, Papillon in
"The Liar," and Justice Woodcock in "Love in a Village." Strange
to say, he was a follower of Whitefield's, a constant attendant
at the Tottenham Court Road Chapel, and divided his time pretty
equally between drinking, playing, and praying; when drunk he
could scarcely be restrained from going into the fields and
preaching upon original sin and regeneration. Tate Wilkinson,
who was a hanger-on upon Shuter, relates how he used to
accompany him on Sunday mornings at six to the Tottenham Court
Road Chapel; at ten to another meeting-house in Long Acre; at
eleven back to Whitefield's chapel; at three to some other; and
in the evening to Moorfields. He was very liberal to the
Whitefieldites, and it is said that Whitefield himself, although
a bitter denouncer of all persons and things dramatic, on the
occasion of Shuter's benefit recommended the congregation to
attend the theater for once, on that night only.
His first appearance was
at Covent Garden in 1745, as "The Schoolboy," for the benefit of
an actor named Chapman, and he was so young that he was
announced in the bills as "Master Shuter," as he was in those of
Drury Lane a twelvemonth afterwards. He died November 1st, 1776.
His last performance was Falstaff, for his own benefit, in the
preceding May; but between the bottle and the tabernacle his
faculties were nearly gone. "He was more bewildered in his
brain," says Wilkinson, "by wishing to acquire imaginary grace
than by all his drinking; like Mawworm he believed he had a
call." In his reasonable moments he was a lively, shrewd
companion, full of originality, whim, and humor; all he said and
did was his own, for it was with difficulty he could read his
parts, and he could just sign his name and no more; but he was
the delight of all who knew him on or off the stage. John Taylor
relates how he and his father dined and passed an evening with
him at the "Blue Posts" Tavern in Russell Street, and how all
the people in the neighboring boxes could do nothing but listen
to his comic stories and bon-mots. Another time they were at
some gardens, when the people gathered together in such crowds
to hear his humorous sallies, that the waiters could not move
about to serve. "No person thought of retiring while Shuter
remained, and I remember seeing him in the midst of his friends,
as if he were the monarch of merriment." He was equally a
favorite with the most distinguished people in the realm. It is
related that one night two of the royal princes came behind the
scenes to have a chat with him. Their presence was anything but
welcome on that occasion, as Shuter desired to study his part.
"By Jove," he said suddenly, "the prompter has got my book; I
must fetch it. Will your Royal Highness," addressing one of his
visitors, "be so obliging as to hold my skull-cap to the fire?"
"Oh, certainly, Shuter," replied the Prince. "And perhaps you,
your Royal Highness," turning to the other, " will condescend to
air my breeches while I am gone?" The second request was as
cheerfully complied with as the first. Returning presently with
another actor, and peeping through the keyhole, he saw his two
visitors still engaged as he had left them, patiently awaiting
his return.
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