There is the first part of the musette copied (from memory, so I hope there’s nothing wrong). Is it not angelic? But it ought, of course, to have the gavotte before. The gavotte is in G, and ends on the keynote thus (if I remember):—
staccato, I think. Then you sail into the musette.
N.B.—Where I have put an ‘A,’ is that a dominant eleventh, or what? or just a seventh on the D? and if the latter, is that allowed? It sounds very funny. Never mind all my questions; if I begin about music (which is my leading ignorance and curiosity), I have always to babble questions: all my friends know me now, and take no notice whatever. The whole piece is marked allegro; but surely could easily be played too fast? The dignity must not be lost; the periwig feeling.
to Thomas Stevenson
[Skerryvore, Bournemouth, March 1886.]
MY DEAR FATHER,—The David problem has to-day been decided. I am to leave the door open for a sequel if the public take to it, and this will save me from butchering a lot of good material to no purpose. Your letter from Carlisle was pretty like yourself, sir, as I was pleased to see; the hand of Jekyll, not the hand of Hyde. I am for action quite unfit, and even a letter is beyond me; so pray take these scraps at a vast deal more than their intrinsic worth. I am in great spirits about David, Colvin agreeing with Henley, Fanny, and myself in thinking it far the most human of my labours hitherto. As to whether the long-eared British public may take to it, all think it more than doubtful; I wish they would, for I could do a second volume with ease and pleasure, and Colvin thinks it sin and folly to throw away David and Alan Breck upon so small a field as this one.—Ever your affectionate son,
R. L. S.