Annotation:Queen Mary’s Lamentation
X:1 T:Queen Mary’s Lamentation M:3/4 L:1/16 R:Air Q:"Slow" B:Aird – Selection of Scotch, English, Irish and Foreign Airs, vol. 4 (1796, No. 52, p. 20) Z:AK/Fiddler’s Companion K:G G2B2|d8 B2G2|(A4B4c4)|c4B4 b3g|eg3 g4 (e2c2)|A6 f2a2c'2|bd'3gb3 eg3| dB3BG3 TA4|G8 G2B2|d8 B2G2|A4B4c4|c2 B8G2|d8 e3d| dB3BG3 TA4|G8 d3e|=f8 d2B2|A4 A6Bc|{c}B8 G2B2|d8 e3d| dB3BG3 TA4|G8 b2g2|eg3 g2f2a2c'2|bd'3gb3 eg3|(dB3)(BG3) TA4| G8 d3e|=f8 d2B2|A4 A6 (Bc)|{c}B8 G4|d8 B2G2|D8 d3B| {B}A8 (G2B2)|d8 B2G2|e4f4g4|f8 g3e|d8 e3d|dB3BG3 TA4| G8 (d'3b)|ea3 a4 e2A2|A6 (d2B2d2)|eg3dB3 A3B|G8||
QUEEN MARY’S LAMENTATION. Scottish, Air (3/4 time). G Major. Standard tuning (fiddle). AAB. The air was published in several late 18th century sources, including Benjamin Carr’s The Caledonian Muse (Philadelphia, 1798). It was a composition of Tommaso Giordani [1] (1730–1806), a Neapolitan composer who spent much of his mature career in London and Dublin. He came to London with his father’s opera company, where he presented his first opera in 1756. In the next twenty years, still based in London, he composed three other operas, plus arranged other works; he then removed to Dublin and produced seven more operas. His output included sacred music, songs, cantatas, canzonets and chamber music, and his keyboard music was very popular in his time, rivaling J.C. Bach’s, particularly with amateur musicians.
