the Bunting music manuscripts
Edward Bunting’s original commission from the organisers of the meeting in 1792, was to write down the ancient Irish tunes. So the most important part of the manuscripts he left behind him are the tune books. We do not have all of his music notebooks, but we do have a good number, enough to see his working methods from his little pocket field-notebook through to big desk books where he finalised his piano arrangements ready for publication.
The numbering of the manuscripts at Queens is not very logical. You can check the PDF handlist or Collette Moloney’s Catalogue for details.
Bunting’s field notebooks
MS4/29 is Edward Bunting’s first field notebook, and the most important of all the manuscripts. It contains quick notations of tunes as taken down from the harpers between 1792 and 1805. Many of the tunes are single melody lines but a significant number have bass markings as well. There is a huge amount of information in this manuscript about the style and technique of the old harpers, how they handled melody, ornament and bass. There are also brief comments in the margins, lists of tunes, as well as other ephemeral information.
MS4/5 is a field notebook, used from 1805 to 1810. I have not seen this book. Donal O’Sullivan (1926, p.xxv) implies it is a continuation of manuscript 29.
MS4/33(1) is a field notebook. Most of it contains tunes collected on a tour of the North of Ireland with Patrick Lynch in 1802. Written upside down at the back are a number of draft notations aparrently taken from the playing of Patrick Quin around the year 1800.
James Cody’s tune books
MS4/6 is a tune book written for Bunting by James Cody, in which he wrote song airs and words from about 1805 to 1809.
MS4/33(4) is a tune book written by James Cody.
Bunting’s piano arrangements
MS4/33(3) and MS33(2) are respectively volumes 1 and 2 of a pair titled Ancient and Modern Irish Music (not published)... for the harpsichord or pianoforte by E Bunting 1798. These are very spare keyboard arrangements which respect the ms29 drafts and seem to be an honest attempt to imitate the Gaelic harp style on the keyboards. Some of the tunes have extra information e.g. Gaelic titles, attributions to named harpers etc. It is my guess that this style of arranging was rejected by Bunting's publisher, since his next published work (1809) contains far more Romantic piano arrangements set with English lyrics commissioned for the book.
Ms4/33(5) appears to be piano arrangements planned for publication in about 1833, however this volume was never published.
MS4/30 is a book, mostly empty, containing piano arrangements. This is a pretty late book, written between 1832 and 1843 according to Collette Moloney. It has tune collected from Patrick Byrne as well as other Irish music. It also has English or Continental repertory written in a different hand from the other end.
MS4/12 consists of two boxes of loose sheets. Donal O’Sullivan (1926, p.xxv) said that they were piano arrangements of tunes later published in 1809 and 1840. However, the loose sheets in ms12 are actually a lot more diverse than that. There are pages and bifolios that have been taken out of a book of piano arrangements; there are fragments of another much smaller notebook that might have been used for field transcriptions; there are scraps and slips of paper that have been sent to Bunting in letters; there are one or two printed sheets; in other words ms12 is a random box of odds and ends, in no obvious sensible order. The Library at Queen’s has labelled each of the loose sheets; this does not correspond to the folio numbers in Colette Moloney’s cataloge so it is rather hard to find things or reference them!
MS4/20 contains some piano arrangements of Irish tunes, as well as continental music. I haven’t seen this.
MS4/34 is a box of loose music sheets that seem to have been sent to Bunting by various correspondents - he was always eager for people to send him tunes that they knew or had collected. I haven’t seen this.
MS4/13 and MS4/27 are large-format piano books. Donal O’Sullivan (1926, p.xxv) said that they are the actual piano arrangements that were printed in 1840. I think this is too simplistic; they do contain late piano arrangements of the 1840 tunes, but there are differences in the arrangements, and there are changes and corrections in different handwritings. None of this seems to me to be in Bunting’s handwriting; I am assuming that he had copies made and sent to his publisher, and they were emended and corrected by editors or collaborators. There is useful information about the tunes including attributions not found elsewhere.