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The Music of Robert Louis Stevenson
Swedish Air from [Riihelan?]
By J.F.M. Russell ©2019
Robert Louis Stevenson began studying the piano and composition at age 36 and learned the penny whistle two years later. He played the flageolet, a version of the whistle equipped with keys, almost until the end of his life. His arrangements and compositions include more than 120 pieces. This site describes his complete works through facsimiles, transcriptions, recordings, quotations and commentary.
"An interesting chapter in his life will be written when all his scattered pieces are brought together, and the musical side of his character unexpectedly revealed to the vast public that knows him now only as the winsome versifier and the accomplished romancer."
Robert Murrell Stevenson in Robert Louis Stevenson's Musical Interests, 1957.
Facsimile:
Transcription:
Recording:
Manuscript Location:
Washington University in St. Louis Libraries
Register of the William Keeney Bixby Papers (WTU00013)
Box/folder 16/140
Sources:
Horetzky, Felix. 60 National Airs via the Boije Collection at the Statens musikbibliotek - The Music Library of Sweden:
Significant References in Works of R.L.S.:
Comments:
What Stevenson calls a Swedish air is Danish according to Horetzky's 60 National Airs, which RLS used as a source for several works. Note that in Horetzky no. 42 is called Swedish Air and just below it is no. 43, a Danish Air. The actual work Stevenson has used as a source is no. 36, also called Danish Air. Apparently he confused the titles because of the proximity. However Grove's Dictionary claims that the piece is known as Neckens Polska and is in fact Swedish. The piece is sung to words by Arvid August Afzelius,1785-1871 and is known in English as On a Crystal Throne. Stevenson was an opera lover and may have attended Thomas Ambroise's Hamlet, which uses this melody in Act IV.
Fanny Stevenson was supposed to have played guitar and 60 National Airs may have belonged to her.
However Stevenson's version has many melodic and rhythmic differences. From measure 9 to the end he has disregarded the source almost entirely and added new material. He is apparently aware of this, because in the manuscript he underlines the section with dots, although this may also indicate a ritard.
The place name in the title is not clear.