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Image	Title	Item Description
JSS0021	Ossian	Greig's piano accompaniment for Ossian is intended to represent Ossian's harp. Arranged for violin and piano, it has been written out with separate parts for each instrument.
JSS0022	Ossian, verso	Verse from 'Ossian' by the Rt Rev Norman Macleod (1783-1862), who was known as 'Caraid nan Gaidheal'. It is pasted on over a copy of the Braes of Auchtertyre. The verse inspired Skinner's composition, 'Ossian'.
JSS0023	Ossian, insertion	Skinner sent Greig this pencil excerpt, intending him to insert it into Ossian after the cadenza. Greig did this: it can be seen in bar 13 of the melody (JSS0021).
JSS0024	The Valley of Silence, title page	The title page for Skinner's composition, The Valley of Silence. The music was composed to go with a poem by James Mackintosh entitled 'Napoleon, or The Valley of Silence'.
JSS0025	The Valley of Silence, (Napoleon in Exile)	Erkmann's arrangement of The Valley of Silence was too complicated for Gavin Greig to use in The Harp & Claymore collection. The arrangements had to be simple enough for most people to play with very little practise. This version was used by Skinner himself in his concerts. The note from Erkmann to Skinner at the end reads: 'I have ventured on an accompaniment for this "stimmungsvolle" Elegy, and trust that it will be found acceptable. Please tell your accompanist: that you are the Soloist. Kindest regards, F. Erkmann'. Click on the audio link below to hear Skinner playing it.
JSS0026	Note from Skinner to Greig re The Valley of Silence	Note from Skinner to Greig suggesting that Greig could invent another accompaniment for The Valley of Silence which would be used in the Harp & Claymore collection. "Herr Erkmann Kindly did this sheet for my Concerts. You will of course, invent something even more weird - this will do for me on the road - unless you care to give me a copy yourself. You are Boss."
JSS0027	Napoleon or The Valley of Silence (Recitativo)	Verses by James Mackintosh to go with The Valley of Silence (Napoleon in Exile. Skinner did not set these verses to music - he did not intend them to be sung; they were merely meant to provide atmosphere.
JSS0028	Note from James Mackintosh to Skinner, and Skinner to engraver re verses for The Valley of Silence	Note from James Mackintosh to Skinner about the poem 'Napoleon in Exile'. It reads: 'I think this should be recited before your beautiful piece the 3rd, 4th & 5th verses were added after the others appeared in the "Journal". J.M." 'Journal' refers to the publication 'The People's Journal' which twenty years later was to serialise autobiographical excerpts by Skinner. There is also a note from Skinner to the engraver, to stress that the words are on no account to be sung: 'Engraver - Words under melody - not in Song form No No.'
JSS0029	Caledonia's Wail for Niel Gow her favorite [sic] minstrel	Skinner has marked Fraser's melody 'Slow Strathspey Style'. The slow strathspey was developed primarily as a concert item - it was to be listened to rather than danced to. Skinner has made his feelings about the melody clear: he writes at the foot of the music that 'The above is a beautiful melody'.
JSS0030	J.O. Forbes of Corse	Peter Milne's melody is described here as a 'Solo Strathspey or Schottische', meaning that it could either be used as a solo concert piece, or used to accompany the Schottische dance (German or Highland). The struck through note at the bottom of the manuscript reads: 'This pretty tune is inserted with Mr C Middleton's [publisher, Keith] Permission. It appears in his collection for the violin in D major. The strathspey ['is', to left] was the composer's favourite one.' Beneath that is 'by permission of Messrs Bayley & Ferguson.' Bayley & Ferguson were the publishers of The Harp & Claymore Collection.

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Historic Collections · Kings College · Old Aberdeen · AB24 3SW
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