Page:A Dictionary of Music and Musicians vol 4.djvu/452

436 coincide, as in the case of the plaintive air 'Morva Rhuddlan' (Rhuddlan Marsh). 'At this time,' says Parry in his 'Royal Visits,' 'a general action took place between these parties, upon Rhuddlan Marsh, Flintshire. The Welsh, who were commanded in this memorable conflict by Caradoc, King of North Wales, were defeated with dreadful slaughter, and their leader was killed on the field. All who fell into the hands of the Saxon Prince were ordered to be massacred. According to tradition, the Welsh who escaped the sword of the conqueror, in their precipitous flight across the marsh, perished in the water by the flowing of the tide.' Tradition says that the plaintive melody, 'Morva Rhuddlan,' was composed by Caradoc's Bard immediately after the battle, 795.

One of the finest melodies of this class is Davydd y Garreg Wen—David of the White Rock; and although there is no historical account concerning it, it is, nevertheless, supposed to be very ancient. Tradition says that a Bard of this name, lying on his deathbed, called for his harp, composed this touching melody, and desired that it should be played at his funeral.

The following is also one of the most pathetic melodies, and supposed to be very ancient.

There is no denying that Welsh music is more artistic than either that of the Scotch or the Irish, and on that account it may, to a superficial observer, appear more modern; but to those who are acquainted with the harp, the national instrument of Wales, with its perfect diatonic scale, the apparent inconsistency disappears. This is admitted by the most eminent writers on music, among others, by Dr. Crotch. In the first volume of his Specimens of the various styles of music, referred to in his course of lectures, he writes as follows:—

We give the melodies of the three marches mentioned.