GOW,
a surname derived from a Gaelic word signifying Smith. Cowan, when not
a modulation of Colquhoun, is the same word as Gowan, and has the same
meaning. The surname M’Gowan is the English Smithson. “The Gows,” says
Lower, in his Essay of English Surnames, (vol. I. P. 104), “were once
as numerous in Scotland as the Smiths in England, and would be so at
this time had not many of them, at a very recent date, translated the
name to Smith.”
GOW, NEIL,
renowned for his skill in playing the violin, of humble origin, was
born at Inver, near Dunkeld, Perthshire, March 22, 1727. He early
displayed a taste for music, and was almost entirely self-taught till
about his thirteenth year, when he received some instructions from
John Cameron, an attendant of Sir George Stewart of Grandtully. His
progress as a musician was singularly rapid. A public trial having
been proposed amongst a few of the best performers in that part of the
country, young Neil was prevailed on to engage in the contest, when
the prize was decreed to him, the judge, who was blind, declaring that
“he could distinguish the stroke of Neil’s bow among a hundred
players.” Having obtained the notice, first, of the Athol family, and
afterwards of the duchess of Gordon, he was soon introduced to the
admiration of the fashionable world, and enjoyed the countenance and
distinguished patronage of the principal nobility and gentry of
Scotland till his death. As a performer on the violin he was
unequalled. “The livelier airs,” says Dr. M’Knight, in the Scots
Magazine for 1809, “which belong to the class of what are called the
strathspey and reel, and which have long been peculiar to the northern
part of the island, assumed in his hand a style of spirit, fire, and
beauty, which had never been heard before. There is perhaps no species
whatever of music executed on the violin, in which the characteristic
expression depends more on the power of the bow, particularly in what
is called the upward or returning stroke, than the Highland reel.
Here, accordingly, was Gow’s forte. His bow-hand, as a suitable
instrument of his genius, was uncommonly powerful; and where the note
produced by the up-bow was often feeble and indistinct in other hands,
it was struck in his paying with a strength and certainty which never
failed to surprise and delight the skilful hearer. To this
extraordinary power of the bow, in the hand of this great original
genius, must be ascribed the singular felicity of expression which he
gave to all his music, and the native Highland gout of certain
tunes, such as ‘Tullochgorum,’ in which his taste and style of bowing
could never be exactly reached by any other performer. We may add the
effect of the sudden shout with which he frequently accompanied his
playing in the quick tunes, and which seemed instantly to electrify
the dancers, inspiring them with new life and energy, and rising the
spirits of the most inanimate.”
Neil Gow
excelled also in the composition of Scottish melodies; and his sets of
the older tunes, and various of his own airs, were prepared for
publication by his son Nathaniel. In private life Neil Gow was
distinguished by his unpretending manners, his homely humour, strong
good sense and knowledge of the world. His figure was vigorous and
manly, and the expression of his countenance spirited and intelligent.
His whole appearance exhibited so characteristic a model of a Scottish
Highlander, that his portrait was at one period to be found in all
parts of the country. A woodcut of it is subjoined:
[portrait of Neil Gow]
Four admirable
likenesses of him were painted by the late Sir Henry Raeburn, one for
the County Hall, Perth, and the others for the duke of Athol, Lord
Gray, and the Hon. William Maule, created in 1831 Lord Panmure. His
portrait was also introduced into the view of a ‘Highland Wedding,’ by
Mr. Allan, with that of Donald Gow, his brother, who usually
accompanied him on the violoncello.
Neil Gow
died at Inver, March 1, 1807, in the 80th year of his age.
He was twice married: first, to Margaret Wiseman, by whom he had five
sons and three daughters; and secondly to Margaret Urquhart, but had
no issue by her. Three sons and two daughters predeceased him, and
besides Nathaniel, the subject of the following notice, he left
another son, John, who long resided in London, as leader of the
fashionable Scottish bands there, and died in 1827.
GOW, NATHANIEL,
an eminent violin player, teacher, and composer of music, the youngest
son of the preceding, was born at Inver, near Dunkeld, May 28, 1766.
Having exhibited early indications of a talent for music, his father
soon began to give him instructions on the violin; and afterwards sent
him to Edinburgh, where he studied first under M’Intosh, and
subsequently under M’Glashan, at that period two well known
violinists, and the latter especially an excellent composer of
Scottish airs. He took lessons on the violoncello from Joseph Reneagle,
afterwards professor of music at Oxford. In 1782 he was appointed one
of his majesty’s trumpeters for Scotland, and on the death of his
elder brother, William, in 1791, he succeeded him as leader of the
band formerly conducted by M’Glashan at Edinburgh, a situation which
he held for nearly forty years with undiminished reputation.
In 1796 he
and Mr. William Shepherd entered into partnership in Edinburgh, as
music-sellers, and the business was continued till 1813, when, on the
death of the latter, it was given up. He afterwards resumed it, in
company with his son Neil, the composer of ‘Bonny Prince Charlie,’ and
other beautiful melodies, who died in 1823. The business was finally
relinquished in 1728, having involved him in losses, which reduced him
to a state of bankruptcy.
Between 1799
and 1824 Nathaniel Gow published his six celebrated collections of
Reels and Strathspeys; a Repository of Scots Slow Airs, Strathspeys,
and Dances, in 4 vols.; Scots Vocal Melodies, 2 vols.; a collection of
Ancient Curious Scots Melodies, and various other pieces, all arranged
by himself. In some of the early numbers he was assisted by his
father, and these came out under the name of Neil Gow and Son.
During the
long period of his professional career, his services as conductor were
in constant request at all the fashionable parties that took place
throughout Scotland; and he frequently received large sums for
attending with his band at country parties. He was a great favourite
with George the Fourth, and on his visits to London had the honour of
being invited to play at the private parties of his majesty, when
prince of Wales, at Carlton House. Such was the high estimation in
which he was held by the nobility and gentry of his native country,
that his annual balls were always most numerously and fashionably
attended; and among the presents which at various times were made to
him were, a massive silver goblet, in 1811, from the earl of
Dalhousie; a fine violoncello by Sir Peter Murray of Ochtertyre; and a
valuable violin by Sir Alexander Don of Newton Don, baronet. As a
teacher of the violin and piano-forte accompaniment he was paid the
highest rate of fees, and he had for pupils the children of the first
families in the kingdom.
In March
1827 he was compelled, by his reduced circumstances, and while
suffering under a severe illness, to make an appeal to his former
patrons and the public for support, by a ball, which produced him
about £300, and which was continued annually for three years. The
noblemen and gentlemen of the Caledonian Hunt were not unmindful of
the merits of one who had done so much for the national music of
Scotland, as they voted him, on his distresses becoming known, £50
yearly during his life; and he every year received a handsome present
from the Hon. William Maule, subsequently Lord Panmure. He died
January 17, 1831, aged 65. He was twice married: first, to Janet
Fraser, by whom he had five daughters and one son; and, secondly, in
1814, to Mary Hogg, by whom he had three sons and two daughters; one
of whom, Mary, was married to Mr. Jenkins, London; another, Jessie,
was the wife of Mr. Luke, treasurer of George Heriot’s Hospital; and a
third, Augusta, became a teacher of music.
