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สำรวจชีตเปียโนโดย Nathaniel Gow บน Zen Virtual Piano Nathaniel Gow was the fourth son of Niel Gow, the famous Scottish fiddler, born in Niel’s home town of Inver, Perthshire. Like his three elder brothers, he chose to follow his father into the music profession. His father gave him some violin lessons, and he was then sent to Edinburgh, where he studied with Robert M’Intosh first and then with M’Glashan, who led the fashionable bands of the Scottish capital. A famous father’s lessons followed by Edinburgh teachers can be read as a musician shaped by both family tradition and the capital’s fashionable bands. He became one of his majesty’s trumpeters for Scotland in 1782, a post that required him to be present at royal proclamations and to go with the justiciary judges on their circuits. In 1791 he became leader of the band formerly conducted by M’Glashan. A band once conducted by his teacher passing to him can be read as a pupil taking over the place his teacher had held in Edinburgh’s music. He composed prolifically: more than two hundred of his original melodies were published in his lifetime, and many others stayed in manuscript. Many of his tunes are still played widely, among them The Fairy Dance (The Fairy Reel in Ireland, Old Molly Hare in the US) and The Miller of Drone (The Miller of Draughin in Ireland, Grey Eagle in the US). The Dictionary of National Biography says that as a violinist he greatly excelled his father in music of a slow and plaintive character, and that in Scotch dance music he was unapproached. Praise for both slow, plaintive music and dance music can be read as a violinist judged on the breadth of what he played. Tunes still played in Ireland and the US under other names can be read as music that outgrew its composer’s name. He was often summoned to London, and most of those visits brought an invitation to play at private parties hosted by George IV, who was then Prince of Wales. When the king visited Scotland in 1822, Gow was among a select group of Edinburgh’s musicians called to Dalkeith palace, where the king left the banquet table to speak with him. He started business as a music-seller first in 1796, in company with William Shepherd, and next in company with his son Niel; the later enterprise was unsuccessful, and in 1827 Gow became a bankrupt. A man summoned to a palace and later bankrupt can be read as a career whose public honours and private finances ran in different directions.
สำรวจชีตเปียโนโดย Nathaniel Gow บน Zen Virtual Piano
Nathaniel Gow was the fourth son of Niel Gow, the famous Scottish fiddler, born in Niel’s home town of Inver, Perthshire. Like his three elder brothers, he chose to follow his father into the music profession. His father gave him some violin lessons, and he was then sent to Edinburgh, where he studied with Robert M’Intosh first and then with M’Glashan, who led the fashionable bands of the Scottish capital. A famous father’s lessons followed by Edinburgh teachers can be read as a musician shaped by both family tradition and the capital’s fashionable bands.
He became one of his majesty’s trumpeters for Scotland in 1782, a post that required him to be present at royal proclamations and to go with the justiciary judges on their circuits. In 1791 he became leader of the band formerly conducted by M’Glashan. A band once conducted by his teacher passing to him can be read as a pupil taking over the place his teacher had held in Edinburgh’s music.
He composed prolifically: more than two hundred of his original melodies were published in his lifetime, and many others stayed in manuscript. Many of his tunes are still played widely, among them The Fairy Dance (The Fairy Reel in Ireland, Old Molly Hare in the US) and The Miller of Drone (The Miller of Draughin in Ireland, Grey Eagle in the US). The Dictionary of National Biography says that as a violinist he greatly excelled his father in music of a slow and plaintive character, and that in Scotch dance music he was unapproached. Praise for both slow, plaintive music and dance music can be read as a violinist judged on the breadth of what he played. Tunes still played in Ireland and the US under other names can be read as music that outgrew its composer’s name.
He was often summoned to London, and most of those visits brought an invitation to play at private parties hosted by George IV, who was then Prince of Wales. When the king visited Scotland in 1822, Gow was among a select group of Edinburgh’s musicians called to Dalkeith palace, where the king left the banquet table to speak with him. He started business as a music-seller first in 1796, in company with William Shepherd, and next in company with his son Niel; the later enterprise was unsuccessful, and in 1827 Gow became a bankrupt. A man summoned to a palace and later bankrupt can be read as a career whose public honours and private finances ran in different directions.
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