In estimating the professional character of Nathaniel Gow, it will be more
just to his memory to consider his merits in that department which he made his
peculiar province, than as a general musician; for although he was well acquainted with the compositions of the great masters, and joined in their performance, and taught them to his pupils, yet his early aspirations, and his more
mature delight and study, were directed to the national music of Scotland. As
a performer he had all the fire and spirit of his celebrated father in the quick
music, with more refined taste, delicacy, and clearness of intonation in the slow
and plaintive melodies. To an equally fine ear, and deep feeling of the beauties
and peculiarities of Scottish melody, he added the advantages of a more general
cultivation of musical knowledge, with more varied and frequent opportunities
of hearing the most classical compositions, executed by the most able performers. These, while they did not tempt him to sacrifice any of the character or simplicity of his native music, enabled him to give a taste and finish to the execution of it, which placed him, by general and ungrudging consent, as the master spirit of that branch or department which he had selected, and in which,
for a long course of years, he walked in unapproachable triumph. There are
many living contemporaries to whom less than even the little we have said, will
be necessary to make them concur in this statement; those who never listened
to his playing, can only be referred to the universal subjugation of the world
of fashion, taste, and pleasure, to his sway for so long a period, as a pretty certain testimony in support of our humble opinion.
As a composer, his works remain to support his claims. He has published in his collections, and in sheets, upwards of two hundred original melodies and dancing tunes, and left nearly a hundred in manuscript; which, along with his more recent collections, became the property of Messrs Robertson of Prince's Street, Edinburgh. Of these we may only refer to a very few—his "Caller Herring," which was so much admired, that it was printed in London, and imitated by celebrated composers—"Sir George Clerk," and "Lady Charlotte Durham," as specimens of his slow compositions, and to "the Miller of Drone," "Largo's Fairy Dance," and "Mrs Wemyss of Castlehill," to which last, air the song of "St Patrick was a Gentleman," is sung, as specimens of his lively pieces. There are many of our finest melodies, of which the composers are unknown ; but we are persuaded that few will contradict us when we say, that from the number and talent of his compositions, no known Scottish composer, not even his celebrated father, can contest the palm with him, as the largest and ablest contributor to the already great stock of our national music.
Independently of these, he has claims upon our gratitude, not only for perpetuating, in his very ample collections, so large a proportion of the scattered gems of national music; but for giving it, during his whole career, such prevalence and eclat, by his admirable execution, and constant encouragement, and exhibition of its spirit and beauty to the public. In all these respects he is entitled to the first praise as its greatest conservator and promoter. It is no doubt true, that of late years the introduction of foreign music and dances, has for a time neutralized his exertions, and kept somewhat in abeyance the native relish for our own music and dancing. But there are such germs of beauty in the former, and such spirit and character in the latter, that we have little fear of their being soon revived, and replaced in all their wonted freshness and hilarity in their proper station among our national amusements. It is painful to hear some of the young ladies at our parties, reddening with a kind of horror at being asked to join in a reel or country dance, and simpering out, "I can't dance reels—they're vulgar;" at the same time that their attempts at the foreign dances are perhaps little superior to the jolting pirouettes of slutted dolls,
